1. The Federal Government should (or should not) regulate "big business."

2. President Wilson is (or is not) right in his contention that the slackness in business is psychological.

3. Workmen should (or should not) be compensated by society according to their needs rather than their estimated productivity.

4. The denial of the right of women to vote is in accordance with (or counter to) the provisions of the Constitution.

5. Some other subject in which you are interested. Devote this day to careful reading and note-taking on the subject.

Third Day. Further reading and note-taking. Whenever using material not your own, be sure to label all material with author's name and the place where found.

Fourth Day.-Make a plan of your proposed speech. Work it out very carefully, using in the most effective way all your personal knowledge and all the material you gathered.

Fifth Day. Apply the list of rules on page 142 and statements on page 143. Then commit your outline to memory and orally develop your speech. Keep a list of all the sources of information you consulted.

FINAL WORD

From now on, keep the precautions on page 142 always in mind when working on a speech.

Go over the list of assertions on page 143 every day in connection with a speech or other task you had to perform.

Every evening indulge in the Reflection Hour outlined on page 146.

TEST QUESTIONS

They

These questions are for the student to use in testing
his knowledge of the principles in this lesson.
are suggestive merely, dealing largely with the practical
application of the principles, and are to be placed in the
notebook for future reference.

1. What do we mean by a good personality? What is magnetism?

2. Have you ever had dealings with a man against whom you had been prejudiced, but who won your respect? Can you tell just what there was about him which impressed you?

3. What advantages could you gain as a speaker through friendliness? What advantages in your usual business? Could you lose anything?

4. Is sympathy a sign of weakness or of strength? What can a speaker gain in preparing his matter through his ability to sympathize? How does it help his delivery?

5. What do you mean by earnestness? How does it differ from forwardness? Is it ever apt to lead to forwardness?

6. Have you ever had something on your conscience which affected your thoughts on other topics, the tone of your voice, and your attitude to individuals and groups?

7. Which is more important, intellectual equipment or physical well-being? Are they related at all? Why should a speaker be in especially good physical condition?

8. What is the difference between confidence and conceit? Why do you dislike a conceited man? Why do you approve a confident man?

9. Why must general self-reliance and confidence be sought through particular, small deeds?

10. What are the two surest precautions to secure confidence?

11. Is it well to lie to other people? Is it well to lie to yourself about yourself? What kind of auto-suggestion is best to help build up confidence?

12. Who is the most tactful person you know? What seems to be the secret of that person's success?

13. What do you think of the possible benefit to be reaped from our Reflection Hour questions?

14. On the basis of 100 per cent for a "perfect" personality, what would you grade yourself? Your best chum? Your boss? A number of friends?

15. What percentage in your good personality scale would you give for perfection in the following lines:

16. What are the rules given for the preservation of confidence?

17. What is the value of auto-suggestion?

18. Could you build up a "Reflection Hour" along the lines of "personal efficiency" and daily work?

LESSON 9

IMAGES AND THE MIND OF THE AUDIENCE

In our first six lessons, we assumed that the speaker had a purpose to accomplish through the delivery of a mass of material, referred to as the message. Those lessons were designed to indicate an effective way to adjust the message as a whole to the mental condition of the hearer. The principal means suggested was a judicious organization of the main subdivisions of the speech. But details of treatment, such as the choice and arrangement of words, the description of scenes, the narration of events, or the use of evidence in argument—all these were subordinated and, for a time, neglected in order to focus attention upon the larger matters of planning. We shall now take up the study of the details of speech composition.

1. WORD-PAINTING, OR THE REPRESENTATION OF IMAGES (a) Images and Important Detail of the Organized Whole

This does not mean that we are to set aside and forget the general principles of larger organization. The perfection of a student in his treatment of details must not be at the expense of good general planning. If the structure of a whole speech is poor but some detail of description is beautifully worked out, the effect is ridiculous because a part attracts more attention than the whole. Good organization insures that each detail used in the development will be given its just emphasis or importance-no more and no less.

Another good reason for keeping the principles of general arrangement in mind is that they are useful guides even in the treatment of details. For instance, just as a favorable emotional set may be needed to pave the way for an entire address, so also it is often desirable to prepare the audience in a similar manner for the reception of a particular incident. While interest and attention must be secured in relation to the whole message, like attitudes must always be maintained if a detail is to make its own impression. Furthermore, it is almost as important to plan the arrangement of minor descriptions and to fit their new thoughts to the intellectual capacity of the auditors as to make similar precautions for the oration as a whole. Indeed, the same principles are applied. The principles of favorable emotional set, attention, interest, adjustment to previous knowledge, and sequence of parts are so universal that they apply first to the general plan, then to each division, and down to the smallest subdivision.

When we speak of the details which make up or compose a message, we mean the smallest mental states (thoughts, feelings, impressions, ideas, reasons, etc.) which a speaker has in his own mind and which he seeks to re-create in the minds of his hearers. For instance, the speaker may have a clear impression of a great multitude cheering one who speaks for freedom. He might close his eyes and, in imagination, see the animated orator, high above the crowd, his attitude majestic, his face as one inspired, his gestures bold, and his voice like the bugle call to battle. This picture we term a mental image. He who experiences it wishes it to arise and become just as vivid for each of his hearers as it is for himself. He also wants them to feel the same thrill which he feels as he recalls the original, stirring scene. Or, on the other hand, he may have in mind a recollection