Third Day.-Outline a speech on one of the following subjects, making a picture the means of appeal:

(a) Better factory conditions for unskilled labor. Pic-
ture an individual worker in wretched surroundings.
(b) Floating hospitals for sick babies. Picture a suffer-
ing infant in a hot, crowded, squalid tenement.
(c) Railroad reform to benefit the farmer. Picture an
orchard with fruit rotting on the ground because
high rates and poor railroad service make it impos-
sible to market it.

(d) Any other subject which can be represented in ap-
peal by a vivid picture.

Fourth Day.-Develop orally one of the outlines of the third day. Notice whether or not the image revives fully in your mind. If it does not, your imagination needs further training through observation. Do you find the image clear but experience difficulty in finding words to express it adequately? In that case, either you are weak in vocabulary or you have not planned the matter well.

Fifth Day. During the first four days, be on the "look-out" for a scene or event which is especially impressive and worthy of expression to others. For this day's work, carefully note down all the elements of sense impression it had-color, movement, sound, etc. Tabulate them all and then write a complete word-picture. (Append the tabulation to the word-picture in your notebook.)

An expert speaker does not, as a rule, go through such a laborious and painstaking preparation for his pictures, but it is an exercise which will rapidly make its further use unnecessary.

ADDITIONAL REMINDERS

1. How is your breathing?

2. Are you carrying yourself well?

3. Do you control your breath well during speaking?

4. Do you criticise and observe other speakers?

5. Are you keeping up the reflection hour?

6. Do you criticise your own speaking and keep notes about it?

7. Are you observing with all your senses so to to fill your mind with a wealth of images?

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. Has the general mastery of speech-planning any value in detail work?

2. What is meant by "word-painting"? Who is the best word-painter you have ever heard? Who the best you have read?

3. Why is a concrete picture stronger than an abstract statement? Can an ignorant man usually grasp the concrete? Does he have difficulty with the abstract? Would a highlyeducated man grasp both? Would he object to either?

4. What do we mean when we say that an image or picture is "a combination of sensations"?

5. If a man were deaf from birth, what concrete experiences would he fail to appreciate? If he were blind, what kind of appeals would be lost upon him?

6. Are all normal people "in full possession of all their senses"? What does the answer to this question suggest to the speaker?

7. As you recollect an experience, which sense elements are strongest? Which weakest? As you read or hear word-paintings, which kind gets the best response from you? What use of this self-analysis will you make as a speaker?

8. What are the uses of concrete images mentioned in this lesson!

9. Do you know why a concrete image will arouse strong feelings when a clear statement in abstract form leaves the audience cold?

10. What is an unfair use of a concrete image!

11. What examples of good word-painting can you recall from your reading?

12. Who was Victor Hugo?

13. What is a "sense impression"?

14. What is the best procedure to develop ability in imagemaking?

LESSON 10

THE EXPRESSION OF IMAGES AND VOCABULARY-BUILDING

1. THE EXPRESSION OF IMAGES

Our last lesson introduced the subject of images, explaining their nature and use in public addresses and outlining methods by which the student might stock his mind with many complete and clear pictures.

(a) The Nature of Images

We may here add a word or two for the purpose of removing some mistaken notions concerning imagemaking, or imagination. Imagination is not a "faculty" or a special department of the mind, separated in some mysterious way from another part called the "reason."

Indeed, the imagination is very closely related to reason. Let us illustrate. Suppose you were trying to reason out which of two men would make the better manager of a business. You would call up pictures of each one in various activities and facing different problems. Then you would decide which set of impressions was more favorable. Thus, to judge between two mento exercise reason, you first have to hold them clearly in mind by an act of imagination. Just as every act of reason carries with it some imagination, so also no one could imagine, or revive, pictures unless he was able to remember. You could not call up a picture of a pleasant scene unless the mind had retained its impression. The imagination, therefore, acts also hand in hand

with memory. The man who has many experiences and who can retain and recall them is likely to be equipped to appreciate all future experiences the better and to reason more clearly. Consequently, exercises in memory and imagination are of practical benefit for the whole intellectual development.

Not only must we avoid the fallacy of considering imagination a separate and independent department of the mind, but we must also refrain from confusing it with one of its by-products-the fancy. Let us consider the difference between the broad term imagination and the narrower expression fancy. When we say that a man has a good imagination, we have used the wrong word if we mean to convey the notion that he is a mere romancer who pictures forth the impossible and unbelievable. Imagination, for the most part, deals with what is real; it reproduces, for further inspection, real things which were once seen or heard. There are three ways in which the real experiences of life are revived in image form by an act of imagination.

FIRST, there is the simple revival, or calling to mind, of a scene or transaction just as it originally took place. One says, "I can close my eyes and see the whole thing over again." This is simple imagination, or reproduction.

SECOND, there is the reproduction of parts of different, real experiences in new combinations and relationships. Here we have creative imagination. It is what enables an artist who has seen one girl with sparkling eyes, another with a blooming complexion, and a third with a crown of golden hair, to combine all the best features of the various individuals in one picture of an "imaginary," ideal girl. Creative imagination lies behind every invention, for the inventor imagines old things in new combinations-new arrangements which will give