If you do not remember the connection in which these expressions were used, look them up in the speech. If you cannot easily supply a synonym, look up the word in the dictionary.

Exercise III.

- Complete the chapter and be able to recite from the topical outline. Provide yourself with paper and envelopes for your collection, labeling the envelopes as directed.

Exercise IV. - Written Review. Be able to write in class on any of the following topics:

1. The Chief Object of Speech-making.

2. How Dickens Used the Four Forms of Discourse.

3. How They are Fitted into a Plan.

4. Our Studies as a Source of Ideas.

5. The World-life as a Source of Ideas.

6. Originality.

7. Gaining a Vocabulary by a Study of the Dictionary.

8. Gaining a Vocabulary by a Study of the Best Authors and Speakers.

9. How to Make a Speaker's Collection.

Introduction.

CHAPTER VII

HOW TO PLAN A SPEECH

A good speech, whether it is one minute or one hour in length, must have three qualities: (1) unity, which means that the gist or substance of itcan be stated in one sentence; (2) coherence, which means that each idea leads naturally to the next, so that it can easily be followed by the audience; and (3) emphasis, which means that there is a gradually increasing force throughout the speech.

In this chapter we shall learn: (1) how to lay the basis for these qualities when we make a plan; (2) the best way to make a plan; and (3) the difference between the plan for an argument and the plan for an exposition.

I. HOW TO PLAN FOR UNITY, COHERENCE, AND EMPHASIS Unity through Choice of a Subject. -The speaker can lay the foundation for unity by choosing a subject that deals with only one thing. A speech on the subject "Motion Pictures" might have unity, whereas it would be impossible to present a unified discussion of the subject, "The Method of Taking Motion Pictures and their Influence on the Public."

At the same time the subject must not cover too large a field to be handled effectively in the time allotted. A speaker could not treat the subject of "Motion Pictures" successfully in two minutes. He would be obliged to

touch on a large number of ideas in such a brief way as to prevent his giving an impression of unity. With such a restricted time limit, it would be necessary to narrow the subject, that is, to discuss only one phase of it. One might, for instance, discuss in two minutes any one of the following topics: "Methods of Taking Motion Pictures of Wild Animals," "Educational Value of Motion Pictures," and "A Motion Picture I Have Seen."

Unity of Purpose. In real life, when a speaker chooses a subject, he has a definite purpose in view: he desires either to instruct, to convince, or to entertain. It is true that he may use instruction and entertainment as an aid to conviction, - such we found to be Dickens' method, — but some one purpose will be predominant. In practice speaking, the student should choose his subject with a definite purpose in mind. He should test the unity of his purpose by writing the gist of what he has to say in a single sentence, called the topic or theme sentence. Let us consider a few illustrations. If a student were to discuss "Methods of Taking Motion Pictures of Wild Animals," his purpose would be mainly that of instruction and his theme sentence might be, "It requires great patience and daring to take pictures of wild animals." If a student were to speak on "The Educational Value of Motion Pictures," his purpose might be to convince the members of the Parents' Club that they should allow their children to attend a certain moving picture performance. His theme might be, "Our moving picture show will teach your children in one hour more than they could learn in many days of reading." The theme sentence will be determined largely by the nature of the material which the speaker has at his disposal, unless he

should wish to look up material to illustrate and develop his theme. It should be clear, however, from the foregoing discussion, that if the speech is to have unity, the subject, the purpose, the theme sentence, and the speech material should coincide.

Unity in Development. The speech is an elaboration or a development of the theme sentence. The introduction furnishes a means of unity in that it either suggests the main thought or is an actual statement of the main thought. Since the introduction to a two-minute speech should not consist of more than one sentence, it is well in practice work to use some version of the theme sentence as the introduction. This may in some cases seem abrupt, but it will help the beginner to secure unity, and a more artistic method may be studied later.

The body of the speech should be an expansion of the main idea. The theme sentence may be enlarged upon in several ways: (1) it may be repeated several times in different words (See Reading Lesson IV, 2, page 65); (2) it may be illustrated by facts (See Reading Lesson IV, 1, page 65); and (3) it may be compared with something else (See Chapter III, Ex. VI, Selection 1).

It is very essential in this expansion that not a single thought be allowed to enter which does not have a close relation to the main thought. James Russell Lowell has said very tersely on this point, "The art of writing consists in knowing what to leave in the ink pot."

The conclusion, if rightly developed, is a further means of strengthening the unity of the speech. It may be either a re-statement, in varied language, of the topic sentence, or it may simply make reference to the main idea.

Coherence. A speech is coherent, as we have already learned, if each idea leads naturally to the next, so that the audience can easily follow the line of thought. If a speaker is to lead his audience, he should first consider the state of mind of his audience. In a practice speech, the student should imagine a particular audience, determine upon an appropriate salutation, and proceed to adapt his speech to his hearers. The character and arrangement of one's material should vary with the nature of the audience. For instance, one would not discuss "Aeroplanes" before a board of engineers in the same way that he would before a boys' literary society.

After the speaker has considered his ideas from the standpoint of the experience and intelligence of his audience, he should arrange them in what seems to be the most natural order. In so doing, he should take note of the following rules: (1) A general statement should be made before the details which illustrate it. (2) The easy should be stated before the difficult. (3) The earlier in time should be mentioned before the later. We found that Dickens' speech was so coherent that any change in the order of his ideas would injure it. The studentspeaker should test the coherence of his speech by trying various methods of arrangement.

Emphasis. Frequently the most coherent order is also the most emphatic order; that is, it results in an impression of gradually increasing force throughout the speech. This can be effected, in some measure, by arranging the ideas in the order of strength, the strongest last. It is also necessary to develop the important ideas at greater length than the unimportant ideas.