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    Model Speeches For Practise: With an Essay from Humorous Hits and How to Hold an Audience
    Model Speeches For Practise: With an Essay from Humorous Hits and How to Hold an Audience
    Model Speeches For Practise: With an Essay from Humorous Hits and How to Hold an Audience
    Ebook140 pages1 hour

    Model Speeches For Practise: With an Essay from Humorous Hits and How to Hold an Audience

    By Grenville Kleiser

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    About this ebook

    “Model Speeches For Practise” is a 1920 work by Grenville Kleiser that contains a collection of successful speeches by eminent public speakers for study an practice. The author believes that by examining them and reading them aloud, the reader will be able to improve their speaking skills and become a confident and powerful orator for all occasions. This volume is highly recommended for those looking to improve their public speaking skills and would make for a worthy addition to any collection. Contents include: “Aims and Purposed of Speaking”, “After-dinner Speaking by James Russell Lowell”, “England, Mother of Nations by Ralph Waldo Emerson”, “The Age of Research by William Ewart Gladstone”, “Address of Welcome by Oliver Wendell Holmes”, “Good Will to America by Sir William Harcourt”, etc. Grenville Kleiser (1868–1953) was a North American author best remembered for his many inspirational and motivational books, especially those related to oration and self development. He also worked as a Public Speaking teacher at Yale Divinity School, Yale University. Other notable works by this author include: “How to Speak in Public” (1906), “Humorous Hits and How to Hold an Audience” (1908), and “Stories that Take” (1910). Many vintage books such as this are becoming increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with an essay from Kleiser's 1908 work, “Humorous Hits and How to Hold an Audience”.
    LanguageEnglish
    PublisherHervey Press
    Release dateOct 11, 2019
    ISBN9781528787840
    Model Speeches For Practise: With an Essay from Humorous Hits and How to Hold an Audience

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      Book preview

      Model Speeches For Practise - Grenville Kleiser

      1.png

      MODEL

      SPEECHES

      FOR PRACTISE

      WITH AN ESSAY FROM

      Humorous Hits and

      How to Hold an Audience

      By

      GRENVILLE KLEISER

      AUTHOR OF

      How to Speak in Public

      First published in 1920

      This edition published by Read Books Ltd.

      Copyright © 2019 Read Books Ltd.

      This book is copyright and may not be

      reproduced or copied in any way without

      the express permission of the publisher in writing

      British Library Cataloguing-in-Publication Data

      A catalogue record for this book is available

      from the British Library

      Contents

      FEELING AND ENERGY

      PREFACE

      AIMS AND PURPOSES OF SPEAKING

      AFTER-DINNER SPEAKING

      BY JAMES RUSSELL LOWELL

      ENGLAND, MOTHER OF NATIONS BY RALPH WALDO EMERSON

      THE AGE OF RESEARCH BY WILLIAM EWART GLADSTONE

      ADDRESS OF WELCOME

      BY OLIVER WENDELL HOLMES

      GOOD WILL TO AMERICA

      BY SIR WILLIAM HARCOURT

      THE QUALITIES THAT WIN

      BY CHARLES SUMNER

      THE ENGLISH-SPEAKING RACE

      BY GEORGE WILLIAM CURTIS

      WOMAN

      BY HORACE PORTER

      TRIBUTE TO HERBERT SPENCER

      BY WILLIAM M. EVARTS

      THE EMPIRE STATE

      MR. CHAUNCEY M. DEPEW

      MEN OF LETTERS

      BY JAMES ANTHONY FROUDE

      LITERATURE AND POLITICS

      BY JOHN MORLEY

      GENERAL SHERMAN

      BY CARL SCHURZ

      ORATION OVERALEXANDER HAMILTON

      BY GOUVERNEUR MORRIS

      EULOGY OF McKINLEY

      BY GROVER CLEVELAND

      DECORATION DAY

      BY THOMAS W. HIGGINSON

      FAITH IN MANKIND

      BY ARTHUR T. HADLEY

      WASHINGTON AND LINCOLN

      BY MARTIN W. LITTLETON

      CHARACTERISTICSOF WASHINGTON

      BY WILLIAM McKINLEY

      LET FRANCE BE FREE!

      BY GEORGE JACQUES DANTON

      SONS OF HARVARD

      BY CHARLES DEVENS

      WAKE UP, ENGLAND!

      BY KING GEORGE

      FEELING AND ENERGY

      AN EXCERPT FROM

      Humorous Hits and How to Hold an Audience

      BY GRENVILLE KLEISER

      Before you can properly feel what you say you must understand it. Artificial and imitative methods do not produce enduring results. In studying a passage or selection for recitation, the imagination must be kindled, the feelings stimulated, and the mind trained to concentrate upon the thought until it is experienced. This subjective work should always precede the attempt at objective expression. Everything must first be conceived, pictured, and experienced in the mind. When this is done with intelligence, sincerity, and earnestness, there should be little difficulty in giving true and adequate expression to thought.

      In all speaking that is worth the while there must be energy, force, and life. The speaker should be wide-awake, alert, palpitating. A speaker—and this applies to the reciter and elocutionist—should be, as someone has said, an animal galvanic battery on two legs.[*] He must know what he is about. He must be in east.

      Make a distinction between loudness and intensity. Often the best effects are produced by suggesting power in reserve rather than giving the fullest outward expression. Intensity in reading or reciting is secured chiefly through concentration and a thorough grasp of the thought. Endeavor to put yourself into your voice. Do not forget that deep, concentrated feeling is never loud. Avoid shouting, ranting, and tearing a passion to tatters. Go to nature for models. Ask what one would do in real life in uttering the thoughts under consideration.

      The emotions must be brought under control by frequent practise. Joy, sorrow, anger, fear, surprize, terror, and other feelings are as colors to the artist and must be made ready for instant use. To quote Richard Mansfield:

      "When you are enacting a part, think of your voice as a color, and, as you paint your picture (the character you are painting, the scene you are portraying), mix your colors. You have on your palate a white voice, la voix blanche; a heavenly, ethereal or blue voice, the voice of prayer; a disagreeable, jealous, or yellow voice; a steel-gray voice, for quiet sarcasm; a brown voice of hopelessness; a lurid, red voice of hot rage; a deep, thunderous voice of black; a cheery voice, the color of the green sea that a brisk breeze is crisping; and then there is a pretty little pink voice, and shades of violet—but the subject is endless."

      FOOTNOTE:

      [*] See Before an Audience, by Nathan Sheppard.

      GESTURE AND ACTION

      No better advice can be given upon this subject than to Suit the action to the word; the word to the action. Unless a gesture in some way helps in the expression and understanding of a thought, it should be omitted. Gesture is not a mere ornament, but a natural and necessary part of true expression. The arms and hands should be trained to perform their work gracefully, promptly, and effectively. If too many gestures are used they lose their force and meaning. Furthermore, too many gestures confuse and annoy the auditor.

      Gesture should be practised, preferably before a looking-glass, so thoroughly beforehand as to make it an unconscious act when the speaker comes before his audience.

      The correct standing position is to have one foot slightly in advance of the other. The taller the person, the broader should be the base or width between the feet. The body should be erect but not rigid. In repose the arms should drop naturally at the sides. Except in the act of gesticulating do not try to put the hands anywhere, and above all, if a man, not in the pockets.

      PREFACE

      This book contains a varied representation of successful speeches by eminently successful speakers. They furnish, in convenient form, useful material for study and practise.

      The student is earnestly recommended to select one speech at a time, analyze it carefully, note its special features, practise it aloud, and then proceed to another. In this way he will cover the principal forms of public speaking, and enable himself to apply his knowledge to any occasion.

      The cardinal rule is that a speaker learns to speak by speaking, hence a careful reading and study of these[Pg vi] speeches will do much to develop the student's taste for correct literary and oratorical form.

      Grenville Kleiser.

      New York City,

      August, 1919.

      INTRODUCTION

      AIMS AND PURPOSES OF SPEAKING

      It is obvious that the style of your public speaking will depend upon the specific purpose you have in view. If you have important truths which you wish to make known, or a great and definite cause to serve, you are likely to speak about it with earnestness and probably with eloquence.

      If, however, your purpose in speaking is a selfish one—if your object is self-exploitation, or to serve some special interest of your own—if you regard your speaking as an irksome task, or are unduly anxious as to what your hearers will think of you and your effort—then you are almost sure to fail.

      On the other hand, if you have the interests of your hearers sincerely at heart—if you really wish to render a worthy public service—if you lose all thought of self in your heartfelt desire to serve others—then you will have the most essential requirements of true and enduring oratory.

      THE NECESSITY OF A DEFINITE OBJECT

      It is of the highest importance for you to have in mind a clear conception of the end you wish to achieve by your speaking. This purpose should characterize all you say, so that at each step in your speech you will feel sure of making steady progress toward the desired object.

      As a public speaker you assume serious responsibility. You are to influence men for weal or woe. The words you speak are like so many seeds, planted in the minds of your hearers, there to grow and multiply according to their kind. What you say may have far-reaching effects, hence the importance of careful forethought in the planning and preparation of your speeches.

      The highest aim of your public speaking is not merely to instruct or entertain, but to influence the wills of men, to make men think as you think, and to persuade them to act in the manner you desire. This is a lofty aim, when supported by a good cause, and worthy of your greatest talents and efforts.

      THE KEY TO SUCCESS IN SPEAKING

      The key to greatness of speech is sincerity. You must yourself be so thoroughly imbued with the truth and desirability of what you are urging upon others that they will be imprest by your integrity of purpose. To have their confidence and good will is almost to win your cause.

      But you must have deep and well-grounded convictions before you can hope to convince and influence other men. Duty, necessity, magnanimity, innate conviction, and sincere interest in the welfare of others,—these beget true fervor and are essential to passionate and persuasive speaking.

      Lord Lytton emphasized the vital importance of earnest purpose in the speaker. Referring to speech in the British Parliament he said, "Have but fair sense and a competent knowledge of your subject, and

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