DALE CARNEGIE Premium Collection. Dale Carnegie

Чтение книги онлайн.

СКАЧАТЬ the foundation of "what is."

      II. THE USES OF IMAGING IN PUBLIC SPEAKING

      By this time you will have already made some general application of these ideas to the art of the platform, but to several specific uses we must now refer.

      1. Imaging in Speech-Preparation

      (a) Set the image of your audience before you while you prepare. Disappointment may lurk here, and you cannot be forearmed for every emergency, but in the main you must meet your audience before you actually do—image its probable mood and attitude toward the occasion, the theme, and the speaker.

      (b) Conceive your speech as a whole while you are preparing its parts, else can you not see—image—how its parts shall be fitly framed together.

      (c) Image the language you will use, so far as written or extemporaneous speech may dictate. The habit of imaging will give you choice of varied figures of speech, for remember that an address without fresh comparisons is like a garden without blooms. Do not be content with the first hackneyed figure that comes flowing to your pen-point, but dream on until the striking, the unusual, yet the vividly real comparison points your thought like steel does the arrow-tip.

      Note the freshness and effectiveness of the following description from the opening of O. Henry's story, "The Harbinger."

      Long before the springtide is felt in the dull bosom of the yokel does the city man know that the grass-green goddess is upon her throne. He sits at his breakfast eggs and toast, begirt by stone walls, opens his morning paper and sees journalism leave vernalism at the post.

      For whereas Spring's couriers were once the evidence of our finer senses, now the Associated Press does the trick.

      The warble of the first robin in Hackensack, the stirring of the maple sap in Bennington, the budding of the pussy willows along the main street in Syracuse, the first chirp of the blue bird, the swan song of the blue point, the annual tornado in St. Louis, the plaint of the peach pessimist from Pompton, N.J., the regular visit of the tame wild goose with a broken leg to the pond near Bilgewater Junction, the base attempt of the Drug Trust to boost the price of quinine foiled in the House by Congressman Jinks, the first tall poplar struck by lightning and the usual stunned picknickers who had taken refuge, the first crack of the ice jamb in the Allegheny River, the finding of a violet in its mossy bed by the correspondent at Round Corners—these are the advanced signs of the burgeoning season that are wired into the wise city, while the farmer sees nothing but winter upon his dreary fields.

      But these be mere externals. The true harbinger is the heart. When Strephon seeks his Chloe and Mike his Maggie, then only is Spring arrived and the newspaper report of the five foot rattler killed in Squire Pettregrew's pasture confirmed.

      A hackneyed writer would probably have said that the newspaper told the city man about spring before the farmer could see any evidence of it, but that the real harbinger of spring was love and that "In the Spring a young man's fancy lightly turns to thoughts of love."

      2. Imaging in Speech-Delivery

      When once the passion of speech is on you and you are "warmed up"—perhaps by striking till the iron is hot so that you may not fail to strike when it is hot—your mood will be one of vision.

      Then (a) Re-image past emotion—of which more elsewhere. The actor re-calls the old feelings every time he renders his telling lines.

      (b) Reconstruct in image the scenes you are to describe.

      (c) Image the objects in nature whose tone you are delineating, so that bearing and voice and movement (gesture) will picture forth the whole convincingly. Instead of merely stating the fact that whiskey ruins homes, the temperance speaker paints a drunkard coming home to abuse his wife and strike his children. It is much more effective than telling the truth in abstract terms. To depict the cruelness of war, do not assert the fact abstractly—"War is cruel." Show the soldier, an arm swept away by a bursting shell, lying on the battlefield pleading for water; show the children with tear-stained faces pressed against the window pane praying for their dead father to return. Avoid general and prosaic terms. Paint pictures. Evolve images for the imagination of your audience to construct into pictures of their own.

      III. HOW TO ACQUIRE THE IMAGING HABIT

      You remember the American statesman who asserted that "the way to resume is to resume"? The application is obvious. Beginning with the first simple analyses of this chapter, test your own qualities of image-making. One by one practise the several kinds of images; then add—even invent—others in combination, for many images come to us in complex form, like the combined noise and shoving and hot odor of a cheering crowd.

      After practising on reproductive imaging, turn to the productive, beginning with the reproductive and adding productive features for the sake of cultivating invention.

      Frequently, allow your originating gifts full swing by weaving complete imaginary fabrics—sights, sounds, scenes; all the fine world of fantasy lies open to the journeyings of your winged steed.

      In like manner train yourself in the use of figurative language. Learn first to distinguish and then to use its varied forms. When used with restraint, nothing can be more effective than the trope; but once let extravagance creep in by the window, and power will flee by the door.

      All in all, master your images—let not them master you.

      QUESTIONS AND EXERCISES

      1. Give original examples of each kind of reproductive imagination.

      2. Build two of these into imaginary incidents for platform use, using your productive, or creative, imagination.

      3. Define (a) phantasy; (b) vision; (c) fantastic; (d) phantasmagoria; (e) transmogrify; (f) recollection.

      4. What is a "figure of speech"?

5. Define and give two examples of each of the following figures of speech[30]. At least one of the examples under each type would better be original. (a) simile; (b) metaphor; (c) metonymy; (d) synecdoche; (e) apostrophe; (f) vision; (g) personification; (h) hyperbole; (i) irony.

      6. (a) What is an allegory? (b) Name one example. (c) How could a short allegory be used as part of a public address?

7. Write a short fable[31] for use in a speech. Follow either the ancient form (Æsop) or the modern (George Ade, Josephine Dodge Daskam).

      8. What do you understand by "the historical present?" Illustrate how it may be used (ONLY occasionally) in a public address.

      9. Recall some disturbance on the street, (a) Describe it as you would on the platform; (b) imagine what preceded the disturbance; (c) imagine what followed it; (d) connect the whole in a terse, dramatic narration for the platform and deliver it with careful attention to all that you have learned of the public speaker's art.

      10. Do the same with other incidents you have seen or heard of, or СКАЧАТЬ