LITMIR.BIZ

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your wit single? and every part about you blasted with antiquity? and will you yet call yourself young? Fie, fie, fie, Sir John!

      —Shakespeare, The Merry Wives of Windsor.

      Finally, in preparing expository material ask yourself these questions regarding your subject:

      What is it, and what is it not?

       What is it like, and unlike?

       What are its causes, and effects?

       How shall it be divided?

       With what subjects is it correlated?

       What experiences does it recall?

       What examples illustrate it?

      QUESTIONS AND EXERCISES

      1. What would be the effect of adhering to any one of the forms of discourse in a public address?

      2. Have you ever heard such an address?

      3. Invent a series of examples illustrative of the distinctions made on pages 232 and 233.

      4. Make a list of ten subjects that might be treated largely, if not entirely, by exposition.

      5. Name the six standards by which expository writing should be tried.

      6. Define any one of the following: (a) storage battery; (b) "a free hand;" (c) sail boat; (d) "The Big Stick;" (e) nonsense; (f) "a good sport;" (g) short-story; (h) novel; (i) newspaper; (j) politician; (k) jealousy; (l) truth; (m) matinée girl; (n) college honor system; (o) modish; (p) slum; (q) settlement work; (r) forensic.

      7. Amplify the definition by antithesis.

      8. Invent two examples to illustrate the definition (question 6).

      9. Invent two analogies for the same subject (question 6).

      10. Make a short speech based on one of the following: (a) wages and salary; (b) master and man; (c) war and peace; (d) home and the boarding house; (e) struggle and victory; (f) ignorance and ambition.

      11. Make a ten-minute speech on any of the topics named in question 6, using all the methods of exposition already named.

      12. Explain what is meant by discarding topics collateral and subordinate to a subject.

      13. Rewrite the jury-speech on page 224.

      14. Define correlation.

      15. Write an example of "classification," on any political, social, economic, or moral issue of the day.

      16. Make a brief analytical statement of Henry W. Grady's "The Race Problem," page 36.

      17. By what analytical principle did you proceed? (See page 225.)

      18. Write a short, carefully generalized speech from a large amount of data on one of the following subjects: (a) The servant girl problem; (b) cats; (c) the baseball craze; (d) reform administrations; (e) sewing societies; (f) coeducation; (g) the traveling salesman.

      19. Observe this passage from Newton's "Effective Speaking:"

      "That man is a cynic. He sees goodness nowhere. He sneers at virtue, sneers at love; to him the maiden plighting her troth is an artful schemer, and he sees even in the mother's kiss nothing but an empty conventionality."

      Write, commit and deliver two similar passages based on your choice from this list: (a) "the egotist;" (b) "the sensualist;" (c) "the hypocrite;" (d) "the timid man;" (e) "the joker;" (f) "the flirt;" (g) "the ungrateful woman;" (h) "the mournful man." In both cases use the principle of "Reference to Experience."

      20. Write a passage on any of the foregoing characters in imitation of the style of Shakespeare's characterization of Sir John Falstaff, page 227.

      FOOTNOTES:

      [12] Argumentation will be outlined fully in subsequent chapter.

      [13] The Working Principles of Rhetoric, J.F. Genung.

[14] How to Attract and Hold an Audience, J. Berg Esenwein.

[15] On the various types of definition see any college manual of Rhetoric.

[16] Quoted in The Working Principles of Rhetoric, J.F. Genung.

[16A] Quoted in The Working Principles of Rhetoric, J.F. Genung.

[17] G.C.V. Holmes, quoted in Specimens of Exposition, H. Lamont.

[18] Effective Speaking, Arthur Edward Phillips. This work covers the preparation of public speech in a very helpful way.

      CHAPTER XX

      INFLUENCING BY DESCRIPTION

       Table of Contents

       The groves of Eden vanish'd now so long,

       Live in description, and look green in song.

      —Alexander Pope, Windsor Forest.

      The moment our discourse rises above the ground-line of familiar facts, and is inflamed with passion or exalted thought, it clothes itself in images. A man conversing in earnest, if he watch his intellectual processes, will find that always a material image, more or less luminous, arises in his mind, contemporaneous with every thought, which furnishes the vestment of the thought.... This imagery is spontaneous. It is the blending of experience with the present action of the mind. It is proper creation.—Ralph Waldo Emerson, Nature.

      Like other valuable resources in public speaking, description loses its power when carried to an extreme. Over-ornamentation makes the subject ridiculous. A dust-cloth is a very useful thing, but why embroider it? Whether description shall be restrained within its proper and important limits, or be encouraged to run riot, is the personal choice that comes before every speaker, for man's earliest literary tendency is to depict.

      The Nature of Description

To describe is to call up a picture in the mind of the hearer. "In talking of description we naturally speak of portraying, delineating, coloring, and all the devices of the picture painter. To describe is to visualize, hence we must look at description as a pictorial process, whether the writer deals with material or with spiritual objects."[19]

      If you were asked to describe the rapid-fire gun you might go about it in either

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