The naturalness and effectiveness of a speech depend in no small measure upon the attitude of the speaker's mind toward his subject and the occasion. If he sets out with the express purpose of making a great oration, or of electrifying his audience, the chances are ten to one he will fall into extravagance and artificiality. If, on the other hand, from the beginning he aims to be thoroughly sincere, to present his facts simply, clearly, and concisely, and to impress men with the truth rather than with himself, he need not greatly concern himself about the ultimate effect of his speaking.
A short, crisp sentence at the beginning of a speech arrests the attention of the listener. The general style of delivery should be clear and deliberate. It is very important that the introduction be brief and clearly understood, since upon the first few sentences of a speech may depend the whole subsequent argument. It acts in favor of a speaker, too, if he conveys at the very outset the impression of modesty. An apology, however, is the worst prolog. It was the custom of some ancient orators to assume a modest demeanor in speaking in order to win favor with their audience.
A deliberate style in speaking is highly recommended, since it not only indicates self-control, but permits an audience the more readily to follow the speaker's line of thought. A further advantage of this style of delivery is that the speaker appears to weigh his thought before giving it utterance, and by investing it with, a sense of importance leads his audience to do likewise.
When a speaker stands to address an audience he is estimated often before he has uttered a single syllable. Face, figure, and personality convey a silent but none the less irresistible impression, and if this first impression be a favorable one it will add greatly to the chances of success of the speaker. The quality of a speaker's voice, too, plays an important part in these initial moments of adjustment between speaker and hearer. If it is a well-trained instrument, marked by clearness, flexibility and melody, this will act as a recommendation of the speaker.
Let us assume that the speaker has now begun his speech, and has uttered the first few words slowly, distinctly, and with due regard to his whole audience. The first feeling of timidity, if any, soon disappears, and he enters more particularly into the heart of his subject. Here and there a word or a phrase is given special emphasis, a subordinate passage hurried over, an effective pause made, and possibly an occasional gesture introduced. Gradually the speech gains in power, momentum, and variety. The face and figure of the speaker become more and more animated, the gesture and action grow in size and significance, the voice assumes a new variety and intensity, and at length the feelings of the speaker, now unharnessed, bear him and his audience along upon a moving tide of eloquence. There are brief moments for pause and relaxation, but soon the speaker's voice is heard again in all its power and intensity. Pointed phrase, word picture, telling argument, and vivid illustration are used in turn to convince and persuade the hearer. Finally the speaker reaches the culminating point of his address, drives home his message by the full force of his personality, and with all convenient speed brings his speech to a fitting conclusion.
The relation of the speaker to his audience is reciprocal. As Gladstone says, "The work of the orator from its very inception is inextricably mixed up with practice. It is cast in the mold offered to him by the mind of his hearers. It is an influence principally received from his audience, so to speak, in vapor, which he pours back upon them in a flood." Here the speaker's imagination, authority, and enthusiasm play an important part. He must, indeed, bring all his own powers under subject before he can hope to master the minds of others. His personality, which is the sum of all the qualities he has developed within himself, is what most counts in the final effort to impress and persuade men.
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