Lao Tzu - The Prosperity Bible - The Greatest Writings of All Time On The Secrets To Wealth And Prosperity

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We proudly present this collection of classic self-help works on how to attract success and money in your life.
CONTENTS:
1. Napoleon Hill – Think and Grow Rich
2. Benjamin Franklin – The Way to Wealth
3. Charles F. Haanel – The Master Key System
4. Florence Scovel Shinn – The Game of Life and How to Play it
5. Wallace D. Wattles – How to Get What You Want
6. Wallace D. Wattles – The Science of Getting Rich
7. Wallace D. Wattles – The Science of Being Well
8. Wallace D. Wattles – The Science of Being Great
9. P.T. Barnum – The Art of Money Getting
10. Dale Carnegie – The Art of Public Speaking
11. James Allen – As A Man Thinketh
12. James Allen – From Poverty to Power
13. James Allen – Eight Pillars of Prosperity
14. James Allen – Foundation Stones to Happiness and Success
15. James Allen – Men and Systems
16. James Allen – Above Life's Turmoil
17. James Allen – The Life Triumphant
18. Lao Tzu – Tao Te Ching
19. Khalil Gibran – The Prophet
20. Orison Swett Marden & Abner Bayley – An Iron Will
21. Orison Swett Marden – Ambition and Success
22. Orison Swett Marden – The Victorious Attitude
23. Orison Swett Marden – Architects of Fate; Or, Steps to Success and Power
24. Orison Swett Marden – Pushing to the Front
25. Orison Swett Marden – How to Succeed
26. Orison Swett Marden – Cheerfulness As a Life Power
27. Marcus Aurelius – Meditations
28. Henry Thomas Hamblin – Within You is the Power
29. William Crosbie Hunter – Dollars and Sense
30. William Crosbie Hunter – Evening Round-Up
31. Joseph Murphy – The Power of Your Subconscious Mind
32. Ralph Waldo Emerson – Self-Reliance
33. Ralph Waldo Emerson – Compensation
34. Henry H. Brown – Concentration: The Road to Success
35. Henry H. Brown – Dollars Want Me
36. Russell H. Conwell – Acres of Diamonds
37. Russell H. Conwell – The Key to Success
38. Russell H. Conwell – What You Can Do With Your Will Power
39. Russell H. Conwell – Every Man is Own University
40. William Atkinson – The Art of Logical Thinking
41. William Atkinson – The Psychology of Salesmanship
42. B.F. Austin – How to Make Money
43. H.A. Lewis – Hidden Treasure
44. L.W. Rogers – Self-Development and the Way to Power
45. Douglas Fairbanks – Laugh and Live
46. Douglas Fairbanks – Making Life Worth While
47. Sun Tzu – The Art of War
48. Samuel Smiles – Character
49. Samuel Smiles – Thrift
50. Samuel Smiles – Self-Help

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QUESTIONS AND EXERCISES

1. From what source do you intend to study gesture?

2. What is the first requisite of good gestures? Why?

3. Why is it impossible to lay down steel-clad rules for gesturing?

4. Describe ( a ) a graceful gesture that you have observed; ( b ) a forceful one; ( c ) an extravagant one; ( d ) an inappropriate one.

5. What gestures do you use for emphasis? Why?

6. How can grace of movement be acquired?

7. When in doubt about a gesture what would you do?

8. What, according to your observations before a mirror, are your faults in gesturing?

9. How do you intend to correct them?

10. What are some of the gestures, if any, that you might use in delivering Thurston's speech, page 50; Grady's speech, page 36? Be specific.

11. Describe some particularly appropriate gesture that you have observed. Why was it appropriate?

12. Cite at least three movements in nature that might well be imitated in gesture.

13. What would you gather from the expressions: descriptive gesture, suggestive gesture, and typical gesture?

14. Select any elemental emotion, such as fear, and try, by picturing in your mind at least five different situations that might call forth this emotion, to express its several phases by gesture—including posture, movement, and facial expression.

15. Do the same thing for such other emotions as you may select.

16. Select three passages from any source, only being sure that they are suitable for public delivery, memorize each, and then devise gestures suitable for each. Say why.

17. Criticise the gestures in any speech you have heard recently.

18. Practise flexible movement of the hand. What exercises did you find useful?

19. Carefully observe some animal; then devise several typical gestures.

20. Write a brief dialogue between any two animals; read it aloud and invent expressive gestures.

21. Deliver, with appropriate gestures, the quotation that heads this chapter.

22. Read aloud the following incident, using dramatic gestures:

When Voltaire was preparing a young actress to appear in one of his tragedies, he tied her hands to her sides with pack thread in order to check her tendency toward exuberant gesticulation. Under this condition of compulsory immobility she commenced to rehearse, and for some time she bore herself calmly enough; but at last, completely carried away by her feelings, she burst her bonds and flung up her arms. Alarmed at her supposed neglect of his instructions, she began to apologize to the poet; he smilingly reassured her, however; the gesture was then admirable, because it was irrepressible.—Redway, The Actor's Art .

23. Render the following with suitable gestures:

One day, while preaching, Whitefield "suddenly assumed a nautical air and manner that were irresistible with him," and broke forth in these words: "Well, my boys, we have a clear sky, and are making fine headway over a smooth sea before a light breeze, and we shall soon lose sight of land. But what means this sudden lowering of the heavens, and that dark cloud arising from beneath the western horizon? Hark! Don't you hear distant thunder? Don't you see those flashes of lightning? There is a storm gathering! Every man to his duty! The air is dark!—the tempest rages!—our masts are gone!—the ship is on her beam ends! What next?" At this a number of sailors in the congregation, utterly swept away by the dramatic description, leaped to their feet and cried: "The longboat!—take to the longboat!"

–Nathan Sheppard, Before an Audience .

16

METHODS OF DELIVERY

The crown, the consummation, of the discourse is its delivery. Toward it all preparation looks, for it the audience waits, by it the speaker is judged… . All the forces of the orator's life converge in his oratory. The logical acuteness with which he marshals the facts around his theme, the rhetorical facility with which he orders his language, the control to which he has attained in the use of his body as a single organ of expression, whatever richness of acquisition and experience are his—these all are now incidents; the fact is the sending of his message home to his hearers… . The hour of delivery is the "supreme, inevitable hour" for the orator. It is this fact that makes lack of adequate preparation such an impertinence. And it is this that sends such thrills of indescribable joy through the orator's whole being when he has achieved a success—it is like the mother forgetting her pangs for the joy of bringing a son into the world.

—J.B.E., How to Attract and Hold an Audience .

There are four fundamental methods of delivering an address; all others are modifications of one or more of these: reading from manuscript, committing the written speech and speaking from memory, speaking from notes, and extemporaneous speech. It is impossible to say which form of delivery is best for all speakers in all circumstances—in deciding for yourself you should consider the occasion, the nature of the audience, the character of your subject, and your own limitations of time and ability. However, it is worth while warning you not to be lenient in self-exaction. Say to yourself courageously: What others can do, I can attempt. A bold spirit conquers where others flinch, and a trying task challenges pluck.

Reading from Manuscript

This method really deserves short shrift in a book on public speaking, for, delude yourself as you may, public reading is not public speaking. Yet there are so many who grasp this broken reed for support that we must here discuss the "read speech"—apologetic misnomer as it is.

Certainly there are occasions—among them, the opening of Congress, the presentation of a sore question before a deliberative body, or a historical commemoration—when it may seem not alone to the "orator" but to all those interested that the chief thing is to express certain thoughts in precise language—in language that must not be either misunderstood or misquoted. At such times oratory is unhappily elbowed to a back bench, the manuscript is solemnly withdrawn from the capacious inner pocket of the new frock coat, and everyone settles himself resignedly, with only a feeble flicker of hope that the so-called speech may not be as long as it is thick. The words may be golden, but the hearers' (?) eyes are prone to be leaden, and in about one instance out of a hundred does the perpetrator really deliver an impressive address. His excuse is his apology—he is not to be blamed, as a rule, for some one decreed that it would be dangerous to cut loose from manuscript moorings and take his audience with him on a really delightful sail.

One great trouble on such "great occasions" is that the essayist—for such he is—has been chosen not because of his speaking ability but because his grandfather fought in a certain battle, or his constituents sent him to Congress, or his gifts in some line of endeavor other than speaking have distinguished him.

As well choose a surgeon from his ability to play golf. To be sure, it always interests an audience to see a great man; because of his eminence they are likely to listen to his words with respect, perhaps with interest, even when droned from a manuscript. But how much more effective such a deliverance would be if the papers were cast aside!

Nowhere is the read-address so common as in the pulpit—the pulpit, that in these days least of all can afford to invite a handicap. Doubtless many clergymen prefer finish to fervor—let them choose: they are rarely men who sway the masses to acceptance of their message. What they gain in precision and elegance of language they lose in force.

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