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

–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?

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.

The groves of Eden vanish'd now so long,

Live in description, and look green in song.

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."

If you were asked to describe the rapid-fire gun you might go about it in either of two ways: give a cold technical account of its mechanism, in whole and in detail, or else describe it as a terrible engine of slaughter, dwelling upon its effects rather than upon its structure.

The former of these processes is exposition, the latter is true description. Exposition deals more with the general , while description must deal with the particular . Exposition elucidates ideas , description treats of things . Exposition deals with the abstract , description with the concrete . Exposition is concerned with the internal , description with the external . Exposition is enumerative , description literary . Exposition is intellectual , description sensory . Exposition is impersonal , description personal .

If description is a visualizing process for the hearer, it is first of all such for the speaker—he cannot describe what he has never seen, either physically or in fancy. It is this personal quality—this question of the personal eye which sees the things later to be described—that makes description so interesting in public speech. Given a speaker of personality, and we are interested in his personal view—his view adds to the natural interest of the scene, and may even be the sole source of that interest to his auditors.

The seeing eye has been praised in an earlier chapter (on "Subject and Preparation") and the imagination will be treated in a subsequent one (on "Riding the Winged Horse"), but here we must consider the picturing mind : the mind that forms the double habit of seeing things clearly—for we see more with the mind than we do with the physical eye—and then of re-imaging these things for the purpose of getting them before the minds' eyes of the hearers. No habit is more useful than that of visualizing clearly the object, the scene, the situation, the action, the person, about to be described. Unless that primary process is carried out clearly, the picture will be blurred for the hearer-beholder.

In a work of this nature we are concerned with the rhetorical analysis of description, and with its methods, only so far as may be needed for the practical purposes of the speaker. The following grouping, therefore, will not be regarded as complete, nor will it here be necessary to add more than a word of explanation:

Description for Public Speakers

Some of the foregoing processes will overlap, in certain instances, and all are more likely to be found in combination than singly.