trying to bear home the idea that the pomp and power of the conqueror do not compensate for the loss of peace and affection which the humblest peasant can have. But notice how the concrete treatment enhances, not only the thought, but also the feeling.

I thought of the orphans and widows he had made, of the tears that had been shed for his glory, and of the only woman who ever loved him, pushed from his heart by the cold hand of ambition. And I said, "I would rather have been a French peasant and worn wooden shoes. I would rather have lived in a hut with a vine growing over the door, and the grapes growing purple in the amorous kisses of the autumn sun. I would rather have been that poor peasant, with my loving wife by my side, knitting as the day died out of the sky, with my children upon my knees and their arms about me. I would rather have been that man, and gone down to the tongueless silence of the dreamless dust, than to have been that imperial impersonation of force and murder, known as Napoleon the Great.2

But a word of caution must here be offered. If a specific instance is to be selected to make a general statement more forceful and clear in thought and more provocative of emotion, it must be a fair example. During the first two weeks of the great European War of 1914, the papers in America got most of their news from antiGerman sources. One day there was a description of the brutal treatment of some French civilians who were caught in Germany before they could return to their own country. The article was most graphic and had for its climax the shooting of one young student who, after many knocks and insults, cried, "Vive la France." It is probable that no such scene took place. Furthermore, if it did, it is hardly probable that it was at all typical of what Germany as a whole was doing. We hold no brief for Germany nor the German kaiser; we merely point out that where a specific instance is supposed to 'Ingersoll, Robert G., Napoleon.

represent a number of cases or a general principle, the speaker should exercise the greatest care to be sure that his example is truly representative. The very fact that the particular case makes such a powerful impression creates a strong responsibility to have that case a just and typical one.

If ever you are opposing another who selects prejudicial instances, the revelation of his unfair bias is sure to have an effect upon the audience.

3. THE SENSES AND IMAGE-MAKING

It will be noticed that a complete picture or image is made up from the detailed report of the various senses. Thus, Webster's picture of the British charge up Bunker Hill gives the report of the eyes when it refers to the sky above and the ocean rolling below, the men standing shoulder to shoulder, and the ground strewn with the dead and dying. The ear contribution is evident in the "roar of hostile cannon"; the senses of touch and muscular effort are also there, certainly for the veterans to whom Webster is speaking-men who had taken part in the hand-to-hand struggle.

We may, therefore, say that knowledge of the world. comes through the senses and a remembered picture or image is the recollected reports of the senses in certain combinations. Now it has been discovered that some people-in fact, most people-have one sense developed above the others and possibly another one hardly developed at all. They, after an experience, such as the witnessing of a boat race, might get clear eye impressions while they respond but poorly to auditory impressions and therefore have but hazy recollections of sounds. An eye-minded person trying to describe the boat race would report the impressions of the color of the river, the green

banks, the shining racing shells, the eight oars resting on the out-riggers, the sun striking the bare shoulders of the muscular rowers, the blue shirts of one crew and the red of the other, and all along the course, he would see again the hundreds of small boats and the many people with their riot of vari-colored flags. But an earminded person would recall the roar of the crowd, the short, barking yells of small groups of students, the crack of the starting gun, ànd the swish of the oars as they feathered over the little waves.

It is highly desirable that a speaker should develop all his senses to an excellent state of keenness. He should see well and retain in his mind all his visual impressions; he should hear distinctly and have clear auditory images or remembrances; he should distinguish smells, tastes, and degrees of temperature as well as retain impressions of motion and muscular effort. Only by developing all the senses so as to get good, clear, and deep impressions from them can the speaker hope to stock his mind with complete and trustworthy pictures. One who has such a stock to draw upon is said to possess a good imagination. It is from such a stock that the poets, dramatists, and novelists draw. The speaker or orator must also have such a source of material.

Such a perfection of imagination is necessary to the speaker, not only that the pictures for his own mental use may be complete, but also that he may reach all his hearers when he wishes to treat a concrete situation. If his images were one-sided, all addressed to the ear, the eye-minded auditors would get little from them. Language expressing most perfect images of sight and smell has no meaning or but a very hazy, general meaning to an auditor who is almost entirely ear-minded. Therefore, since people are strong in one sense and weak in another, the orator must assail them through the chan

nels of all the senses. rounded development which makes their messages have meaning and force to all classes of people. Naturally, some pictures are distinctly for the eye while others are essentially symphonies of sound. The most skilled speaker brings out all that can be brought out in each situation. Where it suits his purpose to emphasize one or another aspect, he is equipped to do so.

The greatest orators have the

Carefully read the illustrations of this lesson and note, in a table such as the following, the nature and number of sense impressions in each passage quoted.

The test is to read carefully and try to see which of your own senses is stimulated to reaction. Do you see with your "mind's eye," do you seem to hear a roar, do you feel the effort or strain of conflict, etc.?

Now examine yourself and see if you are weak in remembering some of the sense aspects of some of your own, original experiences. Go to your business some morning a half hour earlier than the opening time. As soon as you arrive at the office, sit down and write as full a report as you can of the impressions of your car ride during the last five blocks of travel. Read your report and see if it overemphasizes the eye element or the ear element. Notice, during the actual writing, if certain things which your reason tells you must have been experienced have grown hazy in detail or been forgotten. Have

you failed to retain a picture of the woman opposite you in the car-the color of her hat, dress, and shoes? On the other hand, have you a clear realization of the sensation of motion or movement? There is no doubt that you will discover that you are weak in some respects and strong in others. Then again you may have very clear recollections of things but be unable to express them in words. That is a language difficulty which we shall consider in the next lesson. Just now we want to find out which of your sense reports are weakest and least trustworthy, whether you can tell others about it or not.

From now on, make many observations of the kind just described and attend especially to the things which should appeal to your weakest sense. That weak spot must be built up by careful use. Just as one who begins to play billiards is at first awkward and unskillful and later acquires skill through use, so a sense may be brought to a high point of discernment through constant practice. After making your observations, try to reproduce them in words both orally and in writing.

Reading books will do but little to develop your imagemaking capacity in the places where it is weak. It may add some individual pictures to your stock where the sense that appreciates them is strong. But literature does not build up the weak sense, for the words of an author who is creating an eye impression have no meaning to one who is ear-minded and whose visual sense is poor. The direct study of nature and man with your own senses is the only foundation for image-making. Go out into the fields and woods and observe with all the senses, especially exercising those which self-examination has shown you are weak. In the city also, observe streets and buildings, machines and men. Do not overlook any detail. Crowd your mind with sense impres