sions. You will find the game of observation a fascinating one and new delights will be opened to you as your weaker organs of perception are gradually strengthened and bring new treasures to the mind.

In the next lesson we shall speak of the way in which one may best express his images for the benefit of others, but first the speaker must have images in his own mind. That means accurate and deep sense impressions through careful observation and the faithful retention of the combined impressions as a whole picture or image. There is no other way to develop the imagination.

ASSIGNMENT of Work

The written exercises in this entire lesson should be carefully worked out. Keep copies of the written exercises in your notebook.

First Day.-You have read through the lesson. Study it carefully and try to answer the test questions which follow. During another painstaking reading, try to bring to mind clearly all the images, or pictures, which are in the illustrating passages. Notice that the best results are attained when your whole attention is upon the picture and your reading is slow enough to allow each part to form itself fully. Rapid and careless delivery interferes with clear imagination.

Second Day.-Write out the three concrete pictures, with all details of sense appeal, in one of the following groups:

(a) "The setting of the sun fills one with a sense of quiet majesty."

"Niagara plunges on, a never-dying source of

"The capitol at Washington is like a white coronet upon the brow of the nation.'

(b) Describe the gathering of a crowd.

Describe a fire.

Picture some thrilling exploit in a very concrete way.

Third Day.-Outline a speech on one of the following subjects, making a picture the means of appeal:

(a) Better factory conditions for unskilled labor. Pic

ture an individual worker in wretched surroundings. (b) Floating hospitals for sick babies. Picture a suffering infant in a hot, crowded, squalid tenement. (c) Railroad reform to benefit the farmer. Picture an orchard with fruit rotting on the ground because high rates and poor railroad service make it impossible to market it.

(d) Any other subject which can be represented in appeal by a vivid picture.

Fourth Day.-Develop orally one of the outlines of the third day. Notice whether or not the image revives fully in your mind. If it does not, your imagination needs further training through observation. Do you find the image clear but experience difficulty in finding words to express it adequately? In that case, either you are weak in vocabulary or you have not planned the matter well.

Fifth Day.-During the first four days, be on the "look-out” for a scene or event which is especially impressive and worthy of expression to others. For this day's work, carefully note down all the elements of sense impression it had-color, movement, sound, etc. Tabulate them all and then write a complete word-picture. (Append the tabulation to the word-picture in your notebook.)

An expert speaker does not, as a rule, go through such a laborious and painstaking preparation for his pictures, but it is an exercise which will rapidly make its further use unnecessary.

ADDITIONAL REMINDERS

1. How is your breathing?

2. Are you carrying yourself well?

3. Do you control your breath well during speaking?

4. Do you criticise and observe other speakers?

5. Are you keeping up the reflection hour?

6. Do you criticise your own speaking and keep notes about it!

7. Are you observing with all your senses so to to fill your mind with a wealth of images?

TEST QUESTIONS

These questions are for the student to use in testing his knowledge of the principles in this lesson. They are suggestive merely, dealing largely with the practical application of the principles, and are to be placed in the notebook for future reference.

1. Has the general mastery of speech-planning any value in detail work?

2. What is meant by "word-painting"? Who is the best word-painter you have ever heard? Who the best you have read!

3. Why is a concrete picture stronger than an abstract statement? Can an ignorant man usually grasp the concrete? Does he have difficulty with the abstract? Would a highlyeducated man grasp both? Would he object to either?

4. What do we mean when we say that an image or picture is "a combination of sensations"?

5. If a man were deaf from birth, what concrete experiences would he fail to appreciate? If he were blind, what kind of appeals would be lost upon him?

6. Are all normal people "in full possession of all their senses"? What does the answer to this question suggest to the speaker?

7. As you recollect an experience, which sense elements are strongest? Which weakest? As you read or hear word-paintings, which kind gets the best response from you? What use of this self-analysis will you make as a speaker?

8. What are the uses of concrete images mentioned in this lesson?

9. Do you know why a concrete image will arouse strong feelings when a clear statement in abstract form leaves the audience cold!

10. What is an unfair use of a concrete image?

11. What examples of good word-painting can you recall from your reading?

12. Who was Victor Hugo?

13. What is a "sense impression"?

14. What is the best procedure to develop ability in imagemaking?

LESSON 10

THE EXPRESSION OF IMAGES AND VOCABULARY-BUILDING

1. THE EXPRESSION OF IMAGES

Our last lesson introduced the subject of images, explaining their nature and use in public addresses and outlining methods by which the student might stock his mind with many complete and clear pictures.

(a) The Nature of Images

We may here add a word or two for the purpose of removing some mistaken notions concerning imagemaking, or imagination. Imagination is not a "faculty" or a special department of the mind, separated in some mysterious way from another part called the "reason."

Indeed, the imagination is very closely related to reason. Let us illustrate. Suppose you were trying to reason out which of two men would make the better manager of a business. You would call up pictures of each one in various activities and facing different problems. Then you would decide which set of impressions was more favorable. Thus, to judge between two mento exercise reason, you first have to hold them clearly in mind by an act of imagination. Just as every act of reason carries with it some imagination, so also no one could imagine, or revive, pictures unless he was able to remember. You could not call up a picture of a pleasant scene unless the mind had retained its impression. The imagination, therefore, acts also hand in hand