After-dinner speaking is another form that many men may have an opportunity to engage in. It can also be practiced under conditions resembling those of the actual occasion, that is, members of the class can be so seated that the speaking may become intimate in tone, and speeches can be selected that will serve for cultivating that distinctive, sociable quality of voice that, in itself, goes far in contributing to the comfort and delight of the after-dinner audience. The real after-dinner speech deals much in pleasantry. The tone of voice is characteristically unctuous. Old Fezziwig is described by Dickens as calling out "in a comfortable, rich, fat, jovial, oily voice." Something like this is perhaps the ideal after-dinner voice, although there is a dry humor as well as an unctuous, and each speaker will, after all, have his own way of making his hearers comfortable, happy, and attentive. Ease and deliberation are first requisites. Nervous intensity may not so much mar the effect of earnest debate. The social chat is spoiled by it. Humor, as a rule, requires absolute restfulness. Especially should a beginner guard himself against haste in making the point at the finish of a story. It does no harm to keep the hearer waiting a bit, in expectation. The effect may be thus enhanced, while the effect will be entirely lost if the point, and the true touch, are spoiled by uncontrolled haste. The way to gain this ease and control is not by stiffening up to master one’s self, but by relaxing, letting go of one’s self. Practice in the speech of pleasantry may have great value in giving a man repose, in giving him that saving grace, an appreciation of the humorous, in affording him a means of relief or enlivenment to the serious speech.

THE OCCASIONAL POEM

The occasional poem is so frequently brought forth in connection with speech-making that some points regarding metrical reading may be quite in place in a speaker’s training. Practice in verse reading is of use also because of the frequency of quoted lines from the poets in connection with the prose speech.

To read a poem well one must become in spirit a poet. He must not only think, he must feel. He must exercise imagination. He must, we will say it again, see visions and dream dreams. What was said about vividness in the discussion of expressional effects applies generally to the reading of poetry. One will read much better if he has tried to write-- in verse as well as in prose. He will then know how to put himself in the place of the poet, and will not be so likely to mar the poet’s verses by "reading them ill-favoredly." He will know the value of words that have been so far sought, and may not slur over them; he may feel the sound of a line formed to suggest a sound in nature. He will know that a meter has been carefully worked out, and that, in the reading, that meter is of the spirit of the poem; it is not to be disregarded. Likewise he will appreciate the place of rhyme, and may not try so to cover it up as entirely to lose its effect. In humorous verse, especially, rhyme plays an effective part; and in all verse, alliteration, variations in melody, the lighter and the heavier touch, acceleration and retard in movement, the caesura, or pause in the line, and the happy effect of the occasional cadence, are features which one can come to appreciate and respect only with reading one’s favorite poems many times, with spirit warm, with faculties alert.