THE FLOOD OF BOOKS

From "Essays in Application," with the permission of Charles Scribner’s Sons, New York, publishers. BY HENRY VAN DYKE

There is the highest authority for believing that a man’s life, even though he be an author, consists not in the abundance of things that he possesses. Rather is its real value to be sought in the quality of the ideas and feelings that possess him, and in the effort to embody them in his work.

The work is the great thing. The delight of clear and steady thought, of free and vivid imagination, of pure and strong emotion; the fascination of searching for the right words, which sometimes come in shoals like herring, so that the net can hardly contain them, and at other times are more shy and fugacious than the wary trout which refuse to be lured from their hiding places; the pleasure of putting the fit phrase in the proper place, of making a conception stand out plain and firm with no more and no less than is needed for its expression, of doing justice to an imaginary character so that it shall have its own life and significance in the world of fiction, of working a plot or an argument clean through to its inevitable close: these inward and unpurchasable joys are the best wages of the men and women who write.

What more will they get? Well, unless history forgets to repeat itself, their additional wages, their personal dividends under the profit- sharing system, so to speak, will be various. Some will probably get more than they deserve, others less.

The next best thing to the joy of work is the winning of gentle readers and friends who find some good in your book, and are grateful for it, and think kindly of you for writing it.

The next best thing to that is the recognition, on the part of people who know, that your work is well done, and of fine quality. That is called fame, or glory, and the writer who professes to care nothing for it is probably deceiving himself, or else his liver is out of order. Real reputation, even of a modest kind and of a brief duration, is a good thing; an author ought to be able to be happy without it, but happier with it.

EFFECTIVENESS IN SPEAKING

From the Introduction to "The World’s Famous Orations," with the permission of Funk and Wagnalls Company, New York and London, publishers. BY WILLIAM JENNINGS BRYAN

While it is absolutely necessary for the orator to master his subject and to speak with earnestness, his speech can be made more effective by the addition of clearness, brevity and apt illustrations.

Clearness of statement is of very great importance. It is not sufficient to say that there are certain self-evident truths; it is more accurate to say that all truth is self-evident. Because truth is self-evident, the best service that one can render a truth is to state it so clearly that it can be comprehended, needs no argument in its support. In debate, therefore, one’s first effort should be to state his own side so clearly and concisely as to make the principles involved easily understood. His second object should be so to divest his opponent’s argument of useless verbiage as to make it stand forth clearly; for as truth is self-evident, so error bears upon its face its own condemnation. Error needs only to be exposed to be overthrown.

Brevity of statement also contributes to the force of a speaker. It is possible so to enfold a truth in long-drawn-out sentences as practically to conceal it. The epigram is powerful because it is full of meat and short enough to be remembered. To know when to stop is almost as important as to know where to begin and how to proceed. The ability to condense great thoughts into small words and brief sentences is an attribute of genius. Often one lays down a book with the feeling that the author has "said nothing with elaboration," while in perusing another book one finds a whole sermon in a single sentence, or an unanswerable argument couched in a well-turned phrase.

The interrogatory is frequently employed by the orator, and when wisely used is irresistible. What dynamic power for instance, there is in that question propounded by Christ, "What shall it profit a man if he gain the whole world and lose his own soul?" Volumes could not have presented so effectively the truth that he sought to impress upon his hearers.

The illustration has no unimportant place in the equipment of the orator. We understand a thing more easily when we know that it is like something which we have already seen. Illustrations may be drawn from two sources--nature and literature--and of the two, those from nature have the greater weight. All learning is valuable; all history is useful. By knowing what has been we can better judge the future; by knowing how men have acted heretofore we can understand how they will act again in similar circumstances. But people know nature better than they know books, and the illustrations drawn from everyday life are the most effective.

If the orator can seize upon something within the sight or hearing of his audience,--something that comes to his notice at the moment and as if not thought of before,--it will add to the effectiveness of the illustration. For instance, Paul’s speech to the Athenians derived a large part of its strength from the fact that he called attention to an altar near by, erected "to the Unknown God," and then proceeded to declare unto them the God whom they ignorantly worshiped.

Abraham Lincoln used scripture quotations very frequently and very powerfully. Probably no Bible quotation, or, for that matter, no quotation from any book ever has had more influence upon a people than the famous quotation made by Lincoln in his Springfield speech of 1858,--"A house divided against itself cannot stand." It is said that he had searched for some time for a phrase which would present in the strongest possible way the proposition he intended to advance--namely, that the nation could not endure half slave and half free.

It is a compliment to a public speaker that the audience should discuss what he says rather than his manner of saying it; more complimentary that they should remember his arguments, than that they should praise his rhetoric. The orator should seek to conceal himself behind his subject. If he presents himself in every speech he is sure to become monotonous, if not offensive. If, however, he focuses attention upon his subject, he can find an infinite number of themes and, therefore, give variety to his speech.