3. Beecher's speech on Lincoln, page [76]; Thurston's speech on "A Plea for Cuba," page [50]; and the following selection, are recommended for practise in developing feeling in delivery.
A living force that brings to itself all the resources of imagination, all the inspirations of feeling, all that is influential in body, in voice, in eye, in gesture, in posture, in the whole animated man, is in strict analogy with the divine thought and the divine arrangement; and there is no misconstruction more utterly untrue and fatal than this: that oratory is an artificial thing, which deals with baubles and trifles, for the sake of making bubbles of pleasure for transient effect on mercurial audiences. So far from that, it is the consecration of the whole man to the noblest purposes to which one can address himself—the education and inspiration of his fellow men by all that there is in learning, by all that there is in thought, by all that there is in feeling, by all that there is in all of them, sent home through the channels of taste and of beauty.—Henry Ward Beecher.
4. What in your opinion are the relative values of thought and feeling in a speech?
5. Could we dispense with either?
6. What kinds of selections or occasions require much feeling and enthusiasm? Which require little?
7. Invent a list of ten subjects for speeches, saying which would give most room for pure thought and which for feeling.
8. Prepare and deliver a ten-minute speech denouncing the (imaginary) unfeeling plea of an attorney; he may be either the counsel for the defense or the prosecuting attorney, and the accused may be assumed to be either guilty or innocent, at your option.
9. Is feeling more important than the technical principles expounded in chapters III to VII? Why?
10. Analyze the secret of some effective speech or speaker. To what is the success due?
11. Give an example from your own observation of the effect of feeling and enthusiasm on listeners.