It is not our purpose to attempt to make orators or elocutionists of the readers of this book. The phase of expression which is manifested in public speaking is better taught by the many text books on oratory or elocution, although we shall have something to say regarding the arrangement and general expression of one’s ideas that may be useful to the public speaker. Our purpose, however, is rather to impress upon the ordinary individual the methods and principles of correct, clear and forcible expression of his ideas in the ordinary walks of life. Whoever has communication with his fellowmen should learn to express his ideas and thoughts to them in a clear, correct and forcible manner. Not only the man selling goods to others, but also every one who has social or business dealings of any kind with others, should acquire the art whereby he may impress his ideas upon the others forcibly and clearly.
Correct expression results in clear impression; forcible expression results in distinct and deep impression. There is a corresponding impression resulting from every expression. Campbell’s classification of the four ends of speaking or writing, viz. (1) To enlighten the understanding; (2) to please the imagination; (3) to move the passions; (4) to influence the will; describes the four classes of expression. The results arising from these expressions are always found to be impressions— the understanding, imagination, passions or will, respectively are impressed by the respective forms of expression appropriate to each.
Every person expresses himself in some way; often in a very poor way. To some the process of expression is easy and pleasant while for others the words will not flow, and the sentences fail to include the spirit and meaning of the thought or idea behind it. This does not always arise from the fact that the person has no clear ideas or thoughts; for, on the contrary, many very clear thinkers find themselves unable to transmute their ideas into words, and fail to express themselves with the clearness, force and effect to which their mental creations entitle them. There are but few people who do not feel hampered in the expression of their ideas and thoughts by the lack of understanding of the fundamental principles of the Art of Expression. These fundamental principles are simple, and the methods of applying them may be easily acquired.
But it is not our desire or purpose to consider Expression as an art separate and apart from the practical necessities of everyday life and business—as an art concerning itself with grace and beauty rather than with utility. This is a utilitarian age—the test of truth and merit is “what is it good for;” “how will it work;” “what can we do with it;” “what is its practical use?” And so, in our consideration of the Art of Expression we shall endeavor to remember, first, last and always the demand of the age—the whatcanwedowithit requisite. It is not enough that one should be able to clothe his thoughts in beautiful verbal garb. It is demanded that the clothing of words shall be adapted to well withstand the rough requirements of everyday wear, and of practical usage. Remembering always that expression precedes impression, and that impression is essential to the practical process of communication with others, we shall endeavor to show the forms and methods of expression best adapted to producing the strongest, clearest and most lasting impressions upon the minds of others.
The salesman who indulges in beautiful speech, but who fails to impress the prospective purchaser with the merits and desirability of his wares is not a successful salesman. The business correspondent, who is able to compose a letter which is a gem of literary style, but which, nevertheless, fails to convince the person addressed of the merit of the proposition discussed, is not a successful correspondent. The salesman is expected to “land the order;” the correspondent is expected to win over the persons to whom his letters are addressed; the advertising man is expected to attract the attention and awaken desire in the minds of those who see and read his advertisements; in fact, each and every person who has anything of importance to communicate hopes to convey his meaning to those with whom he communicates by word of speech or written lines. And so, while “style,” in the sense of beauty and literary merit, has its place, still it is not the important requisite in the practical communication of the world of men and women of affairs of to-day.
In order to apply the Art of Expression to meet the requirements of practical modern life, not only must the form and construction of sentences be considered, but much attention must be paid to the psychology of words and phrases. Psychology has invaded the realm of rhetoric, and is rapidly asserting its right to an important place in the practical management of affairs. Rhetoric asks: “Is this beautiful; is it technically faultless?” Psychology asks: “Will this awaken the requisite understanding and thought in the minds of those for whom it is intended; will it attract the attention, hold the interest, arouse the desire, convince the understanding, and arouse the will of those to whom it is addressed?” Therefore, the Art of Expression is closely connected with The New Psychology, and appropriately is included in the series of books upon the general subject of the latter. This is the keynote of our conception of the subject which we shall consider in this book. We strive not to teach expression for the sake of expression, but rather expression as a method of impression. We consider the subject from the viewpoint of psychology, rather than from that of rhetoric. And we make this statement as an explanation— not as an apology.
Chapter II.
Language: Its Beginnings
THE SOCIAL instincts of animals and men have given rise to the necessity for methods and means of communication between individuals. The lower animals undoubtedly employ rudimentary forms of language by which they manage to communicate their feelings to others of their kind. They have their cries of alarm and danger; the food sounds; the love notes; the scream of jealousy. Those who have made a study of bird-life inform us that each species has a number of combinations of notes, each of which expresses some definite emotion or feeling. In some cases these sounds have been recorded so plainly that their reproduction on an appropriate musical instrument tends to inspire in birds hearing them the feelings which originally were expressed by them. Several naturalists have so cleverly recorded the various sounds of the monkey language that men have been able to reproduce them to the bewilderment of the monkey tribe. Those who have raised poultry are fully aware of the nature and meaning of the various sounds and notes of the common barnyard fowls. Lovers of dogs are able to distinguish the various whines, cries and barks of the dog, and to understand the wants or feelings of the animal when he sounds them.
Primitive tribes of men give utterance to crude sounds which serve them as a language. As the race advances in the scale of intelligence, its language evolves and develops accordingly; becomes more complex and complete as the thought of the race demands words by means of which it may be expressed. As the child grows in intelligence its vocabulary increases, and its use of words becomes more exact and comprehensive. The vocabulary of the ignorant man is confined to a comparatively few words, while that of the educated man necessarily is more extensive by reason of the requirements of his thought and his desire for clearer expression.
Perhaps the most elemental form of expression on the part of living creatures is that of gestures. Movements of the body, or of parts or members of the body, as unconscious expression of the emotions and feelings, are quite common. And even among men, one skilled in interpreting the bodily movements and facial changes may readily read the feelings or thoughts of the individual manifesting them. As the suggestionists say: “Thought takes form in action,” and every mental process is reproduced to some extent in outward physical motion. Among the animals these physical movements are of course most marked. The tossing of the mane, the lashing of the tail, the showing of the teeth, the unsheathing of the claws, the love-strut of the bird, the billing of the dove, the bushy tail and distended fur, are evidences of the existence of certain feelings on the part of the animal manifesting the physical signs which may be interpreted by those familiar with the animals, and by other animals.
We