the simple and direct-within the past twenty-five years. It was Wendell Phillips who more than any other one man first set the fashion which has largely done away with barnstorming and haranguing. George William Curtis describes his manner as that of a "gentleman conversing.' Colonel Thomas Wentworth Higginson:

Says

The keynote to the oratory of Wendell Phillips lay in this: that it was essentially conversational-the conversational raised to the highest power. Perhaps no orator ever spoke with so little apparent effort, or began so entirely on the plane of his average hearers. It was as if he simply repeated, in a little louder tone, what he had just been saying to some familiar friend at his elbow. The colloquialism was never realized, but it was familiarity without loss of dignity. Then, as the argument went on, the voice grew deeper, the action more animated, and the sentences came in a long, sonorous swell, still easy and graceful, but powerful as the soft stretch of a tiger's paw.

Again, the style of one's speech will vary with the occasion and the audience. One's style of conversation varies with the formality of the occasion and the intelligence of the hearer or hearers. And so it is in public speakingand especially in extempore speaking. "Personal grapple” with an audience demands a style suited to that particular audience. Hence the power of adaptability needs to be developed. This cannot be attained through rules, but the student should, so far as possible, practice adapting himself to different audiences. The danger of the over-academic style, which frequently prevents the college-bred man from reaching the popular ear, should be guarded against sedulously.

Always speak on a level with your audience; not down to, nor up to, but on a level with-as complete an adaptation as possible. The preacher, for example, who makes a successful after-dinner speech will not deliver a sermon. will have the purpose of his address in mind, in the one case as well as in the other, but the same style would ordinarily

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be unsuited to both types of address. The unimpassioned argument that a lawyer might properly deliver to a court would fail to reach the average jury. The scientist addressing a body of fellow-scientists' would naturally use a diction ill adapted to speaking on the same subject to a popular audience. The style of a Sunday-school address would rarely be suited to that of a political speech. And so we might go on multiplying illustrations, for they are as numerous as the audiences one may be called upon to address.

3. Dramatic. Some speakers love to energize their efforts until they resemble the actor on the stage. They "act out" their thoughts; their gestures are many and violent. Frequently they stand upon chairs, lie down on the platform, etc. This style is attractive to a majority of the people, especially to the less educated class. But the “artist" in public speaking need not resort to such physical contortions to interest his audience. However, there are times when a touch of "dramatic eloquence" may be made very effective. Even Beecher occasionally resorted to impersonation to make his points clear and impressive. But when the dramatic style is employed, it should always be spontaneous, natural.

V. POWER. What is the secret of power in the speaker? Have you not asked yourself this question, as you listened to an eloquent address which held you spellbound, or to an evangelist who brought thousands of men and women to their knees? What is the secret? Not even the orator himself can explain the secret of his power. This is not only true of the art of speaking, but it is true of music, painting, and even the military art. When Napoleon was once asked how he managed to win so many victories, he replied: "Mon Dieu, it is natural to me; I was made so!" Eloquence is like the wind, we can feel its presence, but know not "whence it cometh nor whither it goeth." A few of the elements of power are:

1. Personal Magnetism. This element to some degree is always present in the orator and effective speaker; but it is difficult to analyze. Professor Kleiser says, "It is a patent influence in swaying and moving an audience, and is associated with geniality, sympathy, frankness, manliness, persuasiveness and an attractive personal appearance. There is a purely animal magnetism, which passes from speaker to audience and back again, swiftly and silently. This magnetic quality is sometimes found in the voice, in the eye, or may be reflected in the whole personality of the speaker." It is found in men who have deep convictions, strong likes and dislikes and are fearless in expressing them. It is found in men of whom we say, "There is a man with a strong personality."

Worry and fear are the greatest foes to securing a strong personal magnetism. A firm, determined will is the greatest help. Any one who will discipline his mind and body may possess personal magnetism, but the discipline must be daily, -yes, hourly. Learn to look people in the eyes when you speak to them on the streets or from the platform, and make them look at you; for the eyes-"the windows of the soul"—are a most important factor in the development and the impress of personality. In a recent address to a graduating class, Ex-President Charles H. Eliot of Harvard University said: "There is a subtle power latent in each one of you, which few have developed, but which when developed might make a man irresistible. It is called personal magnetism. I advise you to master it."

2. Earnestness. The basic element of earnestness is sincerity. Believe what you say and then say it as though you believed it. Earnestness requires (1) a thorough knowledge of your subject, (2) a sincere faith in that subject, and (3) an unswerving determination to implant in others that knowledge and that faith. Betterton, the actor, gave this reason to the Lord Bishop of London, why the clergy had so