position for moments when we are especially des winning their sympathy.

Avoid unnecessary movements of the body.

We shift the weight from one foot to another on there is a reason for it. When a new paragraph i or when there is a decided transition of though well to emphasize the fact by a considerable pause a change of the weight from one foot to another following exercises will aid in gaining grace and attitude.

EXERCISE VIII

TESTS OF POISE

Standing as above, (1) tap the floor with the fr in front, behind, at the side, and across the body, and whether this disturbs the poise of the body. (2)

the free foot at the back of and the strong ankle, without disturbi poise. (3) With the free foot the ankle, throw the arms about or (4) Rise on one foot without of poise.

Be sure that, in all these exe the body does not stiffen.

EXERCISE IX

SWAYING THE HIP

Ping the hands on the hips, sway the hip out ov strong side as far as possible. Then sway to the op side until the hip is as far as possible over the foot.

the shoulders move as little as possible. Do this in all directions, laterally and obliquely.

EXERCISE X

TRANSITION OF POISE

hange the weight from one foot to the other by gently ying the hip. Imagine that you address various perin different parts of the room.

on the right foot:

For example, stand

) Look toward some one or something obliquely at left, (2) transfer the weight to the left foot, that is, pot that is nearest the object of your attention, (3) ocnally raise the arm in the following order, upper arm, rm, hand, as if to shake hands with the person you ess. (4) Slowly relaxing the arm, turn in the oppoirection, and repeat the exercise. Be careful not to

shuffle the feet. Practice turning in all possi tions, advancing the foot, retiring, turning around, etc., but always noticing that the free fo in the new direction before you change the weigh does away with the very ungraceful screwing abo foot after the weight of the body is on it.

EXERCISE XI

Keeping the body erect (with the heels togeth start), (1) advance the free foot as far as possi the knee bent. (2) Transfer the weight. (3) back to the opposite position, but on the sa (4) Spring forward. Practice in all directions. may be as in the diagram, or in any other strong

CHAPTER III

LOGICAL EXPRESSION

THE simplest forms of expression are those which for nvenience we designate as Logical; that is, dealing iefly with thoughts, or statements of facts, and the relaons of one idea or fact to another.

The simplest of the logical forms is called the Didactic le of speaking, because it aims to instruct, to give in-mation, rather than to amuse us or excite our sympaes. The manner which we habitually use in ordinary ercourse is called the Conversational style of adss. It is not so precise and exact as the didactic. e most familiar form of conversation is the Colloal. Such expressions as don't for do not, we'll for we , and familiar forms of address, like hello, old fellow! examples of colloquial diction. So, the delivery of oquial language should be more careless and familiar that of the other forms of logical expression.

ut, curiously enough, though we all speak colloquially, of us can read with even a fair imitation of the conational manner. It is enough, at first, if we succeed producing the didactic style.

the following illustration, Webster, one of the greatf orators, endeavors to impress upon us the necessity ultivating those powers which are the basis of all oratorical success.

When public bodies are to be addressed on mome sions, when great interests are at stake, and strong p cited, nothing is valuable in speech, further than it is with high intellectual and moral endowments. Clear and earnestness are the qualities which produce con

How shall we read this so as to make it impre First of all, by thinking Webster's thoughts over not merely thinking about them, but convincing of their truth; and, second, by endeavoring to imp thoughts upon our auditors so that they shall be c It is hardly necessary to say that in order to do must thoroughly understand the meaning of the would interpret. To express naturally we mus trate on one thought at a time. A group of w expresses a single thought or feeling, describes event, or pictures one scene for us, is called a ph

The greatest essential in phrasing, and the neglected by readers and speakers, is pause.

next.

In the above example we must wait for each th make its impression upon the auditor before we s We pause in speaking our own thoughts we must, in order to arrange our words; but in aloud, and especially in reciting what has become to us by frequent repetition, there is great dange lecting this, and forgetting that what is old to us or supposed to be new, to the audience.

The best rule to follow is to pause for every tho In the pause try to think the new thought, see picture, or feel the new emotion as if it had ne thought, seen, or felt before in your life.