beware of being too sure of yourself. Pride goes before a fall, and
overconfidence in his ability to improvise has been the downfall of many
a would-be speaker. The speaker should strive to give the effect of
spontaneity, but this can be done only with practice. The toast calls
for the art that conceals art.

_Let your speech have unity_. As some one has pointed out, the
after-dinner speech is a distinct form of expression, just as is the
short story. As such it should give a unity of impression. It bears
something of the same relation to the oration that the short story does
to the novel.

_Let it have continuity_. James Bryce says: "There is a tendency today
to make after-dinner speaking a mere string of anecdotes, most of which
may have little to do with the subject or with one another. Even the
best stories lose their charm when they are dragged in by the head and
shoulders, having no connection with the allotted theme. Relevance as
well as brevity is the soul of wit."

_Do not grow emotional or sentimental_. American traditions are largely
borrowed from England. We have the Anglo-Saxon reticence. A parade of
emotion in public embarrasses us. A simple and sincere expression of
feeling is often desirable in a toast--but don't overdo it.

_Avoid trite sayings_. Don't use quotations that are shopworn, and avoid
the set forms for toasts--"Our sweethearts and wives--may they never
meet," etc.

_Don't apologise_. Don't say that you are not prepared; that you speak
on very short notice; that you are "no orator as Brutus is." Resolve to