experienced teacher will do more to give a pupil ease, grace, and force of
action than all the books and diagrams in the world. Action is important to
the orator, and changes of action must accord with the language; the lower
the language the slower should be the movements and _vice versa_,
observing Shakespeare's rule: "Suit the action to the word, the word to the
action, with this special observance--that you o'erstep not the modesty of
nature." Study repose, without it, both in speech and action, the ears,
eyes, and minds of the audience, and the powers of the speaker are alike
fatigued; follow nature, consider how she teaches you to utter any
sentiment or feeling of your heart. Whether you speak in a private room or
in a great assembly, remember that you still speak, and speak
_naturally_. Conventional tones and action have been the ruin of
delivery in the pulpit, the senate, at the bar, and on the platform.

All public speaking, but especially acting and reciting, must be heightened
a little above ordinary nature, the pauses longer and more frequent, the
tones weightier, the action more forcible, and the expression more highly
coloured. Speaking from memory admits of the application of every possible
element of effectiveness, rhetorical and elocutionary, and in the delivery
of a few great actors the highest excellence in this art has been
exemplified. But speaking from memory requires the most minute and careful
study, as well as high elocutionary ability, to guard the speaker against a
merely mechanical utterance. Read in the same manner you would speak, as if
the matter were your own original sentiments uttered directly from the
heart. Action should not be used in ordinary reading.

Endeavour to learn something from every one, either by imitating, but not
servilely, what is good, or avoiding what is bad. Before speaking in public
collect your thoughts and calm yourself, avoiding all hurry. Be punctual
with your audience, an apology for being late is the worst prologue.