The Art of Public Speaking, Dale Carnegie
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The Art of Public Speaking

The efficiency of a book is like that of a man, in one important respect: its attitude toward its subject is the first source of its power. A book may be full of good ideas well expressed, but if its writer views his subject from the wrong angle even his excellent advice may prove to be ineffective.

This book stands or falls by its authors' attitude toward its subject. If the best way to teach oneself or others to speak effectively in public is to fill the mind with rules, and to set up fixed standards for the interpretation of thought, the utterance of language, the making of gestures, and all the rest, then this book will be limited in value to such stray ideas throughout its pages as may prove helpful to the reader—as an effort to enforce a group of principles it must be reckoned a failure, because it is then untrue.
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Mubarak Khalifa
Mubarak Khalifashared an impression2 months ago
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Have something to say - rule over his thought - first speak - experience
Horse near traffic
Horse nose
immerse in subject

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e hearers, but there can b
Apply horse–sense to ridding yourself of self–consciousness and fear: face an audience as frequently as you can, and you will soon stop shying. You can never attain freedom from stage–fright by reading a treatise.
not look too good nor talk too wise."
There is a strange sensation often experienced in the presence of an audience. It may proceed from the gaze of the many eyes that turn upon the speaker, especially if he permits himself to steadily return that gaze. Most speakers have been conscious of this in a nameless thrill, a real something, pervading the atmosphere, tangible, evanescent, indescribable. All writers have borne testimony to the power of a speaker's eye in impressing an audience. This influence which we are now considering is the reverse of that picture—the power their eyes may exert upon him, especially before he begins to speak: after the inward fires of oratory are fanned into flame the eyes of the audience lose all terror.
—WILLIAM PITTENGER, Extempore Speech.
Students of public speaking continually ask, "How can I overcome self–consciousness and the fear that paralyzes me before an audience?"
Did you ever notice in looking from a train window that some horses feed near the track and never even pause to look up at the thundering cars, while just ahead at the next railroad crossing a farmer's wife will be nervously trying to quiet her scared horse as the train goes by?
How would you cure a horse that is afraid of cars—graze him in a back–woods lot where he would never see steam–engines or automobiles, or drive or pasture him where he would frequently see the machines?
Apply horse–sense to ridding yourself of self–consciousness and fear: face an audience as frequently as you can, and you will soon stop shying. You can never attain freedom from stage–fright by reading a treatise. A book may give you excellent suggestions on how best to conduct yourself in the water, but sooner or later you must get wet, perhaps even strangle and be "half scared to death." There are a great many "wetless" bathing suits worn at the seashore, but no one ever learns to swim in them. To plunge is the only way.
Practise, practise, PRACTISE in speaking before an audience will tend to remove all fear of audiences, just as practise in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.
The Apostle Paul tells us that every man must work out his own salvation. All we can do here is to offer you suggestions as to how best to prepare for your plunge. The real plunge no one can take for you. A doctor may prescribe, but you must take the medicine.
Do not be disheartened if at first you suffer from stage–fright. Dan Patch was more susceptible to suffering than a superannuated dray horse would be. It never hurts a fool to appear before an audience, for his capacity is not a capacity for feeling. A blow that would kill a civilized man soon heals on a savage. The higher we go in the scale of life, the greater is the capacity for suffering.
For one reason or another, some master–speakers never entirely overcome stage–fright, but it will pay you to spare no pains to conquer it. Daniel Webster failed in his first appearance and had to take his seat without finishing his speech because he was nervous. Gladstone was often troubled with self–consciousness in the beginning of an address. Beecher was always perturbed before talking in public.
Blacksmiths sometimes twist a rope tight around the nose of a horse, and by thus inflicting a little pain they distract his attention from the shoeing process. One way to get air out of a glass is to pour in water.
Be Absorbed by Your Subject
Apply the blacksmith's homely principle when you are speaking. If you feel deeply about your subject you will be able to think of little else. Concentration is a process of distraction from less important matters. It is too late to think about the cut of your coat when once you are upon the platform, so centre your interest on what you are about to say—fill your mind with your speech–material and, like the infilling water in the glass, it will drive out your unsubstantial fears.
Self–consciousness is undue consciousness of self, and, for the purpose of delivery, self is secondary to your subject, not only in the opinion of the audience, but, if you are wise, in your own. To hold any other view is to regard yourself as an exhibit instead of as a messenger with a message worth delivering. Do you remember Elbert Hubbard's tremendous little tract, "A Message to Garcia"? The youth subordinated himself to the message he bore. So must you, by all the determination you can muster. It is sheer egotism to fill your mind with thoughts of self when a greater thing is there—TRUTH. Say this to yourself sternly, and shame your self–consciousness into quiescence. If the theater caught fire you could rush to the stage and shout directions to the audience without any self–consciousness, for the importance of what you were saying would drive all fear–thoughts out of your mind.
Far worse than self–consciousness through fear of doing poorly is self–consciousness through assumption of doing well. The first sign of greatness is when a man does not attempt to look and act great. Before you can call yourself a man at all, Kipling assures us, you must "not look too good nor talk too wise."
Nothing advertises itself so thoroughly as conceit. One may be so full of self as to be empty. Voltaire said, "We must conceal self–love." But that can not be done. You know this to be true, for you have recognized overweening self–love in others. If you have it, others are seeing it in you. There are things in this world bigger than self, and in working for them self will be forgotten, or—what is better—remembered only so as to help us win toward higher things.
Have Something to Say
The trouble with many speakers is that they go before an audience with their minds a blank. It is no wonder that nature, abhorring a vacuum, fills them with the nearest thing handy, which generally happens to be, "I wonder if I am doing this right! How does my hair look? I know I shall fail." Their prophetic souls are sure to be right.
It is not enough to be absorbed by your subject—to acquire self–confidence you must have something in which to be confident. If you go before an audience without any preparation, or previous knowledge of your subject, you ought to be self–conscious—you ought to be ashamed to steal the time of your audience. Prepare yourself. Know what you are going to talk about, and, in general, how you are going to say it. Have the first few sentences worked out completely so that you may not be troubled in the beginning to find words. Know your subject better than your hearers know it, and you have nothing to fear.
worthy of being given forth
utterance
No one can learn how to speak who does not first speak as best he can.
The efficiency of a book is like that of a man, in one important respect: its attitude toward its subject is the first source of its power.
Your belief in your ability and your willingness to make sacrifices for that belief, are the double index to your future achievements.
Public speaking is public utterance, public issuance, of the man himself; therefore the first thing both in time and in importance is that the man should be and think and feel things that are worthy of being given forth.
In our search for the principles of efficiency we must continually go back to
But how shall he be able to criticise himself? Simply by finding out three things: What are the qualities which by common consent go to make up an effective speaker
daily, joyous, lyric poetry.
every man must work out his own salvation.
For one reason or another, some master–speakers never entirely overcome stage–fright, but it will pay you to spare no pains to conquer it. Daniel Webster failed in his first appearance and had to take his seat without finishing his speech because he was nervous. Gladstone was often troubled with self–consciousness in the beginning of an address. Beecher was always perturbed before talking in public.
The third principle will, we surmise, arouse no dispute: No one can learn
Practise, practise, PRACTISE in speaking before an audience will tend to remove all fear of audiences, just as practise in swimming will lead to confidence and facility in the water. You must learn to speak by speaking.
The efficiency of a book is like that of a man, in one important respect: its attitude toward its subject is the first source of its power
You must learn to speak by speaking.
In public speech, as in electricity, there is a positive and a negative force. Either you or your audience are going to possess the positive factor. If you assume it you can almost invariably make it yours
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