Chapter 2

In delivering the toast, the speaker must of course be natural. The after-dinner speech calls for a conversational tone, not for oratory of voice or manner. Something of an air of detachment on the part of the speaker is advisable. The humorist who can tell a story with a straight face adds to the humorous effect.

A word might be said to those who plan the program. In the number of speakers it is better to err in having too few than too many. Especially is this true if there is one distinguished person who is _the_ speaker of the occasion. In such a case the number of lesser lights may well be limited to two or three. The placing of the guest of honor on the program is a matter of importance. Logically he would be expected to come last, as the crowning feature. But if the occasion is a large semi-public affair--a political gathering, for example--where strict etiquet does not require that all remain thru the entire program, there will always be those who will leave early, thus missing the best part of the entertainment. In this case some shifting of speakers, even at the risk of an anti-climax, would be advisable. On ordinary occasions, where the speakers are of much the same rank, order will be determined mainly by subject. And if the topics for discussion are directly related, if they are all component parts of a general subject, so much the better.

Now we are going to add a special paragraph for the absolutely inexperienced person--who has never given, or heard anyone else give, a toast. It would seem hardly possible in this day of banquets to find an individual who has missed these occasions entirely--but he is to be found. Especially is this true in a world where toasting and after-dinner speaking are coming to be more and more in demand at social functions--the college world. Here the young man or woman, coming from a country town where the formal banquet is unknown, who has never heard an after-dinner speech, may be confronted with the necessity of responding to a toast on, say "Needles and Pins." Such a one would like to be told first of all what an after-dinner speech is. It is only a short, informal talk, usually witty, at any rate kindly, with one central idea and a certain amount of illustrative material in the way of anecdotes, quotations and stories. The best advice to such a speaker is: Make your first effort simple. Don't be over ambitious. If, as was suggested in the example cited a moment ago, the subject is fanciful--as it is very apt to be at a college banquet--any interpretation you choose to put upon it is allowable. If the interpretation is ingenious, your case is already half won. Such a subject is in effect a challenge. "Now, let's see what you can make of this," is what it implies. First get an idea; then find something in the way of illustrative material. Speak simply and naturally and sit down and watch how the others do it. Of course the subject on such occasions is often of a more serious nature--Our Class; The Team; Our President--in which case a more serious treatment is called for, with a touch of honest pride and sentiment.

To sum up what has been said, with borrowings from what others have said on the subject, the following general rules have been formulated:

_Prepare carefully_. Self-confidence is a valuable possession, but 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 do your best and let your effort speak for itself.

_Avoid irony and satire_. It has already been said that occasions on which toasts are given call for friendliness and good humor. Yet the temptation to use irony and satire may be strong. Especially may this be true at political gatherings where there is a chance to grow witty at the expense of rivals. Irony and satire are keen-edged tools; they have their uses; but they are dangerous. Pope, who knew how to use them, said:

Satire's my weapon, but I'm too discreet To run amuck and tilt at all I meet.

_Use personal references sparingly_. A certain amount of good-natured chaffing may be indulged in. Yet there may be danger in even the most kindly of fun. One never knows how a jest will be taken. Once in the early part of his career, Mark Twain, at a New England banquet, grew funny at the expense of Longfellow and Emerson, then in their old age and looked upon almost as divinities. His joke fell dead, and to the end of his life he suffered humiliation at the recollection.

_Be clear_. While you must not draw an obvious moral or explain the point to your jokes, be sure that the point is there and that it is put in such a way that your hearers cannot miss it. Avoid flights of rhetoric and do not lose your anecdotes in a sea of words.

_Avoid didacticism_. Do not try to instruct. Do not give statistics and figures. They will not be remembered. A historical resume of your subject from the beginning of time is not called for; neither are well-known facts about the greatness of your city or state or the prominent person in whose honor you may be speaking. Do not tell your hearers things they already know.

_Be brief_. An after-dinner audience is in a particularly defenceless position. It is so out in the open. There is no opportunity for a quiet nod or two behind a newspaper or the hat of the lady in front. If you bore your hearers by overstepping your time politeness requires that they sit still and look pleased. Spare them. Remember Bacon's advice to the speaker: "Let him be sure to leave other men their turns to speak." But suppose you come late on the program! Suppose the other speakers have not heeded Bacon? What are you going to do about it? Here is a story that James Bryce tells of the most successful after-dinner speech he remembers to have heard. The speaker was a famous engineer, the occasion a dinner of the British Association for the Advancement of Science. "He came last; and midnight had arrived. His toast was Applied Science, and his speech was as follows: 'Ladies and gentlemen, at this late hour I advise you to illustrate the Applications of Science by applying a lucifer match to the wick of your bedroom candle. Let us all go to bed'."

If you are capable of making a similar sacrifice by cutting short your own carefully-prepared, wise, witty and sparkling remarks, your audience will thank you--and they may ask you to speak again.

TOASTER'S HANDBOOK

ABILITY

"Pa," said little Joe, "I bet I can do something you can't."

"Well, what is it?" demanded his pa.

"Grow," replied the youngster triumphantly.--_H.E. Zimmerman_.

ABOLITION

He was a New Yorker visiting in a South Carolina village and he sauntered up to a native sitting in front of the general store, and began a conversation.

"Have you heard about the new manner in which the planters are going to pick their cotton this season?" he inquired.

"Don't believe I have," answered the other.

"Well, they have decided to import a lot of monkeys to do the picking," rejoined the New Yorker. "Monkeys learn readily. They are thorough workers, and obviously they will save their employers a small fortune otherwise expended in wages."

"Yes," ejaculated the native, "and about the time this monkey brigade is beginning to work smoothly, a lot of you fool northerners will come tearing down here and set 'em free."

ABSENT-MINDEDNESS

SHE--"I consider, John, that sheep are the stupidest creatures living."

HE--(_absent-mindedly_)--"Yes, my lamb."

ACCIDENTS

The late Dr. Henry Thayer, founder of Thayer's Laboratory in Cambridge, was walking along a street one winter morning. The sidewalk was sheeted with ice and the doctor was making his way carefully, as was also a woman going in the opposite direction. In seeking to avoid each other, both slipped and they came down in a heap. The polite doctor was overwhelmed and his embarrassment paralyzed his speech, but the woman was equal to the occasion.

"Doctor, if you will be kind enough to rise and pick out your legs, I will take what remains," she said cheerfully.

"Help! Help!" cried an Italian laborer near the mud flats of the Harlem river.

"What's the matter there?" came a voice from the construction shanty.

"Queek! Bringa da shov'! Bringa da peek! Giovanni's stuck in da mud."

"How far in?"

"Up to hees knees."

"Oh, let him walk out."

"No, no! He no canna walk! He wronga end up!"

There once was a lady from Guam, Who said, "Now the sea is so calm I will swim, for a lark"; But she met with a shark. Let us now sing the ninetieth psalm.

BRICKLAYER (to mate, who had just had a hodful of bricks fall on his feet)--"Dropt 'em on yer toe! That's nothin'. Why, I seen a bloke get killed stone dead, an' 'e never made such a bloomin' fuss as you're doin'."

A preacher had ordered a load of hay from one of his parishioners. About noon, the parishioner's little son came to the house crying lustily. On being asked what the matter was, he said that the load of hay had tipped over in the street. The preacher, a kindly man, assured the little fellow that it was nothing serious, and asked him in to dinner.

"Pa wouldn't like it," said the boy.

But the preacher assured him that he would fix it all right with his father, and urged him to take dinner before going for the hay. After dinner the boy was asked if he were not glad that he had stayed.

"Pa won't like it," he persisted.

The preacher, unable to understand, asked the boy what made him think his father would object.

"Why, you see, pa's under the hay," explained the boy.

There was an old Miss from Antrim, Who looked for the leak with a glim. Alack and alas! The cause was the gas. We will now sing the fifty-fourth hymn.

--_Gilbert K. Chesterton_.

There was a young lady named Hannah, Who slipped on a peel of banana. More stars she espied As she lay on her side Than are found in the Star Spangled Banner.

A gentleman sprang to assist her; He picked up her glove and her wrister; "Did you fall, Ma'am?" he cried; "Did you think," she replied, "I sat down for the fun of it, Mister?"

At first laying down, as a fact fundamental, That nothing with God can be accidental.

--_Longfellow_.

ACTING

Hopkinson Smith tells a characteristic story of a southern friend of his, an actor, who, by the way, was in the dramatization of _Colonel Carter_. On one occasion the actor was appearing in his native town, and remembered an old negro and his wife, who had been body servants in his father's household, with a couple of seats in the theatre. As it happened, he was playing the part of the villain, and was largely concerned with treasons, stratagems and spoils. From time to time he caught a glimpse of the ancient couple in the gallery, and judged from their fearsome countenance and popping eyes that they were being duly impressed.

After the play he asked them to come and see him behind the scenes. They sat together for a while in solemn silence, and then the mammy resolutely nudged her husband. The old man gathered himself together with an effort, and said: "Marse Cha'les, mebbe it ain' for us po' niggers to teach ouh young masser 'portment. But we jes' got to tell yo' dat, in all de time we b'long to de fambly, none o' ouh folks ain' neveh befo' mix up in sechlike dealin's, an' we hope, Marse Cha'les, dat yo' see de erroh of yo' ways befo' yo' done sho' nuff disgrace us."

In a North of England town recently a company of local amateurs produced Hamlet, and the following account of the proceedings appeared in the local paper next morning:

"Last night all the fashionables and elite of our town gathered to witness a performance of _Hamlet_ at the Town Hall. There has been considerable discussion in the press as to whether the play was written by Shakespeare or Bacon. All doubt can be now set at rest. Let their graves be opened; the one who turned over last night is the author."

Suit the action to the word, the word to the action, with this special observance, that you o'erstep not the modesty of nature.--_Shakespeare_.

To wake the soul by tender strokes of art, To raise the genius, and to mend the heart; To make mankind, in conscious virtue bold, Live o'er each scene, and be what they behold-- For this the tragic muse first trod the stage.

--_Pope_.

ACTORS AND ACTRESSES

An "Uncle Tom's Cabin" company was starting to parade in a small New England town when a big gander, from a farmyard near at hand waddled to the middle of the street and began to hiss.

One of the double-in-brass actors turned toward the fowl and angrily exclaimed:

"Don't be so dern quick to jump at conclusions. Wait till you see the show."--_K.A. Bisbee_.

When William H. Crane was younger and less discreet he had a vaunting ambition to play _Hamlet_. So with his first profits he organized his own company and he went to an inland western town to give vent to his ambition and "try it on."

When he came back to New York a group of friends noticed that the actor appeared to be much downcast.

"What's the matter, Crane? Didn't they appreciate it?" asked one of his friends.

"They didn't seem to," laconically answered the actor.

"Well, didn't they give any encouragement? Didn't they ask you to come before the curtain?" persisted the friend.

"Ask me?" answered Crane. "Man, they dared me!"

LEADING MAN IN TRAVELING COMPANY--"We play _Hamlet_ to-night, laddie, do we not?"

SUB-MANAGER--"Yes, Mr. Montgomery."

LEADING MAN--"Then I must borrow the sum of two-pence!"

SUB-MANAGER--"Why?"

LEADING MAN--"I have four days' growth upon my chin. One cannot play _Hamlet_ in a beard!"

SUB-MANAGER--"Um--well--we'll put on Macbeth!"

HE--"But what reason have you for refusing to marry me?"

SHE--"Papa objects. He says you are an actor."

HE-"Give my regards to the old boy and tell him I'm sorry he isn't a newspaper critic."

The hero of the play, after putting up a stiff fight with the villain, had died to slow music.

The audience insisted on his coming before the curtain.

He refused to appear.

But the audience still insisted.

Then the manager, a gentleman with a strong accent, came to the front.

"Ladies an' gintlemen," he said, "the carpse thanks ye kindly, but he says he's dead, an' he's goin to stay dead."

Mrs. Minnie Maddern Fiske, the actress, was having her hair dressed by a young woman at her home. The actress was very tired and quiet, but a chance remark from the dresser made her open her eyes and sit up.

"I should have went on the stage," said the young woman complacently.

"But," returned Mrs. Fiske, "look at me--think how I have had to work and study to gain what success I have, and win such fame as is now mine!"

"Oh, yes," replied the young woman calmly; "but then I have talent."

Orlando Day, a fourth-rate actor in London, was once called, in a sudden emergency, to supply the place of Allen Ainsworth at the Criterion Theatre for a single night.

The call filled him with joy. Here was a chance to show the public how great a histrionic genius had remained unknown for lack of an opportunity. But his joy was suddenly dampened by the dreadful thought that, as the play was already in the midst of its run, none of the dramatic critics might be there to watch his triumph.

A bright thought struck him. He would announce the event. Rushing to a telegraph office, he sent to one of the leading critics the following telegram: "Orlando Day presents Allen Ainsworth's part to-night at the Criterion."

Then it occurred to him, "Why not tell them all?" So he repeated the message to a dozen or more important persons.

At a late hour of the same day, in the Garrick Club, a lounging gentleman produced one of the telegrams, and read it to a group of friends. A chorus of exclamations followed the reading: "Why, I got precisely the same message!" "And so did I." "And I, too." "Who is Orlando Day?" "What beastly cheek!" "Did the ass fancy that one would pay any attention to his wire?"

J. M. Barrie, the famous author and playwright, who was present, was the only one who said nothing.

"Didn't he wire you too?" asked one of the group.

"Oh, yes."

"But of course you didn't answer."

"Oh, but it was only polite to send an answer after he had taken the trouble to wire me. So, of course, I answered him."

"You did! What did you say?"

"Oh, I just telegraphed him: 'Thanks for timely warning.'"

Twinkle, twinkle, lovely star! How I wonder if you are When at home the tender age You appear when on the stage.

--_Mary A. Fairchild_.

Recipe for an actor:

To one slice of ham add assortment of roles. Steep the head in mash notes till it swells, Garnish with onions, tomatoes and beets, Or with eggs--from afar--in the shells.

--_Life_.

Recipe for an ingenue:

A pound and three-quarters of kitten, Three ounces of flounces and sighs; Add wiggles and giggles and gurgles, And ringlets and dimples and eyes.

--_Life_.

ADAPTATION

"I know a nature-faker," said Mr. Bache, the author, "who claims that a hen of his last month hatched, from a setting of seventeen eggs, seventeen chicks that had, in lieu of feathers, fur.

"He claimed that these fur-coated chicks were a proof of nature's adaptation of all animals to their environment, the seventeen eggs having been of the cold-storage variety."

ADDRESSES

In a large store a child, pointing to a shopper exclaimed, "Oh, mother, that lady lives the same place we do. I just heard her say, 'Send it up C.O.D.' Isn't that where we live?"

An Englishman went into his local library and asked for Frederic Harrison's _George Washington and other American Addresses_. In a little while he brought back the book to the librarian and said:

"This book does not give me what I require; I want to find out the addresses of several American magnates; I know where George Washington has gone to, for he never told a lie."

ADVERTISING

Not long ago a patron of a café in Chicago summoned his waiter and delivered himself as follows:

"I want to know the meaning of this. Look at this piece of beef. See its size. Last evening I was served with a portion more than twice the size of this."

"Where did you sit?" asked the waiter.

"What has that to do with it? I believe I sat by the window."

"In that case," smiled the waiter, "the explanation is simple. We always serve customers by the window large portions. It's a good advertisement for the place."

"Advertising costs me a lot of money."

"Why I never saw your goods advertised."

"They aren't. But my wife reads other people's ads."

When Mark Twain, in his early days, was editor of a Missouri paper, a superstitious subscriber wrote to him saying that he had found a spider in his paper, and asking him whether that was a sign of good luck or bad. The humorist wrote him this answer and printed it:

"Old subscriber: Finding a spider in your paper was neither good luck nor bad luck for you. The spider was merely looking over our paper to see which merchant is not advertising, so that he can go to that store, spin his web across the door and lead a life of undisturbed peace ever afterward."

"Good Heavens, man! I saw your obituary in this morning's paper!"

"Yes, I know. I put it in myself. My opera is to be produced to-night, and I want good notices from the critics."--_C. Hilton Turvey_.

Paderewski arrived in a small western town about noon one day and decided to take a walk in the afternoon. While strolling ling along he heard a piano, and, following the sound, came to a house on which was a sign reading:

"Miss Jones. Piano lessons 25 cents an hour."

Pausing to listen he heard the young woman trying to play one of Chopin's nocturnes, and not succeeding very well.

Paderewski walked up to the house and knocked. Miss Jones came to the door and recognized him at once. Delighted, she invited him in and he sat down and played the nocturne as only Paderewski can, afterward spending an hour in correcting her mistakes. Miss Jones thanked him and he departed.

Some months afterward he returned to the town, and again took the same walk.

He soon came to the home of Miss Jones, and, looking at the sign, he read:

"Miss Jones. Piano lessons $1.00 an hour. (Pupil of Paderewski.)"

Shortly after Raymond Hitchcock made his first big hit in New York, Eddie Foy, who was also playing in town, happened to be passing Daly's Theatre, and paused to look at the pictures of Hitchcock and his company that adorned the entrance. Near the pictures was a billboard covered with laudatory extracts from newspaper criticisms of the show.

When Foy had moodily read to the bottom of the list, he turned to an unobtrusive young man who had been watching him out of the corner of his eye.

"Say, have you seen this show?" he asked.

"Sure," replied the young man.

"Any good? How's this guy Hitchcock, anyhow?"

"Any good?" repeated the young man pityingly. "Why, say, he's the best in the business. He's got all these other would-be side-ticklers lashed to the mast. He's a scream. Never laughed so much at any one in all my life."

"Is he as good as Foy?" ventured Foy hopefully.

"As good as Foy!" The young man's scorn was superb. "Why, this Hitchcock has got that Foy person looking like a gloom. They're not in the same class. Hitchcock's funny. A man with feelings can't compare them. I'm sorry you asked me, I feel so strongly about it."

Eddie looked at him very sternly and then, in the hollow tones of a tragedian, he said:

"I am Foy."

"I know you are," said the young man cheerfully. "I'm Hitchcock!"

Advertisements are of great use to the vulgar. First of all, as they are instruments of ambition. A man that is by no means big enough for the Gazette, may easily creep into the advertisements; by which means we often see an apothecary in the same paper of news with a plenipotentiary, or a running footman with an ambassador.--_Addison_.

_See also_ Salesmen and Salesmanship.

ADVICE

Her exalted rank did not give Queen Victoria immunity from the trials of a grandmother. One of her grandsons, whose recklessness in spending money provoked her strong disapproval, wrote to the Queen reminding her of his approaching birthday and delicately suggesting that money would be the most acceptable gift. In her own hand she answered, sternly reproving the youth for the sin of extravagance and urging upon him the practise of economy. His reply staggered her:

"Dear Grandma," it ran, "thank you for your kind letter of advice. I have sold the same for five pounds."

Many receive advice, only the wise profit by it.--_Publius Syrus_.

AERONAUTICS