—George Saintsbury, on English Prose
Style, in Miscellaneous Essays.
... pause ... has a distinctive1 value, expressed in silence; in other words, while the voice is waiting, the music of the movement is going on ... To manage it, with its delicacies2 and compensations, requires that same fineness of ear on which we must depend for all faultless prose rhythm. When there is no compensation, when the pause is inadvertent ... there is a sense of jolting3 and lack, as if some pin or fastening had fallen out.
When a man says: "I-uh-it is with profound-ah-pleasure that-er-I have been permitted to speak to you tonight and-uh-uh-I should say-er"—that is not pausing; that is stumbling. It is conceivable that a speaker may be effective in spite of stumbling—but never because of it.
On the other hand, one of the most important means of developing power in public speaking is to pause either before or after, or both before and after, an important word or phrase. No one who would be a forceful speaker can afford to neglect this principle—one of the most significant that has ever been inferred from listening to great orators8. Study this potential device until you have absorbed and assimilated it.
It would seem that this principle of rhetorical pause ought to be easily grasped and applied10, but a long experience in training both college men and maturer speakers has demonstrated that the device is no more readily understood by the average man when it is first explained to him than if it were spoken in Hindoostani. Perhaps this is because we do not eagerly devour11 the fruit of experience when it is impressively set before us on the platter of authority; we like to pluck fruit for ourselves—it not only tastes better, but we never forget that tree! Fortunately, this is no difficult task, in this instance, for the trees stand thick all about us.
One man is pleading the cause of another:
"This man, my friends, has made this wonderful sacrifice—for you and me."
Did not the pause surprisingly enhance the power of this statement? See how he gathered up reserve force and impressiveness to deliver the words "for you and me." Repeat this passage without making a pause. Did it lose in effectiveness?
Naturally enough, during a premeditated pause of this kind the mind of the speaker is concentrated on the thought to which he is about to give expression. He will not dare to allow his thoughts to wander for an instant—he will rather supremely12 center his thought and his emotion upon the sacrifice whose service, sweetness and divinity he is enforcing by his appeal.
Efficient pausing accomplishes one or all of four results:
1. Pause Enables the Mind of the Speaker to Gather His Forces Before Delivering the Final Volley
It is often dangerous to rush into battle without pausing for preparation or waiting for recruits. Consider Custer's massacre14 as an instance.
You can light a match by holding it beneath a lens and concentrating the sun's rays. You would not expect the match to flame if you jerked the lens back and forth15 quickly. Pause, and the lens gathers the heat. Your thoughts will not set fire to the minds of your hearers unless you pause to gather the force that comes by a second or two of concentration. Maple16 trees and gas wells are rarely tapped continually; when a stronger flow is wanted, a pause is made, nature has time to gather her reserve forces, and when the tree or the well is reopened, a stronger flow is the result.
Use the same common sense with your mind. If you would make a thought particularly effective, pause just before its utterance17, concentrate your mind-energies, and then give it expression with renewed vigor18. Carlyle was right: "Speak not, I passionately19 entreat20 thee, till thy thought has silently matured itself. Out of silence comes thy strength. Speech is silvern, Silence is golden; Speech is human, Silence is divine."
Silence has been called the father of speech. It should be. Too many of our public speeches have no fathers. They ramble21 along without pause or break. Like Tennyson's brook22, they run on forever. Listen to little children, the policeman on the corner, the family conversation around the table, and see how many pauses they naturally use, for they are unconscious of effects. When we get before an audience, we throw most of our natural methods of expression to the wind, and strive after artificial effects. Get back to the methods of nature—and pause.
Herbert Spencer said that all the universe is in motion. So it is—and all perfect motion is rhythm. Part of rhythm is rest. Rest follows activity all through nature. Instances: day and night; spring—summer—autumn—winter; a period of rest between breaths; an instant of complete rest between heart beats. Pause, and give the attention-powers of your audience a rest. What you say after such a silence will then have a great deal more effect.
When your country cousins come to town, the noise of a passing car will awaken24 them, though it seldom affects a seasoned city dweller25. By the continual passing of cars his attention-power has become deadened. In one who visits the city but seldom, attention-value is insistent26. To him the noise comes after a long pause; hence its power. To you, dweller in the city, there is no pause; hence the low attention-value. After riding on a train several hours you will become so accustomed to its roar that it will lose its attention-value, unless the train should stop for a while and start again. If you attempt to listen to a clock-tick that is so far away that you can barely hear it, you will find that at times you are unable to distinguish it, but in a few moments the sound becomes distinct again. Your mind will pause for rest whether you desire it to do so or not.
The attention of your audience will act in quite the same way. Recognize this law and prepare for it—by pausing. Let it be repeated: the thought that follows a pause is much more dynamic than if no pause had occurred. What is said to you of a night will not have the same effect on your mind as if it had been uttered in the morning when your attention had been lately refreshed by the pause of sleep. We are told on the first page of the Bible that even the Creative Energy of God rested on the "seventh day." You may be sure, then, that the frail27 finite mind of your audience will likewise demand rest. Observe nature, study her laws, and obey them in your speaking.
Suspense is responsible for a great share of our interest in life; it will be the same with your speech. A play or a novel is often robbed of much of its interest if you know the plot beforehand. We like to keep guessing as to the outcome. The ability to create suspense is part of woman's power to hold the other sex. The circus acrobat29 employs this principle when he fails purposely in several attempts to perform a feat30, and then achieves it. Even the deliberate manner in which he arranges the preliminaries increases our expectation—we like to be kept waiting. In the last act of the play, "Polly of the Circus," there is a circus scene in which a little dog turns a backward somersault on the back of a running pony31. One night when he hesitated and had to be coaxed32 and worked with a long time before he would perform his feat he got a great deal more applause than when he did his trick at once. We not only like to wait but we appreciate what we wait for. If fish bite too readily the sport soon ceases to be a sport.
It is this same principle of suspense that holds you in a Sherlock Holmes story—you wait to see how the mystery is solved, and if it is solved too soon you throw down the tale unfinished. Wilkie Collins' receipt for fiction writing well applies to public speech: "Make 'em laugh; make 'em weep; make 'em wait." Above all else make them wait; if they will not do that you may be sure they will neither laugh nor weep.
Thus pause is a valuable instrument in the hands of a trained speaker to arouse and maintain suspense. We once heard Mr. Bryan say in a speech: "It was my privilege to hear"—and he paused, while the audience wondered for a second whom it was his privilege to hear—"the great evangelist"—and he paused again; we knew a little more about the man he had heard, but still wondered to which evangelist he referred; and then he concluded: "Dwight L. Moody34." Mr. Bryan paused slightly again and continued: "I came to regard him"—here he paused again and held the audience in a brief moment of suspense as to how he had regarded Mr. Moody, then continued—"as the greatest preacher of his day." Let the dashes illustrate35 pauses and we have the following:
"It was my privilege to hear—the great evangelist—Dwight L. Moody.—I came to regard him—as the greatest preacher of his day."
The unskilled speaker would have rattled36 this off with neither pause nor suspense, and the sentences would have fallen flat upon the audience. It is precisely37 the application of these small things that makes much of the difference between the successful and the unsuccessful speaker.
Any Missouri farmer will tell you that a rain that falls too fast will run off into the creeks39 and do the crops but little good. A story is told of a country deacon praying for rain in this manner: "Lord, don't send us any chunk40 floater. Just give us a good old drizzle-drazzle." A speech, like a rain, will not do anybody much good if it comes too fast to soak in. The farmer's wife follows this same principle in doing her washing when she puts the clothes in water—and pauses for several hours that the water may soak in. The physician puts cocaine41 on your turbinates—and pauses to let it take hold before he removes them. Why do we use this principle everywhere except in the communication of ideas? If you have given the audience a big idea, pause for a second or two and let them turn it over. See what effect it has. After the smoke clears away you may have to fire another 14-inch shell on the same subject before you demolish42 the citadel43 of error that you are trying to destroy. Take time. Don't let your speech resemble those tourists who try "to do" New York in a day. They spend fifteen minutes looking at the masterpieces in the Metropolitan44 Museum of Arts, ten minutes in the Museum of Natural History, take a peep into the Aquarium45, hurry across the Brooklyn Bridge, rush up to the Zoo, and back by Grant's Tomb—and call that "Seeing New York." If you hasten by your important points without pausing, your audience will have just about as adequate an idea of what you have tried to convey.
Take time, you have just as much of it as our richest multimillionaire. Your audience will wait for you. It is a sign of smallness to hurry. The great redwood trees of California had burst through the soil five hundred years before Socrates drank his cup of hemlock46 poison, and are only in their prime today. Nature shames us with our petty haste. Silence is one of the most eloquent things in the world. Master it, and use it through pause.
In the following selections dashes have been inserted where pauses may be used effectively. Naturally, you may omit some of these and insert others without going wrong—one speaker would interpret a passage in one way, one in another; it is largely a matter of personal preference. A dozen great actors have played Hamlet well, and yet each has played the part differently. Which comes the nearest to perfection is a question of opinion. You will succeed best by daring to follow your own course—if you are individual enough to blaze an original trail.
A moment's halt—a momentary47 taste of being from the well amid the waste—and lo! the phantom48 caravan49 has reached—the nothing it set out from—Oh make haste!
The worldly hope men set their hearts upon—turns ashes—or it prospers;—and anon like snow upon the desert's dusty face—lighting a little hour or two—is gone.
The bird of time has but a little way to flutter,—and the bird is on the wing.
You will note that the punctuation50 marks have nothing to do with the pausing. You may run by a period very quickly and make a long pause where there is no kind of punctuation. Thought is greater than punctuation. It must guide you in your pauses.
A book of verses underneath51 the bough,—a jug52 of wine, a loaf of bread—and thou beside me singing in the wilderness—Oh—wilderness were paradise enow.
You must not confuse the pause for emphasis with the natural pauses that come through taking breath and phrasing. For example, note the pauses indicated in this selection from Byron:
And nearer!—clearer!—deadlier than before.
Arm, ARM!—it is—it is the cannon's opening roar!
It is not necessary to dwell at length upon these obvious distinctions. You will observe that in natural conversation our words are gathered into clusters or phrases, and we often pause to take breath between them. So in public speech, breathe naturally and do not talk until you must gasp54 for breath; nor until the audience is equally winded.
A serious word of caution must here be uttered: do not overwork the pause. To do so will make your speech heavy and stilted55. And do not think that pause can transmute56 commonplace thoughts into great and dignified57 utterance. A grand manner combined with insignificant58 ideas is like harnessing a Hambletonian with an ass9. You remember the farcical old school declamation59, "A Midnight Murder," that proceeded in grandiose60 manner to a thrilling climax61, and ended—"and relentlessly62 murdered—a mosquito!"
The pause, dramatically handled, always drew a laugh from the tolerant hearers. This is all very well in farce63, but such anti-climax becomes painful when the speaker falls from the sublime64 to the ridiculous quite unintentionally. The pause, to be effective in some other manner than in that of the boomerang, must precede or follow a thought that is really worth while, or at least an idea whose bearing upon the rest of the speech is important.
William Pittenger relates in his volume, "Extempore Speech," an instance of the unconsciously farcical use of the pause by a really great American statesman and orator7. "He had visited Niagara Falls and was to make an oration65 at Buffalo66 the same day, but, unfortunately, he sat too long over the wine after dinner. When he arose to speak, the oratorical67 instinct struggled with difficulties, as he declared, 'Gentlemen, I have been to look upon your mag—mag—magnificent cataract68, one hundred—and forty—seven—feet high! Gentlemen, Greece and Rome in their palmiest days never had a cataract one hundred—and forty—seven—feet high!'"
QUESTIONS AND EXERCISES
1. Name four methods for destroying monotony and gaining power in speaking.
2. What are the four special effects of pause?
3. Note the pauses in a conversation, play, or speech. Were they the best that could have been used? Illustrate.
4. Read aloud selections on pages 50-54, paying special attention to pause.
5. Read the following without making any pauses. Reread correctly and note the difference:
Soon the night will pass; and when, of the Sentinel on the ramparts of Liberty the anxious ask: | "Watchman, what of the night?" his answer will be | "Lo, the morn appeareth."
Knowing the price we must pay, | the sacrifice | we must make, | the burdens | we must carry, | the assaults | we must endure, | knowing full well the cost, | yet we enlist69, and we enlist | for the war. | For we know the justice of our cause, | and we know, too, its certain triumph. |
Not reluctantly, then, | but eagerly, | not with faint hearts, | but strong, do we now advance upon the enemies of the people. | For the call that comes to us is the call that came to our fathers. | As they responded, so shall we.
Oh, be swift | our souls to answer Him, | be jubilant our feet,
Our God | is marching on."
—Albert J. Beveride, From his speech as temporary chairman of Progressive National Convention, Chicago, 1912.
6. Bring out the contrasting ideas in the following by using the pause:
Contrast now the circumstances of your life and mine, gently and with temper, ?schines; and then ask these people whose fortune they would each of them prefer. You taught reading, I went to school: you performed initiations, I received them: you danced in the chorus, I furnished it: you were assembly-clerk, I was a speaker: you acted third parts, I heard you: you broke down, and I hissed73: you have worked as a statesman for the enemy, I for my country. I pass by the rest; but this very day I am on my probation74 for a crown, and am acknowledged to be innocent of all offence; while you are already judged to be a pettifogger, and the question is, whether you shall continue that trade, or at once be silenced by not getting a fifth part of the votes. A happy fortune, do you see, you have enjoyed, that you should denounce mine as miserable75!
—Demosthenes.
7. After careful study and practice, mark the pauses in the following:
The past rises before me like a dream. Again we are in the great struggle for national life. We hear the sounds of preparation—the music of the boisterous76 drums, the silver voices of heroic bugles77. We see thousands of assemblages, and hear the appeals of orators; we see the pale cheeks of women and the flushed faces of men; and in those assemblages we see all the dead whose dust we have covered with flowers. We lose sight of them no more. We are with them when they enlist in the great army of freedom. We see them part from those they love. Some are walking for the last time in quiet woody places with the maiden78 they adore. We hear the whisperings and the sweet vows79 of eternal love as they lingeringly part forever. Others are bending over cradles, kissing babies that are asleep. Some are receiving the blessings80 of old men. Some are parting from those who hold them and press them to their hearts again and again, and say nothing; and some are talking with wives, and endeavoring with brave words spoken in the old tones to drive from their hearts the awful fear. We see them part. We see the wife standing81 in the door, with the babe in her arms—standing in the sunlight sobbing82; at the turn of the road a hand waves—she answers by holding high in her loving hands the child. He is gone—and forever.
—Robert J. Ingersoll, to the Soldiers of Indianapolis.
8. Where would you pause in the following selections? Try pausing in different places and note the effect it gives.
The moving finger writes; and having writ33 moves on: nor all your piety83 nor wit shall lure84 it back to cancel half a line, nor all your tears wash out a word of it.
The history of womankind is a story of abuse. For ages men beat, sold, and abused their wives and daughters like cattle. The Spartan85 mother that gave birth to one of her own sex disgraced herself; the girl babies were often deserted86 in the mountains to starve; China bound and deformed87 their feet; Turkey veiled their faces; America denied them equal educational advantages with men. Most of the world still refuses them the right to participate in the government and everywhere women bear the brunt of an unequal standard of morality.
But the women are on the march. They are walking upward to the sunlit plains where the thinking people rule. China has ceased binding88 their feet. In the shadow of the Harem Turkey has opened a school for girls. America has given the women equal educational advantages, and America, we believe, will enfranchise89 them.
We can do little to help and not much to hinder this great movement. The thinking people have put their O.K. upon it. It is moving forward to its goal just as surely as this old earth is swinging from the grip of winter toward the spring's blossoms and the summer's harvest.[1]
9. Read aloud the following address, paying careful attention to pause wherever the emphasis may thereby90 be heightened.
THE IRREPRESSIBLE CONFLICT
... At last, the Republican party has appeared. It avows91, now, as the Republican party of 1800 did, in one word, its faith and its works, "Equal and exact justice to all men." Even when it first entered the field, only half organized, it struck a blow which only just failed to secure complete and triumphant92 victory. In this, its second campaign, it has already won advantages which render that triumph now both easy and certain. The secret of its assured success lies in that very characteristic which, in the mouth of scoffers, constitutes its great and lasting93 imbecility and reproach. It lies in the fact that it is a party of one idea; but that is a noble one—an idea that fills and expands all generous souls; the idea of equality of all men before human tribunals and human laws, as they all are equal before the Divine tribunal and Divine laws.
I know, and you know, that a revolution has begun. I know, and all the world knows, that revolutions never go backward. Twenty senators and a hundred representatives proclaim boldly in Congress to-day sentiments and opinions and principles of freedom which hardly so many men, even in this free State, dared to utter in their own homes twenty years ago. While the government of the United States, under the conduct of the Democratic party, has been all that time surrendering one plain and castle after another to slavery, the people of the United States have been no less steadily94 and perseveringly95 gathering96 together the forces with which to recover back again all the fields and all the castles which have been lost, and to confound and overthrow97, by one decisive blow, the betrayers of the Constitution and freedom forever.—W.H. Seward.
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1
distinctive
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| adj.特别的，有特色的，与众不同的 | |
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delicacies
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| n.棘手( delicacy的名词复数 )；精致；精美的食物；周到 | |
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jolting
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| adj.令人震惊的 | |
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rhetoric
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| n.修辞学，浮夸之言语 | |
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mere
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| adj.纯粹的；仅仅，只不过 | |
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eloquent
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| adj.雄辩的，口才流利的；明白显示出的 | |
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orator
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| n.演说者，演讲者，雄辩家 | |
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orators
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| n.演说者，演讲家( orator的名词复数 ) | |
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ass
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| n.驴；傻瓜，蠢笨的人 | |
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applied
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| adj.应用的；v.应用，适用 | |
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devour
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| v.吞没；贪婪地注视或谛听，贪读；使着迷 | |
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supremely
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| adv.无上地，崇高地 | |
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perfectly
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| adv.完美地，无可非议地，彻底地 | |
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massacre
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| n.残杀，大屠杀；v.残杀，集体屠杀 | |
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forth
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| adv.向前；向外，往外 | |
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maple
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| n.槭树，枫树，槭木 | |
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utterance
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| n.用言语表达，话语，言语 | |
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vigor
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| n.活力，精力，元气 | |
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passionately
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| ad.热烈地，激烈地 | |
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entreat
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| v.恳求，恳请 | |
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ramble
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| v.漫步，漫谈，漫游；n.漫步，闲谈，蔓延 | |
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brook
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| n.小河，溪；v.忍受，容让 | |
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auditor
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| n.审计员，旁听着 | |
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awaken
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| vi.醒，觉醒；vt.唤醒，使觉醒，唤起，激起 | |
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dweller
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| n.居住者，住客 | |
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insistent
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| adj.迫切的，坚持的 | |
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frail
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| adj.身体虚弱的；易损坏的 | |
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suspense
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| n.（对可能发生的事）紧张感，担心，挂虑 | |
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acrobat
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| n.特技演员，杂技演员 | |
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feat
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| n.功绩；武艺，技艺；adj.灵巧的，漂亮的，合适的 | |
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pony
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| adj.小型的；n.小马 | |
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coaxed
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| v.哄，用好话劝说( coax的过去式和过去分词 )；巧言骗取；哄劝，劝诱 | |
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writ
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| n.命令状，书面命令 | |
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moody
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| adj.心情不稳的，易怒的，喜怒无常的 | |
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illustrate
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| v.举例说明，阐明；图解，加插图 | |
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rattled
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| 慌乱的，恼火的 | |
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precisely
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| adv.恰好，正好，精确地，细致地 | |
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penetrate
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| v.透(渗)入；刺入，刺穿；洞察，了解 | |
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creeks
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| n.小湾( creek的名词复数 )；小港；小河；小溪 | |
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chunk
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| n.厚片，大块，相当大的部分（数量） | |
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cocaine
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| n.可卡因，古柯碱（用作局部麻醉剂） | |
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demolish
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| v.拆毁(建筑物等)，推翻(计划、制度等) | |
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citadel
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| n.城堡；堡垒；避难所 | |
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metropolitan
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| adj.大城市的，大都会的 | |
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aquarium
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| n.水族馆，养鱼池，玻璃缸 | |
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hemlock
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| n.毒胡萝卜，铁杉 | |
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momentary
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| adj.片刻的，瞬息的；短暂的 | |
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phantom
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| n.幻影，虚位，幽灵；adj.错觉的，幻影的，幽灵的 | |
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caravan
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| n.大蓬车；活动房屋 | |
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punctuation
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| n.标点符号，标点法 | |
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underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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jug
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| n.(有柄，小口，可盛水等的)大壶，罐，盂 | |
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hush
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| int.嘘，别出声；n.沉默，静寂；v.使安静 | |
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gasp
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| n.喘息，气喘；v.喘息；气吁吁他说 | |
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stilted
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| adj.虚饰的；夸张的 | |
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transmute
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| vt.使变化，使改变 | |
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dignified
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| a.可敬的，高贵的 | |
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insignificant
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| adj.无关紧要的，可忽略的，无意义的 | |
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declamation
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| n. 雄辩，高调 | |
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grandiose
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| adj.宏伟的，宏大的，堂皇的，铺张的 | |
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climax
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| n.顶点；高潮；v.(使)达到顶点 | |
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relentlessly
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| adv.不屈不挠地；残酷地；不间断 | |
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farce
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| n.闹剧，笑剧，滑稽戏；胡闹 | |
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sublime
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| adj.崇高的，伟大的；极度的，不顾后果的 | |
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oration
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| n.演说，致辞，叙述法 | |
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buffalo
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| n.(北美)野牛；(亚洲)水牛 | |
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oratorical
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| adj.演说的，雄辩的 | |
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68
cataract
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| n.大瀑布，奔流，洪水，白内障 | |
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enlist
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| vt.谋取(支持等)，赢得；征募；vi.入伍 | |
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trumpet
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| n.喇叭，喇叭声；v.吹喇叭，吹嘘 | |
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71
sifting
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| n.筛，过滤v.筛( sift的现在分词 )；筛滤；细查；详审 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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hissed
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| 发嘶嘶声( hiss的过去式和过去分词 )； 发嘘声表示反对 | |
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probation
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| n.缓刑(期)，(以观后效的)察看；试用(期) | |
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miserable
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| adj.悲惨的，痛苦的；可怜的，糟糕的 | |
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boisterous
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| adj.喧闹的，欢闹的 | |
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bugles
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| 妙脆角，一种类似薯片但做成尖角或喇叭状的零食； 号角( bugle的名词复数 )； 喇叭； 匍匐筋骨草； （装饰女服用的）柱状玻璃（或塑料）小珠 | |
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maiden
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| n.少女，处女；adj.未婚的，纯洁的，无经验的 | |
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vows
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| 誓言( vow的名词复数 )； 郑重宣布，许愿 | |
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blessings
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| n.（上帝的）祝福( blessing的名词复数 )；好事；福分；因祸得福 | |
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standing
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| n.持续，地位；adj.永久的，不动的，直立的，不流动的 | |
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82
sobbing
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| <主方>Ⅰ adj.湿透的 | |
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83
piety
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| n.虔诚，虔敬 | |
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84
lure
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| n.吸引人的东西，诱惑物；vt.引诱，吸引 | |
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85
spartan
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| adj.简朴的，刻苦的；n.斯巴达；斯巴达式的人 | |
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deserted
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| adj.荒芜的，荒废的，无人的，被遗弃的 | |
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deformed
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| adj.畸形的；变形的；丑的，破相了的 | |
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binding
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| 有约束力的，有效的，应遵守的 | |
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enfranchise
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| v.给予选举权，解放 | |
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thereby
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| adv.因此，从而 | |
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avows
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| v.公开声明，承认( avow的第三人称单数 ) | |
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triumphant
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| adj.胜利的，成功的；狂欢的，喜悦的 | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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steadily
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| adv.稳定地；不变地；持续地 | |
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perseveringly
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| 坚定地 | |
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96
gathering
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| n.集会，聚会，聚集 | |
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overthrow
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| v.推翻，打倒，颠覆；n.推翻，瓦解，颠覆 | |
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