Mark Twain's Speeches

Nonfiction, Religion & Spirituality, New Age, History, Fiction & Literature
Cover of the book Mark Twain's Speeches by Mark Twain, Library of Alexandria
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
Author: Mark Twain ISBN: 9781613100394
Publisher: Library of Alexandria Publication: March 8, 2015
Imprint: Language: English
Author: Mark Twain
ISBN: 9781613100394
Publisher: Library of Alexandria
Publication: March 8, 2015
Imprint:
Language: English
These speeches will address themselves to the minds and hearts of those who read them, but not with the effect they had with those who heard them; Clemens himself would have said, not with half the effect. I have noted elsewhere how he always held that the actor doubled the value of the author's words; and he was a great actor as well as a great author. He was a most consummate actor, with this difference from Other actors, that he was the first to know the thoughts and invent the fancies to which his voice and action gave the color of life. Representation is the art of Other actors; his art was creative as well as representative; it was nothing at second hand. I never heard Clemens speak when I thought he quite failed; some burst or spurt redeemed him when he seemed flagging short of the goal, and, whoever else was in the running, he came in ahead. His near−failures were the error of a rare trust to the spontaneity in which Other speakers confide, or are believed to confide, when they are on their feet. He knew that from the beginning of oratory the orator's spontaneity was for the silence and solitude of the closet where he mused his words to an imagined audience; that this was the use of orators from Demosthenes and Cicero up and down. He studied every word and syllable, and memorized them by a system of mnemonics peculiar to himself, consisting of an arbitrary arrangement of things on a table−−knives, forks, salt−cellars; inkstands, pens, boxes, or whatever was at hand−−which stood for points and clauses and climaxes, and were at once indelible diction and constant suggestion. He studied every tone and every gesture, and he forecast the result with the real audience from its result with that imagined audience. Therefore, it was beautiful to see him and to hear him; he rejoiced in the pleasure he gave and the blows of surprise which he dealt; and because he had his end in mind, he knew when to stop. I have been talking of his method and manner; the matter the reader has here before him; and it is good matter, glad, honest, kind, just
View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart
These speeches will address themselves to the minds and hearts of those who read them, but not with the effect they had with those who heard them; Clemens himself would have said, not with half the effect. I have noted elsewhere how he always held that the actor doubled the value of the author's words; and he was a great actor as well as a great author. He was a most consummate actor, with this difference from Other actors, that he was the first to know the thoughts and invent the fancies to which his voice and action gave the color of life. Representation is the art of Other actors; his art was creative as well as representative; it was nothing at second hand. I never heard Clemens speak when I thought he quite failed; some burst or spurt redeemed him when he seemed flagging short of the goal, and, whoever else was in the running, he came in ahead. His near−failures were the error of a rare trust to the spontaneity in which Other speakers confide, or are believed to confide, when they are on their feet. He knew that from the beginning of oratory the orator's spontaneity was for the silence and solitude of the closet where he mused his words to an imagined audience; that this was the use of orators from Demosthenes and Cicero up and down. He studied every word and syllable, and memorized them by a system of mnemonics peculiar to himself, consisting of an arbitrary arrangement of things on a table−−knives, forks, salt−cellars; inkstands, pens, boxes, or whatever was at hand−−which stood for points and clauses and climaxes, and were at once indelible diction and constant suggestion. He studied every tone and every gesture, and he forecast the result with the real audience from its result with that imagined audience. Therefore, it was beautiful to see him and to hear him; he rejoiced in the pleasure he gave and the blows of surprise which he dealt; and because he had his end in mind, he knew when to stop. I have been talking of his method and manner; the matter the reader has here before him; and it is good matter, glad, honest, kind, just

More books from Library of Alexandria

Cover of the book English Industries of the Middle Ages: Being an Introduction to the Industrial History of Medieval England by Mark Twain
Cover of the book Sodom: A Play by Mark Twain
Cover of the book The Interpreter: A Tale of the War by Mark Twain
Cover of the book Memoir of John Lothrop Motley (Complete) by Mark Twain
Cover of the book B. C. 30,000 by Mark Twain
Cover of the book The Life of Benjamin Franklin With Many Choice Anecdotes and Admirable Sayings of This Great Man Never Before Published by Any of His Biographers by Mark Twain
Cover of the book Prayers of the Middle Ages: Light from a Thousand Years by Mark Twain
Cover of the book The Lost Middy: Being the Secret of the Smugglers' Gap by Mark Twain
Cover of the book The Black Cross by Mark Twain
Cover of the book Legal Argument for the Deliverance of Persons From Bondage by Mark Twain
Cover of the book Von Tripolis Nach Alexandrien (Complete) by Mark Twain
Cover of the book Good Fellowship by Mark Twain
Cover of the book The Charm of Scandinavia by Mark Twain
Cover of the book A Book of Folk-Lore by Mark Twain
Cover of the book The History of the Standard Oil Company by Mark Twain
We use our own "cookies" and third party cookies to improve services and to see statistical information. By using this website, you agree to our Privacy Policy