The Art of Public Speaking 13th Edition

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 PART TWO   SPEECH PREPARATION: GETTING STARTED

Chapter 5 Selecting a Topic and a Purpose 74

Choosing a Topic 76
Topics You Know a Lot About 76
Topics You Want to Know More About 77
Brainstorming for Topics 78
Determining the General Purpose 79
Determining the Specific Purpose 80
Tips for Formulating the Specific Purpose Statement 82
Questions to Ask About Your Specific Purpose 84
Phrasing the Central Idea 86
What Is the Central Idea? 86
Guidelines for the Central Idea 88

Chapter 6 Analyzing the Audience 94

Audience-Centeredness 96
Your Classmates as an Audience 96
The Psychology of Audiences 97
Demographic Audience Analysis 98
Age 99
Religion 100
Racial, Ethnic, and Cultural Background 100
Gender and Sexual Orientation 101
Group Membership 102
Situational Audience Analysis 102
Size 103
Physical Setting 103
Disposition Toward the Topic 103
Disposition Toward the Speaker 105
Disposition Toward the Occasion 106
Getting Information About the Audience 107
Adapting to the Audience 109
Audience Adaptation Before the Speech 110
Audience Adaptation During the Speech 110

©Handout/Getty Images

Contents vii
 Chapter 7 Gathering Materials 114
Using Your Own Knowledge and Experience 114
Doing Library Research 116
Librarians 116
The Catalogue 117
Reference Works 117
Newspaper and Periodical Databases 118
Academic Databases 119
Searching the Internet 120
Search Engines 120
Specialized Research Resources 120
Evaluating Internet Documents 122
Interviewing 125
Before the Interview 125
During the Interview 126
After the Interview 128
Tips for Doing Research 128
Start Early 128
Make a Preliminary Bibliography 128
Take Notes Efficiently 129
Think About Your Materials as You Research 131

Chapter 8 Supporting Your Ideas 134

Examples 136
Brief Examples 137
Extended Examples 137
Hypothetical Examples 138
Tips for Using Examples 138
Statistics 141
 Understanding Statistics 142
  Tips for Using Statistics 145
Testimony 148
Expert Testimony 149
Peer Testimony 149
Quoting Versus Paraphrasing 150
Tips for Using Testimony 150
Citing Sources Orally 153

©Cooper Neill/Getty Images

viii Contents
 PART THREE  SPEECH PREPARATION: ORGANIZING AND
OUTLINING

Chapter 9 Organizing the Body of the Speech 158

Organization Is Important 158
Main Points 160
Number of Main Points 162
Strategic Order of Main Points 162
Tips for Preparing Main Points 167
Supporting Materials 168
Connectives 170
Transitions 171
Internal Previews 171
Internal Summaries 172
Signposts 172

Chapter 10 Beginning and Ending the Speech 176

The Introduction 178
Get Attention and Interest 178
Reveal the Topic 183
Establish Credibility and Goodwill 184
Preview the Body of the Speech 185
Sample Introduction with Commentary 186
Tips for the Introduction 187
The Conclusion 188
Signal the End of the Speech 188
Reinforce the Central Idea 190
Sample Conclusion with Commentary 193
Tips for the Conclusion 193

Chapter 11 Outlining the Speech 196

The Preparation Outline 196
Guidelines for the Preparation Outline 198
Sample Preparation Outline with Commentary 202
The Speaking Outline 205
Guidelines for the Speaking Outline 206
Sample Speaking Outline with Commentary 208

Contents ix
 PART FOUR   PRESENTING THE SPEECH

Chapter 12 Using Language 212

Meanings of Words 212
Using Language Accurately 214
Using Language Clearly 216
Use Familiar Words 216
Choose Concrete Words 217
Eliminate Clutter 218
Using Language Vividly 219
Imagery 219
Rhythm 222
Using Language Appropriately 224
Appropriateness to the Occasion 225
Appropriateness to the Audience 225
Appropriateness to the Topic 226
Appropriateness to the Speaker 226
A Note on Inclusive Language 226

Chapter 13 Delivery 230

What Is Good Delivery? 232
Methods of Delivery 232
Reading from a Manuscript 232
Reciting from Memory 233
Speaking Impromptu 233
Speaking Extemporaneously 234
The Speaker’s Voice 235
Volume 235
Pitch 236
Rate 236
Pauses 236
©fstop123/Getty Images
Vocal Variety 237
Pronunciation 237
Articulation 238
Dialect 239
The Speaker’s Body 239
Personal Appearance 240
Movement 240
Gestures 241
Eye Contact 242
Practicing Delivery 242
Answering Audience Questions 244
Preparing for the Question-and-Answer Session 244
Managing the Question-and-Answer Session 245

x Contents
Chapter 14 Using Visual Aids 250
Kinds of Visual Aids 252
Objects and Models 252
Photographs and Drawings 252
Graphs 253
Charts 255
Video 255
The Speaker 256
Presentation Technology 256
Pluses and Minuses of Presentation Technology 257
Planning to Use Presentation Technology 258
Guidelines for Preparing Visual Aids 259
Prepare Visual Aids Well in Advance 259
Keep Visual Aids Simple 259
Make Sure Visual Aids Are Large Enough 259
Use a Limited Amount of Text 259
Use Fonts Effectively 260
Use Color Effectively 260
Use Images Strategically 261
Guidelines for Presenting Visual Aids 262
Display Visual Aids Where Listeners Can See Them 262
Avoid Passing Visual Aids Among the Audience 262
Display Visual Aids Only While Discussing Them 263
Explain Visual Aids Clearly and Concisely 263
Talk to Your Audience, Not to Your Visual Aid 264
Practice with Your Visual Aids 264
Check the Room and Equipment 265

©Patrick T. Fallon/Bloomberg/Getty Images

PART FIVE   VARIETIES OF PUBLIC SPEAKING

Chapter 15 Speaking to Inform 268

Types of Informative Speeches: Analysis and Organization 270
Speeches About Objects 270
Speeches About Processes 272
Speeches About Events 274
Speeches About Concepts 275
Guidelines for Informative Speaking 277
Don’t Overestimate What the Audience Knows 277
Relate the Subject Directly to the Audience 278
Don’t Be Too Technical 280
Avoid Abstractions 281
Personalize Your Ideas 283
Be Creative 284
Sample Speech with Commentary 285

Contents xi
 Chapter 16 Speaking to Persuade 290
The Importance of Persuasion 292
Ethics and Persuasion 292
The Psychology of Persuasion 293
The Challenge of Persuasive Speaking 293
How Listeners Process Persuasive Messages 294
The Target Audience 295
Persuasive Speeches on Questions of Fact 296
What Are Questions of Fact? 296
Analyzing Questions of Fact 297
Organizing Speeches on Questions of Fact 298
Persuasive Speeches on Questions of Value 298
What Are Questions of Value? 298
Analyzing Questions of Value 299
Organizing Speeches on Questions of Value 299
Persuasive Speeches on Questions of Policy 300
What Are Questions of Policy? 300
Types of Speeches on Questions of Policy 301
Analyzing Questions of Policy 302
Organizing Speeches on Questions of Policy 304
Sample Speech with Commentary 310

©Joshua Blanchard/Getty Images

Chapter 17 Methods of Persuasion 316

Building Credibility 318
Factors of Credibility 318
Types of Credibility 319
Enhancing Your Credibility 320
Using Evidence 322
How Evidence Works: A Case Study 322
Tips for Using Evidence 324
Reasoning 325
Reasoning from Specific Instances 327
Reasoning from Principle 328
Causal Reasoning 328
Analogical Reasoning 329
Fallacies 330
Appealing to Emotions 334
What Are Emotional Appeals? 334
Generating Emotional Appeal 335
Ethics and Emotional Appeal 337
Sample Speech with Commentary 338

xii Contents
 Chapter 18 Speaking on Special Occasions 344
Speeches of Introduction 344
Speeches of Presentation 348
Speeches of Acceptance 349
Commemorative Speeches 350

Chapter 19 P
 resenting Your Speech
Online 356
The Special Nature of the Online Environment 358
Kinds of Online Speeches 358
Guidelines for Online Speaking 359
Control the Visual Environment 359
Adapt Your Nonverbal Communication 362
Adjust Your Pacing 362
Don’t Forget Your Audience 363
Practice, Practice, Practice 363
The Technology of Real-Time Online Speeches 366
Choosing the Software 366
Learning the Software 366
Have a Backup Plan 366
Sample Speech with Commentary 367

©Nick David/Getty Images

Chapter 20 Speaking in Small Groups 372

What Is a Small Group? 374
Leadership in Small Groups 374
Kinds of Leadership 374
Functions of Leadership 376
Responsibilities in a Small Group 377
Commit Yourself to the Goals of Your Group 377
Fulfill Individual Assignments 378
Avoid Interpersonal Conflicts 378
Encourage Full Participation 379
Keep the Discussion on Track 380
The Reflective-Thinking Method 380
Define the Problem 380
Analyze the Problem 382
Establish Criteria for Solutions 383
Generate Potential Solutions 384
Select the Best Solution 384
Presenting the Recommendations of the Group 386
Oral Report 386
Symposium 387
Contents xiii
Panel Discussion 387
 Appendix Speeches for Analysis and Discussion A-1
Lady Liberty A-2
Using a Tourniquet to Save a Life A-3
The Living-Wage Solution A-5
Phony Pharmaceuticals A-7
Make a Wish A-9
Elie Wiesel A-10
Notes N1
Index I1

SPEECHES
The Courtyard (Sample Speech with Commentary) 69
Fearless (Sample Speech with Commentary) 70
Supervolcanoes: The Sleeping Giants (Sample Speech with Commentary) 285
Getting the Lead Out (Sample Speech with Commentary) 310
Changing Lives Through the Literacy Network (Sample Speech with
Commentary) 338
Presenting the National Teacher of the Year Award Barack Obama 348
Accepting the National Teacher of the Year Award Shanna Peeples 350
Ida B. Wells 353
charity: water (Sample Speech with Commentary) 368
Lady Liberty A-2
Using a Tourniquet to Save a Life A-3
The Living-Wage Solution A-5
Phony Pharmaceuticals A-7
Make a Wish A-9
Elie Wiesel A-10

xiv Contents
SPEECHES BY GENRE
INTRODUCTORY SPEECHES
The Courtyard 69
Fearless 70

INFORMATIVE SPEECHES
Space Junk (Sample Introduction with Commentary) 187
Space Junk (Sample Conclusion with Commentary) 193
Beneficial Bacteria (Sample Preparation Outline with Commentary) 203
Beneficial Bacteria (Sample Speaking Outline with Commentary) 208
Supervolcanoes: The Sleeping Giants 285
Lady Liberty A-2
Using a Tourniquet to Save a Life A-3

PERSUASIVE SPEECHES
Getting the Lead Out 310
Changing Lives Through the Literacy Network 338
The Living-Wage Solution A-5
Phony Pharmaceuticals A-7

SPEECHES OF PRESENTATION
Presenting the National Teacher of the Year Award Barack Obama 348

SPEECHES OF ACCEPTANCE
Accepting the National Teacher of the Year Award Shanna Peeples 350

COMMEMORATIVE SPEECHES
Ida B. Wells 353
Make a Wish A-9
Elie Wiesel A-10

ONLINE SPEECHES
charity: water 368

Contents xv
 A Note from the Author
W
hen I wrote the first edition of The Art of Public Speaking, I could not have
imagined the extraordinary response the book would receive. I am deeply
appreciative of the students and teachers who have made it the leading
work on its subject at colleges and universities across the United States and around
the world.
In preparing this edition, I have retained what readers have identified as the main
strengths of the book. The Art of Public Speaking is informed by classical and
­contemporary theories of rhetoric, but it does not present theory for its own sake.
­Keeping a steady eye on the practical skills of public speaking, it offers full coverage of
all major aspects of speech preparation and presentation.
It also follows David Hume’s advice that one “who would teach eloquence must do
it chiefly by examples.” Whenever possible, I have tried to show the principles of public
speaking in action in addition to describing them. Thus you will find in the book a large
number of narratives, speech excerpts, and full sample speeches that ­illustrate the prin-
ciples of effective public speaking.
Because the immediate task facing students is to present speeches in the classroom,
I rely heavily on examples that relate directly to students’ classroom needs and experi-
ences. The speech classroom, however, is a training ground where students develop
skills that will serve them throughout life. Therefore, I also include a large number of
illustrations drawn from the kinds of speaking experiences students will face after they
graduate from college.
Because speeches are performative acts, students need to be able to view speakers
in action as well as to read their words on the printed page. The Art of ­Public Speaking
has an extensive video program that is available both on DVD and on Connect,
McGraw-Hill’s online learning platform. The video program includes over 40 full stu-
dent speeches, plus more than 60 speech excerpts. Eleven of the full speeches and 18 of
the excerpts are new to this edition.
Connect also provides a wide range of teaching and learning resources in addition
to the speech videos. These resources include SmartBook, hands-on study tools,
­critical-thinking exercises, speech-analysis questions, worksheets, assessment forms,
and more. Taken together, The Art of Public Speaking and the digital resources available
on Connect provide a time-tested interactive public speaking program that meets the
needs of students and teachers alike.
The Art of Public Speaking has changed over the years in response to changes in
technology, student demographics, and instructional needs. But it has never lost sight
of the fact that the most important part of speaking is thinking. The ability to think
critically is vital to a world in which personality and image too often substitute for
thought and substance. While helping students become capable, responsible speakers,
The Art of Public Speaking also aims to help them become capable, responsible thinkers
who value the role of civil discourse in a democratic society.

xvi
Highlights of the Thirteenth Edition of The
Art of Public Speaking
Fully updated for the thirteenth edition, the award-winning Art of Public Speaking
offers a time-tested approach that has made it the most widely used college text-
book on its subject in the world. Seamlessly coordinated with Connect, McGraw-
Hill Education’s pathbreaking online program, it supplies a proven set of teaching
and learning tools that is without parallel among public speaking books.
For experienced instructors, The Art of Public Speaking presents a solid, fully
customizable foundation and an abundance of teaching aids from which to
choose, allowing for complete teaching flexibility in the course. For novice
instructors, its wisdom, steady hand, and unmatched ancillary package instill con-
fidence and build success in the classroom from day one.
■■ New chapter on presenting online speeches. This chapter gives students the
guidance they need for effective online speaking. Distinguishing between
recorded and real-time online speeches, it explains the unique features of
each and how students can adapt to those features when preparing, rehears-
ing, and delivering their speeches. Practical guidelines help students control
the visual environment, create a suitable relationship with the online audi-
ence, and use online presentation software skillfully and professionally. A full
sample speech with commentary illustrates the principles of effective online
speaking in action. Video of the speech is available on DVD and Connect, in
both final and needs improvement versions.
■■ New full student speeches. The Art of Public Speaking video program is designed
to bridge the gap between the written page and the spoken word. Toward this
end, the thirteenth edition has 11 new full speeches for analysis and discus-
sion, all of which are available in both print and digital formats. They include
two new speeches of self-introduction, two new informative speeches (includ-
ing a demonstration speech), a new persuasive speech, a new commemorative
speech, and a new online speech—plus four new needs improvement speeches.
■■ Other video resources. The Art of Public Speaking’s video program also includes
more than 60 speech excerpts that are fully integrated into the eBook. Stu-
dents can access these excerpts—along with full speeches—as they read the
book to see the principles of public speaking in action. Whether a full speech
or an excerpt, each video illustrates specific skills and concepts from the text.
■■ Improved coverage of introduction and conclusions. Chapter 10 features new
sample introductions and conclusions with commentary, both of which are
also available on video. The chapter also includes a new section on using
visual aids to gain attention and interest at the start of a speech.
■■ Fresh real-world examples. Every chapter of The Art of Public Speaking opens
with an engaging and relevant example, and dozens of additional examples
appear throughout the chapters, each demonstrating the importance of pub-
lic speaking in school, business, and social settings. As in every edition,
examples have been updated for currency, relevance, and interest.
■■ Improved discussion of audience analysis. Chapter 6, on audience analysis, has
been fine-tuned to take account of changes in audience demographics and

A Note from the Author

xvii
 public attitudes. This is most evident in the treatment of gender and sexual
orientation, but there are changes throughout the chapter to keep it up to date.
■■ Updated MLA and APA citation models. Chapter 7, on gathering materials,
presents all-new sample bibliography entries, reflecting the latest MLA and
APA citation formats to help students correctly cite academic, digital, and
other sources. As in each edition, the chapter as a whole has been revised to
reflect technological changes.
■■ Enhanced discussion of presentation technology. Guidance on the use of visual
aids and presentation technology has been updated in accord with current
developments. Best practices are illustrated by abundant examples in the
book and on speech videos.

McGraw-Hill Connect and Instructor

Resources
MCGRAW-HILL CONNECT
McGraw-Hill Connect® is a highly reliable, easy-to-use homework and learning
management solution that utilizes learning science and award-winning adaptive
tools to improve student results.
Connect’s assignments help students contextualize what they’ve learned
through application, so they can better understand the material and think criti-
cally about it.

xviii A Note from the Author

SMARTBOOK WITH LEARNING RESOUCES
SmartBook provides an interactive reading experience that helps students study
more efficiently through adaptive highlighting and review. As a student uses
SmartBook, it creates a personalized learning path that highlights the most
important concepts the student needs to grasp at that moment in time. The learn-
ing path continuously adapts by delivering a variety of dynamic digital learning
resources that are catered to each student’s needs. These resources help students
learn the material, retain more knowledge, and earn better grades.

CONNECT EBOOK
The Connect eBook makes it easy for students to access their study material on
smartphones and tablets. They can study on the go and don’t need Internet access
to use the eBook with full functionality.

INSIGHT ANALYTICS
Connect Insight® provides instructors easy-to-read reports on individual stu-
dents, on the class as a whole, and on specific assignments. The Connect Insight
dashboard delivers data on performance, study behavior, and effort. Instructors
can quickly identify students who are struggling and can help them focus on mate-
rial that they need to master.

A Note from the Author xix

 LEARNSMART REPORTS
LearnSmart Instructor Reports make it easy to pinpoint the help individual stu-
dents need to improve their performance. Reports also identify concepts and
learning objectives that may be unclear to the class as a whole. With this informa-
tion, instructors can target areas for discussion and review.
Some key LearnSmart reports include:
Progress Overview report—View student progress for all LearnSmart modules,
including how long students have spent working in each module and which mod-
ules they have used outside of those that were assigned.
Missed Questions report—Identify specific LearnSmart probes, organized by
chapter, that are problematic for students.
Most Challenging Learning Objectives report—Learn which topics are most chal-
lenging for your students. Reports are organized by chapter and include specific
page references. Use this information to tailor your lecture time and assignments
to cover areas that require additional attention and practice.
Metacognitive Skills report—View statistics showing how knowledgeable your
­students are about their own comprehension and learning.

SPEECH CAPTURE
Designed for use in face-to-face, real-time classrooms, as well as online courses,
Speech Capture allows instructors to evaluate their students’ speeches using fully
customizable rubrics. Instructors can also create and manage peer review assign-
ments and upload videos on behalf of students for optimal flexibility.
Students can access rubrics and leave comments when preparing self-reviews
and peer reviews. They can easily upload a video of their speech from their hard drive
or use Connect’s built-in video recorder. Students can even attach and upload addi-
tional files or documents, such as a works-cited page or a PowerPoint presentation.
Peer Review—Peer review assignments are easier than ever. Create and manage
peer review assignments and customize privacy settings.
Speech Assessment—Speech Capture lets instructors customize assignments,
including self-reviews and peer reviews. Connect saves frequently used comments
so instructors can apply them in multiple reviews.

SUPPORT TO ENSURE SUCCESS

www.mheducation.com/connect
■■ Connect integrates with your LMS to provide single sign-on and automatic
syncing of grades. Integration with Blackboard®, D2L®, and Canvas also pro-
vides automatic syncing of the course calendar and assignment-level linking.
■■ Connect offers comprehensive service, support, and training throughout
every phase of implementation.
■■ For guidance on how to use Connect, or to learn tips and tricks from other
users, instructors have access to tutorials as they work. Our Digital Faculty
Consultants and Student Ambassadors offer insight into how to achieve the
results instructors want with Connect.

xx A Note from the Author

RESOURCES FOR INSTRUCTORS
■■ Annotated Instructor’s Edition. The Annotated Instructor’s Edition provides a
wealth of teaching aids for each chapter in the book. It is also cross-referenced
with Connect, the Instructor’s Manual, the Instructor’s Resource CD-ROM, and
other supplements that accompany The Art of Public Speaking.
■■ Instructor’s Manual. This comprehensive guide to teaching from The Art of
Public Speaking contains suggested course outlines and speaking assign-
ments; chapter outlines; supplementary exercises and classroom activities;
and teaching tips for all exercises and activities.
■■ Test Bank. The Test Bank furnishes close to 3,000 exam questions based on
The Art of Public Speaking.
■■ PowerPoint Slides with Video Clips. The PowerPoint presentations for The Art
of Public Speaking provide chapter highlights that help instructors create
focused, individualized lesson plans utilizing high-quality slides developed
specifically for the thirteenth edition.
■■ Teaching Public Speaking Online. Revised for the thirteenth edition, the
Teaching Public Speaking Online manual includes new and revised chapter
exercises and discusses performance analytics and approaches to blended
and online classrooms.
■■ Instructor’s Resource CD-ROM. Provides convenient digital access to the
Instructor’s Manual, Test Bank, PowerPoint Slides, Teaching Public Speaking
Online, S­ elections from the Communication Teacher, and the Handbook for
Teachers of Non-Native Speakers of English.
■■ Speeches for Analysis and Discussion. This DVD contains 45 full-length student
speeches, 11 of which are new to this edition. Included are nine sets of paired
needs improvement and final version presentations. In each set, the needs
improvement version illustrates a work-in-progress that can be compared with
the final version to help students understand the differences between an ordi-
nary speech and a superior one.

A Note from the Author xxi

 Acknowledgments
“’Tis the good reader,” said Ralph Waldo Emerson, “that makes the good book.” I have been
fortunate to have very good readers indeed, and I would like to thank the reviewers and
other contributors for their expertise and recommendations.
In addition, I would like to express my gratitude to the students at the University of
Wisconsin whose speeches provided the material for many of the examples in the book. I
am grateful as well to the teaching staff of Communication Arts 100 and especially to Sarah
Jedd, assistant course director, for her splendid work in that capacity and for her unerring
insights about the book and its pedagogy.
Thanks go to Ann Weaver for her work on the Instructor’s Manual and the Test Bank; to
Jennifer Cochrane for her generous advice about the online speaking chapter, as well as for
her supplement on using The Art of Public Speaking in an online course; and to Michael
Trevis for his help with the figures in Chapter 19. Kim Berry, Sue Zaeske, KC Councilor,
Tim Pierce, Diane Reid, Margaret Procario, and Joan Cartwright offered valuable counsel.
I am appreciative to Shanna Peeples for permission to print her speech accepting the
National Teacher of the Year Award, which appears in Chapter 18. Josh Shipp, whose
inspiring story opens Chapter 1, granted permission to use the photograph of him that
appears there; Megan Bate, of Brilliant Partners, facilitated the approval process. Karyn
Morrison helped track down textual sources. Jen Richards did a superb job of photo
research.
Above all, I am indebted to Paul Stob, who has worked with me in various capacities on
four editions of the book and has become indispensable to its success. Over time, he has
become more and more a collaborator, as opposed to a contributor, and with this edition his
name is, fittingly, on the title page.
I have been fortunate to work with many talented and dedicated people at McGraw-
Hill. Sarah Remington joined the book in this edition and provided astute editorial direc-
tion. Betty Chen skillfully juggled a mass of details and kept the entire project on track.
Marianne Musni expertly managed the production process. Esther Go, Briana Porco,
­Danielle Clement, Tim Coté, Carrie Burger, Egzon Shaqiri, and Jamie LaFerrara all made
valuable contributions. Laura Young has been indefatigable as the book’s marketing man-
ager. I would be remiss if I did not also thank Mike Ryan, David Patterson, and Mary Ellen
­Curley for their executive support and direction.
As always, my biggest debt is to my wife, Patty, whose love and support have sustained
me through the years. There might be an Art of Public Speaking without her, but there would
be no one with whom to share it.
Stephen E. Lucas
Madison, Wisconsin

xxii
Reviewers, Contributors,
and Symposia Participants
Darlene Earley Andrews, Southern Union State Community College
Valerie Balkun, Johnson & Wales University
Ray Bell, Calhoun Community College
Shannon Bowden, Mississippi Valley State University
Lynn Bower, Ohio University
Kathleen E. Bruce, San Joaquin Delta College
Paula Casey, Colorado Mesa University
Nancy Fisher, Ohio State University
Jennifer Foster, University of Central Oklahoma
Jeffrey Fox, Northern Kentucky University
Lakesha Jefferson, South Suburban College
Keri Keckley, Crowder College
Samuel Lawrence, University of Central Oklahoma
Charity Lyon, Northwestern Oklahoma State University
Libby McGlone, Columbus State Community College
Shellie Michael, Volunteer State Community College
Hanna Newman, Minnesota State University
Kimberly OmniEssence, Milwaukee Area Technical College
Maggie Price, Minneapolis Community and Technical College
Susan Rabideau, University of Wisconsin
Nancy Riecken, Ivy Tech Community College
Haydee Serna-Masters, Grand Canyon University
Christine Shaw, Ohio University
Toni Shields, Ivy Tech Community College
Theresa White, Coastal Alabama Community College
Cheryl Wilson, Harrisburg Area Community College
Roberta Zetocha, Southeast Community College

Acknowledgments xxiii
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 "How the poor devils must love it!" Sabron thought, and he blessed her
for her charity.

How familiar was her voice! But that was only because he was so ill.
But he began to wonder and to doubt, and across the distance came the
notes of the tune, the melody of the song that had haunted him for many
months:

"God keep you safe, my love,

All through the night;
Rest close in His encircling arms
Until the light.
My heart is with you as I kneel to pray,
Good night! God keep you in His care alway.

"Thick shadows creep like silent ghosts

About my head;
I lose myself in tender dreams
While overhead
The moon comes stealing through the window-bars,
A silver sickle gleaming 'mid the stars.

"For I, though I am far away,

Feel safe and strong,
To trust you thus, dear love—and yet,
The night is long.
I say with sobbing breath the old fond prayer,
Good night! Sweet dreams! God keep you everywhere!"

When she had finished singing there were tears on the soldier's cheeks
and he was not ashamed. Pitchouné, who remembered the tune as well,
crept up to him and laid his head on his master's hand. Sabron had just time
to wipe away the tears when the Duc de Tremont came in.

"Old fellow, do you feel up to seeing Miss Redmond for a few

moments?"
 * * * * * *
*

When she came in he did not know whether he most clearly saw her
simple summer dress with the single jewel at her throat, her large hat that
framed her face, or the gentle lovely face all sweetness and sympathy. He
believed her to be the future Duchesse de Tremont.

"Monsieur de Sabron, we are all so glad you are getting well."

"Thank you, Mademoiselle."

He seemed to look at her from a great distance, from the distance to the
end of which he had so wearily been traveling. She was lovelier than he had
dreamed, more rarely sweet and adorable.

"Did you recognize the little song, Monsieur?"

"It was good of you to sing it."

"This is not the first time I have seen you, Monsieur de Sabron. I came
when you were too ill to know of it."

"Then I did not dream," said the officer simply.

He was as proud as he was poor. He could only suppose her engaged to

the Duc de Tremont. It explained her presence here. In his wildest dreams
he could not suppose that she had followed him to Africa. Julia, on her part,
having done an extraordinary and wonderful thing, like every brave woman,
was seized with terror and a sudden cowardice. Sabron, after all, was a
stranger. How could she know his feelings for her? She spent a miserable
day. He was out of all danger; in a fortnight he might leave the hospital. She
did not feel that she could see him again as things were. The Comtesse de la
Maine had returned to Paris as soon as Tremont came in from the desert.

"Ma tante," said Julia Redmond to the Marquise d'Esclignac, "can we

go back to France immediately?"
 "My dear Julia!" exclaimed her aunt, in surprise and delight. "Robert
will be enchanted, but he would not be able to leave his friend so soon."

"He need not," said the girl, "nor need you leave unless you wish."

The Marquise d'Esclignac entertained a thousand thoughts. She had not

studied young girls' minds for a long time. She had heard that the modern
American girl was very extreme and she held her in rather light esteem.
Julia Redmond she had considered to be out of the general rule. "Was it
possible," she wondered, "that Julia, in comparing Tremont with the invalid,
found Robert more attractive?"

"Julia," she said severely, as though her niece were a child, pointing to a
chair, "sit down."

Slightly smiling, the young girl obeyed her aunt.

"My dear, I have followed your caprices from France to Africa. Only by
pleading heart-failure and mortal illness could I dissuade you from going
into the desert with the caravan. Now, without any apparent reason, you
wish to return to France."

"The reason for coming here has been accomplished, ma tante.

Monsieur de Sabron has been found."

"And now that you have found him," said the marquise reproachfully,
"and you discover that he is not all your romantic fancy imagined, you are
going to run away from him. In short, you mean to throw him over."

"Throw him over, ma tante!" murmured the girl. "I have never had the
chance. Between Monsieur de Sabron and myself there is only friendship."

"Fiddlesticks!" said the Marquise d'Esclignac impatiently. "I have no

understanding of the modern young girl. She makes her own marriages and
her subsequent divorces. I am your aunt, my dear, your mother's sister, and
a woman of at least twenty-five years' more experience than you have."
 Julia was not following her aunt's train of thought, but her own. She felt
the hint of authority and bondage in her aunt's tone and repeated:

"I wish to leave Algiers to-morrow."

"You shall do so," said her aunt. "I am rejoiced to get out of the Orient.
It is late to order my dresses for Trouville, but I can manage. Before we go,
however, my dear, I want you to make me a promise."

"A promise, ma tante?" The girl's tone implied that she did not think she
would give it.

"You have played the part of fate in the life of this young man, who, I
find, is a charming and brave man. Now you must stand by your guns, my
dear Julia."

"Why, how do you mean, ma tante?"

"You will go to Paris and the Capitaine de Sabron will get well rapidly.
He will follow you, and if it were not for Tremont, myself, your Red Cross
Society and the presence here of Madame de la Maine, you would have
been very much compromised. But never mind," said the Marquise
d'Esclignac magnificently, "my name is sufficient protection for my niece. I
am thinking solely of the poor young man."

"Of Monsieur de Sabron?"

"Of course," said the Marquise d'Esclignac tartly, "did you think I meant
Robert? You have so well arranged his life for him, my dear."

"Ma tante," pleaded the girl.

The marquise was merciless.

"I want you to promise me, Julia, before you sail for home, that if
Sabron follows us and makes you to understand that he loves you, as he
will, that you will accept him."
 Julia Redmond looked at the Marquise d'Esclignac in astonishment. She
half laughed and she half cried.

"You want me to promise?"

"I do," said her aunt firmly, regarding her niece through her lorgnon. "In
the first place the affair is entirely unconventional and has been since we
left France. It is I who should speak to the Capitaine de Sabron. You are so
extremely rich that it will be a difficult matter for a poor and honorable
young man.... Indeed, my dear, I may as well tell you that I shall do so
when we reach home."

"Oh," said the girl, turning perfectly pale and stepping forward toward
her aunt, "if you consider such a thing I shall leave for America at once."

The Marquise d'Esclignac gave a petulant sigh.

"How impossible you are, Julia. Understand me, my dear, I do not want
a woman of my family to be a coquette. I do not want it said that you are an
American flirt—it is in bad taste and entirely misunderstood in the
Faubourg St.-Germain."

The girl, bewildered by her aunt's attitude and extremely troubled by the
threat of the marriage convention, said:

"Don't you understand? In this case it is peculiarly delicate. He might

ask me from a sense of honor."

"Not in any sense," said the Marquise d'Esclignac. "It has not occurred
to the poor young officer to suppose for a moment that a young woman with
millions, as you are so fortunate to be, would derange herself like this to
follow him. If I thought so I would not have brought you, Julia. What I have
done, I have done solely for your peace of mind, my child. This young man
loves you. He believes that you love him, no doubt. You have given him
sufficient reason, heaven knows! Now," said her aunt emphatically, "I do
not intend that you should break his heart."
 It was more than likely that the Marquise d'Esclignac was looking back
twenty-five years to a time, when as a rich American, she had put aside her
love for a penniless soldier with an insignificant title. She remembered how
she had followed his campaign. She folded her lorgnon and looked at her
niece. Julia Redmond saw a cloud pass over her aunt's tranquil face. She put
her arms around her and kissed her tenderly.

"You really think then, ma tante, that he will come to Paris?"

"Without a doubt, my dear."

"You think he cares, ma tante?"

Her aunt kissed her and laughed.

"I think you will be happy to a bourgeois extent. He is a fine man."

"But do I need to promise you?" asked the girl. "Don't you know?"

"I shall be perfectly ashamed of you," said the Marquise d'Esclignac, "if
you are anything but a woman of heart and decision in this matter."

Evidently she waited, and Julia Redmond, slightly bowing her lovely
head in deference to the older lady who had not married her first love, said
obediently:

"I promise to do as you wish, ma tante."

CHAPTER XXVI

CONGRATULATIONS
 The Duc de Tremont saw what splendid stuff the captain in the ——
Cavalry was made of by the young man's quick convalescence. Sabron
could not understand why Robert lingered after the departure of the
Marquise d'Esclignac, the Comtesse de la Maine and Miss Redmond. The
presence of the young man would have been agreeable if it had not been for
his jealously and his unhappiness.

They played piquet together. Sabron, in his right mind, thinner and
paler, nevertheless very much of a man, now smoked his cigarettes and ate
his three meals a day. He took a walk every day and was quite fit to leave
the Orient. Tremont said:

"I think, Sabron, that we can sail this week."

Sabron looked at him questioningly.

"You are going, then, too—?"

"Of course," said the young nobleman heartily. "We are going together.
You know I am going to take you back in my yacht."

Sabron hesitated and then said:

"No, mon vieux, if you will excuse me I think I shall remain faithful to
the old line of travel. I have an idea that I am not in yachting trim."

Tremont was not too dull to have noticed his friend's change of attitude
toward him. He smoked for a few moments and then said:

"When we get back to Paris I want to have the pleasure of introducing

you to my fiancée."

Sabron dropped his cards.

"Introducing me!" he repeated. Then putting out his hand, said

cordially: "I knew you were to be felicitated, old fellow."

Tremont shook his hand warmly.

 "Yes, and the lady is very anxious to know you. It is Madame de la
Maine."

A very warm color flushed the cheeks of the invalid. He remembered all
he had heard and all he had known. He congratulated his friend with sincere
warmth, and after a few moments said:

"If you really want me to go back with you on the yacht, old chap—"

"I really do," said Tremont serenely. "You see, when we came on the
boat we scarcely hoped to be so fortunate as to bring back the distinguished
captain."

Sabron smiled.

"But you have not told me yet," he said, "why you came down."

"No," said Tremont, "that is true. Well, it will make a story for the sea."

CHAPTER XXVII

VALOR IN RETROSPECT

In the month of May, when the chestnuts bloom in the green dells,
where the delicate young foliage holds the light as in golden cups, a young
man walked through one of the small allées of the Bois at the fashionable
noon hour, a little reddish dog trotting at his heels. The young man walked
with an imperceptible limp. He was thin as men are thin who have lived
hard and who have overcome tremendous obstacles. He was tanned as men
are browned who have come from eastern and extreme southern countries.

The little dog had also an imperceptible limp occasioned by a bicycle

running over him when he was a puppy.
 The two companions seemed immensely to enjoy the spring day. Sabron
every now and then stood for a few moments looking into the green of the
woods, looking at the gay passers-by, pedestrians and equestrians, enjoying
to the full the repose of civilization, the beauty of his own land.

Pitchouné looked with indifference upon the many dogs. He did not stir
from his master's side. When Sabron was quiet, the little animal stood at
attention; he was a soldier's dog. He could have told dog stories to those
insignificant worldly dogs—could have told of really thrilling adventures.
His brown eyes were pathetic with their appeal of affection as they looked
up at his beloved master. He had a fund of experience such as the poodles
and the terriers led by their owners, could not understand. Therefore
Pitchouné was indifferent to them. Not one of those petted, ridiculous house
dogs could have run for miles in the dark across an African desert, could
have found the regiment and fetched relief to his master. Pitchouné was
proud of it. He was very well satisfied with his career. He was still young;
other deeds of valor perhaps lay before him—who can tell? At any rate, he
had been shown about at the ministry of war, been very much admired, and
he was a proud animal.

When Sabron spoke to him he leaped upon him and wagged his tail.
After a few moments, as the two stood near the exit of an allée leading to
one of the grand avenues, Pitchouné slowly went in front of his master and
toward two ladies sitting on a bench in the gentle warmth of the May
sunlight. Pitchouné, moved from his usual indifference, gave a short bark,
walked up to the ladies, and began to snuff about their feet. The younger
lady exclaimed, and then Sabron, lifting his hat, came forward, the crimson
color beating in his dark tanned cheeks.

The Marquise d'Esclignac held out both hands to the officer:

"It's nearly noon," she said, "and you don't forget that you have
promised to lunch with us, do you, Monsieur le Capitaine?"

Sabron, bending over her hand, assured her that he had not forgotten.
Then his eyes traveled to her companion. Miss Redmond wore a very
simple dress, as was her fashion, but the young officer from Africa who had
not seen her near by until now and who had only caught a glimpse of her
across the opera-house, thought that he had never seen such a beautiful
dress in all his life. It was made of soft gray cloth and fitted her closely, and
in the lapel of her mannish little buttonhole she wore a few Parma violets.
He recognized them. They had come from a bunch that he had sent her the
night before. He kissed her hand, and they stood talking together, the three
of them, for a few moments, Pitchouné stationing himself as a sentinel by
Miss Redmond's side.

The Marquis d'Esclignac rose. The young girl rose as well, and they
walked on together.

"Mes enfants," said the Marquise d'Esclignac, "don't go with your usual
rush, Julia. Remember that Monsieur de Sabron is not as strong as Hercules
yet. I will follow you with Pitchouné."

But she spoke without knowledge of the dog. Now feeling that some
unwonted happiness had suddenly burst upon the horizon that he knew,
Pitchouné seemed suddenly seized with a rollicking spirit such as had been
his characteristic some years ago. He tore like mad down the path in front
of Sabron and Miss Redmond. He whirled around like a dervish, he dashed
across the road in front of automobiles, dashed back again, springing upon
his master and whining at the girl's feet.

"See," said Sabron, "how happy he is."

"I should think he would be happy. He must have a knowledge of what

an important animal he is. Just think! If he were a man they would give him
a decoration."

And the two walked tranquilly side by side.

Pitchouné ran to the side of the road, disappeared into a little forest all
shot through with light. He came back, bringing the remains of an old
rubber ball lost there by some other dog, and laid it triumphantly in front of
Miss Redmond.

"See," said Sabron, "he brings you his trophies."

 CHAPTER XXVIII

HAPPINESS

Le Comte de Sabron finished his dressing.

Brunet surveyed his master from the tip of his shining boots to his sleek
fair head. His expressive eyes said: "Monsieur le Capitaine is looking well
to-night."

Brunet had never before given his master a direct compliment. His eyes
only had the habit of expressing admiration, and the manner in which he
performed his duties, his devotion, were his forms of compliment. But
Sabron's long illness and absence, the fact that he had been snatched from
death and given back to the army again, leveled between servant and master
the impassable wall of etiquette.

"There will be a grand dinner to-night, will there not, Monsieur le

Capitaine? Doubtless Monsieur le Colonel and all the gentlemen will be
there." Brunet made a comprehensive gesture as though he comprised the
entire état major.

Sabron, indeed, looked well. He was thin, deeply bronzed by the

exposure on the yacht, for he and Tremont before returning to France had
made a long cruise. Sabron wore the look of a man who has come back
from a far country and is content.

"And never shall I forget to the end of my days how Monsieur le

Capitaine looked when I met the yacht at Marseilles!"

Brunet spoke reverently, as though he were chronicling sacred

souvenirs.
 "I said to myself, you are about to welcome back a hero, Brunet!
Monsieur le Capitaine will be as weak as a child. But I was determined that
Monsieur le Capitaine should not read my feelings, however great my
emotion."

Sabron smiled. At no time in his simple life did Brunet ever conceal the
most trifling emotion—his simple face revealed all his simple thoughts.
Sabron said heartily: "Your control was very fine, indeed."

"Instead of seeing a sick man, Monsieur le Capitaine, a splendid-

looking figure, with red cheeks and bright eyes came off the boat to the
shore. I said to myself: 'Brunet, he has the air of one who comes back from
a victory.' No one would have ever believed that Monsieur le Capitaine had
been rescued from captivity."

Brunet's curiosity was very strong and as far as his master was
concerned he had been obliged to crush it down. To himself he was saying:
"Monsieur le Capitaine is on the eve of some great event. When will he
announce it to me? I am sure my master is going to be married."

Pitchouné, from a chair near by, assisted at his master's toilet, one
moment holding the razor-strop between his teeth, then taking the clothes
brush in his little grip. He was saying to himself: "I hope in the name of rats
and cats my master is not going out without me!"

Brunet was engaged to be married to the kitchen maid of the Marquise

d'Esclignac. Ordonnances and scullions are not able to arrange their
matrimonial affairs so easily as are the upper classes.

"Monsieur le Capitaine," said the servant, his simple face raised to his
master's, "I am going to be married."

Sabron wheeled around: "Mon brave Brunet, when?"

Brunet grinned sheepishly.

"In five years, Monsieur le Capitaine," at which the superior officer

laughed heartily.
 "Is she an infant, are you educating her?"

"When one is the eldest son of a widow," said Brunet with a sigh, "and
the eldest of ten children—"

The clock struck the quarter. Sabron knew the story of the widow and
ten children by heart.

"Is the taxi at the door?"

"Yes, Monsieur le Capitaine."

Pitchouné gave a sharp bark.

"You are not invited," said his master cruelly, and went gaily out, his
sword hitting against the stairs.

* * * * * *
*

The Marquise d'Esclignac gave a brilliant little dinner to the colonel of

Sabron's squadron. There were present a general or two, several men of
distinction, and among the guests were the Duc de Tremont and Madame de
la Maine. Sabron, when he found himself at table, looked at everything as
though in a dream. Julia Redmond sat opposite him. He had sent her
flowers and she wore them in her bodice. Madame de la Maine bent upon
the young officer benignant eyes, the Duc de Tremont glanced at him
affectionately, but Sabron was only conscious that Julia's eyes did not meet
his at all.

They talked of Sabron's captivity, of the engagement in Africa, of what

the army was doing, would not do, or might do, and the fact that the Duc de
Tremont was to receive the decoration of the Legion of Honor in July.
Tremont toasted Sabron and the young officer rose to respond with flushing
face. He looked affectionately at his friend who had brought him from death
into life. The moment was intense, and the Marquise d'Esclignac lifted her
glass:
 "Now, gentlemen, you must drink to the health of Pitchouné."

There was a murmur of laughter. Madame de la Maine turned to Sabron:

"I have had a collar made for Pitchouné; it is of African leather set with
real turquoise."

Sabron bowed: "Pitchouné will be perfectly enchanted, Madame; he

will wear it at your wedding."

* * * * * *
*

Later, when the others had left them to themselves in the music-room,
Sabron sat in a big chair by the open window and Julia Redmond played to
him. The day was warm. There was a smell of spring flowers in the air and
the vases were filled with girofles and sweet peas. But Sabron smelt only
the violets in Julia's girdle. Her hands gently wandered over the keys,
finding the tune that Sabron longed to hear. She played the air through, and
it seemed as though she were about to sing the first verse. She could not do
so, nor could she speak.

Sabron rose and came over to where she sat.

There was a low chair near the piano and he took it, leaning forward, his
hands clasped about his knees. It had been the life-long dream of this
simple-hearted officer that one day he would speak out his soul to the
woman he loved. The time had come. She sat before him in her
unpretentious dress. He was not worldly enough to know it cost a great
price, nor to appreciate that she wore no jewels—nothing except the flowers
he had sent. Her dark hair was clustered about her ears and her beautiful
eyes lost their fire in tenderness.

"When a man has been very close to death, Mademoiselle, he looks

about for the reason of his resurrection. When he returns to the world, he
looks to see what there is in this life to make it worth living. I am young—
at the beginning of my career. I may have before me a long life in which,
with health and friends, I may find much happiness. These things certainly
have their worth to a normal man—but I can not make them real before my
eyes just yet. As I look upon the world to which I have returned, I see
nothing but a woman and her love. If I can not win her for my wife, if I can
not have her love—" He made an expressive gesture which more
impressively than words implied how completely he laid down everything
else to her love and his.

He said, not without a certain dignity: "I am quite poor; I have only my
soldier's pay. In Normandy I own a little property. It is upon a hill and looks
over the sea, with apple orchards and wheat fields. There is a house. These
are my landed estates. My manhood and my love are my fortune. If you can
not return my love I shall not thank Tremont for bringing me back from
Africa."

The American girl listened to him with profound emotion. She

discovered every second how well she understood him, and he had much to
say, because it was the first time he had ever spoken to her of his love. She
had put out both her hands and, looking at him fully, said simply:

"Why it seems to me you must know how I feel—how can you help
knowing how I feel?"

* * * * * *
*

After a little he told her of Normandy, and how he had spent his
childhood and boyhood in the château overlooking the wide sea, told her
how he had watched the ships and used to dream of the countries beyond
the horizon, and how the apple-blossoms filled the orchards in the spring.
He told her how he longed to go back, and that his wandering life had made
it impossible for years.

Julia whispered: "We shall go there in the spring, my friend."

He was charming as he sat there holding her hands closely, his fine eyes
bent upon her. Sabron told her things that had been deep in his heart and
mind, waiting for her here so many months. Finally, everything merged into
his present life, and the beauty of what he said dazed her like an enchanted
sea. He was a soldier, a man of action, yet a dreamer. The fact that his hopes
were about to be realized made him tremble, and as he talked, everything
took light from this victory. Even his house in Normandy began to seem a
fitting setting for the beautiful American.

"It is only a Louis XIII château; it stands very high, surrounded by

orchards, which in the spring are white as snow."

"We shall go there in the spring," she whispered.

Sabron stopped speaking, his reverie was done, and he was silent as the
intensity of his love for her surged over him. He lifted her delicate hands to
his lips. "It is April now," he said, and his voice shook, "it is spring now, my
love."

* * * * * *
*

At Julia's side was a slight touch. She cried: "Pitchouné!" He put his
paws on her knees and looked up into her face.

"Brunet has brought him here," said Sabron, "and that means the good
chap is attending to his own love-making."

Julia laid her hand on Pitchouné's head. "He will love the Normandy
beach, Charles."

"He will love the forests," said Sabron; "there are rabbits there."

On the little dog's head the two hands met and clasped. "Pitchouné is the
only one in the world who is not de trop," said Julia gently.

Sabron, lifting her hand again to his lips, kissed it long, looking into her
eyes. Between that great mystery of the awakening to be fulfilled, they
drew near to each other—nearer.

Pitchouné sat before them, waiting. He wagged his tail and waited. No
one noticed him. He gave a short bark that apparently disturbed no one.
 Pitchouné had become de trop.

He was discreet. With sympathetic eyes he gazed on his beloved master

and new mistress, then turned and quietly trotted across the room to the
hearth-rug, sitting there meditatively for a few minutes blinking at the
empty grate, where on the warm spring day there was no fire.

Pitchouné lay down before the fireless hearth, his head forward on his
paws, his beautiful eyes still discreetly turned away from the lovers. He
drew a long contented breath as dogs do before settling into repose. His
thrilling adventures had come to an end. Before fires on the friendly hearth
of the Louis XIII château, where hunting dogs were carved in the stone
above the chimney, Pitchouné might continue to dream in the days to come.
He would hunt rabbits in the still forests above the wheat fields, and live
again in the firelight his great adventures on the desert, the long runs across
the sands on his journey back to France.

Now he closed his eyes. As a faithful friend he rested in the atmosphere

of happiness about him. He had been the sole companion of a lonely man,
now he had become part of a family.

THE END
 *** END OF THE PROJECT GUTENBERG EBOOK HIS LOVE
STORY ***

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