Nothing so frightens a person as the announcement that they are expected to respond to a toast on some appallingly near-by occasion. All ideas they may ever have had on the subject melt away and like a drowning man they clutch furiously at the nearest solid object.
Before making any specific suggestions to the prospective toaster or toastmaster, let us advise that they consider well the nature and spirit of the occasion which calls for speeches. The toast, after-dinner talk, or address is always given under conditions that require abounding good humor, and the desire to make everybody pleased and comfortable as well as to furnish entertainment should be uppermost.
Perhaps a consideration of the ancient custom that gave rise to the modern toast will help us to understand the spirit in which a toast should be given. It originated with the pagan custom of drinking to gods and the dead, which in Christian nations was modified, with the accompanying idea of a wish for health and happiness added. In England during the sixteenth century it was customary to put a "toast" in the drink, which was usually served hot. This toast was the ordinary piece of bread scorched on both sides. Shakespeare in "The Merry Wives of Windsor" has Falstaff say, "Fetch me a quart of sack and put a toast in't." Later the term came to be applied to the lady in whose honor the company drank, her name serving to flavor the bumper as the toast flavored the drink. It was in this way that the act of drinking or of proposing a health, or the mere act of expressing good wishes or fellowship at table came to be known as toasting.
Since an occasion, then, at which toasts are in order is one intended to promote good feeling, it should afford no opportunity for the exploitation of any personal or selfish interest or for anything controversial, or antagonistic to any of the company present. The effort of the toastmaster should be to promote the best of feeling among all and especially between speakers. And speakers should cooperate with the toastmaster and with each other to that end. The introductions of the toastmaster may, of course, contain some good-natured bantering, together with compliment, but always without sting. Those taking part may "get back" at the toastmaster, but always in a manner to leave no hard feeling anywhere. The toastmaster should strive to make his speakers feel at ease, to give them good standing with their hearers without overpraising them and making it hard to live up to what is expected of them. In short, let everybody boost good naturedly for
everybody else.
The toastmaster, and for that matter everyone taking part, should be carefully prepared. It may be safely said that those who are successful after-dinner speakers have learned the need of careful forethought. A practised speaker may appear to speak extemporaneously by putting together on one occasion thoughts and expressions previously prepared for other occasions, but the neophyte may well consider it necessary to think out carefully the matter of what to say and how to say it. Cicero said of Antonius, "All his speeches were, _in appearance_, the unpremeditated effusion of an honest heart; and yet, in reality, they were _preconceived with so much skill_ that the judges were not so well prepared as they should have been to withstand the force of them!"
After considering the nature of the occasion and getting himself in harmony with it, the speaker should next consider the relation of his particular subject to the occasion and to the subjects of the other speakers. He should be careful to hold closely to the subject allotted to him so that he will not encroach upon the ground of other speakers. He should be careful, too, not to appropriate to himself any of their time. And he should consider, without vanity and without humility, his own relative importance and govern himself accordingly. We have all had the painful experience of waiting in impatience for the speech of the evening to begin while some humble citizen made "a few introductory
remarks."
In planning his speech and in getting it into finished form, the toaster will do well to remember those three essentials to all good composition with which he struggled in school and college days, Unity, Mass and Coherence. The first means that his talk must have a central thought, on which all his stories, anecdotes and jokes will have a bearing; the second that there will be a proper balance between the parts, that it will not be all introduction and conclusion; the third, that it will hang together, without awkward transitions. A toast may consist, as Lowell said, of "a platitude, a quotation and an anecdote," but the toaster must exercise his ingenuity in putting these together.
In delivering the toast, the speaker must of course be natural. The after-dinner speech calls for a conversational tone, not for oratory of voice or manner. Something of an air of detachment on the part of the speaker is advisable. The humorist who can tell a story with a straight face adds to the humorous effect.
Now we are going to add a special paragraph for the absolutely inexperienced person--who has never given, or heard anyone else give, a toast. It would seem hardly possible in this day of banquets to find an individual who has missed these occasions entirely--but he is to be found. Especially is this true in a world where toasting and after-dinner speaking are coming to be more and more in demand at social functions--the college world. Here the young man or woman, coming from a country town where the formal banquet is unknown, who has never heard an after-dinner speech, may be confronted with the necessity of responding to a toast on, say "Needles and Pins." Such a one would like to be told first of all what an after-dinner speech is. It is only a short, informal talk, usually witty, at any rate kindly, with one central idea and a certain amount of illustrative material in the way of anecdotes, quotations and stories. The best advice to such a speaker is: Make your first effort simple. Don't be over ambitious. If, as was suggested in the example cited a moment ago, the subject is fanciful--as it is very apt to be at a college banquet--any interpretation you choose to put upon it is allowable. If the interpretation is ingenious, your case is already half won. Such a subject is in effect a challenge. "Now, let's see what you can make of this," is what it implies. First get an idea; then find something in the way of illustrative material. Speak simply and naturally and sit down and watch how the others do it. Of course the subject on such occasions is often of a more serious nature--Our Class; The Team; Our President--in which case a more serious treatment is called for, with a touch of honest pride and sentiment.
To sum up what has been said, with borrowings from what others have said on the subject, the following general rules have been formulated:
_Prepare carefully_. Self-confidence is a valuable possession, but beware of being too sure of yourself. Pride goes before a fall, and overconfidence in his ability to improvise has been the downfall of many a would-be speaker. The speaker should strive to give the effect of spontaneity, but this can be done only with practice. The toast calls for the art that conceals art.
_Let your speech have unity_. As some one has pointed out, the after-dinner speech is a distinct form of expression, just as is the short story. As such it should give a unity of impression. It bears something of the same relation to the oration that the short story does
to the novel.
_Let it have continuity_. James Bryce says: "There is a tendency today to make after-dinner speaking a mere string of anecdotes, most of which may have little to do with the subject or with one another. Even the best stories lose their charm when they are dragged in by the head and shoulders, having no connection with the allotted theme. Relevance as
well as brevity is the soul of wit."
_Do not grow emotional or sentimental_. American traditions are largely borrowed from England. We have the Anglo-Saxon reticence. A parade of emotion in public embarrasses us. A simple and sincere expression of feeling is often desirable in a toast--but don't overdo it.
_Avoid trite sayings_. Don't use quotations that are shopworn, and avoid the set forms for toasts--"Our sweethearts and wives--may they never meet," etc.
_Don't apologise_. Don't say that you are not prepared; that you speak on very short notice; that you are "no orator as Brutus is." Resolve to do your best and let your effort speak for itself.
_Avoid irony and satire_. It has already been said that occasions on which toasts are given call for friendliness and good humor. Yet the temptation to use irony and satire may be strong. Especially may this be true at political gatherings where there is a chance to grow witty at the expense of rivals. Irony and satire are keen-edged tools; they have their uses; but they are dangerous. Pope, who knew how to use them, said:
Satire's my weapon, but I'm too discreet
To run amuck and tilt at all I meet.
_Use personal references sparingly_. A certain amount of good-natured chaffing may be indulged in. Yet there may be danger in even the most kindly of fun. One never knows how a jest will be taken. Once in the early part of his career, Mark Twain, at a New England banquet, grew funny at the expense of Longfellow and Emerson, then in their old age and looked upon almost as divinities. His joke fell dead, and to the end of his life he suffered humiliation at the recollection.
_Be clear_. While you must not draw an obvious moral or explain the point to your jokes, be sure that the point is there and that it is put in such a way that your hearers cannot miss it. Avoid flights of rhetoric and do not lose your anecdotes in a sea of words.
_Avoid didacticism_. Do not try to instruct. Do not give statistics and figures. They will not be remembered. A historical resume of your subject from the beginning of time is not called for; neither are well-known facts about the greatness of your city or state or the prominent person in whose honor you may be speaking. Do not tell your hearers things they already know.
_Be brief_. An after-dinner audience is in a particularly defenceless position. It is so out in the open. There is no opportunity for a quiet nod or two behind a newspaper or the hat of the lady in front. If you bore your hearers by overstepping your time politeness requires that they sit still and look pleased. Spare them. Remember Bacon's advice to the speaker: "Let him be sure to leave other men their turns to speak."
But suppose you come late on the program! Suppose the other speakers have not heeded Bacon? What are you going to do about it? Here is a story that James Bryce tells of the most successful after-dinner speech he remembers to have heard. The speaker was a famous engineer, the occasion a dinner of the British Association for the Advancement of Science. "He came last; and midnight had arrived. His toast was Applied Science, and his speech was as follows: 'Ladies and gentlemen, at this late hour I advise you to illustrate the Applications of Science by applying a lucifer match to the wick of your bedroom candle. Let us all go to bed'."
If you are capable of making a similar sacrifice by cutting short your own carefully-prepared, wise, witty and sparkling remarks, your audience will thank you--and they may ask you to speak again.
Bottom's Up!
Fran Watson
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