Now about this "acting out," I would say that I mean not only the "playing the part" in your interviews with people, but I also mean an actual series of rehearsals in private, just as you would perform if you were preparing to play a part on the stage, in public. You must form a mental image of how you would look and act if you were filled with confidence, and were approaching people. You will find that practice will improve you very much in this way, and that you will soon acquire a manner that will be like second-nature and will really serve to give the suggestion of your manner to others with whom you come in contact. And, more than this, it will actually tend to build up confidence in yourself. Imagine yourself as approaching strange people, and then act out the part the best you know how, improving a little in ease, and smoothness of action each day. Think of how the actor on the stage impresses you - and then remember that the manner was acquired by constant practice, and work. And you may do the same, and may manage to impress other people just as the actor does you. And what is true in the case of "Confidence" is true regarding any character that you wish to play. Any and all characters may be played out in this way, and an appearance and manner acquired which will give the suggestion to others. I wish I could make you realize bow much there is in this method. If you could realize how some men have used it to acquire qualities that have enabled them to prey upon the public, you would realize how important it might be for you for legitimate and honorable use.

In this acting out, you must remember that the practice will make you so perfect that the part will appear natural when you play it in public. But without practice, an attempt to play it in public will make one ridiculous. Remember the illustration of the real actor, and you will have the secret of acting out. And also remember this, that in the measure that you "throw your mind" into the part, so will be your success. When you practice, you must throw your mind into the acting, just as you would if you were in earnest. It is the mind back of it all, remember.

The second suggestive channel or instrument is "the suggestive tone." This, too, may be acquired by acting out. You must practice until you are able to express your meaning with "feeling" that all who hear may be impressed. You should begin your practice by choosing some simple words in everyday use - "Good morning!" for instance. Try it now, and see how roughly, clumsily and crudely you give the morning greeting. Then try to imagine that you are full of good cheer, energy, and brightness, and then throw your feeling into your "good morning," and see how different it seems. Practice this awhile and you will soon acquire a natural, cheery, bright, and invigorating tone when you say "good morning." You will not need a teacher in elocution to tell you how to do this. Try to feel the part, and you will express it naturally. Make your feelings more flexible, and your tones will reflect them. After you have mastered the simpler terms of expression, work up to larger sentences, and speeches. Try them on the chairs in your room, in imagining that people are seated therein; speak to them feelingly and with expression until you acquire the art. You will not realize how much you may gain by such practice until you actually try it. I wish that you could hear the testimony of some people who have acquired this art.

There is nothing more important in personal influence than a good suggestive tone. Think of the people whom you know, and then remember what an influence their voices have on you. Not only the quality of the voice, hut the tone. You readily recognize the difference between the tone of the hesitating, timid, self-doubting person, and that of the confident, self-reliant individual. There is a subtle vibration about the tone of the latter that causes one to feel confidence and respect, and which exacts obedience in a quiet, calm way, devoid of bluster or rant

If you will but think a moment, you will see that much depends upon the tone. You will see that when you say to a person, "You caN!" the tone in which you say "cant" goes a long way toward producing the response. And so it is with the suggestive tone, no matter what it is made to express. It always impresses upon one that the speaker using it means what he says. And that is why many public men practice year after year in mastering this instrument of influence - the suggestive tone. Again would I refer you to the example of the actor - see how he manages to throw feeling into his tone. And you may do likewise, if you will but practice in earnest, and throw your mind into the work. Think of the thing you wish to express - visualize it - and then act it out in your tone. You will be surprised at the rapid progress that you will make. Remember always, though, the tone is but the instrument of expression of the mind hack of it.

Many people make the mistake of "speaking with the muscles instead of with their nerves," as one-writer has expressed it. In other words, they seem to throw muscular force into their tones, instead of nervous energy, and in so doing they make a great mistake, for the former has a dull, non-penetrating effect, whereas the latter vibrates subtly and reaches the feeling part of one's mind. Feel, feel, feel, when you wish to speak impressively, and your tones will reflect the same, and induce a corresponding feeling in others.

The voice is a mighty indicator of the mental state within. Excepting the eye, no outward form of expression of character responds so quickly and fully to the inner mental state as the voice. The voice and eye are the two principal outward avenues of expression of the mental states within, and both register the subtle changes and degrees of the inner state. If you will stop to think for a moment and consider the different voices of the people you know, you will see that in nearly every ease the voice gives one a clue to the character or prevailing mental states of the speaker. Not alone the quality of the voice but the tone. Every reader knows the difference between the tones of the hesitating, timid, self-doubting person, and that of the confident, self-reliant individual. In the tone of the latter there is noticeable that peculiar something that denotes power and authority, and inspires attention, interest and respect, without need of vulgar self-assertion or blustering speech. Let us listen to the tones of our dynamic individual.