THE KING’S BUSINESS
621
lutely no acquaintance, and~of which they • doubtless had never heard. The result was tedious in the extreme. The audience was listless, restless, and sleepy. When, how ever, at the close of his sermon he referred them, l o f illustration, to the life-giving power that lay inherent in the seed, the restored and keen interest was very mani fest. Be sure your illustrations are under stood by your audience. Let them spring from their level, from their memory, their experiences, their familiar observations, since illustrations drawn from_ a region remote from their actual life meet with no response. James Gordon Bennett, as the story goes, once drew an editorial writer, who prided himself on writing for edu cated men, to the window of the Herald office, saying, “Do you see those people down there on Broadway?” “Yes,” said the writer. “Well,” said Bennett, “I want you to write for those men down there.” Consider your audience, and then talk to “those people.” Find your illustration where you can; but be sure it finds them. It will, if you get their viewpoint and see what they are needing. 4 . Do Not Lie in Illustrations. Do. not use illustrations from the lives of other men and say they occurred in your own experience. That is lying; lying does not redound to the' glory of God; and “All liars shall have their part in the lake which burneth with fire and- brimstone.” “All liars”—that means lying preachers, too. 5 . Never Make a Point for the Sake of Telling a Story. Such a practice may be admissible in an after-dinner -speech, but is strictly' out of place in a gospel message. An architect on being advised to use certain decorations said it would violate the first rule of architec ture. He replied: “We must never con struct. ornament, but only ornament con struction.” 6 . Be sure-,.that the Illustration Illus trates. Ask yourself, “Does this story or illus tration throw light, on the subject Tor me; does it help me to understand the subject
better?” If it does not help you, it will not help your audience. If it throws'light upon the matter for you, it very likely will for the people to whom you speak. When you hold a light for anybody, it is usual to hold it so that you yourself can see by it. It is the rule, also, for effective illus tration. Be' sure that your illustration does not exclude the truth you are seeking to illustrate. 7- Do Not Use Too Many Illustrations. Usually one illustration for each point is sufficient If two are used for one point there is danger that they may neutralize each other. A second illustration should be used only when the first has failed to do its proper work. This is_sometimes nec essary. 8 . Know Your Illustration, and Know How to Tell It. Be sure you know your illustration as to nature and to fact. Know that it is, true. Not long ago a preacher used the following simile as setting forth power of influence : He said, “One drop of iodine will give a purple hue to a thousand gal lons of water.” A physician who was pres ent took the preacher to task after the ser mon for stating what was not true. Iodine, he claimed, had no such strength. Know how to tell a story. Many a good illustration has been spoiled by poor tell ing. To be able to tell a story well and effectively is quite an art. Special atten tion must be paid to details. Here are some borrowed suggestions on good story telling : See it. If you are to make others see it, you must see it yourself. You cannot make clear to others what is not perfectly clear to you. Feel it. If you are not moved by the illustration, how can you expect to move others ?by its recital ? Shorten it. Brevity is the soul of story telling. Short stories are in demand by the pulpit as well as by the press. The probabilities are that your illustration is too long. Expand it. If may be vëry meagre in the necessary background'; it may be
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