the story he had been trying to work in--a story wherein the eloquent man
was described as "one who could give seventeen good reasons for anything
under heaven." The story was a great success. In dumb show, the speaker he
referred to begged for mercy. This only delighted the audience still more,
and when the dull speaker finished it was admitted that, for once, he had
escaped being stupid or commonplace. He had also forced upon the next
speaker the necessity of removing the unpleasant effects of the jokes made
at his expense, a task that required all his cleverness.

The manner of introduction by the chairman, his name or general position,
the appearance of any one of the guests, the lateness or earliness of
the hour, events of the day that attract interest, the nature of the
entertainment or assemblage--all of these will offer good hooks by which
to draw in the story. But let the story be good and thoroughly mastered.
Of course the work of adaptation will be much easier if you have several
stories in reserve. A story must not be repeated so often that it becomes
known as belonging to you, for then a preceding speaker might get a laugh
on you by telling it as yours, leaving you bankrupt.

Jones and Smith once rode several miles in a carriage, together, to a town
where both were to make addresses. Jones was quite an orator; Smith had
a very retentive memory. Jones asked Smith about his speech, but Smith
professed not to have fully decided upon his topic, and in turn asked Jones
the same question. Jones gave a full outline of his speech, Smith getting
him to elaborate it by judicious inquiries as to how he would apply one
point and illustrate another. The ride thus passed pleasantly for both
parties. Smith was called upon to speak first, and gave with telling effect
what he had gathered from Jones, to the delight of everybody, but poor
Jones, who listened in utter consternation, and had not strength enough
left even to reclaim his stolen property.