卡耐基演講·3.講出圍繞中心的細(xì)節(jié)

細(xì)節(jié)本身不具備趣味性。到處散置著家具和古董的房間不會好看，一幅圖畫滿是不相關(guān)的細(xì)物，也不能讓眼睛停留。同樣，太多無關(guān)緊要的細(xì)節(jié)，也會讓交談和當(dāng)眾演講成為無聊的耐力試驗。所以，你要只選用能強(qiáng)調(diào)你的講演重點和緣由的細(xì)節(jié)。如果你想告訴大家：在長途旅行前，應(yīng)先檢查車輛狀況，那么你應(yīng)該詳細(xì)講述旅行前因為沒有事先檢查車輛所發(fā)生的悲劇。但如果你去講怎樣觀賞風(fēng)景，或者抵達(dá)目的地后在什么地方過夜，就只會遮蓋重點，分散注意力。Detail, of itself, is not interesting. A room cluttered with furniture and bric-a-brac is not attractive. A picture filled with too many unrelated details does not compel the eyes to linger upon it. In the same way, too many details-unimportant details-make conversation and public speaking a boring test of endurance. The secret is to select only those details that will serve to emphasize the point and reason of the talk. If you want to get across the idea that your listeners should have their cars checked before going on a long trip, then all the details of your example step should be concerned with what happened to you when you failed to have your car checked before taking a trip. If you tell about how you enjoyed the scenery or where you stayed when you arrived at your destination, you will only succeed in clouding the point and dissipating attention.

但是，如果你圍繞你的話題重點，用細(xì)節(jié)來渲染你的故事，確實是最好的方法。它可以幫助你重現(xiàn)當(dāng)時的狀況，讓聽眾感覺歷歷在目。只說你從前曾因疏忽而發(fā)生意外，很難讓聽眾為此而小心駕車，這樣的方法是愚蠢而無趣的。如果把驚心動魄的經(jīng)驗轉(zhuǎn)化為語言，使用各種辭藻傳達(dá)你的感受，那么就能把這件事烙在聽眾的心里，他們也就相信了你的忠告。請看下面的實例，這是一個學(xué)生有關(guān)在寒冷冬天的路上，駕車要萬分小心的一段講演：But relevant detail, couched in concrete, colorful language, is the best way to recreate the incident as it happened and to picturize it for the audience. To say merely that you once had an accident because of negligence is bald, uninteresting, and hardly likely to move anyone to be more careful behind the wheel of a car. But to paint a word picture of your frightening experience, using the full range of multisensory phraseology, will etch the event upon the consciousness of the listeners. For instance, here is the way one class member developed an Example step that points up vividly the need for great caution on wintry roads:

“1949年，就在圣誕節(jié)前一天的早上，我在印第安納州41號公路上往北行駛，車中有我的妻子和兩個孩子。我們已經(jīng)沿著一段平滑如鏡的冰路緩慢地行駛了好幾個小時——稍稍觸及方向盤，便會讓我的福特車滑得一塌糊涂。時間就這樣一小時一小時慢慢地過去。I was driving north on Highway 41 in Indiana one morning just before Christmas, in 1949. In the car were my wife and two children. For several hours we had been creeping along on a sheet of mirror-like ice; the slightest touch on the steering wheel sent the rear of my Ford into a sickening slide. Few drivers got out of line or attempted to pass, and the hours seemed to creep as slowly as the cars.

“我們來到一處開闊的轉(zhuǎn)彎處。這兒的冰雪已經(jīng)開始融化了，所以我就踩上油門，想彌補(bǔ)失去的時間。其他的人也一樣，大家似乎都很匆忙，想第一個到達(dá)芝加哥。危險引起的緊張卸下了，孩子們也開始在后座唱起歌來。Then we came to an open stretch where the ice was melted by the sun and I stepped on the accelerator to make up for lost time. Other cars did the same. Everybody suddenly seemed in a hurry to get to Chicago first. The children began to sing in the back seat as the tension of danger subsided.

“汽車開始走上一段上坡路，進(jìn)了一處森林地帶。當(dāng)汽車急馳到坡頂時，突然我看到——可是太遲了——北邊的山坡因為沒有陽光，所以路面的結(jié)冰沒有融化，我們的車便打滑沖了出去。我們飛過路沿，完全失去了控制，然后落進(jìn)雪堆里，直立著。汽車的車門被撞碎了，落了我們一身碎玻璃?！盩he road suddenly went uphill and into a wooded area. As the speeding car reached the top I saw, too late, that the northern slope of the hill, still untouched by the sun's rays, was like a smooth river of ice. I had a fleeting glance of two wildly careening cars in front of us and then we went into a skid. Over the shoulder we went, hopelessly out of control, and landed in a snowbank, still upright; but the car that had been following us went into a skid, too, and crashed into the side of our car, smashing in the doors and showering us with glass.

這件事例中豐富的細(xì)節(jié)，很容易讓聽眾身臨其境。你就是要讓聽眾看到你所看到的，聽到你所聽到的，感覺到你所感覺到的。要做到這一點唯一的方法，就是使用豐富而具體的細(xì)節(jié)。如同第二部第一章里所指出的，講清楚時間、地點、人物、事件和發(fā)生的原因這五個要素來刺激聽眾的視覺想象。The abundance of detail in this example made it easy for the audience to project themselves into the picture. After all, your purpose is to make your audience see what you saw, hear what you heard, feel what you felt. The only way you can possibly achieve this effect is to use an abundance of concrete details. As was pointed out in Chapter Four, the task of preparation of a talk is a task of reconstructing the answers to the questions Who? When? Where? How? and Why? You must stimulate the visual imagination of your listeners by painting word pictures.