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(huì)好看，一幅圖畫(huà)滿是不相關(guān)的細(xì)物，也不能讓眼睛停留。同樣，太多無(wú)關(guān)緊要的細(xì)節(jié)，也會(huì)讓交談和當(dāng)眾演講成為無(wú)聊的耐力試驗(yàn)。所以，你要只選用能強(qiáng)調(diào)你的講演重點(diǎn)和緣由的細(xì)節(jié)。如果你想告訴大家：在長(zhǎng)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?yàn)闆](méi)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(guò)夜，就只會(huì)遮蓋重點(diǎn)，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(diǎn)，用細(xì)節(jié)來(lái)渲染你的故事，確實(shí)是最好的方法。它可以幫助你重現(xiàn)當(dāng)時(shí)的狀況，讓聽(tīng)眾感覺(jué)歷歷在目。只說(shuō)你從前曾因疏忽而發(fā)生意外，很難讓聽(tīng)眾為此而小心駕車，這樣的方法是愚蠢而無(wú)趣的。如果把驚心動(dòng)魄的經(jīng)驗(yàn)轉(zhuǎn)化為語(yǔ)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(tīng)眾的心里，他們也就相信了你的忠告。請(qǐng)看下面的實(shí)例，這是一個(gè)學(xué)生有關(guān)在寒冷冬天的路上，駕車要萬(wàn)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(hào)公路上往北行駛，車中有我的妻子和兩個(gè)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(gè)小時(shí)——稍稍觸及方向盤，便會(huì)讓我的福特車滑得一塌糊涂。時(shí)間就這樣一小時(shí)一小時(shí)慢慢地過(guò)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(lái)到一處開(kāi)闊的轉(zhuǎn)彎處。這兒的冰雪已經(jīng)開(kāi)始融化了，所以我就踩上油門，想彌補(bǔ)失去的時(shí)間。其他的人也一樣，大家似乎都很匆忙，想第一個(gè)到達(dá)芝加哥。危險(xiǎn)引起的緊張卸下了，孩子們也開(kāi)始在后座唱起歌來(lái)。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(kāi)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(shí)，突然我看到——可是太遲了——北邊的山坡因?yàn)闆](méi)有陽(yáng)光，所以路面的結(jié)冰沒(méi)有融化，我們的車便打滑沖了出去。我們飛過(guò)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。”The 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(tīng)眾身臨其境。你就是要讓聽(tīng)眾看到你所看到的，聽(tīng)到你所聽(tīng)到的，感覺(jué)到你所感覺(jué)到的。要做到這一點(diǎn)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(shí)間、地點(diǎn)、人物、事件和發(fā)生的原因這五個(gè)要素來(lái)刺激聽(tīng)眾的視覺(jué)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.