I shall only add further on this head, that in order to succeed well in delivery, nothing is more necessary than for a speaker to guard against a certain flutter of spirits, which is peculiarly incident to those who begin to speak in public. He must endeavour, above all things, to be collected, and master of himself. For this end, he will find nothing of more use to him, than to study to become wholly engaged in his subject; to be possessed with a sense of its importance or seriousness; to be concerned much more to persuade than to please. He will generally please most, when pleasing is not his sole nor chief aim. This is the only rational and proper method of raising one's self above that timid and bashful regard to an audience, which is so ready to disconcert a speaker, both as to what he is to say, and as to his manner of saying it.

I cannot conclude, without an earnest admonition to guard against all affectation, which is the certain ruin of good delivery. Let your manner, whatever it is, be your own; neither imitated from another, nor assumed upon some imaginary model, which is unnatural to you. Whatever is native, even though accompanied with several defects, yet is likely to please; because it shows us a man; because it has the appearance of coming from the heart. Whereas a delivery, attended with several acquired graces and beauties, if it be not easy and free, if it betray the marks of art and affectation, never fails to disgust. To attain any extremely correct, and perfectly graceful delivery, is what few can expect; so many natural talents being requisite to concur in forming it. But to attain what as to the effect is very little inferior, a forcible and persuasive manner, is within the power of most persons; if they will only unlearn alse and corrupt habits; if they will allow themselves to follow nacure, and will speak in public, as they do in private, when they speak in earnest, and from the heart. If one has naturally any gross defects in his voice or gestures, he begins at the wrong end, if he attempts at reforming them only when he is to speak in public. He should begin with rectifying them in his private manner of speaking; and then carry to the public the right habit he has formed. For when a speaker is engaged in a public discourse, he should not be then employing his attention about his manner, or thinking of his tones and his gestures. If he be so employed, study and affectation will appear. He ought to be then quite in earnest; wholly occupied with his subject and his sentiments; leaving nature, and previously formed habits, to prompt and suggest his manner of delivery.

is, in the straight line up and down, which Shakspeare in Hamlet calls 'sawing the air with the hand,' are seldom good. Oblique motions are, in general, the most graceful. Too sudden and nimble motions should be likewise avoided. Earnestness can be fully expressed without them. Shakspeare's directions on this head, are full of good sense; 'use all gently,' says he, and in the very torrent and tempest of passion, acquire a temperance that may give it smoothness.'

QUESTIONS.

HAVING treated of several general is much more common, and why should heads relating to eloquence, to what it be guarded against? What is the does our author now proceed? What first thing to be studied by all who evidence have we hat Demosthenes begin to speak in public; and of it, laid great stress on this? Of what is what is observed? In what manner, there no wonder; and why? To what does it assist the voice; and what does may the management of the voice and it enable the speaker to do? What gesture, in public speaking, appear to other advantage has it; and what fo!superficial thinkers, to relate? How lows? After these fundamental attendoes it appear that this is far from be- tions to the pitch and management of ing the case? Whenever we address the voice, &c. what, in the fourth ourselves to others by words, what is place, must the speaker study? For our intention? Of the tone of our voice, what is this requisite? How, only, can our looks and gestures, what is here ob- instruction concerning this article, be served? What can we see? What ad-given? But here, what observations vantage has the signification of senti- may it be proper to make? How do ments, made by tones and gestures, many persons err in this respect? From above that made by words? So true is what mistaken notion does this arise? this, that to render words fully signifi- Whereas, what is the effect of this? cant, what is requisite; and what re-To treat of what, does our author marks follow? What two illustrations next proceed? Under what four heads, of these remarks are given? Repeat may these be comprised? To what is them. As it is needless to say any to be said concerning them, what is, more, in order to show the high impor-in general, premised? How is this illustance of a good delivery, to what does trated? By emphasis, what is meant? our author proceed? What are the How must the emphatic word somegreat objects which every public speak- times be distinguished? On the right er will naturally have in his eye, in management of the emphasis, what forming his delivery? On this subject, depends? How is this illustrated? What what are worthy of being consulted? simple rule is given; and repeat it? Of In order to be fully and easily under- the same thing, in solemn discourse, what stood, what are the four chief requi- is observed; and by what example is sites? What must, doubtless, be the this illustrated? In order to acquire the first attention of every public speaker; proper management of the emphasis, and what must he endeavour to do? what is the great rule; and why? It is Of this power of voice, what is remark- far from what? Of what is it one of ed? What three pitches has every man the greatest trials; and from what must to his voice; and define them? To it arise? How is this illustrated? In imagine what is a great mistake? This all prepared discourses, what practice is confounding what two different would be of great use? Were this atthings? How is this fully illustrated? tention oftener bestowed, what would As long as you keep within there be the consequence? Against what, bounds, what will be the consequence? are speakers at the same time, cautionBut what follows, when you transgressed? Why is this caution given; and them? What, also, is a useful rule in order to be well heard? How do we naturally, and mechanically, utter our words? As this is the case, in common conversation, in what will it also hold? But what must be remembered? In what manner does this extreme offend? In the next place, of distinctness of articulation, what is observed? What remark follows? In or ler to effect this, what must every public speaker do? In the third place, in order to articulate distinctly, what is requisite ; and why ? What need scarcely be observed ? What must render every discourse inipid and fatiguing? But what extreme

what remark follows? To crowd every page with emphatic words, is like what? Next to emphasis, what demand attention? These are, of what two kinds? When is an emphatic pause made? What effect have such pauses; and to what are they subject? For what reason? But what is the most frequent and principal use of the pauses; and of the proper and graceful adjustment of such pauses, what is observed? Why does the management of the breath, in all public speaking, require a good deal of attention? By what, is many a sentence iniserably mangled and the force of the emphasis totally

avoided?

ost? In what manner may this be have for its basis? What, at the same ime, must be observed? Whereas, What is a great mistake; and when what follows? In tones, what variety may it be easily gathered? What is will he have? What does the perfecone of the worst habits into which a tion of delivery require? Why is not public speaker can fall? Why should this perfection acquired by many? But the sense always rule the pauses of the what is the direction which ought voice? Upon what must pauses in never to be forgotten? It now remains public discourse be founded? Of the to treat of what? Of some nations, what general run of punctuation, what is ob- is observed, and what instances are served; and why? How is this remark mentioned? But what remark follows? illustrated? In all these cases, how are What is, therefore, unnatural and inwe to regulate ourselves? From what consistent in a public speaker? As to does the difficulty of reading poetry propriety of action, what is the fundaarise? Why is it no wonder that we mental rule? Of these looks and gesseldom meet with good readers of tures, what is observed? What manpoetry? What two kinds of pauses be- ner must a public speaker take, and long to the music of verse? With re- why? What kind of expression ought gard to the former, what is observed? his gestures and motions to carry; and In blank verse, what has been made a unless this is the case, what will be question? Of the reading of this verse impossible? Though nature must be on the stage, what is observed? But the ground-work, yet what is admitwhy were this improper on other oc-ted; and why? In what does the study casions? What, therefore, follows? At of action in public speaking, chiefly the same time, what should be guard- consist? For this end, what has been ed against? How is this illustrated? advised by writers on this subject? Of the other kinds of musical pause what But of what is our author afraid? is observed? In French heroic verse, What will be found of much greater where does this pause fall; and where advantage? With regard to particular may it fall in the English? When can rules, concerning action and gesticulathe line be read easily; and what ex- tion, what is observed? On this head, ample is given? When do we feel a sort what further is added? Above all of struggling between the sense and the things, what must he endeavour? For sound; and what is its effect? In such this end, what will he find of the cases, what is the rule for pronuncia- greatest use to him? When will he tion? What remark follows; and by generally please most? For what is what example is it illustrated? How is this the only rational and proper me this principle further illustrated from a thod? Without what admonition, canline of Mr. Pope's? To what does our not our author conclude? What remark author next proceed; and of them what follows? Why is whatever is native, is observed? From what consideration likely to please? Whereas, what deliwill the extent to which the propriety, very never fails to disgust us? What force, and grace of discourse, depend can few expect; and why? What reon these, appear? How is this remark mark follows? What is observed of one illustrated? What is the greatest, and who has naturally any gross defect in most material instruction which can be his voice or gestures? How should he given for this purpose? When has begin; and why? If he be so employevery man an eloquent or persuasive ed, what will be the consequence? How tone and manner? What is the reason ought he then to appear? of our being often so frigid and unpersuasive in public discourse; and to imagine what, is an absurdity? What has been the effect of this? How is this further illustrated? Of these conversational tones, what has been said? In a formal, studied oration, to what does the elevation of the style, and the harnony of the sentences, almost necessarily prompt? To what manner does this give rise? Though this mode of pronunciation was considerably beyond onary discourse, yet what must it

ANALYSIS.

The delivery of a discourse.

1. A due degree of loudness.
2. Distinctness of articulation.
3. Moderation in pronunciation.
4. Propriety of pronunciation.

Requisites for pleasing.,
1. Attention to emphasis.
2. Attention to paused.
A. Emphatical pause.
B. Casural pause.
3. Attention to tones.
4. Attention to action.

A. All affectation to be guarded agains

LECTURE XXXIV.

MEANS OF IMPROVING IN ELOQUENCE.

I HAVE now treated fully of the different kinds of public speaking, of the composition, and of the delivery of a discourse. Before I finish this subject, it may be of use to suggest some things coneerning the proper means of improvement in the art of public speaking, and the most necessary studies for that purpose.

To be an eloquent speaker, in the proper sense of the word, is far from being either a common or an easy attainment. Indeed, to compose a florid harangue on some popular topic, and to deliver it so as to amuse an audience, is a matter not very difficult. But though some praise be due to this, yet the idea which I have endeavoured to give of eloquence, is much higher. It is a great exertion of the human powers. It is the art of being persuasive and commanding; the art, not of pleasing the fancy merely, but of speaking both to the understanding and to the heart; of interesting the hearers in such a degree, as to seize and carry them along with us; and to leave them with a deep and strong impression of what they have heard. How many talents, natural and acquired, must concur for carrying this to perfection? A strong, lively, and warm imagination; quick sensibility of heart, joined with solid judgment, good sense, and presence of mind; all improved by great and long attention to style and composition; and supported also by the exterior, yet important qualifications of a graceful manner, a presence not ungainly, and a full and tunable voice. How little reason to wonder, that a perfect and accomplished orator, should be one of the characters that is most rarely to be found?

Let us not despair, however. Between mediocrity and perfection, there is a very wide interval. There are many intermediate spaces, which may be filled up with honour; and the more rare and difficult that complete perfection is, the greater is the honour of approaching to it, though we do not fully attain it. The number of orators who stand in the highest class is, perhaps, smaller than the number of poets who are foremost in poetic fame; but the study of oratory has this advantage above that of poetry, that, in poetry, one must be an eminently good performer, or he is not supportable: -Mediocribus esse poëtis

Non homines, non Dii, non concessêre columnæ.*

In eloquence this does not hold. There, one may possess a moderate station with dignity. Eloquence admits of a great many dif ferent forms; plain and simple, as well as high and pathetic; and a genius that cannot reach the latter, may shine with much reputation and usefulness in the former.

*For God and man, and letter'd post denies,
That poets ever are of midding size.

FRANCIS.

Whether nature or art contribute most to form an orator, is a trifling inquiry. In all attainments whatever, nature must be the prime agent. She must bestow the original talents. She must sow the seeds; but culture is requisite for bringing these seeds to perfection. Nature must always have done somewhat: but a great deal will always be left to be done by art. This is certain, that study and discipline are more necessary for the improvement of natural genius in oratory, than they are in poetry. What I mean is, that though poetry be capable of receiving assistance from critical art, yet a poet, without any aid from art, by the force of genius alone, can rise higher than a public speaker can do, who has never given attention to the rules of style, composition, and delivery. Homer formed himself; Demosthenes and Cicero were formed by the help of much labour, and of many assistances derived from the labour of others. After these preliminary observations, let us proceed to the main design of this lecture; to treat of the means to be used for improving in eloquence.

In the first place, what stands highest in the order of means, is personal character and disposition. In order to be a truly eloquent or persuasive speaker, nothing is more necessary than to be a virtuous man. This was a favourite position among the ancient rhetoricians: 'Non posse oratorem esse nisi virum bonum.' To find any such connexion between virtue and one of the highest liberal arts, must give pleasure; and it can, I think, be clearly shown, that this is not a mere topic of declamation, but that the connexion here alleged, is undoubtedly founded in truth and reason.

For, consider first, whether any thing contribute more to persuasion, than the opinion which we entertain of the probity, disinterestedness, candour, and other good moral qualities of the person who endeavours to persuade? These give weight and force to every thing which he utters; nay, they add a beauty to it; they dispose us to listen with attention and pleasure; and create a secret partiality in favour of that side which he espouses. Whereas, if we entertain a suspicion of craft and disingenuity, of a corrupt, or a base mind, in the speaker, his eloquence loses all its real effect. It may entertain and amuse; but it is viewed as artifice, as trick, as the play only of speech; and viewed in this light, whom can it per suade? We can even read a book with more pleasure, when we think favourably of its author; but when we have the living speaker before our eyes, addressing us personally on some subject of importance, the opinion we entertain of his character must have a much more powerful effect.

But, lest it should be said, that this relates only to the character of virtue, which one may maintain, without being at the bottom a truly worthy man, I must observe farther, that besides the weight which it adds to character, real virtue operates also, in other ways. to the advantage of eloquence.

First, nothing is so favourable as virtue to the prosecution of honourable studies. It prompts a generous emulation to excel; it inures to industry; it leaves the mind vacant and free, master of it