the Irish bar. His speeches have been the subject of severe critical animadversion, to which Mr. Phillips has replied with singular warmth. He regards hyperbole as the essence of Irish oratory; and to prove that his is the genuine style of national eloquence, he has published a selection of what he terms the beauties of Burke, Curran, &c. some of which are, certainly, calculated to compromise the reputation of those distinguished speakers. In his preface to this publication, Mr. Phillips observes, that the Irish orator is more intent on persuasion than conviction. Metaphors, he says, are the first language of a nation's infancy, and, like all that is connected with childhood, they continue to please in advanced life. Mr. Phillips is of opinion that the great mistake of the critics is to have judged by the same rules the address intended to be read, and the discourse intended to be spoken. What may appear extravagant in the one is chaste in the other; and the allusion calculated to rouse the enthusiasm of an assembly, may appear absurd and rhapsodic in the solitude of the closet.

There is, undoubtedly, some truth in Mr. Phillips's theory. The orator, like the dramatic poet, should seek to produce an effect on his auditors, rather than to satisfy the fastidiousness of criticism. Phillips seems to have set himself up as the Don Quixote of figurative style. He defends, not only his own taste, but also that of his countrymen, who are, for the most part, more easily dazzled by flowery language, than convinced by rational ar

guments. But though the Irish are, generally speaking, more gifted with imagination than judgment, they, nevertheless, justly appreciate the talents of Sheridan and Burke, and Mr. Phillips would have shewn himself more wise in imitating those models, than in composing speeches like Mr. Maturin's romances.

Yet it would be unjust not to admit that Phillips's speeches occasionally contain passages of striking beauty. The speech he delivered as counsel for the plaintiff, in the cause of Guthrie versus Sterne, presents a charming picture of domestic happiness, ably contrasted with the disgrace of an adulterous wife, and the misery of an injured husband. The peroration of this address could not fail of producing a deep impression on the minds of the jury. Here vehemence is not exaggeration. The advocate calls for damages from the seducer; but he artfully passes over the wrong sustained by the husband, and dwells on the unhappy fate of the children, who are doomed to bear all the disgrace of their mother's infamy.

These scandalous crim. con. trials, in which the husband claims the price of his wife's dishonour, afforded Lord Erskine the opportunity of delivering two speeches, which may be regarded as master-pieces of their kind. In these causes too, the merit of Mr. Phillips's eloquence shines most conspicuously; because they afford no opportunity for introducing those extravagant political images, for which he manifests so decided a predilection.

Messrs. Burrows and Bushe, two other members of the Irish bar, form part of the constellation, of which Mr. C. Phillips is the principal star. They are more free of the defects of the Irish school of eloquence than Mr. Phillips, while, at the same time, they display fewer of those happy traits which are occasionally observable in the oratory of the latter. There are also several other men of eminent ability at the Irish bar. Mr. Plunkett, Sergeant Lefroy, and Mr. O'Connell are each distinguished for a peculiar originality of style, which is attributable to their respective situations, their political or religious opinions, and their individual characters.

END OF VOL. I.

SHACKELL AND ARROWSMITH, JOHNSON'S-COURT, FLEET-STREET.