atrical action even at the bar; how much less appropriate is it to the pulpit! Even the orator's art is employed here, only to give expression to real feeling. Every species of cant or affectation is then excluded from the pulpit; and why should it not be, when a firm belief in the truth of the principles to be inculcated, and a serious feeling of their importance, remove all necessity of any affectation, either of voice or manner? Such belief and such feeling, on the part of the preacher, says Dr. Blair, «will always give an earnestness and strength, a fervor of piety to his exhortations, superior in its effects to all the arts of studied eloquence; and, without it, the assistance of art will seldom be able to conceal the mere declaimer."

Without the Christian sensibility here referred to, and that expansion and elevation of soul which can arise only from a just feeling of religious truth, it is admitted that all the arts of elocution are vain to constitute a Christian minister. These are presupposed, as at the very basis of Christian oratory; since, without them, preaching, with every attraction that can be thrown about it, will be but "as sounding brass or a tinkling cymbal." It is, however, perfectly consistent with this admission, that the religious teacher should do all in his power to improve his taste and judgment, as to the most effective means of giving expression to his feelings; and that he should train his voice to the execution of all that a taste thus improved can direct. And this can scarcely be done, but by the study of elocution according to some good system. Without such study, Christian sensibility often expresses itself in an almost unbroken Monotone, rendered perhaps still more offensive by the constant employment of the Chromatic Melody, or of the Tremor,-elements of great power when properly employed, but never intended to be desecrated by constant

Indeed the pulpit is very specially exposed to monotony, while the dialogue of the stage almost effectually excludes it; and even in the senate and at the bar, a free colloquial style of delivery is much more naturally and universally adopted.

Third. The preacher should never seem, by any peculiarity of manner, to lose the command of himself.—In addition, then, to improving the taste and cultivating the voice by study, the Christian orator should discipline his will to a perfect self-possession. Calmness and collectedness of manner alone seem accordant with the solemn grandeur of his work. To such self-possession, a perfect command of the gestures greatly contributes, because by restraining the action when it is in danger of becoming excessive, a more perfect control is preserved over the mental excitement; and even aside from this, such restraint may conceal the strong workings of passions, which though the speaker may feel, it may not be expedient for him fully to express.

The action of the pulpit differs from that of the stage only in degree. It is performed by the same beings, by the use of the same instruments, and for the same general purposes. It cannot, then, be expected to differ, in all respects, from the action of the theatre; but only so far as it is put forth under different conditions. One of these conditions, and the one to which our attention is here chiefly directed, is that the preacher is not at liberty to indulge in any public expressions of excitement, which can properly be construed into a violation of the principles of self-respect, or of true dignity of character. Such, I conceive to be all bawling and vociferation in the pulpit-a vice of pulpit oratory always condemned, yet practiced by too many, regardless alike of its destructive effects on themselves, and of its unfitness for their purposes. Such also is the smiting

of the pulpit or the Bible with the hands, or stamping with the feet; or, except under very special circumstances, weeping so as to distort the countenance, or interrupt the regular flow of delivery. How different the effect of such exhibitions, from that produced by the earnest but graceful action of him who stands up in the true dignity of an ambassador for Christ; and, while perhaps the manly tears may dim his eye or fall in rapid succession over his cheek, yet with firm and unfaltering voice, prays his fellow men in Christ's stead to be reconciled to God!

I shall close these suggestions with a few words in regard to the proper structure of pulpits.-From time immemorial, both in England and in this country, the local situation of the preacher has been any thing but favorable for either the graces or energies of delivery. The state of things in this respect is improving; and just as soon as the principles of delivery are properly understood by those who occupy our pulpits, will there be a universal change.-The platform upon which the preacher stands, should be raised only about as high as the breasts of the congregation; and for extemporaneous delivery, all that is required farther is a chair or sofa, and a table not sufficiently high to embarrass the action of the speaker. The lights also should be movable; and, if possible, should be so arranged as not to interfere with the free action of the arms, even when in the horizontal oblique or extended positions. Till our churches shall be generally arranged according to some such plan, our pulpit orators will have to modify their action to conform to the various situations in which they may be placed, and sometimes almost wholly to refrain from gesture; or else become themselves the subjects of unpleasant criticisms, which, however, properly belong not to them, but to the place in which they officiate.

CHAPTER V.

OF THE ACTION ADAPTED TO DRAMATIC REPRESENTATION.

SECTION I.

OF THE ELEMENTS OF DRAMATIC ACTION.

Or the vocal expression adapted to the Drama, nothing remains to be said. The vocal elements have been so fully presented, and so many hints have been given in regard to their employment for purposes of expression, that it is believed nothing but practice on proper examples is requisite, to give to the learner all the vocal capabilities possessed by the most distinguished orators or actors. however this Manual has in view mainly to assist in forming the orator, most of the examples given have been selected with reference to this.-Even the elements however of Dramatic action have not all been presented. This section is intended to supply this defect.

As

It would not perhaps be entirely easy to point out the precise difference between the action suited to oratory, and that of the stage. The principle, however, on which this difference depends has been before hinted at: the actor appears in an assumed character, while the orator appears in his own. It is the part of the actor, then, to represent and sustain the character which he has assumed; and this may be entirely at variance with the dignity of oratory. The actor personates every passion and feeling which makes up the human character,-from the nobler passions and manners of the hero, down through those of common life, even to the vulgarity of the buffoon; hence the different

grades of actors, from the tragedian down to the performer of low comedy. He may imitate nature; while imitative action is denied to the orator. He may be affected, he may be extravagant, or exhibit the weakness of ungovernable emotion; while, as regards the orator, affectation defeats his objects, extravagance disgusts his audience and renders him ridiculous, and weakness gives him over to contempt.

We here find a sufficient reason, why the action of the theatre can never be taken as a model for the orator. Yet as in the theatre all the qualities of perfect gesture are required, the action of the stage may furnish many useful hints to the discriminating orator. It has been well said,"He may learn from the theatre energy, variety and precision of action. The simplicity of action he must derive from his own unaffected sincerity; and grace from habit and taste. And as to the other qualities, he must know how to use them discreetly, or to retrench them altogether. But he must carefully guard against attempting to introduce the full license of theatrical action into rhetorical delivery of any kind. If he be a mere imitator, and cannot discriminate, his gesture will be the subject of just reprehension.”

Dramatic action, as distinguished from oratorical, consists, then, primarily, in the exhibitions of other passions, or of the same passions in a higher degree of excitement. The tendency of this excitement is—to render the muscles rigid, to lengthen the step, and to give rapidity to all the movements of the body. A secondary element of difference may now be presented, which is found in the fact, that the actor has for his object to please rather than instruct. Hence, if he can better accomplish his object thereby, his action may take the lead of his sentiment, and become itself as it not unfrequently does upon the stage, the chief object of attraction. To render it thus, he not only uses all the varied