usually ungraceful; and consequently, motions made with the hands should proceed from the shoulder, rather than from the elbow. Perpendicular movements are to be avoided. Oblique motions are most pleasing and graceful. Sudden and rapid motions are seldom good. Earnestness can be fully expressed without their assistance.

We cannot conclude this subject, without earnestly admonishing every speaker to guard against all affectation, which is the destruction of good delivery. Let his manner, whatever it be, be his own; neither imitated from another, nor taken from some imaginary model, which is unnatural to him. Whatever is native, though attended by several defects, is likely to please, because it shows us the man; and because it has the appearance of proceeding from the heart. To attain a delivery, extremely correct and graceful, is what few can expect; since so many natural talents must concur in its formation. But to acquire a forcible and persuasive manner, is within the power of most persons. They need only to dismiss bad habits, follow nature, and speak in public as they do in private, when they speak in earnest, and from the heart.

What are the two great objects of delivery?
To be fully understood, what is requisite ?
What should be the endeavour of the speaker?
How many pitches has the voice?
Which is adapted for oratory?

What rule is given for the strength of sound?

What is said of distinctness of articulation?

What are the advantages of slowness and clearness of articulation?

What is propriety of pronunciation?

What common error is mentioned?

What is it termed?

What are the four higher parts of delivery?

What is emphasis?

What is the rule for emphasis?

What caution is given?

What are the two kinds of pauses?

What is said of emphatical pauses?

What caution respecting the use of them?
What is the most frequent use of pauses?

How should pauses in public discourses be formed?

How should the speaker regulate himself?
What are the two kinds of pauses in verse?

When should the former pause be omitted? when used?
Where does the middle pause fall?

When may lines be read with ease?

Give examples.

Give examples of the contrary.

What rule is given with respect to the latter?
What is the rule for the tones of public speaking?
What is the common error in this respect?
What is the best rule for gestures?
What manner must a speaker adopt?
In what does the study of action consist?
Mention a few of the simplest precepts.
What movements must be avoided?
What movements are graceful?

What should every speaker guard against?

MEANS OF IMPROVING IN ELOQUENCE.

To those who are anxious to excel in any of the higher kinds of oratory, nothing is more necessary than to cultivate habits of the several virtues, and to refine and improve their moral feelings. A true orator must possess generous sentiments, warm feelings, and a mind turned toward admiration of those great and high objects, which men are by nature formed to venerate. Connected with the manly virtues, he should possess strong and tender sensibility to all the injuries, distresses, and sorrows of his fellow creatures.

Next to moral qualifications, what is most requisite for an orator, is a fund of knowledge. There is no art by which eloquence can be taught in any sphere, without a sufficient acquaintance with what belongs to that sphere. Attention to the ornaments of style, can only assist an orator, in setting off to advantage the stock of materials which he possesses; but the materials themselves must be derived from other sources than from rhetoric. A pleader must make himself completely acquainted with the law: he must

possess all that learning and experience which can be useful for supporting a cause, or convincing a judge. A preacher must apply himself closely to the study of divinity, of practical religion, of morals, and of human nature; that he may be rich in all topics of instruction and persuasion. He who wishes to excel in the supreme council of the nation, or in any public assembly, should be thoroughly acquainted with the business that belongs to such assembly; and should attend with accuracy to all the facts which may be the subject of question or deliberation.

Beside the knowledge peculiar to his profession, a public speaker should be acquainted with the general circle of polite literature. Poetry he will find useful for embellishing his style, for suggesting lively images, or pleasing allusions. History may be still more advantageous; as the knowledge of facts, of eminent characters, and of course of human affairs, finds a place on many occasions. Deficiency of knowledge, even in subjects not immediately connected with his profession, will expose a public speaker to many disadvantages, and give his rivals, who are better qualified, a decided superiority.

To every one, who wishes to excel in eloquence, application and industry cannot be too much recommended. Without this it is impossible to excel in any thing. No one ever became a distinguished pleader, or preacher, or speaker, in any assembly, without previous labour and application. Industry, indeed, is not only necessary to every valuable acquisition; but it is designed, by Providence, as the seasoning of every pleasure, without which, life is doomed to languish. No enemy is so destructive, both to honourable attainments, and to the real and spirited enjoyment of life, as that relaxed state of mind, which proceeds from indolence and dissipation. He, who is destined to ex'cel in any art, will be distinguished by enthusiasm for that art; which, firing his mind with the object in view, will dispose him to relish every necessary labour. This was the characteristic of the great men of antiquity; and this must distinguish moderns who wish to imitate them. This honourable enthusiasm should be cultivated by students in oratory. If it be wanting to youth, manhood would flag exceedingly.

Attention to the best models, contributes greatly to improvement in the arts of speaking and writing. Every one, indeed, should endeavour to have something that is his own, that is peculiar to himself, and will distinguish his style. Genius is certainly depressed, or want of it betrayed, by slavish imitation. Yet, no genius is so original, as not to receive improvement from proper examples in style, composition and delivery. They always afford some new ideas, and serve to enlarge and correct our own. They quicken the current of thought, and excite emulation.

In imitating the style of a favourite author, a material distinction should be observed between written and spoken language. These are, in reality, two different modes of communicating ideas. In books, we expect correctness, precision, all redundancies pruned, all repetitions avoided, language completely polished. Speaking allows a more easy, copious style, and less confined by rule; repetitions may often be requisite; sparentheses may sometimes be ornamental; the same thought must often be placed in different points of view; since the hearers can catch it only from the mouth of the speaker, and have not the opportunity, as in reading, of turning back again, and of contenplating what they do not entirely comprehend. Hence the style of many good authors would appear stiff, affected, and even obscure, if transferred into a popular oration. How unnatural, for instance, would Lord Shaftsbury's sentences sound in the mouth of a public speaker? Some kinds of public discourse indeed, such as that of the pulpit, where more accurate preparation and more studied style are allowable, would admit such a manner better than others, which are expected to approach nearer to extemporaneous speaking. But, still, there is generally such a difference between a composition, intended only to be read, and one proper to be spoken, as should caution us against a close and improper imitation.

The composition of some authors approaches nearer to the style of speaking, than that of others, and they may therefore be imitated with more safety. In our own language, Swift and Bolingbroke are of this description. The former, though correct, preserves the easy and natural manner of an unaffected speaker.

The style of the latter is more splendid; but still it isTM the style of speaking, or rather of declamation.

Frequent exercise, both in composing and speaking, is a necessary mean of improvement. That kind of composition is most useful, which is connected with the profession, or sort of public speaking, to which persons devote themselves. This they should ever keep in view, and gradually inure themselves to it. At the same time, they should be cautious not to allow themselves to compose negligently on any occasion. He, who wishes to write or speak correctly, should, in the most trivial kind of composition, in writing a letter, or even in common conversation, study to express himself with propriety. By this, we do not mean that he is never to write or speak but in elaborate and artificial language. This would introduce stiffness and affectation, infinitely worse than the greatest negligence. But we must observe, that there is, in every thing, a proper and becoming manner; and, on the Contrary, there is also an awkward performance of the same thing. The becoming manner is often the most light, and seemingly most careless; but taste and at tention are requisite to seize the just idea of it. That idea, when acquired, should be kept in view, and upon it should be formed whatever we write or speak.

Exercises in speaking have always been recom mended to students; and, when under proper regulation, must be of great use. Those public and promiscuous societies, in which numbers are brought together, who are frequently of low stations and occupations; who are connected by no common bond of union, except a ridiculous rage for public speaking, and have no other object in view, than to exhibit their supposed talents, are institutions not only useless, but injurious. They are calculated to become seminaries of licentiousness, petulance, and faction. Even the allowable meetings, into which students of oratory may form themselves, need direction, in order to render them useful. If their subjects of discourse be improperly chosen; if they support extravagant or indecent topics; if they indulge themselves in foose and flimsy declamation; or accustom themselves without preparation to speak pertly, on all subjects, they will unavoidably acquire a very faulty and vicious taste in-speaking.