An example of this sort occurs in his sermon "On the Mixture of the Righteous and the Wicked."

"The righteous deprive iniquity of every excuse. Do you say that you have done no more than to follow established precedents? But have the righteous who are among you conformed to them? Do you plead the unavoidable consequences of illustrious descent? You know some who, with a name still more distinguished than your own, impart sanctity to splendour. Do you plead the vivacity of your years? the weakness of your sex? Every day will show you some who, in the bloom of youth, and with all the talents suited to this world, have their minds supremely bent on Heaven. Is it the distraction of business? You may see those engaged in the same cares with yourself, who, notwithstanding, make salvation their principal concern. Is pleasure your delight? Pleasure is the first desire of all men, and of the righteous, in some of whom it is even stronger, and whose natural dispositions are less favourable to virtue than in you. Do you plead your afflictions? There are some good men distressed. Or prosperity? There are those to be met with who, amid their abundance, devote themselves to God. Or the state of your health? You discover some who, in sickly bodies, possess souls filled with divine fortitude. Turn yourself which way you will, as many righteous, as many the witnesses which testify against you."*

*The discussion of a variety of important subjects in

SECTION XXV.

OF AN ARDENT STYLE.

In proportion to the frequency of dialogue in a discourse, the less will apostrophes be necessary;

the form of DIALOGUE has been frequently adopted. The ancient Greek and Roman writers abounded in this method of composition. Among others, PLATO, LUCIAN, Cicero, MACROBIUS, the author of the Dialogue concerning the Causes of the Corruption of Eloquence (ascribed by some to Tacitus, and by others to Quintilian); ESCHINES, SOCRATICUS, MINUTIUS FELIX, XENOPHON,* give us specimens of entire discourses drawn in this manner. VOLUSENUS has left an elegant Latin dialogue, De animi tranquillitate, which is much in the spirit of the ancients, and possesses pure and chaste Latinity.

Various instances of rhetorical dialogue may be traced so early as in the writings of Moses and the Prophets, as well as in those of the Evangelists. Such are these; Isa., xlix., 14, 15: "But Zion said, the Lord hath forsaken me, and my Lord hath forgotten me. Can a woman forget her sucking child, that she should not have compassion on the son of her womb? Yea, they may forget, yet will I not forget thee." Rom., vi., 1: "What shall we say then? Shall we continue in sin that grace may abound? GOD forbid. How shall we, that are dead to sin, live any longer therein?" In like manner, Rom., ix., 19: "Thou

* XENOPHON may, without much impropriety, be called a dialogue-writer; for though his writings are not in the direct form of a dialogue, yet he continually makes his characters speak in their own language. HOMER also abounds in this form of dialogue.

and the less lavish we are of this figure, the greater will be its effect.

wilt say unto me, Why doth he yet find fault? for who hath resisted his will? Nay, but, O man, who art thou that repliest against God? Shall the thing formed say to him that formed it, Why hast thou made me thus? Hath not the potter power over the clay of the same lump to make one vessel unto honour and another unto dishonour?" So 1 Cor., xv., 35-39: "But some man will say, How are the dead raised up? and with what body do they come? Thou fool, that which thou sowest is not quickened except it die," &c.

Modern as well as ancient writers have handled subjects in the form of dialogue.

Mr. ADDISON hath left behind him his Dialogues upon the Usefulness of Ancient Medals, which he seems to have formed upon the plan of CICERO. We have also BERKELEY'S Alciphron; BAXTER'S Matho; HURD's and FORDYCE'S Dialogues on Education; FORDYCE on the Art of Preaching FENELON on Eloquence; FONTENELLE's and LYTTLETON'S Dialogues of the Dead; MORE's Divine Dialogues; HARRIS of Salisbury; and honest JOHN BUNYAN in his Pilgrim, &c.

Dr. WARD observes that "this method seems to be attended with very considerable advantages if well and judiciously managed. For it is capable of making the driest subjects entertaining and pleasant by its variety and the different characters of the speakers. Besides, matters which seem to clear up a subject may be introduced with a better grace by questions and answers, objections and replies, than can be conveniently done in continued dis

course.

There is likewise a farther advantage in this way

It is in apostrophes that the orator should display all his vehemence, if he would avoid the danger and confusion attending himself alone being warmed with his subject. Feeling succeeds better than reasoning in those moments of effervescence, in which the soul ought to burst forth with sufficient impetuosity to hurry the auditory along, one while by the strength of the proofs, another while by the energy of rhetorical strokes.

When apostrophes are multiplied, they discover a declaimer who cannot write, who is confused rather than moved, and who substitutes affected convulsions for the transports of eloquence.

It is necessary, without doubt, that the orator should enliven his compositions with that ardour of soul which indicates and awakens sensibility.

If his writings be destitute of these glowing ideas

of writing, that the author is at liberty to choose his speakers. And, therefore, as Cicero well observed, when we imagine that we hear persons of an established reputation for wisdom and knowledge talking together, it necessarily adds a weight and authority to the discourse,* and more closely engages the attention. The subject matter of it is very extensive; for whatever is a proper argument of discourse, public or private, serious or jocose; whatever is fit for wise and ingenious men to talk upon, either for improvement or diversion, is suitable for a dialogue."—WARD's System of Oratory, vol. ii., p. 219.

See to the same effect in BLAIR's Lectures, vol. ii., p. 293.

which proceed from the heart, his most emphatic language will only be insipid jargon.

"The dull writer is a wretched author." This maxim of Boileau is incontestable.

But if by the term ardour be understood the fermentations of a roving brain, paradox united to a depraved taste, unceasing apostrophes, exclamations, obscure hyperboles; in a word, a style inflated with extravagant metaphors; ah! guard against such digressions, young orator, who hast received from nature the inestimable gift of genius. Be assured that genuine enthusiasm is no other than reason warmed by the voice of the passions, and that eloquence is not a delirium.*

* "Ancient eloquence," says Mr. HUME, "i. e., the sublime and passionate, is of a much juster taste than the modern, or the argumentative and rational; and, if properly executed, will always have more command and authority over mankind. The ancients, upon comparison, gave the preference to that kind of which they have left us such applauded models. Lysias and others were esteemed in their time; but, when compared with Demosthenes and Cicero, were eclipsed like a taper when set in the rays of a meridian sun. Those latter orators possessed the same elegance, and subtlety, and force of argument with the former; but what rendered them chiefly admirable was that pathetic and sublime which on proper occasions they threw into their discourse, and by which they commanded the resolutions of their audience."-HUME'S Essays, No. xii., p. 123.

"The vehement style," says Dr. BLAIR, "always implies