of difference which distinguished them, all men bear an interior resemblance to one another, and that their vices have a uniformity, because they always proceed either from weakness or interest. In a word, your descriptions will not be indeterminate: and the more thoroughly you shall have examined what passes within your own breast, with more ability will you unfold the hearts of others.

SECTION V.

OF RHETORICAL COMPOSITION.

THESE general principles are insufficient. Let us, then, pass on to particulars, and apply the rules of art to the composition of a discourse.

"It is an arduous undertaking," says the Roman orator, "to appear before a numerous assembly which listens to our discussion of the most important subjects, since there is scarcely any one who will not more nicely and rigidly observe the faults than the beauties of our discourses; for, whenever we speak in public, judgment is pronounced upon us."

* Magnum quoddam est onus atque munus suscipere atque profiteri se esse, omnibus silentibus, unum maximis de rebus, magno in conventu hominum audiendum. Adest enim fere nemo quin acutius atque acrius vitia in dicente quam recta videat, quoties enim dicimus, toties de nobis judicatur.—Brutus, 27, 125.

M. Maury's translation of the former part of the above

Indeed, besides the natural talents which eloquence requires, and the want of which application never supplies, every orator who wishes to give satisfaction to his auditory, must join to the instruction which he has derived from his preparatory studies, an intimate knowledge of the subject which he proposes to discuss. He must meditate on it for a considerable time, in order to perceive all its principles, and to discover all its relations.* It is by this operation, purely intellectual, that we collect, according to the expression of Cicero, a forest of ideas and subjects,"† the accumulation of which excites in the orator a certain eagerness to write, or, rather, constrains him to deliver by himself the thoughts that occur to his mind, and afterward renders his matter more copious, and his composition

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quotation is periphrastic rather than just. The English translation is literal from the French, which is also followed in some other quotations.

"The foundation of all that can be called eloquent is good sense and solid thought. Let it be the first study of public speakers, in addressing any popular assembly, to be previously masters of the business on which they are to speak; to be well provided with matter and argument; and to rest upon these the chief stress. This will always give to their discourse an air of manliness and strength, which is a powerful argument of persuasion. Ornament, if they have genius for it, will follow of course."—BLAIR'S Lectures, vol. ii., p. 49.

† Sylva rerum ac sententiarum comparanda est. - De Orat., 29.

more energetic and perfect. If at such moments he would avoid the labour of the memory, he should write as fast as he composes.

When the orator hath once collected the principal proofs, which are like the materials of the building, he quickly makes himself master of his subject; he already discerns the whole of the discourse through those detached ideas which form the groundwork, as soon as he directs them to one point.

This disposition costs the orator little; "for the discourse," says Fenelon, "is the proposition unfolded, and the proposition is an abstract of the discourse."*

In pointing out this method of study, it is my endeavour to conform to it. While writing, the different desultory reflections which I have suggested on the principles of oratory, begin now, of their own accord, to arrange themselves into proper order.

Do you feel, when composing, notwithstanding these precautions, the languor of an exhausted imagination? Quit your retirement. Converse upon

your subject with an intelligent friend. By communicating to him your first thoughts, you will thereby extend the circle of your ideas; and in such moments of enthusiastic fervour, some fortunate strokes will escape you which you have searched for in vain in the retirement of the closet.

* Letter on Eloquence, addressed to the French Academy, p. 180, in Stevenson's translation.

SECTION VI.

OF THE PLAN OF A DISCOURSE.

HAVE you thoroughly investigated the principles, and dived, if I may so speak, to the bottom of your subject? It is here where art begins. It is time to fix your plan.

This is generally the part which costs much labour, and which very much influences the success of the discourse.

We may censure the method* of divisions as a

* "In all kinds of public speaking, nothing is of greater consequence than a proper and clear method. Though the method be not laid down in form, no discourse of any length should be without method; that is, everything should be found in its proper place. Every one who speaks will find it of the greatest advantage to himself to have previously arranged his thoughts, and classed under proper heads, in his own mind, what he is to deliver. This will assist his memory, and carry him through his discourse without that confusion to which one is every moment subject, who has fixed no distinct plan of what he has to say.

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'And, with respect to the hearers, order in discourse is absolutely necessary for making any proper impression. It adds both force and light to what is said. It makes them accompany the speaker easily and readily, as he goes along, and makes them feel the full effect of every argument which he employs.

"In every sort of oration, a clear method is of the utmost consequence; but in those embroiled and difficult cases

fatal restraint on eloquence; let us nevertheless adopt it, without fearing to diminish the energy of rhetorical movements, while it directs them with greater exactness. Genius needs to be guided in its progress, and the curb which preserves it from wandering restrains by salutary checks, and renders it the greatest service. It is thus that genius becomes strengthened and increased when it proceeds under the guidance of reason and judgment.*

which belong to the bar, it is almost all in all. Too much pains, therefore, cannot be taken in previously studying the plan and method. If there be indistinctness and disorder there, we can have no success in convincing; we leave the whole cause in darkness."-BLAIR's Lectures, vol. ii., p. 53, 54, 83. See also the same author's judicious sentiments in favour of divisions in sermons, p. 170.

* The following observations exactly correspond with the sentiments of our author: " Nothing can contribute more towards bringing the powers of genius to their ultimate perfection than a severe judgment, equal in degree to the genius possessed. For the greater the strength and vivacity of the imagination which gives birth to those ideas, the greater must be that wisdom and prudence which are requisite to moderate the fire of imagination, and rule its vivacity when it becomes too daring. Reason ought to be stronger than genius, in order to know how far enthusiasm may go. The judgment and prudence which should belong to such a one for the improvement and balance of his genius, ought themselves to be brought to their utmost perfection by the ministration of art, without which nothing exact or regular can be produced."-Reflections on ARISTOTLE'S Art of Poetry, § 16, 17.