he would speak." "Profert enim mores plerumque oratio, et animi secreta detegit. Nec sine causa Græci prodiderunt, ut vivat, quemque etiam dicere."

Tone, therefore, as the revelation of the soul and character of the speaker, must characterize discourse everywhere. They give a peculiar color and hue to it in every element— in the shaping of the theme and through the discussion, but more fully and impressively in the more outward embodiment of the thought in the imagery and diction. The purity and elevation of soul in the speaker, the habits of thought which they occasion and determine, the wonted associations with objects as high or base, the imagery with which the mind from allowed disposition and habit has become conversant, and even the language which has become most familiar from being the allowed embodiment of the wonted tenor of thought and feeling, are distinct elements which impart to its discourse its proper tone. As purity, nobleness, generosity, kindliness, are in their own nature winning and impressive, the orator who would aim at the highest success will need to see to it that the feeling, the soul that he necessarily reveals in his discourse, be such as the higher and more dominant nature of man shall approve and love.

§ 358. RHETORICAL GRACE is that element of beauty in discourse which is found in the rendering power or skill of the speaker.

Grace, as has already been remarked, is the revelation or symbol of free activity. In style, accordingly, it is the expression of the activity of the speaker as being free and untrammeled. It is the highest characteristic of genius in discourse. It is the predominant characteristic of Shakespeare, who outranks all writers, not in the extent of his learning or richness of his intelligence nor in the intensity of his feeling, but in his wonderful power and freedom in rendering, in revealing or embodying. Everywhere do we stand in admiration of it in his dramas - in the rendering of

historie fact and of historic character through the development of the plot, the selection and grouping of personages and their utterances. Every word, every sentence, every image, every scene is the most perfect revelation of whatever idea was to be brought forth in it. Well has it been said: "You cannot change a word but for the worse; the embodiment, the rendering, would be marred by the change." Grace freedom in rendering · must characterize discourse everywhere. We can put up with almost any thing in discourse but imbecility, impotence in conceiving and developing the theme, and in the representation in imagery and language. As the highest characteristic of oratorical genius it demands special study and training. It should be remarked that grace respects continuous and sustained power, rather than that which is fitful, which is merely impetuous and violent. Abruptness and sententiousness in style imply, indeed, power. So far as abrupt and broken, however, discourse implies a broken or impeded energy. The roar and foam of a mountain torrent dashing against rocks and trees display force; it is force, however, checked, impeded, and out-mastered. The easy, gentle flow of the majestic river, that quietly takes into its current and bears along without a ripple every obstacle that comes in its way, is a more perfect emblem of unimpeded power, and in its motion we see grace exemplified. Mere impulsive, jetting oratory is so far deficient in grace as it implies impeded and resisted power.

§ 359. In the acquisition of this general property Beauty in style three means are essential: First, Mental culture;

Secondly, Study of art, including both its principles and its exemplifications in models; and,

Thirdly, Exercise with judicious criticisms.

§ 360. Mental culture is essential for that intelligence

which is the ground and condition of propriety, for acquiring those habits and associations which are necessary for the expression of right sentiment, and also for the attainment of that power and freedom which is

the foundation and source of grace.

§ 361. The study of art is directly beneficial in cultivating propriety, in forming the sentiments, and in developing power of expression.

Every species of art may be turned to useful account in the formation of oratorical taste. While in no one are all the forms of beauty perfectly revealed, there is none, perhaps, which is not distinguished above every other in its adaptedness to develop some one or another particular element of beauty.

The term art is here employed in its most comprehensive import, and is intended to include every exertion of power under the control of taste. Nature itself in this view is but the workmanship of a most perfect artist, and is hence a most appropriate model for the study of oratory in all its various forms of skill and beauty. Manners and morals, also, lie within the domain of art; and for many reasons demand the close and constant study of the orator, not for the mere information of the understanding only, but as furnishing the means of developing and forming the taste.

In the study of discourse itself, the best means of cultivating taste are to be found. The principle to guide in selecting models is well given by Coleridge : — "Presume those to be the best, the reputation of which has been matured into fame by the consent of ages. For wisdom always has a final majority, if not by conviction, yet by acquiescence.”

§ 362. Exercise in oratory is the chief and indispensable means of developing and strengthening power of execution; and, combined with judicious criticism, aids in the cultivation of all the elements of oratorical taste.

In applying criticism to oratorical compositions, the caution given in § 18 in regard to the time of criticism needs carefully to be observed; as nothing more fatally chills and enervates inventive and expressive power than the indulgence of an undue critical spirit at the time of composing or speaking.

Hence the indispensable necessity to the best culture in discourse, of the study of one process of invention, of one property of style, at a time, till each successively is thoroughly mastered. Skill in one process or in regard to one property helps to training in every other, and moreover saves from that distraction and consequent confusion and conscious weakness which are so fatal to freedom and so to all success in constructing discourse.

Name

EXERCISES ON THE OBJECTIVE PROPERTIES. and correct the faults in the following extracts:— London was inferior in most material respects to Paris and Lisbon.

The French wits have for the last age been in a manner wholly turned to the refinement of their language, and indeed with such success that it can hardly be excelled, and runs equally through their verse and prose.

No laws are better than those of this remarkable code. After we had been some time at the house of Gaius mine host and of the whole church.

These two elements are always in a certain inverse proportion to each other.

It is extraordinary that there is not more than one accident a day here.

Every one who puts on the appearance of virtue is not virtuous.

This fallacious art debases us from enjoying life instead of lengthening it.

Hence is necessitated a radical difference in the kind of agency which he exerts upon man and upon the material world.

So there is that in the nature of the infinite God which no copy graven on a finite soul, however noble, can in the very nature of things fully render.

If kept in ignorance of the truth, if error is constantly inculcated, and all the powers of education be brought to bear in favor of evil, it is almost unavoidable that the judgment will be perverted and the mind corrupted.

I have before not erred in my opinion.

Such were very nearly the words and such the manner in which Miss J. expressed her determination.

"By her own internal schisms, the church was rehearsing those vast rents in her foundation which no man should ever heal." - De Quincey.

"This reproach might justly fall on many of the learned of that age, as with less excuse it has often done upon their successors." · Hallam.

That then and still unfortunate country.

The room where this vista Nature in her genuine English aspect opens, is the same, etc.

We can scarcely doubt that it is idle to deny that this race has deeply affected our destiny.

We think more highly of his sketches of the social and ecclesiastical condition of England than of the improvements in her laws and constitution.

"This, though men make a shift with in the ordinary occurrences of life where they find it necessary to be understood, and therefore they make signs till they are so; yet this insignificancy in their words, when they come to reason concerning either their tenets or interest, manifestly fills their discourse with abundance of empty unintelligible noise and jargon. Especially in moral matters, where the words for the most part standing for arbitrary and numerous collections of ideas, not regularly and permanently united in nature, their bare sounds are often only thought on, or at least very obscure and uncertain notions annexed to them." Locke.