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they can, always correct in their expressions; let them endeavour to be, at some times, lively and striking; but carefully avoid being at any time ostentatious and affected.

LECTURE XXV.

ELOQUENCE, OR PUBLIC SPEAKING. - HISTORY OF ELOQUENCE GRECIAN ELOQUENCE DEMOSTHENES.

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HAVING finished that part of the Course which relates to Language and Style, we are now to ascend a step higher, and to examine the subjects upon which Style is employed. I begin with what is properly called Eloquence, or Public Speaking. In treating of this, I am to consider the different kinds and subjects of Public Speaking; the manner suited to each; the proper distribution and management of all the parts of a discourse; and the proper pronunciation or delivery of it. But before I enter on any of these heads, it may be proper to take a view of the nature of Eloquence in general, and of the state in which it has subsisted in different ages and countries. This will lead into some detail; but I hope an useful one; as in every art it is of great consequence to have a just idea of the perfection of that art, of the end at which it aims, and of the progress which it has made among mankind.

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Of Eloquence, in particular, it is the more necessary to ascertain the proper notion, because there is not any thing concerning which false notions have been more prevalent. Hence, it has been so often, and is still at this day in disrepute with many. When you speak to a plain man of Eloquence, or in praise of it, he is apt to hear you with very little attention. He conceives Eloquence to signify a certain trick of Speech; the art of varnishing weak arguments plausibly; or of speaking so as to please and tickle the ear. "Give me good sense," says he, " and keep "your Eloquence for boys." He is in the right, if Eloquence were what he conceives it to be. It would be then a very contemptible art indeed, below the study of any wise or good man. can be more remote from truth. eloquent is to speak to the purpose. definition which, I think, can be given of Eloquence is the Art of Speaking in such a manner as to attain the end for which we speak. Whenever a man speaks or writes, he is supposed, as a rational being, to have some end in view; either to inform, or to amuse, or to persuade, or, in some way or other, to act upon his fellow creatures. He who speaks, or writes, in such a manner as to adapt all his words most effectually to that end, is the most eloquent man. Whatever then the subject be, there is room for Eloquence; in history, or even in philosophy, as well as in orations. The definition which I have given of Eloquence, comprehends all the different kinds of it; whether calculated to instruct, to persuade, or to please. But, as the most important subject of discourse is Action, or Conduct, the power of Eloquence chiefly appears when it is employed to influence Con

duct, and persuade to Action. As it is principally with reference to this end, that it becomes the object of Art, Eloquence may, under this view of it, be defined, The Art of Persuasion.

This being once established, certain consequences immediately follow, which point out the fundamental maxims of the Art. It follows clearly, that, in order to persuade, the most essential requisites are, solid argument, clear method, a character of probity appearing in the Speaker, joined with such graces of style and utterance as shall draw our attention to what he says. Good sense is the foundation of all. No man can be truly eloquent without it; for fools can persuade none but fools. In order to persuade a man of sense, you must first convince him; which is only to be done by satisfying his understanding of the reasonableness of what you propose to him.

This leads me to observe, that convincing and persuading, though they are sometimes confounded, import, notwithstanding, different things, which it is necessary for us, at present, to distinguish from each other. Conviction affects the understanding only; persuasion the will and the practice. It is the business of the philosopher to convince me of truth; it is the business of the orator to persuade me to act agreeably to it, by engaging my affections on its side. Conviction and persuasion do not always go together. They ought, indeed to go together; and would do so, if our inclination regularly followed the dictates of our understanding. But as our nature is constituted, I may be convinced that virtue, justice, or public spirit, are laudable, while at the same time, I am not persuaded to act according to them. The inclination may revolt, though the understanding be

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satisfied; the passions may prevail against the judgment. Conviction is, however, always one avenue to the inclination, or heart; and it is that which an Orator must first bend his strength to gain: for no persuasion is likely to be stable which is not founded on conviction. But, in order to persuade, the Orator must go farther than merely producing conviction; he must consider man as a creature moved by many different springs, and must act upon them all. He must address himself to the passions; he must paint to the fancy, and touch the heart; and hence, besides solid argument, and clear method, all the conciliating and interesting arts, both of Composition and Pronunciation, enter into the idea of Eloquence. An objection may, perhaps, hence be formed against Eloquence, as an Art which may be employed for persuading to ill as well as to good. There is no doubt that it may; and so reasoning may also be, and too often is employed, for leading men into error. But who would think of forming an argument from this against the cultivation of our reasoning powers? Reason, Eloquence, and every Art which ever has been studied among mankind, may be abused, and may prove dangerous in the hands of bad men; but it were perfectly childish to contend, that, upon this account, they ought to be abolished. Give truth and virtue the same arms which you give vice and falsehood, and the former are likely to prevail. Eloquence is no invention of the schools. Nature teaches every man to be eloquent, when he is much in earnest. Place him in some critical situation; let him have some great interest at stake, and you will see him lay hold of the most effectual means of persuasion. The Art of Oratory proposes nothing more

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than to follow out that track which nature has. first pointed out. And the more exactly that this track is pursued, the more that Eloquence is properly studied, the more shall we be guarded against the abuse which bad men make of it, and enabled the better to distinguish between true Eloquence and the tricks of Sophistry.

We may distinguish three kinds, or degrees, of Eloquence. The first, and lowest, is that which aims only at pleasing the hearers. Such, generally, is the Eloquence of panegyrics, inaugural orations, addresses to great men, and other harangues of this sort. This ornamental sort of Composition is not altogether to be rejected. It may innocently amuse and entertain the mind; and it may be mixed, at the same time, with very useful sentiments. But it must be confessed, that where the Speaker has no farther aim than merely to shine and to please, there is great danger of Art being strained into ostentation, and of the Composition becoming tiresome and languid.

A second and higher degree of Eloquence is when the Speaker aims not merely to please, but also to inform, to instruct, to convince: when his Art is exerted in removing prejudices against himself and his cause, in chusing the most proper arguments, stating them with the greatest force, arranging them in the best order, expressing and delivering them with propriety and beauty; and thereby disposing us to pass that judgment, or embrace that side of the cause, to which he seeks to bring us. Within this compass, chiefly, is employed the Eloquence of the

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But there is a third, and still higher degree of

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