471. In the third place, with respect to the assistance that is to be gained from the writings of others, it is obvious, that we ought to render ourselves well acquainted with the style of the best authors. This is requisite, both in order to form a just taste in style, and to supply us with a full stock of words on every subject.

Obs. 1. In reading authors with a view to style, attention should be given to the peculiarities of their different manners; and in this Grammar we have endeavoured to suggest several things that may be useful in this view. Dr. Blair says, no exercise will be found more useful for acquiring a proper style, than to translate some passage from an eininent English author into our own words.

2. What he means is, to take, for instance, some page of one of Addison's Spectators, and read it carefully over two or three times, till we have got a firm hold of the thoughts contained in it; then to lay aside the book; to attempt to write out the passage from memory, in the best way we can; and, having done so, next to open the book, and compare what we have written, with the style of the author.

3. Such an exercise will, by comparison, shew us where the defects of our style lie; it will lead us to the proper attentions for rectifying them; and among the different ways in which the same thought may be expressed, it will make us perceive that which is the most beautiful.

This is

472. In the fourth place, guard yourself, at the same time, against a servile imitation of any author whatever. always dangerous. It hampers genius; it is likely to produce a stiff manner; and those who are given to close imitation, generally imitate an author's faults, as well as his beauties. No man will ever become a good writer or speaker, who has not some degree of confidence to follow his own genius.

Obs. You ought to beware, in particular, of adopting any author's noted phrases, or transcribing passages from him. Such a habit will prove fatal to all genuine composition. Infinitely better it is to have something that is your own, though of moderate beauty, than to affect to shine in borrowed ornaments, which will, at last, betray the utter poverty of your genius. On these heads of composing, correcting, reading, and imitating, every student of oratory should consult what Quinctilian has delivered in the tenth book of his Institutions, where will be found a variety of excellent observations and directions, that well deserve attention.

473. In the fifth place, it is an obvious, but material rule, with respect to style, that you always study to adapt it to the subject, and also to the capacity of your hearers, if you are to speak in public. Nothing merits the name of eloquent or beautiful, which is not suited to the occasion, and to the persons to whom it is addressed. It is to the last degree awkward and absurd, to attempt a poetical, florid style, on occasions when it should be your business only to argue and rea

son; or to speak with elaborate pomp of expression, before persons who comprehend nothing of it, and who can only stare at your unseasonable magnificence. These are defects not so much in point of style, as, what is much worse, in point of common sense.

Obs. When you begin to write or speak, you ought previously to fix in your minds a clear conception of the end to be aimed at; to keep this steadily in your view, and to suit your style to it. If you do not sacrifice to this great object every ill-timed ornament that may occur to your fancy, you are unpardonable; and though children and fools may admire, men of sense will laugh at you and your style.

474. In the last place, carry along with you this admonition, that, in any case, and on any occasion, attention to style must not engross you so much, as to detract from a higher degree of attention to the thoughts: "to your expression be attentive; but about your matter be solicitous."

Obs. It is much easier to dress up trivial and common sentiments with some beauty of expression, than to afford a fund of vigorous, ingenious, and useful thoughts. The latter requires true genius; the former may be attained by industry, with the help of very superficial parts. Hence, we find so many writers frivolously rich in style, but wretchedly poor in sentiment. The public ear is now so much accustomed to a correct and ornamented style, that no writer can, with safety, neglect the study of it. But he is a contemptible one, who does not look to something beyond it; who does not lay the chief stress upon his matter, and employ such ornaments of style to recommend it, as are manly, not foppish. "A higher spirit ought to animate those who study eloquence. They ought to consult the health and fondness of the whole body, rather than bend their attention to such trifling objects as paring the nails, and dressing the hair. Let ornament be manly and chaste, without effeminate gayety, or artificial colouring; let it shine with the glow of health and strength."

CHAPTER V.

CONDUCT OF A DISCOURSE IN ALL ITS PARTS-INTRODUCTION, DIVISION, NARRATION AND EXPLICATION.

475. ON whatever subject any one intends to discourse, he will most commonly begin with some introduction, in order to prepare the minds of his hearers; he will then state his subject, and explain the facts connected with it; he will

*"Curam verborum, rerum volo esse solicitudinem."

"Majore animo aggredienda est eloquentia; quæ si toto corpore valet, ungues polire et capillum componere, non existimabit ad curam suam pertinere. Ornatus et virilis et fortis, et sanctus sit; nec effeminatam levitatem, et fuco ementitum colorem amet; sanguine et viribus niteat." Quinctilian.

employ arguments for establishing his own opinion, and overthrowing that of his antagonist: he may perhaps, if there be room for it, endeavour to touch the passions of his audience; and after having said all he thinks proper, he will bring his discourse to a close, by some peroration or conclusion.

476. This being the natural train of speaking, the parts that compose a regular formal oration, are these six : First, the exordium, or introduction;

Secondly, the statement, and the division of the subject;
Thirdly, the narration, or explication;

Fourthly, the reasoning, or arguments;
Fifthly, the pathetic parts;

And, lastly, the conclusion.

477. The exordium, or introduction, is manifestly common to all kinds of public speaking. It is not a rhetorical invention. It is founded upon nature, and suggested by

common sense.

Illus. When one is going to counsel another; when he takes upon him to instruct, or to reprove, prudence will generally direct him not to do it abruptly, but to use some preparation; to begin with some matter that may incline the persons, to whom he addresses himself, to judge favourably of what he is about to say; and may dispose them to such a train of thought, as will forward and assist the purpose which he has in view. This is, or it ought to be, the main scope of an introduction.

478. First, to conciliate the good-will of the hearers; to render them benevolent, or well-affected, to the speaker, and to the subject.

Illus. Topics for this purpose may, in causes at the bar, be sometimes taken from the particular situation of the speaker himself, or of his client, or from the character or behaviour of his antagonists, contrasted with his own; on other occasions, from the nature of the subject, as closely connected with the interest of the hearers; and, in general, from the modesty and good intention with which the speaker enters upon his subject.

479. The second end of an introduction, is, to raise the attention of the hearers; which may be effected, by giving them some hints of the importance, dignity, or novelty of the subject; or some favourable view of the clearness and precision with which we are to treat it, and of the brevity with which we are to discourse.

480. The third end is, to render the hearers docile, or open to persuasion; for which end we must begin with studying to remove any particular prepossessions they may have con

tracted against the cause, or side of the argument, which we espouse..

481. As few parts of the discourse give the composer more trouble, or are attended with more nicety in the execution, we shall here lay down the following rules, for the proper composition of this part of the subject.

482. The first rule is, that the introduction should be easy and natural. The subject must always suggest it.

Obs. It is too common a fault in introductions, that they are taken from some common-place topic, which has no particular relation to the subject in hand; by which means they stand apart, like pieces detached from the rest of the discourses to which they are prefixed.

483. In order to render introductions natural and easy, it is a good rule, that they should not be planned, till after one has meditated in his own mind the substance of his discourse. Then, and not till then, he should begin to think of some proper and natural introduction.

Obs. By taking a contrary course, and labouring in the first place on an introduction, every one who is accustomed to composition, will often find, that either he is led to lay hold of some common-place topic, or that, instead of the introduction being accommodated to the discourse, he is obliged to accommodate the whole discourse to the introduction which he had previously written.

484. In the second place, in an introduction, correctness should be carefully studied in the expression. This is requisite, on account of the situation of the hearers.

Obs. They are then more disposed to criticise than at any other period; they are, as yet, unoccupied with the subject or the arguments; their attention is wholly directed to the speaker's style and manner. Something must be done, therefore, to prepossess them in his favour; though, for the same reasons, too much art must be avoided; for it will be more easily detected at that time than afterwards; and will derogate from persuasion in all that follows.

485. In the third place, modesty is another character which it must carry. All appearances of modesty are favourable, and prepossessing. If the orator set out with an air of arrogance and ostentation, the self-love and pride of the hearers will be presently awakened, and they will listen to him with a very suspicious ear throughout all his dis

course.

Obs. His modesty should discover itself not only in his expressions at the beginning, but in his whole manner; in his looks, in his gestures, in the tone of his voice. Every auditory take in good part those marks of respect and awe, which are paid to them by one who addresses them. Indeed the modesty of an introduction should never betray any thing mean or abject. It is always of great use to an orator, that, together with modesty and deference to his hearers, he should shew a

certain sense of dignity, arising from a persuasion of the justice or importance of the subject on which he is to speak.

486. In the fourth place, an introduction should usually be carried on in the calm manner. This is seldom the place for vehemence and passion. Emotions must rise as the discourse advances. The minds of the hearers must be gradually prepared, before the speaker can venture on strong and passionate sentiments.

Obs. The exceptions to this rule are, when the subject is such, that the very mention of it naturally awakens some passionate emotion; or when the unexpected presence of some person or object, in a popular assembly, inflames the speaker, and makes him break forth with unusual warmth. Either of these will justify what is called the exordium ab abrupto.

Example. Thus the appearance of Catiline in the senate renders the vehement beginning of Cicero's first oration against him very natural and proper: 66 Quousque tandem abutere, Catilina, patientia nostra?" And thus Bishop Atterbury, in preaching from this text, "Blessed is he, whosoever shall not be offended in me," ventures on breaking forth with this bold exordium: "And can any man then be offended in thee, blessed Jesus?"

487. In the fifth place, it is a rule in introductions, not to anticipate any material part of the subject.

Obs. When topics, or arguments, which are afterwards to be enlarged upon, are hinted at, and, in part, brought forth in the introduction, they lose the grace of novelty upon their second appearance. The impression intended to be made by any capital thought, is always made with the greatest advantage, when it is made entire, and in its proper place.

488. In the last place, the introduction ought to be proportioned, both in length and in kind, to the discourse that is to follow in length, as nothing can be more absurd than to erect a very great portico before a small building; and in kind, as it is no less absurd to overcharge, with superb ornaments, the portico of a plain dwelling-house, or to make the entrance to a monument as gay as that to an arbour. Common sense directs, that every part of a discourse should be suited to the strain and spirit of the whole.

Scholium. These are the principal rules that relate to introductions. They are adapted, in a great measure, to discourses of all kinds. In pleadings at the bar, or speeches in public assemblies, particular care must be taken not to employ such an introduction as the adverse party may lay hold of, and turn to his advantage.

489. After the introduction, what commonly comes next in order, is the proposition, or enunciation, of the subject. Concerning the proposition, it is to be observed, that it should be as clear and distinct as possible, and expressed in few and plain words, without the least affectation.