to carry that kind of expression which nature has dictated to him; and unless this be the case, it is impossible, by means of any study, to avoid their appearing stiff and forced.

For

However, although nature must be the groundwork, I admit that there is room in this matter for some study and art. many persons are naturally ungraceful in the motions which they make; and this ungracefulness might, in part at least, be reformed by application and care. The study of action in Public Speaking, consists chiefly in guarding against awkward and disagreeable motions, and in learning to perform such as are natural to the Speaker, in the most becoming manner. For this end it has been advised by writers on this subject, to practise before a mirror, where one may see and judge of his own gestures. But I am afraid persons are not always the best judges of the gracefulness of their own motions; and one may declaim long enough before a mirror,. without correcting any of his faults. The judgment of a friend, whose good taste they can trust, will be found of much greater advantage to beginners, than any mirror they can use. With regard to particular rules concerning action and gesticulation, Quinctilian has delivered a great many, in the last chapter of the Eleventh Book of his Institutions; and all the modern writers on this subject have done little else but translate them. I am not of opinion that such rules, delivered either by the voice or on paper, can be of much use, unless persons saw them exemplified before their eyes.*

I shall only add further on this head, that, in order to succeed well in Delivery, nothing is more necessary than for a Speaker to guard against a certain flutter of spirits, which is peculiarly incident to those who begin to speak in public. He must endeavour above all things to be recollected, and master of himself.

The few following hints only 1 shall adventure to throw out, in case they may be of any service. When speaking in public, one should study to preserve as much dignity as possible, in the whole attitude of the body. An erect posture is generally to be chosen; standing firm, so as to have the fullest and freest command of all his motions; any inclination which is used should be forwards towards the hearers, which is a natural expression of earnestness. As for the countenance, the chief rule is, that it should correspond with the nature of the discourse, and when no particular emotion is expressed, a serious and manly look is always the best. The eyes should never be fixed close on any one object, but move easily round the audience. In the motions made with the hands consists the chief part of gesture in Speaking. The ancients condemned all motions performed by the left hand alone; but I am not sensible that these are always offensive, though it is natural for the right hand to be more frequently employed. Warm emotions demand the motion of both hands corresponding together. But whether one gesticulates with one or with both hands, it is an important rule, that all his motions should be free and easy. Narrow and straitened movements are generally ungraceful; for which reason, motions made with the hands are directed to proceed from the shoulder rather than from the elbow. Perpendicular movements too with the hands, that is, in the straight line up and down, which Shakspeare, in Hamlet, calls "sawing the air with the hand," are seldom good. Oblique motions, are, in general, the most graceful. Too sudden and nimble motions should be likewise avoided. Earnestness can be fully expressed without them. Shakspeare's directions on this head are full of good sense; use all gently," says he;" and in the very torrent and tempest of passion, acquire a temperance that may give it smoothness."

For this end, he will find nothing of more use to him than to study to become wholly engaged in his subject; to be possessed with a sense of its importance or seriousness; to be concerned much more to persuade than to please. He will generally please most, when pleasing is not his sole nor chief aim. This is the only rational and proper method of raising one's self above that timid and bashful regard to an audience, which is so ready to disconcert a Speaker, both as to what he is to say, and as to his manner of saying it.

I cannot conclude without an earnest admonition to guard against all affectation, which is the certain ruin of good Delivery. Let your manner, whatever it is, be your own; neither imitated from another, nor assumed upon some imaginary model, which is unnatural to you. Whatever is native, even though accompanied with several defects, yet is likely to please; because it shows us a man; because it has the appearance of coming from the heart. Whereas a Delivery, attended with several acquired graces and beauties, if it be not easy and free, if it betray the marks of art and affectation, never fails to disgust. To attain any extremely correct and perfectly graceful Delivery, is what few can expect; so many natural talents being requisite to concur in forming it. But to attain, what as to the effect is very little inferior, a forcible and persuasive manner, is within the power of most persons; if they will only unlearn false and corrupt habits; if they will allow themselves to follow Nature, and speak in public as they do in private, when they speak in earnest and from the heart. If one has naturally any gross defects in his voice or gestures, he begins at the wrong end, if he attempts at reforming them only when he is to speak in public. He should begin with rectifying them in his private manner of Speaking; and then carry to the public the right habit he has formed. For, when a Speaker is engaged in a Public Discourse, he should not be then employing his attention about his manner, or thinking of his tones and his gestures. If he be so employed, study and affectation will appear. He ought to be then quite in earnest; wholly occupied with his subject and his sentiments; leaving Nature, and previously formed habits, to prompt and suggest his manner of Delivery.

LECTURE XXXIV.

MEANS OF IMPROVING IN ELOQUENCE.

I HAVE now treated fully of the different kinds of Public Speaking, of the Composition, and of the Delivery of a Discourse. Before I finish this subject, it may be of use to suggest some things concerning the properest means of Improvement in the Art of Public Speaking, and the most necessary studies for that purpose.

To be an Eloquent Speaker, in the proper sense of the word, is far from being a common or an easy attainment. Indeed, to compose a florid harangue on some popular topic, and to deliver it so as to amuse an Audience, is a matter not very difficult. But though some praise be due to this, yet the idea which I have endeavoured to give of Eloquence is much higher. It is a great exertion of the human powers. It is the art of being persuasive and commanding; the Art, not of pleasing the fancy merely; but of speaking both to the understanding and to the heart; of interesting the hearers in such a degree, as to seize and carry them along with us; and to leave them with a deep and strong impression of what they have heard. How many talents, natural and acquired, must concur for carrying this to perfection? A strong, lively, and warm imagination; quick sensibility of heart, joined with solid judgment, good sense, and presence of mind; all improved by great and long attention to Style and Composition; and supported also by the exterior, yet important qualifications, of a graceful manner, a presence not. ungainly, and a full and tuneable voice. How little reason to wonder, that a perfect and accomplished Orator should be one of the characters that is most rarely to be found?

Let us not despair. however. Between mediocrity and perfection there is a very wide interval. There are many intermediate spaces, which may be filled up with honour; and the more rare and difficult that complete perfection is, the greater is the honour of approaching to it, though we do not fully attain it. The number of Orators who stand in the highest class is, perhaps, smaller than the number of Poets who are foremost in poetic fame; but the study of Oratory has this advantage above that of Poetry, that, in Poetry, one must be an eminently good performer, or he is not supportable:

Mediocribus esse Poëtis

Non homines, non Di, non concessêre columnæ.”

In Eloquence this does not hold. There, one may possess a moderate station with dignity. Eloquence admits of a great

For God and Man, and lettered post denies,
That Poets ever are of middling size.

FRANCIS.

many different forms; plain and simple, as well as high and pathetic; and a genius that cannot reach the latter, may shine with much reputation and usefulness in the former.

Whether Nature or Art contribute most to form an Orator, is a trifling inquiry. In all attainments whatever, Nature must be the prime agent. She must bestow the original talents. She must sow the seeds; but culture is requisite for bringing these seeds to perfection. Nature must always have done somewhat; but a great deal will always be left to be done by Art. This is certain, that study and discipline are more necessary for the improvement of natural genius in Oratory, than they are in Poetry. What I mean is, that though Poetry be capable of receiving assistance from Critical Art, yet a Poet without any aid from Art, by the force of genius alone, can rise higher than a Public Speaker can do, who has never given attention to the rules of Style, Composition, and Delivery. Homer formed himself; Demosthenes and Cicero were formed by the help of much labour, and of many assistances derived from the labour of others. After these preliminary observations, let us proceed to the main design of this Lecture; to treat of the means to be used for improvement in Eloquence.

In the first place, What stands highest in the order of means, is personal character and disposition. In order to be a truly eloquent or persuasive Speaker, nothing is more necessary than to be a virtuous man. This was a favourite position among the ancient Rhetoricians: "Non posse Oratorem esse nisi virum bonum."

To find any such connexion between virtue and one of the highest liberal arts, must give pleasure; and it can, I think, be clearly shown, that this is not a mere topic of declamation, but that the connexion here alleged, is undoubtedly founded in truth and reason.

For, consider first, Whether anything contribute more to persuasion, than the opinion which we entertain of the probity, disinterestedness, candour, and other good moral qualities of the person who endeavours to persuade? These give weight and force to every thing which he utters; nay, they add a beauty to it; they dispose us to listen with attention and pleasure, and create a secret partiality in favour of that side which he espouses. Whereas, if we entertain a suspicion of craft and disingenuity, of a corrupt, or a base mind, in the Speaker, his Eloquence loses all its real effect. It may entertain and amuse; but it is viewed as artifice, as trick, as the play only of Speech; and, viewed in this light, whom can it persuade? We even read a book with more pleasure, when we think favourably of its Author; but when we have the living Speaker before our eyes, addressing us personally on some subject of importance, the opinion we entertain of his character must have a much more powerful effect.

But, lest it should be said, that this relates only to the character of Virtue, which one may maintain, without being at bottom a truly worthy man, I must observe farther, that besides the weight which it adds to Character, real Virtue operates also, in other ways, to the advantage of Eloquence.

First, nothing is so favourable as Virtue to the prosecution of honourable studies. It prompts a generous emulation to excel; it inures to industry; it leaves the mind vacant and free, master of itself, disencumbered of those bad passions, and disengaged from those mean pursuits, which have ever been found the greatest enemies to true proficiency. Quinctilian has touched this consideration very properly: "Quod si agrorum nimia cura, et sollicitior rei familiaris diligentia, et venandi voluptas, & dati spectaculis dies, multum studiis auferunt, quid putamus facturas cupiditatem, avaritiam, invidiam? Nihil enim est tam occupatum, tam multiforme, tot ac tam variis affectibus concisum, atque laceratum, quam mala ac improba mens. Quis inter hæc, literis, aut ulli bonæ arti, locus? Non hercle magis quam frugibus, in terra sentibus ac rubis occupata.'

But, besides this consideration, there is another of still higher importance, though I am not sure of its being attended to as much as it deserves; namely, that from the fountain of real and genuine virtue, are drawn those sentiments which will ever be most powerful in affecting the hearts of others. Bad as the world is, nothing has so great and universal a command over the minds of men as virtue. No kind of Language is so generally understood, and so powerfully felt, as the native Language of worthy and virtuous feelings. He only, therefore, who possesses these full and strong, can speak properly, and in its own language, to the heart. On all great subjects and occasions, there is a dignity, there is an energy in noble sentiments, which is overcoming and irresistible. They give an ardour and a flame to one's Discourse, which seldom fails to kindle a like flame in those who hear; and which, more than any other cause, bestows on Eloquence that power, for which it is famed, of seizing and transporting an Audience. Here, Art and Imitation will not avail. An assumed character conveys nothing of this powerful warmth. It is only a native and unaffected glow of feeling, which can transmit the emotion to others. Hence, the most renowned Orators, such as Cicero and Demosthenes, were no less distinguished for some of the high virtues, as public spirit and zeal for their country, than for Eloquence. Beyond doubt, to these virtues

"If the management of an estate, if anxious attention to domestic economy, a passion for hunting, or whole days given up to public places of amusements, consume so much time that is due to study, how much greater waste must be occasioned by licentious desires, avarice, or envy? Nothing is so much hurried and agitated, so contradictory to itself, or so violently torn and shattered by conflicting passions, as a bad heart. Amidst the distractions which it produces, what room is left for the cultivation of letters, or the pursuit of any honourable art? No more, assuredly, than there is for the growth of corn in a field that is overrun with thorns and brambles."