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he proceeds to explain, to propose, or to narrate; but still equable and simple, without emotion or much variety. In short, he will keep to a native familiarity, somewhat resembling that of conversation; except where he hath occasion to relate events, or touch on circumstances that are interesting and moving. There, no doubt, his utterance will be more spirited and varied. It will be so, too, in proving and amplifying. It will then likewise be ready, voluble, powerful, penetrating. Again, in refuting, remonstrating, reproving, our preacher will assume a tone of conviction and authority: his articulation will be edged and pointed. Finally, when he arrives at the application, having entered on it after a considerable pause, and summoned up all his remaining force, he will then give way to a superior burst of religious vehemence, and like a flaming bomb bear down all before him: his voice will break forth with its whole pathos, pomp, and plenitude; every word will be a fresh attack, and all the most sounding and triumphant accents will at once ascertain his victory."

There are, however, but few discourses, to the peroration of which vehemence would be suitable. In the conclusion of a discourse, there should indeed be a tone of confidence, but seldom any vehemence; for it may be presumed that the preacher has already so far won the assent of his audience, that any appeal of this nature would be unnecessary. His manner in the peroration

should frequently be dignified and commanding; but it should frequently also be mild, fervent, and persuasive.

With reference also to another part of the above passage, it may be observed, that remonstrance requires not an edged and pointed, but rather a smooth delivery.

CHAPTER XIV.

ACTION.

As there are certain tones of the voice, so are there also certain looks and gestures, appropriate to the expression of every passion, emotion, and sentiment. These looks and gestures are the language of nature, and ought therefore to be studied and imitated by every speaker, who wishes to convey the full force and spirit of what he delivers. With respect to the expression of the eye and of the features generally, no rules need be given. If the speaker only feel the sentiment which he is uttering, and assume the tone of voice which is appropriate to it, the proper expression of feature will follow spontaneously; for there is so strong a sympathy between the different parts of the frame, that it is almost impossible for the features to be expressive of one emotion, and the voice of another, at the same time.

With respect to gesture or action, there is more to be observed. It may be defined a just and elegant adaptation of every part of the body to the nature and import of the subject on which we are speaking. This accomplishment was deemed of so much consequence among the

Greeks and Romans, that no man was esteemed an orator, who did not excel in this particular. In our own country it is seldom much attended to-partly on account of the great difficulty of attaining to excellence, and partly from the phlegmatic disposition of the English, which makes them averse not only from attempting what is bold, animated, or varied, but even from tolerating it, when exhibited in others. The action of the ancient Greeks and Romans, and of the modern French and Italians, would to an English audience appear overcharged; and we must, in some degree, accommodate our practice to the national taste of our countrymen. But this is no reason why action should be neglected altogether. To be perfectly motionless while we are giving utterance to "thoughts that breathe and words that burn," is not only depriving them of their necessary support, but rendering them unnatural and ridiculous. So natural indeed is some degree of action, that it may be affirmed to be impossible for any man to read or speak with spirit, without necessarily, and almost instinctively, placing his body in certain significant attitudes, or making some significant motions. He, therefore, who has not good action, will be sure to have such as is awkward and ungraceful.

As the correction of defects is always the first step towards the attainment of excellence, the speaker should at first be more solicitous to

avoid faults than to attain beauties.* If, therefore, there be any thing in the attitude or action of his body in speaking, which either his own judgment, or that of his friends or instructor, condemns as ungraceful, he ought to apply himself to correct it. Nothing, for instance, can be in worse taste, than what may be called the parliamentary manner, the chief peculiarity of which is a jerking forward of the upper part of the body at every emphatic word, while the right hand" saws the air," with one unvaried and ungraceful motion. In young and inexperienced speakers it is a very common defect perpetually to shift the weight of the body from one foot to the other, or to swing backwards and forwards. This ought to be carefully avoided. An orator does indeed usually rest more on one foot than on the other, and in the more impassioned parts of a discourse he may recede a little backward or advance forward; but in general he should maintain a firm position and an erect attitude; and if he, at the same time, take care that there be nothing stiff or constrained in his attitude, he will be dignified and commanding, though he use but little action with his hands.

To avoid defects, however, is not every thing. It will be useful, therefore, to inquire, what are the best modes of action for the several kinds of public speaking.

* Nec tam est enitendum, ut bona, quæ nobis data non sint, sequamur, quàm ut vitia fugiamus. Cicero, Off. L. i.

xxxi. 13.

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