Where the tion to abbreviate or omit connectives. connexion is important, the speaker naturally dwells some time on it. You will hear a man say, "Now if In a so and so is true, why then so and so follows." sermon it is an important rule, that each principal idea must be for some time dwelt on, in order to make the due impression. If, then, the connexion itself be the idea which it is important to mark, you cannot safely curtail or omit the connectives. Dr. Campbell says, that "the cohesion of the parts in a cabinet or any other piece of furniture seems always more complete, the less the pegs and taches so necessary to connect it are exposed to view." True; but, in a sermon, the points of cohesion are often the very parts you wish to make most visible. It is not enough to show that the different parts rest upon each other, but it is also desirable to set forth how they rest, in order that your hearers may not only believe, but be able to give a reason for the faith which is in them. There fore-to come at last to my own suggestion on the subject-if, as Dr. Campbell says, it be offensive to hear the quick returns of the alsos, and the likewises, and the moreovers, and the howevers, and notwithstandings; instead of omitting them,—which would often impair the perspicuity of the passage, and prevent the connexion being readily discerned,—I would paraphrase or resolve them into sentences. Instead of also, likewise, moreover, I would say something of this sort "There is yet another argument for your considera tion;" "so much for this point, let us go on to the next." Instead of however, notwithstanding, nevertheless, I would say "Let me not be misunderstood;" "take another view of the subject;" "though there is some weight in what has just been urged, there is this to be said in reply ;" "in this part of our argument we must not forget;" "the last argument I would suggest is this." I do not mention these as being, all of them, models for your imitation; but simply as instances of the mode in which perspicuity may be attained, without, as it appears to me, any essential sacrifice of elegance. This, of course, is not the style suited to essay writing, but merely to sermons; for it was before agreed that, if it were needful, elegance must be sacrificed to perspicuity. One point I may further mention, which is, that the connexion and transition from one part of your subject to another should be in plain and simple language, and not as a certain forensic orator once said, "We are now advancing from the starlight of circumstance to the daylight of discovery. The sun of certainty is melting the darkness, and-we are arrived at facts admitted by both parties." But you will often find that the transition to fresh matter may be sufficiently marked by varying the tone of voice, and using proper pauses. The foregoing observations relate principally to the connectives between sentences and paragraphs: a few words should be added on those which join together words. You will find the omission or multiplication of them (Asyndeton and Polysyndeton) of great use to vary your style. When the subject requires a calm, measured, deliberative, style, then the omission of conjunctions is proper; as in the following passage, "The fruit of the Spirit is love, joy, peace, longsuffering, gentleness, goodness, faith, meekness, temperance 1." But when a fulness and copiousness of language is required to express passion and energy, your object is gained by the reiteration of the copula, as when St. Paul says, "I am persuaded that neither death, nor life, nor angels, nor principalities, nor powers, nor things present, nor things to come, nor height, nor depth, nor any other creature, shall be able to separate us from the love of God, which is in Christ Jesus our Lord "." 1 Gal. v. 22, 23. 2 Rom. viii. 38, 39. See also 1 Cor. vi. 11. PART III. ON THE METHOD OF COMPOSING. LETTER XX. ON THE CHOICE OF A SUBJECT. The most humorous of satirists has said, that "All the rhetorician's rules Teach nothing, but to name his tools." Let us endeavour to avoid this imputation. Having in the foregoing letters named all the principal tools of rhetoric, let us now proceed to learn the use of them. My present letter shall be devoted to giving you some hints on the choice of a subject. You will do well to determine this point early in the week; and to get your sermon in hand, or at least in your head, as soon as possible. Probably after some practice you may be able to write a very fair sermon in two days, or less; but if you reserve only the last two days of the week, how can you be sure of sufficient time to finish it? Your time may be broken in upon by fifty different things; you may be tormented by a headache, or interrupted by visitors; or some unexpected duty in your parish may arise; or you may not feel yourself in a humour or fit frame of mind for composing; for even the best authors are not equally prompt and alert at all times-Homer himself was liable to occasional drowsiness-and what is written "invitâ Minervâ" will have but little spirit or effect. Therefore, if you defer all thoughts about your sermon till Friday or Saturday, the chances are that you will produce a dull or slovenly composition, or be obliged to put off your congregation with an old one. 66 "The subject of a sermon," says Archbishop Hort, ought to be some point of doctrine that is necessary for a Christian to know, or some duty that it is necessary for him to practise, in order to salvation." Now these are not precisely the points to which a young clergyman is most likely to have given his latest attention. The discourses which he has heard at the University have turned probably on some topic of learned controversy, or some important point of criticism. Or his head is full of the evidences of Christianity, or of the proofs and explanation of the Articles—subjects, which he has been most properly engaged in mastering 8 |