tions and actions were found to be much used, as explanatory of their meaning, on all their great occasions of intercourse with each other; and by the belts and strings of wampum, which they gave and received, they were accustomed to declare their meaning, as much as by their discourses.

With regard to inflexions of voice, these are so natural, that to some nations, it has appeared easier to express different ideas by varying the tone with which they pronounced the same word, than to contrive words for all their ideas. This is the practice of the Chinese in particular. The number of words in their language is said not to be great; but, in speaking, they vary each of their words on no less than five different tones, by which they make the same word signify five different things. This must give a great appearance of music or singing to their speech. For those inflexions of voice which, in the infancy of language, were no more than harsh or dissonant cries, must, as language gradually polishes, pass into more smooth and musical sounds and hence is formed what we call the prosody of a language.

It is remarkable, and deserves attention, that both in the Greek and Roman languages, this musical and gesticulating pronunciation was retained in a very high degree. Without having attended to this, we shall be at a loss in understanding several passages of the classics, which relate to the public speaking and the theatrical entertainments of the ancients. It appears, from many circumstances, that the prosody both of the Greeks and Romans was carried much further than ours; or that they spoke with more, and stronger, inflexions of voice than we use. The quantity of their syllables was much more fixed than in any of the modern languages, and rendered muck more sensible to the ear in pronouncing them. Besides quantities, or the difference of short and long, accents were placed upon most of their syllables, the acute, grave, and circumflex · the use of which accents we have now entirely lost, but which, we know, determined the speaker's voice to rise or fall. Our modern pronunciation must have appeared to them a lifeless monotony. The declamation of their orators, and the pronunciation of their actors upon the stage, approached to the nature of a recitative in music; was capable of being marked in notes, and supported with instruments; as several learned men have fully proved. And if this was the case, as they have shown, among the Romans, the Greeks, it is well known, were still a more musical people than the Romans, and carried their atten

tion to tone and pronunciation much further in every public exhibition. Aristotle, in his Poëtics, considers the music of tragedy as one of its chief and most essential parts.

The case was parallel with regard to gestures: for strong tones, and animated gestures, we may observe, always go together. Action is treated of by all the ancient critics, as the chief quality in every public speaker. The action, both of the orators and the players in Greece and Rome, was far more vehement than what we are accustomed to. Roscius would have seemed a madman to us. Gesture was of such consequence upon the ancient stage, that there is reason for believing, that, on some occasions, the speaking and the acting part were divided, which, according to our ideas, would form a strange exhibition; one player spoke the words in the proper tones, while another performed the corresponding motions and gestures. We learn from Cicero, that it was a contest between him and Roscius, whether he could express a sentiment in a greater variety of phrases, or Roscius in a greater variety of intelligible significant gestures. At last gesture came to engross the stage wholly; for, under the reigns of Augustus and Tiberius, the favourite entertainment of the public was the pantomime, which was carried on entirely by mute gesticulation The people were moved, and wept at it, as much as at tragedies; and the passion for it became so strong, that laws were obliged to be made, for restraining the senators from studying the pantomime art. Now, though in declamations and theatrical exhibitions, both tone and gesture were, doubtless, carried much further than in common discourse; yet public speaking, of any kind, must, in every country, bear some proportion to the manner that is used in conversation; and such public entertainments as I have now mentioned could never have been relished by a nation, whose tones and gestures, in discourse, were as languid

as ours.

When the barbarians spread themselves over the Roman empire, these more phlegmatic nations did not retain the accents, the tones, and gestures, which necessity at first introduced, and custom and fancy afterwards so long supported, in the Greek and Roman languages. As the Latin tongue was lost in their idioms, so the character of speech and pronunciation began to be changed throughout Europe. Nothing of the same attention was paid to the music of language, or to the pomp of declamation, and theatrical action. Both conversation and public speaking became more simple and plain, such as we now find it; with

out that enthusiastic mixture of tones and gestures which distinguished the ancient nations. At the restoration of letters, the genius of language was so much altered, and the manners of the people had become so different, that it was no easy matter to understand what the ancients had said, concerning their declamations and public spectacles. Our plain manner of speak ing, in these northern countries, expresses the passions with sufficient energy, to move those who are not accustomed to any more vehement manner. But, undoubtedly, more varied tones, and more animated motions, carry a natural expression of warmer feelings. Accordingly, in different modern languages, the prosody of speech partakes more of music, in proportion to the liveliness and sensibility of the people. A Frenchman both varies his accents, and gesticulates while he speaks, much more than an Englishman. An Italian, a great deal more than either. Musical pronunciation and expressive gesture are, to this day, the distinction of Italy.

From the pronunciation of language, let us proceed, in the third place, to consider the style of language in its most early state, and its progress in this respect also. As the manner in which men at first uttered their words, and maintained conversation, was strong and expressive, enforcing their imperfectly expressed ideas by cries and gestures; so the language which they used could be no other than full of figures and metaphors, not correct indeed, but forcible and picturesque.

We are apt, upon a superficial view, to imagine that those modes of expression which are called figures of speech, are among the chief refinements of speech, not invented till after language had advanced to its later periods, and mankind were brought into a polished state; and that, then, they were devised by orators and rhetoricians. The contrary of this is the truth. Mankind never employed so many figures of speech, as when they had hardly any words for expressing their meaning.

For, first, the want of proper names for every object obliged them to use one name for many; and, of course, to expres themselves by comparisons, metaphors, allusions, and all those substituted forms of speech which render language figurative. Next, as the objects with which they were most conversant, were the sensible, material objects around them, names would be given to those objects long before words were invented for signifying the dispositions of the mind, or any sort of moral and intellectual ideas. Hence, the early language of men being entirely made up of words descriptive of sensible objects, it became, of ne

cessity, extremely metaphorical. For, to signify any desire or passion, or any act or feeling of the mind, they had no precise expression which was appropriated to that purpose, but were under a necessity of painting the emotion, or passion, which they felt, by allusion to those sensible objects which had most relation to it, and which could render it, in some sort, visible to others.

But it was not necessity alone, that gave rise to this figured style. Other circumstances also, at the commencement of language, contributed to it. In the infancy of all societies, men are much under the dominion of imagination and passion. They live scattered and dispersed; they are unacquainted with the course of things; they are, every day, meeting with new and strange objects. Fear and surprise, wonder, and astonishment. are their most frequent passions. Their language will necessarily partake of this character of their minds. They will be prone to exaggeration and hyperbole. They will be given to describe every thing with the strongest colours, and most vehement expressions; infinitely more than men living in the advanced and cultivated periods of society, when their imagination is more chastened, their passions are more tamed, and a wider experience has rendered the objects of life more familiar to them. Even the manner in which I before showed that the first tribes of men uttered their words, would have considerable influence on their style. Wherever strong exclamations, tones, and gestures, enter much into conversation, the imagination is always more exercised; a greater effort of fancy and passion is excited. Consequently, the fancy, kept awake, and rendered more sprightly by this mode of utterance, operates upon style, and enlivens it more.

These reasonings are confirmed by undoubted facts. The style of almost all the early languages, among nations who are in the first and rude periods of society, is found, without exception, to be full of figures; hyperbolical and picturesque in a high degree. We have a striking instance of this in the American languages, which are known, by the most authentic accounts, to be figurative to excess. The Iroquois and Illinois carry on their treaties and public transactions with bolder metaphors, and greater pomp of style, than we use in our poetical productions.*

Thus, to give an instance of the angular style of these nations, the five na tions of Canada, when entering on a treaty of peace with us, expressed them. selves by their chiefs in the following language: "We are happy in baying buried under ground the red exe, that has so often been dyed with the bicod of our

Another remarkable instance is, the style of the Old Testament, which is carried on by constant allusions to sensible objects. Iniquity, or guilt, is expressed by a "spotted garment;" misery, by "drinking the cup of astonishment;" vain pursuits, by "feeding on ashes;" a sinful life, by " a crooked path;" prosperity, by “the candle of the Lord shining on our head;" and the like, in innumerable instances. Hence, we have been accustomed to call this sort of style the oriental style, as fancying it to be peculiar to the nations of the east: whereas, from the American style, and from many other instances, it plainly appears not to have been peculiar to any one region or climate: but to have been common to all nations, in certain periods of society and language.

Hence, we may receive some light concerning that seeming paradox, that poetry is more ancient than prose. I shall have occasion to discuss this point fully hereafter, when I come to treat of the nature and origin of poetry. At present, it is sufficient to observe, that from what has been said it plainly appears, that the style of all languages must have been originally poetical; strongly tinctured with that enthusiasm, and that descriptive metaphorical expression, which distinguishes poetry.

As language, in its progress, began to grow more copious, it gradually lost that figurative style, which was its early character. When men were furnished with proper and familiar names for every object, both sensible and moral, they were not obliged to use so many circumlocutions. Style became more precise, and of course, more simple. Imagination too, in proportion as society advanced, had less influence over mankind. The vehement manner of speaking by tones and gestures began to be disused. The understanding was more exercised; the

brethren. Now, in this fort, we inter the axe, and plant the tree of peace. We plant a tree, whose top will reach the sun; and its branches spread abroad, so that it shall be seen afar off. May its growth never be stifled and choked; but may it shade both your country and ours with its leaves! Let us make fast its roots, and extend them to the utmost of your colonies. If the French should come to shake this tree, we would know it by the motion of its roots reaching into our country. May the Great Spirit allow us to rest in tranquillity upon our mats, and never again dig up the axe to cut down the tree of Peace: Let the earth be trod hard over it, where it lies buried. Let a strong stream run under the pit, to wash the evil away out of our sight and remembrance.-The fire that had long burned in Albany is extinguished. The bloody bed is washed clean, and the tears are wiped from our eyes. We now renew the covenant chain of friendship. Let it be kept bright and clean as silver, and not suffered to contract any rust. Let not any one pull away his arm from it." These passages are extracted from Cadwallader Colden's History of the Five Indian Nations; where it appears, from the authentic documents he produces, that such is their genuine style.