LECTURE XXXIV.

Means of Improving in Eloquence.

I HAVE now treated fully of the different kinds

of public speaking, of the compofition, and of the delivery of a discourse. Before finishing this fubject, it may be of ufe, that I fuggeft fome 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 fense of the word, is far from being either a common or an eafy attainment. Indeed, to compose a florid harangue on some popular topic, and to deliver it fo as to amuse an audience, is a matter not very difficult. But though fome 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 pleafing the fancy merely, but of speaking both to the understanding, and to the heart; of interefting the hearers in fach a degree, as to feize and carry them along with L. on R. 3.

as; and to leave them with a deep and ftrong impreffion of what they have heard. How many talents, natural and acquired, muft concur for carrying this to perfection? A ftrong, lively, and warm imagination; quick sensibility of heart, joined with folid judgment, good fenfe, and prefence of mind; all improved by great and long attention to ftyle and compofition; and fupported alfo by the exterior, yet important qualifications of a graceful manner, a presence not ungainly, and a full and tunable voice. How little reafon to wonder, that a perfect and accomplished orator, fhould be one of the characters that is most rarely to be found?

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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 honor; and the more rare and difficult that complete perfection is, the greater is the honor of approaching to it, though we do not fully attain it. The number of orators who ftand in the higheft clafs is, perhaps, smaller than the number of poets who are foremost in poetic fame; but the ftudy 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 effe poëtis

Non homines, non Dï, non conceffere columnæ *.

For God and man, and lettered poft denies,

That poets ever are of middling fize.

FRANCIS.

In eloquence this does not hold. There, one may poffefs a moderate station with dignity. Eloquence admits of a great many different forms; plain and fimple, as well as high and pathetic; and a genius that cannot reach the latter, may fhine 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 fow the feeds; but culture is requifite for bringing those feeds to perfection. Nature must always have done fomewhat; but a always be left to be done by art.

great deal will This is certain,

that ftudy and difcipline are more neceffary for the improvement of natural genius, in oratory, than they are in poetry. What I mean is, that though poetry be capable of receiving affiftance from critical art, yet a poet, without any aid from art, by the force of genius alone, can rife higher than a public speaker can do, who has never given attention to the rules of ftyle, compofition, and delivery. Homer formed himself; Demofthenes and Cicero were formed by the help of much labor, and of many affiftances derived from the labor of others. After these preliminary obfervations, let us proceed to the main defign of this lecture; to confider of the means to be used for improvement in eloquence.

In the first place, what ftands highest in the order of means, is perfonal character and'

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difpofition. In order to be a truly eloquent or perfuafive speaker, nothing is more neceffary than to be a virtuous man. This was a favorite pofition among the ancient rhetoricians: "Non poffe ❝oratorem effe nifi virum bonum." To find any fuch connexion between virtue and one of the higheft liberal arts, muft give pleasure; and it can, I think, be clearly shown, that this is not a mere topic of declamation, but that the connexion here alledged, is undoubtedly founded in truth and reason.

For, confider firft, whether any thing be more effential to perfuafion, than the opinion which we entertain of the probity, difintereftedness, candor, and other good moral qualities of the person who endeavours to perfuade? These give weight and force to every thing which he utters; nay, they add a beauty to it; they dispose us to liften with attention and pleasure; and create a fecret partiality in favor of that fide which he espouses. Whereas, if we entertain a fufpicion of craft and difingenuity, of a corrupt, or a base mind, in the speaker, his eloquence lofes all its real effect. It may entertain and amufe; but it is viewed as artifice, as trick, as the play only of speech; and, viewed in this light, whom can it perfuade? We even read a book with more pleasure, when we think favorably of its author; but when we have the living fpeaker be ore our eyes, addreffing us perfonally on iome fubject of importance, the