That style of discourse by which the speaker by argument and eloquence moves the minds of his audience or incites them to action is defined oratory.

As oratory depends for its success on its ability to persuade, the orator must speak with reference to his audience, and he that would study the character of oratory must study that which appeals to the souls of his hearers.

The style of oratory varies with the civilization and temperament of the people. The ancients were more emotional than we. Their education was superficial; books were almost unknown, and the knowledge which they acquired was obtained chiefly from experience and observation, consequently they were keenly alive to their surroundings. The human passions--love, hate, ambition, jealousy and greed-were strong in their hearts. As a natural consequence, long trains of reasoning, necessitating close attention and mental application, were the exceptions. The aim was not to convince their intellects, but to move their passions. The orator spoke of their debt of gratitude, their sense of honor; he noted the evils arising from inaction; he made general observations of their interests, reminding them of their homes, their wives, their children-anything which men held dear.

Notice how Scipio Africanus shook off the charge of peculation. He gave a long account of his achievements for the state, and finally closed by saying that it was no time for angry squabbling, but for religious observance; it was an anniversary of his victory at Zama, therefore it behooved them to go up to the Capitol to thank the immortal gods and pray that Rome might never want citizens like himself.

The audience was electrified and, rising, they went up to the Capitol and Scipio was freed. He had touched the soul of his audience by appealing to their sense of gratitude.

While ancient oratory neglected logical reasoning and cultivated appeal to the sympathies, modern oratory recognizes reason as the judge upon whose bar must be placed its final appeal. Growth in civilization and

knowledge demands a firmer basis. Our oratory is not satisfied with lashing into foam the fickle surface, but seeks below the quiet depths of reason.

The press is a potent factor in the change. While a Demosthenes or a Cicero swayed the multitude within the hearing of his voice, our modern orator strives not only to move the assembled thousands but the millions scattered through the land. As he addresses such an audience the expression, the posture, the voice and the gesture are wanting; all that remain are the cold unimpassioned facts to plead his cause. Is it a wonder that the style of oratory has changed? It is a testimony to our advanced stage of civilization that judgment rules emotions and not emotions judgment.

It has been claimed that oratory has declined-that this age of railroads, telegraphs, telephones and phonographs has killed the orator. It is a well-known fact that great crises develop heroes-that the greatest achievements are the deeds performed by the greatest natures on important occasions. Thus in oratory those bursts which have formed masterpieces for the world were delivered when the fate of nations was in the balance. When Greece, torn by dissensions, had drunk the cup of degradation to the very dregs, when her strength had been exhausted by civil wars, when Philip from the north was threatening to overwhelm her shattered forces, then did Demosthenes deliver those renowned Philippics.

It was not when Rome was at the zenith of her glory that her oratory culminated. When she was divided by faction, when her magistrates were threatened with assassination, when rich were arrayed against poor and poor against rich. Then it was that Cicero thundered against Catiline.

When the Union was threatened with dismemberment, when the mutterings of the approaching tempest were heard throughout its borders, when Hayne, the champion of the South, had apparently settled the question of States' rights, Webster delivered that thrilling, masterful reply which has rendered his name immortal.

The age of peace and prosperity is not best adapted to draw out the latent power of the orator. The times

do not demand it. The theme which fired a Demosthenes, a Cicero and a Webster are lacking; but, notwithstanding this, oratory has not declined. Oratory is an attribute of the soul. It has its foundation in love, sympathy and reason. When humanity sinks so low that it will not respond to these three, and not till then, will oratory fail to sway the hearts of men.

BENSON N. WYMAN.

LITTLE CHRISTEL.

FRAULEIN, the young schoolmistress, to her pupils said one day,

"Next week, at Pfingster holiday, King Ludwig rides this way;

And you will be wise, my little ones, to work with a will at your tasks,

That so you may answer fearlessly whatever question he

asks.

It would be a shame too dreadful if the King should have it to tell

That Hansel missed in his figures, and Peterkin could not spell."

"Oho! that never shall happen," cried Hansel and Peterkin too ;

"We'll show King Ludwig, when he comes, what the boys in this school can do."

"And we," said Gretchen and Bertha, and all the fair little maids

Who stood in a row before her, with their hair in flaxen

braids,

"We will pay such good attention to every word you

say

That you shall not be ashamed of us when King Ludwig rides this way."

She smiled, the young schoolmistress, to see that they loved her so,

And with patient care she taught them the things it was good to know.

Day after day she drilled them till the great day came at last,

When the heralds going before him blew out their sounding blast;

And with music, and flying banners, and the clatter of horses' feet,

The King and his troops of soldiers rode down the village street.

Oh! the hearts of the eager children beat fast with joy and fear,

And Fräulein trembled and grew pale as the cavalcade drew near;

But she blushed with pride and pleasure when the lessons came to be heard,

For in all the flock of the boys and girls not one of them missed a word,

And King Ludwig turned to the teacher with a smile and a gracious look;

"It is plain," said he, "that your scholars have carefully conned their book.

"But now let us ask some questions, to see if they understand:"

And he showed to one of the little maids an orange in his hand.

It was Christel, the youngest sister of the mistress fair

and kind

A child with a face like a lily, and as lovely and pure a

mind.

"What kingdom does this belong to?" as he called her to his knee;

And at once-"The vegetable," she answered quietly.

Good," said the monarch, kindly, and showed her a piece of gold;

"Now tell me what this belongs to-the pretty coin that I hold."

She touched it with careful finger, for gold was a metal

rare,

And then-"The mineral kingdom!" she answered with confident air.

"Well done for the little mädchen!" And good King Ludwig smiled

At Fräulein and her sister, the teacher and the child.

"Now answer me one more question "—with a twinkle of fun in his eye:

"What kingdom do I belong to?" For he thought she would make reply,

“The animal ;” and he meant to ask with a frown if that was the thing

For a little child like her to say to her lord and master, the king?

He knew not the artless wisdom that would set his wit at naught,

And the little Christel guessed nothing at all of what was in his thought.

But her glance shot up at the question, and the brightness in her face,

Like a sunbeam on a lily, seemed to shine all over the place.

"What kingdom do you belong to ?" her innocent lips repeat;

"Why, surely, the kingdom of Heaven!" rings out the

answer sweet.

And then for a breathless moment a sudden silence fell, And you might have heard the fall of a leaf as they looked at little Christel,