.^v ^^'^Q. IMAGE EVALUATION TEST TARGET (MT-3) at 1.0 I.I I 1.25 US ■ 2.2 ^ "^ !■■ u ■^ I. 4%> / ^ l««.v Photographic Sdences Corporation 39 WIST MAIN STRUT VtfltSTH,r4,Y. MSM (71«)l7a-4S03 h ^ i GIHM/ICMH Microfiche Series. CiHM/iCJVIH Collection de microfiches. Canadian Instituta for Historical IMicroraproductiont / Inttitut Canadian da microraproductions historiquaa Tachnical and Bibliographic Notaa/Notas tachniquaa at bibliograpiiiquaa Tha Instituta has attam^tad to obtain tha bast original copy availabia for filming. Featuraa of thia copy which may ba bibliographically uniqua. which may altar any of tha imagas in tha raproduction. or which may significantly changa tha usual mathod of filming, ara chackad balow. □ Colourad covara/ Couvartura da coulaur I I Covars damagad/ □ D n D D Couvartura andommagia Covars rastorad and/or laminatad/ Couvartura rastaurte at/ou pallicul4a I I Covar titia missing/ La titra da couvartura manqua Colourad maps/ Cartas gtegraphiquas tn coulaur Colourad ink (i.a. othar than blua or black)/ Encra da coulaur (i.a. autra qua blaua ou noira) I I Colourad plataa and/or illustrations/ Planchas at/ou illustrations an coulaur Bound with othar matarial/ Ralii avac d'autras documants Tight binding may causa shadows or distortion along intarior margin/ La r« liura sarria paut causar da I'ombra ou da la distorsion la loi^g da la marga intiriaura Blank laavas addad during rastoration may appaar within tha taxt. Whanavar possibia, thasa hava baan omittad from filming/ II sa paut qua cartainaa pagas blanchas ajoutias lors d'una rastauration apparaissant dans la taxta. mais. lorsqua cala 4tait possibia, cas pagaa n'ont pas «t« filmtes. Additional commants:/ Commantairas suppl4mantairas: L'Institut a microfilmi la maillaur axamplaira qu'il lui a M possibia da sa procurar. Las details da cat axamplaira qui sont paut-Atra uniquas du point da vua bibliographiqua. qui pauvant modifier una imaga raproduita, ou qui pauvant axiger una modification dans la mithoda normala da f ilmage sont indiqute ci-dassous. I I Colourad pagas/ Pagaa da coulaur Pagaa damagad/ Pagas andommagias Pagas rastorad and/oi Pagas rastaurias at/otj palliculias Pagaa discolourad. stainad or foxai Pagas dicoiortas, tachatias ou piquias r~~lL Pagaa damagad/ nn Pagas rastorad and/or laminatad/ r~~Tr Pagaa discolourad. stainad or foxad/ □Pagas datachad/ Pagas ditach^as aShowthrough/ Transparanca Quality of prir Qualiti inAgala da I'imprassion Includas snpplamantary matarii Comprand du material supplimantaira Only adition availabia/ Saula Edition disponibia I I Quality of print varias/ I I Includas snpplamantary matarial/ r~n Only adition availabia/ D Pagas wholly or partially obscurad by errata slips, tissues, etc., hava been ref timed to ensure the best possible image/ Lea pages totalement ou partiellement obscurcies par un fauillet d'errata, una pelure, etc.. ont M filmies A nouveau da faqon i obtanir la meilleure imaga possible. to Thi poi of filr on thi sio ot» fin slo or Th( shi Tir wh Ma dif ant bai rigl raq ma This i^em is filmed at the reduction ratio checked below/ Ce document est filmi au taux da reduction indiqui ci*dassous. 10X 14X 18X 22X 26X 30X 7 12X 16X 20X 24X 2tX 32X Th« copy film«d h«r« has b««n r«produc«d thanks to tha ganarosity of: D. B. Weldon Library University of Western Ontario (Regional History Room) Tha imagas appaaring hara ara tha baat quality possibia considaring tha condition and iagibility of tha original copy and in Icaaping with tha filming contract spaclfieationa. L'axamplaira filmi fut raproduit grAca k la ginirositi da: D. B. Weldon Library University of Western Ontario (Regional History Roont) Laa imagaa sulvantaa ont At* raproduitas avac la plua grand soln. eompta tanu da la condition at da la nattati da raxamplaira filmA, at an conformity avac laa conditiona du contrat da filmaga. Original eopiaa in printad papar eovars ara filmad baginning with tha front covar and anding on tha last paga with a printad or illuatratad impraa- sion. or tha back covar whan appropriata. All othar original eopiaa ara filmad baginning on tha first paga with a printad or illuatratad impraa- sion, snd anding on tha laat paga with a printad or illuatratad impraaslon. Laa axamplairas originaux dont la eouvartura 9n paplar aat imprimte sont filmte an commandant par la pramlar plat at an tarminant soit par la damiAra paga qui comporta una amprainta d'imprassion ou d'illustrstion. soit par la sacond plat, salon la caa. Tous las autras axampiairaa originaux sont filmta 9n commandant par la prami4ra paga qui comporta una amprainta d'imprassion ou d'illustrstion at an tarminant par la darnlAra paga qui comporta una taila amprainta. Tha laat racordad frama on aach microficha shall contain tha symbol ^^ (moaning "CON- TINUED"), or tha symbol ▼ (moaning "END"), whichavar appllaa. Un das symbolaa sulvants apparaftra sur la damlAra imaga da chaqua microficha. salon la caa: la symbols -^ signifia "A SUIVRE". la symbols V signifis "FIN". Mapa. plataa, charts, stc. may ba filmad at diffarant raduction ratioa. Thoaa too larga to ba antiraly includad in ona axposura ara filmad baginning in tha uppar laft hand comar. laft to right and top to bottom, aa many framaa aa raquirad. Tha following diagrama illuatrata tha mathod: Laa cartaa, planchas, tabiaaux. ate. pauvant Atra filmAa i daa taux da reduction diffirants. Lorsqua la documant aat trop grand pour 4tra raproduit ^n un saul cilchA, 11 aat filmA A partir da I'angia su|ii4riaur gaucha. da gaucha A droita. at da haut 1% baa, an pranant la nombra d'imagaa n^caasaira. Laa diagrammas suivanta illuatrant la mAthoda. 1 2 3 32X 1 2 3 4 5 6 •tt ' 3S' THE LIBRARY UNIVERSITY Ot' WESTERN ONTARIO THE J. D. BARNETT TEXT-BOOK COLLECTION .01 :i ./■ University of Western Ontario LIBRARY LONDON CANADA Class VilXDD.V Jr :"', I! 1» ' if • i I 4 ■ * f fk j f-f I 1 f#-: A CLASS BOOK ON f WHEREIN ARE EXHIBITED THE GRACES AND STYLE OF ENGLISH COMPOSITION AND « BY THE REV. D. F. HUTCHINSON, AUTHOR OP THE "ESSAY ON THE LORD's DAY," &C. &C., '.-^--'v'^^-^-s,-^ Designed for the use < f Academies and Schools in general and private learners in particular. A SECOND EDITION, * Enlarged and greatly improved by every necessary rule of Syntax, by a careful revision of every rula of Rhetoric nec;;s8ary to be known by writers and public speakers, by a sufficient number of rules for correct punctuation with numoroiH ex- amples for practice. Also with directions informing the pupil how to apply the differ- ent rules, and all introduced in such a manner as to be easily understood. HAMILTON: ntlMTED AT THE CANADA CHRISTIAN ADVOCATE OFFICE. 1853. ■■m i Tit*.;, # >'^ ■■^ \^- hiT. H Sii Rh fro by wis TO SIR ALLES KAFIEB MeNAB, M. P. fOR TBB CITT OP HAMILTON. Sib: In boing permitted to dedicate the present work on Rhetoric to you, I feel that grateful pleasure which arises from the contemplation of labors sanctioned and encouraged by the patron and judge of elegant literature. It shall be my coustant endeavor as it is my anxious wish to merit a continuance of your kind attention. I have the honor to be, Sir, With the sincerest respect Your Ob't Servant ^ D. F. HUTCUINBOV. ■ .aft. Vij.^ "^tuiZk- !?■;& y^ .;5.'J.»>,i "-:•■'!'■'"* » .'•'■• ■■'•'< '"i"' 'J- • -'••.- - ,,.tfv' '.., »V' •»'!-••! lU" ..M- ' ^;.'' II:-''-' . ..il •iff;., tf i.rK'ii-.iUty'ti*^ s^ ;• ■•■' .■r^jy ,1k ■'i^^-/r^^f'.im-^t i y (if^fcj j^i >i'f .It ■•I. PREFACE TO THE SECOND EDITION. l^.r'-i- Tv presenting this work on Rhetoric to the people of Canada, I do not feel it necessary to apologize in yiew of a doubt's existing in the mind of any enlightened person with regard to the usefulness and importance of such a publica- tion. The present edition I have reason to hope will be un- encumbered with typographical errors, while as the reader will perceive, very useful and interesting matter is added to the former one : sections and sentences supposed to be un- necessary in this work have been lopped off; and upon the whole the author is pleased in indulging a hope that it will meet the wants of the country, and the kind approbation of his present patrons and numerous friends. As many are aware the grand object of the work is to give necessary in- structions to all who desire them on the rules and exercises of English composition &nu '.rf^'in:!;) iuc'-iyw ■':r-Mi:p-rti:-i This department of knowledge has too long been neglect- ed in this Province, and it is a matter of deep reg r' that instructions upon the art have hitherto been limited tv our colleges and higher institutions of learning, and yet no study is more intimately connected with public life, public man- ners and refinement, than the most valuable and interesting study of Rhetoric. • ^'^^ #k:->.v.iiiJs!: y ■>*»?». -k-^ia^m'? \Vs} i It is true there are a few Rhetorics to be obtained in dif- ferent sections of the Province, but they are so few in num- ber and BO rarely found as to most imperiously demand the present publication. I am convinced therefore, that the in- structors of our youth have hitherto labored under cc>nsid- •rable disadvant ge in not having a sufficient number of text books to put into the hands of those who are beginning to sta- dy the rules of English composition, and in addition to this, those which havo been imported from other countries are de- fective, at least in this respect, that there are no exorcises for practice in connection with the rules contained in those pub- lications, and hence the difficulty for the teacher to give a fair and practical knowledge of the art. By the study of them the theory may be learned, but the practical knowledge can only be Obtained by exercise and application. In the work now before you, I have endeavored to remedy this defect. To the rules on general composition, I have carefully affixed the necessary examples for practice ; so that the pupil by the exercise of his own judgement, may apply the rule to the example of false Rhetoric, and by means of which, construe the sentence so that it may appear in the style of graceful composition. I feel a strong inclination to hope, that the work will prove a very great benefit to the Province; that it will be the means of engaging the attention of the rising generation to the most useful and interesting study of Rhetoric ; and that foreigners will hereafter be constrained to acknowledge that the people of Canada are not indebted to them for pub- lications on literature, but that there is a sufficient enterprise in this Province to secure that respect and attention which an enlightened community is capable of commanding. The utility of the present publication must already be an- ticipated, and in order to render it more useful I have care- fully omitted every thing in it but what I conceived to be absolutely necessary for the practical instruction of the stu- dent. In this publication I do not claim originality to the fullest extent of that term, yet upon an inspection of the work the most superficial observer will immediately per- ceive the entire arrangement to be my own. At present it is only necessary to mention, that I have carefully con- g to BtU- a to this, )s are de- rcises for lose pub- to give a study of kowledge ) remedy , I have ;ice ; so nt, may >y means ar in the ill prove le means 1 to the nd that dge that for pub- terprise rhich an y bean- re care- id to be the stu- f to the L of the )ly per- resent y con- sufted every text-book of any considerable note published in the British Empire or the American Continent, and when- ever I found a known definition, or rule expressed in them all, I had no hesitation in adopting it. r<: , ;;. , . The work, although small in size, is a practical one, and contains within the compass of a very few pages, every thing essential to written composition and public speaking. Its definitions are easily remembered, and when once commit- ted they will not fail to be associated with every book the student reads, and every speaker he may afterwards be permitted to hear. A knowledge of it therefore, will give him a taste for reading which he will find to be very import- ant in the prosecution of all his studies. Having become acquainted with the difierent lessons of this book, he will find his memory greatly improved, he will remember what he reads more easily than he did before ; and when engaged in the study of an author, he will be enabled with more ease and freedom to duly understand hia meaning. Even in the ordinai'y composition of a letter, he will find the rules con- tained in this work to be very important, and having ob- tained a knowledge of them, he will be enabled to ari'ange his thoughts in a manner satisfactory to himself and much more so to the mind of his correspondent. But not only in ordinary composition will a knowledge of this work be indispensable; the student desiring to obtain a knowledge of the rules and graces of oratory will derive an unspeakable benefit from a perusal of these pages. In this work will be found a portion for all classes of society. To young gentlemen, especially, who are about to engage in any one of the several professions, the work is particularly re- commended, and it is sincerely hoped that when such per- sons have intelligently tested its merits, they will lend their influence in favor of its general circulation. By a little attention to the rules and exercises contained in this book, a habit of good writing and speaking will be formed, and those just beginning to learn the art of compo- sing, each sentence in the examples is designed as a subject of composition. The student is required to correct it in writing, with whatever thoughts the subject may n&turally present to his mind, and although at first he will undoubted- ly, as others have done before him, find many difficulties in his way, yet in a short time he will receiye the abundant reward of his labor, in finding the exercise a benefit to him- self, and a rery great blessing to mankind in general. Those little difficulties will very soon be removed, and the whole art will speedily appear in its native loveliness and beauty. It is a matter of no small gratification to find the interest there is at present manifested throughout the Province on the subject of education. At such a time when the minds of the people are alert to tliis subject, the study of Rhetoric should not be forgotten. As a fine art, an acquaintance with it is indispensable to a lady or a gentleman of mtelligence or refinement, and therefore the importance of the following lessons on composition and public speaking. This work being published in our own Province, it is most earnestly hoped that an intelligent community will patronize its publication; and I am fully convinced that it requires but little intelligence for the student to duly appreciate the short but comprehensive study which, in this book, is given him to pursue. I have designedly reduced the work to the low price of Is lOJd, in order that it may have a general cir- culation, and that persons bolongmg to all classes of society may be favored with a copy, so that the public may learn from this fact, that it is not merely the palti^ profits of the work I seek after, but the general information of the peo- ple. Should I accomplish my ends in this point I shall con- sider myself well pud for my trouble and expense. i I need hardly say any thing further with regard to the V I t al I i£ d o o tl I 'Vt merits of the work itself;- as the reader will loarn by the in- troductory recommendations that it has been tested by those who are most able to judge of such a publication. Published as this work is under the influence of Clergymen, Barristers, Solicitors, Councillors, Professors, and the late Principal of Victoria College, I can hardly doubt but that it will meet the general approbation of the people. Among those who have critically examined the work and hare given their signatures in favor of its merits are the following :— [From A. McNab, D D.] Sib,— Having, at your special request glanced over your 'Rhetoric I am disposed to entertain, m relation to the work, a very favorable opinion. iii^ijrb Simplicity, clearness, and comprehensiveness of definition and arrangement, appear to be its distinguishing character- istics. As an el^nentary text-book, I doubt not, therefore, but that it will be found exceedingly useful to schools, and to private learners in paiiicular. Having been, for about six years, Professor of Rhetoric and Belles Lettres (as well as Principal) in Victoria College, I feel a pleasure in giving my influence to aid a work which is designed to promote the. interests of that much neglected department of study. In the noble undertaking to render attractive, to the youth of our Country, the rather dry, but highly important study of Rhetoric, I wish you every success. 1 am. Sir, yours truly. Rev. Mr. Hutchinson, > A. MACNAB. Belleville. \ '. 1 .> [FromE. Murnejr, M. P P. for County of Hastings.] I have much pleasure in concurring with the testimonial of the Rev. Alexander MacNab, in rdation to thfl merits of this interesting publication. EDMUND MURNEY. Mr. above After having the pleasure of examining the Rev Hutchinson's Rhetoric I most heartily concur with the i recommendation of the Rev. Dr. MacNab. ROBERT M. ROY. Late Supt. of Education of the Town of Belleville. 10 [From O. Benjamin, Esq., Belleville.] Mt Dear Sir,— Having read your Rhetoric I am of opinion, that it is well adapted to instruct the youth- ful mind. It accomplishes an object too much lost sight of in all branches of tuition. It takes a great deal of labor from the student. That such a work must prOve of great utility to the teacher as well as the student, there can be no doubt ; and I trust your labors may be fully compensated by a general use of your valuable little work. I remain, dear Su*, your obedient GEO. BENJAMIN. Rev. D. F. Hutchinson. [From tho celebrated Mrs. Moodie.] Sir,— I have road with much pleasure the Rhetoric yop submitted to my inspection ; and as far as I am able to judge, my opinion of it is highly favorable. The subject — naturally a dry one — you have rendered very interesting, by the excellent and simple manner in which your instructions arc conveyed. Your rules are short and practical, and their application easily understood. I have no doubt but that it will prove a useful addition to our colonial school libraries. Unfortunately, tho present success of a book, does not al- ways depend upon its intrinsic worth ; yet, I see no reason to entertain a doubt as to tho success of this ; and I sincere- ly hope, that in this instance, tho opinion of tho public and my own, may fully coincide. I remain. Sir, yours truly, SUSANNA MOODIE. Rev. D. F. Hutchinson. [From J. W. D. Moodie, Esq'., IligU SherilT County c( Hastings:! Sir,— From tho specimens you have sent mo, of your Rhetoric which I navo perused with much interest, I feel disposed to form a very favorable opinion of what the work will be when completed. The definitions and explanations are simple, and intelligible to tho most ordina- ry capacity. Your obedient serv't, J. W. DUNBAR MOODIE. To Rev. D. F. llutchinsbn. 11 We, the undersigned Clergymen, have much pleasure in recommending the Rev. Mr. Hutchinson'ft Rhetoric to the public, as entirely worthy of their confidence. We have carefuly examined its pages, and find his instruct- ions both plain and comprehensive. His Lesson on Oratory and public speaking in general, cannot fail to secure the pat- ronage of every intelligent man in the Province, ana wo have no doubt but that the Reverend Author will meet with the general success that his work deserves. JOHN REYNOLDS, Bishop of M. E. Church, WILLIAM GREGG, A. M. Minister of the Presbyterian Free Church, and Superinten- dant of Education. JOHN GEMLEY, Weslevan Minister. L. S. CHURCH,' Pastor of M. E. Church of Belleville. D. MURPHY, Clergyman of the Protestant Episcopal Church. In conclusion I beg to express my thanks to my former patrons and friends who so kindly sustained me in the pub- lication of 1850, and also to the Editors of the Toronto Pat- riot, Toronto Colonist, Kingston News, Port Hope Watch- man, Simcoe Standard, Christian Guardian, Hastings Chron' icle, Belleville Intelligencer, Orange Lily, Brockville States- man, Montreal Courier, Picton Sun, Canada Christian Advo- cate, with some others, for the very kind manner in which they have recommended my work on Rhetoric to the public. D. P. HUTCHINSON. Bttown, May 28, 1863. CLASS BOOK ON RHETORIC. Rhetoric is the art of speaking or writing with persua- sion, or that which enables us to apply language to the best adrantage. OF LANGUAGE. Language is the art of communicating thought or the ideas of our minds, by certain articulate sounds. It is to be regarded as spoken and written. Spoken language is the representation of our ideas, and written language is a symbol of the spoken. The representation of ideas by pictures called Hyero- glyphics was the first attempt towards writing. Cadmus, the Phonician, a contemporary with King Da- vid, was the first who brought letters into Greece. His alphabet consisted of sixteen letters. Writing was first exhibited on pillars and tables of stone, and afterwards on plates of the softer metals. Job xix. 23.24. ON TASTE. Taste is the power of receiving pleasure or pain from the beauties or deformities of nature or art. It is commdh to all mon : for whatever is orderly or proportioned, grand or harmonious, new or sp ightly, «vill please the philosopher, the child and the peasant. Its feeble glimmerings appear only in some ; while in others it risoi to a high discernment of the most refined beauties. This is chiefly to bo ascribed to culture and oducation. 14 The immense superiority of civilized over barbarous nations, proves it to be au improvable faculty. Rule. — Pay attention to the most approved models, study the best authors, and compare lower and higher de- grees of the same beauties. Reason and good sense are essential in the decisions of taste. A good taste is a compound o2 natural sensibility to beauty and of improved understanding. ON CRITICISM AND GENIUS. Criticism is the application of taste and good sense to the several fine arts. Its design is to distinguish what is beautiful from what is faulty in every performance. Genius is that talent or aptitude which wo receive from nature in order to excel in any ono thing. It may be improved by art and study. To excel in this talent, the student must limit his ap- plication to a few objects ; as a person indifferently inclined to the several professions will not bo likely to excel in any. ON STYLE. Stylo is the peculiar manner in which a person con- veys his expressions by words. It is a picture of the ideas of the mind, and of tho ar- dor in v/htch they there exist. Perspicuity and ornament are the qualities of a good style. Perspicuity signifies clearness of expression, and im- plies the sotting up of the sentence so that it may be easily understood. Perspicuity requires attention first to words and phra- ses, and secondly to the construction of sentences. '^ n V it ai pi W( pi po ga on no go I ad 16 With respect to words and phrases, Perspicuity requires three properties viz., Purity, Propriety and Preciaion. Purity relates to such words and constructions as be- long to the idiom of a particular language, in opposition to words and phrases taken from foreign languages. Propriety relates to the choice of such words as the best and most established usage has appropriated to those ideas intended to be expressed by them. Precision signifies the retrenching of all superfluities, and the pruning of the expression so that it may exhibit neither more nor less than the idea intended to be con^ veyed. Written composition may be faulty in three respects : it may express more than the author means, or less than the author moans, or what the author means though not com- pletely. Precision is opposed to these threo faults. The ornament of style is known by the etymology of the word. ON SENTENCES. Ion con- A sentence is an assemblage of words, making com- plete sense, and always containing a nominative and a verb. There are two kinds of sentences : simple and com- pound. A simple sentence contains but one affirmation or ne- gation. A compound sentence contains two or more simple ones. The principal parts of a sentence are usually three, the nominative, the verb, and if the verb be transitive, the object governed by the verb. The other, parts are called either primary or secondary adjuncts. 16 ' A clause or member is a subdivision of a compound sentence, and is itself a sentence either simple or compound. ON PUNCTUATION. Punctuation is the art of dividing composition by points or stops, for the purpose of showing more clearly the sense and relation of the words, and pointing and noting the dif- ferent pauses and inflections required in reading. The principal points or marks are the comma, (,) the semicolon, (;) the colon, (:) the period, (.) the da8h(— ) the note of interrogation, (?) the noto of exclamation, (!) and the parenthesis, ( ). RULES. I. When two or more words follow one another in the same construction, the comma is to be placed after every one of thorn but the last, except when they are coupled singly or in pairs by conjunctions. II. When a sentence consists of two or more members, they are separated by commas : except when the relative pronoun immediately follows its antecedent. III. Words, denoting the person or object addressed, and words signifying the same thing, are separated from the rest of the sentence by a comma. l 17 IV. Words or clauses which express oppositioii oroontmst are generally separated by a comma. <■ V. The modifying words and phrases, such as may, howev- er, finally, in short, at least, ^;c., are separated from the joining words by a comma. VI. Words supposed to be spoken, or which are taken from another writer, but not formally quoted, are preceded by a comma. vn. When a sentence consists of two parts, the one com- plete in itself and the other added as an inference, or to giye some explanation ; the two paii^ are separated by a semi- colon. VIII. When a sentence consists of several members, each containing a distinct proposition, yet, having a dependence upon some common clause, they are separated by semi- colons. DC When a sentence consists of two parts, the one com- plete in itself and the other containing an additional re» mark they are separated by a colon. t Hi li • n n When the sense of several members, separated from each other by semicolons, depends on the last clause, that clause should be separated from the other by a colon. XI. When an example is given, or a quotation formally made, it should be separated from the rest of the sentence by a colon. XII. Tho end of every .^sentence should be marked by a period, unless it be mten*ogatory or exclamatory. XIII. Tho period is used in abbreviations. .,, • .^. XIV. -,r The note of inteiTogation is used at the close of a sentence which asks a question. XV. Tho note of exclamation is used after oxprossions of emotion. XVI. ■ The dash is used to mark a break or abrupt turn in a sentence. XVII. The parenthesis is used to enclose an explanatory clause, not absolutely necessary to the sense but useful in expluning it. [k. 19 U*i' EXAMPLES FOR PRACTICE. .( 1 , Rule 1. John was a braTe pious agreeable and patient TOan. Self conceifc presumption and obstinacy blast the prospects of many a youth. Plain honest simple candid truth needs no artificial covering. Live soberly righteously godly and religiously in this world. Vicissitudes of good and evil of trials and consolations of poverty and wealth fill up the life of man. In eternity days years and ages are nothing. • . 2. Virtue supports in adversity and moderates in prosper- ity. Sensuality contaminates the body and degi'ades man from his rank in creation. His father dying he succeeded to the estate. To confess the truth I was greatly to blame. That life is lopg which answers lifcs great end. Good and evil like heat and cold differ totally. V* ' 3. My son give me thy heart. St Paul the apostle of Je- sus Christ. This said, he formed thee Adam thee O man Dust of the ground. To you my worthy benefactors I am indebted for all I enjoy. Hope the balm of life soothes us under every misfortune. ^• ' :' 4. He was learned but not pedantic. lie may possess but he cannot enjoy. Earthly goods are given us for our bene- fit but not for our chief felicity. Calamities may ti'ouble but they cannot destroy the Christian. Peter denied Christ but ho afterwards repented. This life is fieqting but. the next is eternal. „. < ,; , ' 5. Finally let me repeat what 1 have stated before. A kind word nay even a kind look often afibrds comfort, I proceed secondly to point out the proper subject of thought. I shall make some observations first on the external condi- tion of man. ! ii[ ^ 6. It hurts mans pride to risy I do not know. Vice is not of such a nature that we can say to it hitherto shalt thou come and no farther. One of the noblest properties of Christian virtue is to love our enemies. We are strictly en- joined not to follow a multitude to do evil. We are com- manded to do good to all men. 7. Economy is no disgrace it is better to live on a littte than to outlive a great deal. The passions are the chief de- stroyers of our peace for they are the storms and tempests of the moral world. Heaven is the region of gentleness and * friendship hell of perverseness and animosity. The path of truth is a plain and Ba£d path that of falsehood a perplexing maze. ,:if " 8. Philosophers assort' that nature is unlimited in her operations that she has inexhaustible treasures in reserve that knowledge will always be progressive and that all futuro generations will continue to make discoveries of which we have not the slightest idea. That darkness of character where we can see no heart those foldings of art through which no native affection is allowed to pass present an ob- ject unamiable in every season of life but particularly odious in youth. 9. Study to acquire the habit of thinking no study is more important. Virtue is too lovely to be immured in a cell the world is the sphere of her action. Do not flatter yourself with the hopoxof perfect happiness there is no such thing in the world. 10. A Divine Legislator uttering his voice from Heaven ; an Almighty Governor stretching forth his arm to reward or punish ; Miforming us of pei'petual rest hereafter prepared for the godly ; assuring us of indignation and misery await- Pl u| OK be th< de t ^< ■' - ■:,a ' '.j i L^ i' " »*« ^ -» "?" . -i-! ^ij*Br---- r?r^Vi;v ^"^f-r v *?^* 81 Vice is not shalt thou ■operties of BtricUy en- e are com- oh a little lie chief de- id tempests itlenessand * The path of i perplexing lited in her in reserve at all future )f which we »f character art through 3nt an oh- arly odious idy is more a cell the 3r youiTJelf sh thing in Heaven ; I reward or prepared pry await- ( ing the impenitent these are eonsiderations which overawe the world, support integrity and check guilt. 11. He was heard to say " I have finished my counjD." All our conduct towards men should he influenced by this precept ** Do unto others as ye would that they should do unto you. 13. At 10 AM. LLDD. 14. Who will accompany me Are you ready *' 16. O peace how much I love thee 16. I shall if circumstances permit attend to the matter on t9-m(Nrrow. RULES FOR WRITTEN COMPOSITION ift^D PUBLIC SPEAKING. >i. L ■ I I ;1 Arijieles relate to the nouns whidi they limit .. i > > , A noun or a pronoun which is the subject of a verb must be in the nominative case. -; •• -y:.^ ". lu^ ■-,„ ■. ^ ■. ,' Two or more nouns, or nouns and pronouns signifying the same thing are put by apposition in the same case. » ' 1 IV. Adjectives belong to, and qui^ify nouns expressed or «a- derstood. .'■ m - : ;! 22 A pronoun ' musfc agree with its antecedent in person domber and gender. ',..'1 !.!■ i.or-'-. 7-.u.:'!ui' i'"'- ^ "OT^ When the antecedent is a ooUecti?e noun conTeying the idea of plurality, the pronoun must agree with it in the plural number. vn. !i ^i . When the antecedent is a collective noun conveying tho idea of unity the pronoun must agree with it in the third person singular number. When a pronoun has two or more antecedents connect- ed by and it must agree with them in the plural number : but when the antecedents are of different persons, the first person is preferable to tho second, and the second to the ihurd. IX. ;/•• iv ;: A verb must agree with its nominative case in person and number. '.i';-, , X. When the nominative is a collective nouu, conveying the idea of plurality the verb must agree with it in the plu- rai number : but when conveymg the idea of unity it re- quire a verb in the third person singular. XI. When verbs are oonnecfced by a conjunoUon they must dther agree in mood, tense and form, or have separate nomi- natiyes expressed. XII. Participles relate to nonns or pronouns, or are govern- ed by prepositions. xm. Adverbs belong to, and qualify verbs, partidples, ad- jectives and other adverbs. snr. Two negatives in English destroy one another, or are equivalent to an affirmative. XV. Conjunctions connect either words or sentences. XVI. PreposilionB show the relation of things. xvn. InteijectioBB have no dependent construction. xvin. Frepositiflnt govern the objective case. ; f> .V* •■"'. m XDC. ' A noun or pronoun is put absolutoin the nominatiTe when its ease depends upon no other word. ' < < * ■"}' fi' XX. Aotire transitiTe verbs and their perfect and pluperfect participles govern the objective case. ; t . ; r % - ' i 1 XXI. Active intransitive passive and neuter verbs and their participles take the same caae after as before them when both words refer to the same thing. ,, .,, , ) ,, . , , , ., XXII. A noun or a pronoun in the possessive case is govern- ed by the name of the thing possessed. xxm. The preposition To governs the infinitive mood and commonly connects it tc a finite verb. ' ' XXIV. The active verbs, bid, dare, feel, hear, let, raake, need, 80^3 and their participles take the infinitive after them with- out the preposition To : But the preposition is always em- ployed after the passive form of these verbs. XXV. A future contingency is best expressed by a verb in the subjunctive, present, and a mere supposition with iadefi- L site time by a verb in the subjunctive imperfect : but a con- ditional circumstance assumed as a fact requires the indica- tive mood. . * EXAMPLES FOR PRACTICE. Rule 2. Thee must have been idle. Not proper because the adjective pronoun thte is made the subject of the verb, must have hem. But according to Rule 2nd, ** A noun or &c.," Therefore thee should be thou : Thus, thou must have been idle. Him that loiters by the way, may be belated. Them that labor, should be rewarded. Us who are spared ought to be thankful. You and me are equally concerned. Are not thee and him belated. My brother is older than me. He cannot read so well as thee. Who fastened the door ? Me. Whom do you suppose did it ? 3. I hoard from my cousin, she that was here last wedc. Not proper because the nominative pronoun She signifies the same person with cousin which is objective case, governed by from. But according to Rule 3rd, A noun &c. Therefore the should be her : Thus, I heard from my cousin, her that was here last week. That was the tailor, him that made my clothes. I saw your friend, he that was here last winter. Dennis, the gard- ener, him that gave me the tuUps, has promised me a piony. This book is a pi'esent from my brother Richard, he that keeps the book store. 4. I have brought them books. Not proper because the pronoun them is made to belong to and qualify the noun books. But according to Rule 4, Ac^ectives &c. Thereibre *'t Aem should be those : Thus, I haye brought those books. The entertainment was magnificently. ;«,,;«.>.<«; 5. Ought not every man to be careful of their reputation. Not proper because the pronoun their is of the plural num- ber and does not agree with its antecedent noun roan which is singular. But according to Rule 5, A pronoun &c. There- fore their should be his : Thus, ought not every man to be careful of his reputation. Every one must judge of their own feelings. We may be displeased with a person without hating them. I poured water on the embers to quench it Ask her for the scissors, and bring it to me. 6. The jury will be confined until it agrees on a verdict. Not proper because the pronoun it is of the singular num- ber, and does not agree with its antecedent noun jury, which is a collective noun conveying the idea of plurality. But according to Rule 6th, When the antecedent &c. Therefore it should be they : Thus, the jury will be confined until they agree on a verdict. The people will not relinquish its rights. Hie clergy had declared its intention. The party disagreed among itself. The committee were divided in its sentiments. The company then renewed its claims. 7. The nation will enforce their laws. Not proper because the collective noun nation in this case does not convey the idea of plurality. It means one nation irrespective of parts, and therefore convoying the idea of unity it should be rep- resented by a singular pronoun : Thus, The nation will en- force its laws. The Council has published their acts. The Parliament is now in session and they will repeal bad laws. 8. Discontent and sorrow manifested itself in his counte- nance. Not proper because the pronoun itself is of the sin- 27 gular number, and does not agree with its two antecedents discontent and sorrow which are connected by the conjunc- tion and. But according to Rule 8th, When a pronoun &c : Therefore ttoei^ should be themiselvos : Thus, Discontent and sorrow manifested themselves in his countenance. Avoid lightness and frivolity : it is allied to folly. Truth and hon- esty cannot fail of its reward. Learning and good sense al- ways adorn its possessor. Banish envy and strife : it will destroy your peace. Cherish love and unity : it is the life of society. John and thou art attached to their country. (Set the la$t elatue of the Ride.) 9. They was kindly received Not proper because the verb wtu received is of the singular number and does not agree with its nomiLative case they which is plural. But ac- cording to Rule 9th, A verb &c : Therefore teas received should be were received. They were kindly received. Ap- pearances is often deceptive. The propriety of such res- trictions are doubtfuL There is windows on three sides of the room. I has a house on Murray Street Six months interest were demanded. The propriety of these rules are evident. The mill with all its appurtenances were de- stroyed. ' 10. The people rejoices in that which should cause sorrow. Not proper because the verb rejoices is of the singular num- ber and does not agree with its nominative case people which is a collective noun conveying the idea of plurality. But according to Rule 10th, W hen the nominative is a collective &c. Therefore rejoices should be rejoice : Thus, The peo- ple rejoice in that which should cause sorrow. The nobility was assured that he would not interfere. The committee has attended to their appointment, The majority was dis- posed to adopt the measure. All the world is spectators of jfioor eonduct. Bleisad is the peo^de that km>w ik» joyf^ «ound. His army were defeated. wr^^j ,A::.:tu~>iyhu- .■Jj liiuavria k iioidV/ ,/U''. ohiil oi ;i!.('i<»' .ti Ify : 11. If you sincerely desire and have eamesUy pursued Tirtue &c. Not proper because the verb hme ffwtued is of the perfect tense and is connected without a separt^ nomlr native by and to the verb denre which is of the present tense. But according to Rule 11th, When verbs are &o. Tlierefore have pursued should be jntrsue: Thus, If you ^ncerely desire and earnestly pursue virtue &c. I told you his fault and entreat you to forgive him. Professing r^ard and to act differently, discovers a base mind. He has gone home but may return. >» .,;,;-; '' • ' rr v. '■■■•- ' {>5ljS i >t]ini/-.'t .j-.tiviJi)" ..-..■: x..'M f.vi, 14. I dont know nothing about it. Not proper because in this sentence there are two negatives dont and nothing. But according to Rule 14 Two negatives &c. Therefore nothing should be any tbmg : Thus, I dont know any thing about it. I did not see nobody there. Nothing never affects her. Be honest nor take no shape nor semblance of dis- guise. There cannot b^ nothing more insignificant than canity. ■iU •i < I ' 'ir. . t" .1;!^' 18. Who will you go with ? Not proper because the nom- inative pronoun who is made the object of the relation ex- pressed by the preposition toitk. But according to Rule 16 Prepositions &c. Therefore toko should be whom : Thus, Whom will you go with. From who did you get that book ? To who is he going ? To I or thou. 19. Him, having ended his discourse the assembly dis- persed. Not proper because the pronoun kim whose case de|>MidB upon no other word is in the objective ease. Birt according to Rule 19, A noun &o. Therefore Htm should be He : Thus, He^ haviog ended his diicoune the asBemUy diipersed. Him that has ears to hear let him hear. Me^ being young they deoeived me. The child is lott, and me^ wluther shall I go ? Thee being present, he would not tell what he knew. Arise, and gird thyself, O thee that sle^ est I Oh wretched us ! shut from the light of hope I Thee too 1 Brutus my son 1 cried Gcesar overcome. But him, the chief tun of them all, His sword lies rusting on the wall. 20. She, I shall more readily forgive. Not proper be- cause the nominative pronoun she is made the object of the active transitive verb shall forgive. But according to Rule 20, Active &c. Therefore She should be Her : Thus, Her, I shall more readily forgive. Thou only have I chosen. Who shall we send on this errand ? My father allowed my brother and I to accompany him. He that is idle and mischieveua reprove sharply. Who should I meet but my old friend. 21. We did not know that it was him. Not proper be- cause the objective pronoun him which comes after the neu- ter verb wcu signifies the same thing with the nominative tf that pi*ecedes it. But according to Rule 21st, Active intran- sitive &c. Therefore him should be he : Thus, We did not know that it was he. We thought it was thee. I would act the same part, if I were him. It could not have been her. It is not me. They believed it to be I. tfj r,; ;,ix.oj\ 24. They need not to call upon her. Not proper because the proposition to is inserted before the verb which follows the active verb need. But according to Rule 24th, The ac- tive &c. Therefore to shoifid be expunged : Thus, They need not call upon her. I felt a chilling sensation to creep over me. We have heard him to mention the subject. Bid these boys to come in immediately. I dare to say he has not got home yet. ■t '■n'.'i ■f> -M' " 'I)".! 80 in 26. He mil not be pardoned unless he repents. Not pror per because the rerb repents, which is used to express a con- tingency is of the indicative mood. But according to Rule 25th, A future &c. Therefora repents should be r^ent : Thus, He will not be pardoned unless he repent. I shall walk out in the afternoon unless it rains. If thou feltest as I do, we should soon decide. I know that thou wert not slow to hear. Let him take heed lest he falls. If thou easi- est me off. I shrjl be miserable. I believed, whatever was the issue &11 would bo well. If he was an impostor, he must have been detected. STRUCTURE OF SENTENCES. [,',r., ilZ i .■mil ,»;,()• wriT |r>r!-IO'fS7 -itl 'li is.ut}''. A knowledge of the construction of sentences is indidpen- sable to written composition, or public speaking. The properties of a perfect sentence are Clearness, Unity, Strength and Harmony. . .uA«ao;'^(i n7i,};^:n sac .,ijm' Clearness is opposed to ambiguity, and implies the expul- sion of whatever tends to leave the mind in suspense, as to the meaning. ..;..... To effect this, great attention is requisite to the proper disposal of the relatives, who, which, what and that : which should be placed as near as possible to their respective ante- cedents. The unity of a sentence implies that the several members should be so closely bound together as to make one impression only upon the mind. By the strength of a sentence is meant such a disposition of the several words and members as will exhibit the sense to the best advantage : as will give to every word anil every member its due weight and force. ■-.> , t<- ,)f ii > ion • ' 1$:.- By harmony is implied a judicious choice of such words as are musical to the ear. ^ .i^ t ^ « - a * This implies agreeable modulation in general, without any particular expression. ^^ ^ ^ ^^ Ambiguity is opposed to clearness and arises from two causes; either from a wrong choice of words, or a wrong collocation of them. RULES. :>IU: ili'^ •;_ '.'tt r, '^ •7i,». !-:r l.I>'/*»M !"!>'' 'A' '» .r-tfl.*' ■,■,_!.... ^;'|' . .'; i-'>t«v.;-.',ti 4t!. ■»>■.. 1 .'..':>M1-Vi> -TnKt my ,: i'irTit\i\ Words or members most nearly related should be placed as near etu^h other as possible that their mutual relation may clearly appear. Observe 1. Whatever leaves the mind in any sort of sus- pense as to the meanuig, should be carefully avoided in all written compositiun. Relative pronouns should be placed as near as possible to their antecedents. Ob. A small error in giving relative pronouns a p^aco in a sentence may obscure the meaning of the nrhole, and by displacing them wo always find something awkward and dis- jointed in the structure of the period. in. The relative t\at, in the following cases is preferable to who or which : After an adjective of the superlative dogroe. ' After the adjective same. I i&*- I 3" -After the aDtecedent uho. i^fcH^a-ivft! i;..vi-««*tr!^4,^it.< ' After a joint reference to persons and things. '''^ ' '^' > After an unlimited antecedent. i«» rj*J I After an antecedent introduced by the ezpletiye it. And in general where the propriety of who or which is doubtful. .'m/ji^r' ff ■ * '.'i/'!tJe kept in su, during nfusedby so little into two sgusting, 33 that it is better to err by baring too many short sentences than by having them overloaded and confused. *««ni <:>i^&fi v;t ,, * 3^? iv!;'r{oi 'hI ar'Kifaoft^ nu-ill'i'jtjuH .i *:;""""■"'"■■■■'"' ■■'■■" VII. Keep clear of unnecessary-pardnthesis in the middle of the sentence. .■::aii&ii\'Aiy(<''Vw'mnH)il^ Ob. 1. These may give tokens of a vivid imagination, but they very generally break up the unity of the sentence 2. They give evidence that the writer has not art enough to introduce his glancing thought into its own proper place. VIII. . S»tji:J'<*,^ Jjv il'fsii- £ring the sentence to a full and perfect close.' .uv. Ob. 1. An unfinished sentence with respect to grammar is no sentence at all. 2. Care should be taken not to overftnish it. There is al- ways a point at which tlie mind desires to rest : this should be the terminating point : anything added to it is both su- perllous aud injurious : anything short of it is equally detrimental to the unity of a sentence. ,,,, ,f . •,, .... , ;,? • To promote the strength of a sentence, take from it all redundant words. .I'ltrot'i"" •' 5'> Ob. 1. After the composition is written let the author ex- amine every clause and every sentence of it critically and carefully. (,i -..i .(••i/cv.'jim-' ,,*h .' M.ri-n^ 'i'j> uriu h-ii ,:f!" 'frfi :•.■,;• 1'!: itj ' v ,; At, Pay particular attention to copulatives, relatives and par- ticles employed for transition and connection, and never un- necessarily separate a preposition from the noun or pronoun which it governs. • ^ Ob. 1. An unnecessary repetition of the copulative and will weaken the sentence. 2. ItiS well however to repeat the copulative, when the writer wishes to prevent a quick transition from one object to another ; or when mentioning objects wbioh are designed to be kept as distinct from each other as poss.bio. , ^^ , XI. 1 1 :a.l:.;?.Ht < 'I:-. Dispose of the principal word or words in that part of the sentence, where they will make the most striking impression on the mind. Ob. The most important words are placed in the beginning of a sentence. XII. 1^ !(( ; -r ■ ii / To promote the strength of a sentence, let the different members of it go on rising in their importance one above another. .{'..;• '-.' Hrf',' ;k .■■"«■...;. .r^v.;].,', ':• i.j:.:- 35 SSOClOBO- ber of the ly written ■f'hiilj'.i ■■ and par- lerer un- pronoan btiye and Then the ie object designed I. ';,;? o;i rt of the )reBsion • • ginnmg period advances, the termination of each member forms a pause in the pronunciation ; and these pau- ses should be so distributed, as to bear a certain musical proportion to each other. When we aim at dignity or elevation, the sound should increase to the last; the longest member of the period, and the fullest and most sonorous words, should be resei-ved for the conclusion. * , ^>'>n.?iHj « '•' Words which consist chiefly of short syllables, as, contrary, particuli:r, retrospect, seldom terminate a sentence harmo- » oughout the vrords upon '.' ' >- ■« U I CES. is upon the ;h are com- jre is a pro-* )ut too nia- rels in suc- e ear than ch are not f an inter- rity, heauti- T/ays grate- tionofeach these pau- .in musical und should )eriod, and jseiTed for >, contrary f 36 harmo- niously, unless a previous run of long syllables have rendered them pleasing to the oar. ,. _^ ,,>i„„ Short sentences should be blended with long and swelling ones, to render discourse sprightly as well as magnificent. Sounds have in many respects an intimate correspondence with Our ideas, partly natural and partly produced by arti- ficial associations. .\i :.»^r ^ >•/.;,; >iti' "' '«! '» ^»!i ;.-i >! \-'j If if^jj; ; NATURE OF FIGUBATIVE LANGUAGE. ,.;,.>., Figures may be regarded as the language of passion or of imagination. _ *^ ^ ; > < .■ p They are divided into two great classes, figures of words, and figures of thought. ,,,,fj ,,,,^ ,.,,„^,, ,^.,; .., .^i,;„^ , ;», Figures of words are commonly called tropes, and consist in a word's being used to signify something different from its original meaning. Thus for instance, " light ariseth to the upright in darkness." Here the trope consists in " light and darkiiess" not being taken literally, but substituted for com- fort in adversity ; to which conditions of life they are sup- posed to bear some resemblance. The figure of thought, supposes the figure to consist in the sentiment only, while the words are used in their literal sense, as in exclamations, interrogations, apostrophes, and comparisons, where, though the words be varied, or tran- slated from one language into anp^ier, the same figure is still preserved. - ••• , By tropes and figures language is enriched and made more copious. ■'■-' •••'-"' . .,sr.», ,. • •..■';•.. ,.,?.. .; Figures furnish the pleasure of enjoying two objects, pre- sented at the same time to our view ; the principal idea to- 4 i 111 8^ gether with its accessory, which gives it the figurative char- acter. ■a; iH'M All tropes being founded on the relation which one object bears to another, the one may be substituted for that of the other ; and by this the vivacity of the idea is generally increas- ed. Thus, the cup is frequently introduced by speakers and writers to signify the wine in the cup, &c. When a trope is founded on the relation between an ante- cedent and its consequent, it is called a metalepsis. When the whole is put for a part, or a part for the whole ; a genus for a species, or a species for a genus ; the singular number for the plural, or the plural for the singular ; in general, when any thing less, or any thing more, is put for the precise object meant ; the figure is then termed a synec- doche. We say for instance, " a fleet of so many sail" in- stead of so many ships. f , . . , - i ! ON METAPHORS. , •, h '.'11 '\' ■ Metaphor is founded entirely on the resemblance which one object beara to another. It is nearly allied to simile or comparison, and is compar- iBon in an abridged forpi. When we say of a groat man, " he upholds the state, like a pillar, which supports the weight of an edifice" we evi- dently make a comparison ; but, when we say of him, ** he is the pillar of the state/' it becomes a metaphor. Meiaphor approaches the nearest to painting of any other figure. ' " ' ■ itive char- one object hat of the llyincreas- eakers and n an anto- the whole ; e singular ;ular ; in 8 put for d a synec- Bail" in- :\ ,1, It gires light and strength to description ; makes intellec- tual ideas in some degree visible, by giving them color, sub- stance and sensible qualities. tl l:'!.iywi', •.|1) •|.'Ji".M .-( i • RULES. .'( , .i,jv;H| •'■•"'« •:,':-<>.-v« ' ',-■1 yu- / <-,iw;l '>/ ■..^' 1v' 'liii .:l.*- ; ■- ''tii,-t'.',v ,-:} Hi'li ;? .1/; Let the metaphor bo always suited to the nature of the subject. .. , Observe 1. Some metaphors are beautiful in poetry, which would be uimatural in prose ; some are graceful in orations, which would be highly improper in historical or philosophical composition. )M><...fnM)>s .hi , 2. Figures should always be adapted to the ideas which they are intended to adorn. ice which Beware of using such figures or allusions as raise in the mind disagreeable, mean, or low ideas. . ,,t; )»>,. , - ,/•--: compar- tate, like we ovi- m, " he ny other Ob. 1. To render a metaphor pei'foct, it must not only be apt, but pleasing ; it must entertain ais well as enlighten. "' 2 Nature allows us to collect figures from her stores with- out any restraint, the field therefore, for figurative language is very wide. . i , in. A metaphor should bo founded on a resemblance which ifl i ill! "I id I •*f ■ii 40 tricate and confused. ' ^ ''''^^' *^« *ho"ght in- 2. Metaphcrs, borrowed from anv nf *i, • ways faulty by their obscuritv ''''"'"'' *'« ^I" ' - '. :',..r IV. Never jumble metaphorical «n^ i • *, never construct a per";"^^^^^^^^^ ^-"guage together : Btood metephoricalfy and It 1?.? 1 '' ""«* ^ "n^er- duces confusion. ^ *^'*"y ? ^^'^ thi« always pro- 'I '•! "•< I- :/(.: (It n\ t.;,., -, VI. Mi )'isi. VII. in -i , lit to be dis- displeasing, > thought in- ices, are al- io together : it be under- always pro- 41 stead of a metaphor, the reader is wearied and the discourse becomes obscure. , , > r. - • 2. This is very justly termed straining a metaphor. 3. The difference between a metaphor and an aUegory is this, the metaphor is short, the allegory prolonged. 4. The metaphor always explains itself by the words that are connected with it, but the intei*pretation of the allegory is left to our own consideration and reflection. HYPERBOLE, PERSONIFICATION AND • ' ' • APOSTROPHE. Hyperbole consists in magnifying an object beyond its na- tural bounds. imo object. bject. f they be i carried uced in- This figure occurs very frequently in all languages, and even in common conversation.. As swift as the wind ; as white as the snow ; and our usual forms of compliment are in general extravagant hyperboles. Hyperboles are of two kinds ; such as are employed in de- scription, and such as are suggested by passion. Those are by far the best which are the effects of passion. In simple description hyperboles must be employed with more caution. An extravagant hyperbole is called a bombast. When life and actions are attributed to inanimate objects, the figure is called personification. m n 42 Our common conversation abounds with this figure. Thus, when we say the earth thirsts for rain, or the fields smile with plenty ; ivhen ambition is said to be restless, or a. disease deceitful ; such expressions assume the property of living beings to these inanimate objects. . . v* rivf^nib ^tvl' a. There are three degrees of this figure : The first is wlien some of the properties of living creatures are ascribed to in- animate objects; the second, when those inanimate objects are described as acting like such as have life ; the third, when they are exhibited either as speaking to us, or as lis- tening to what we say to them. The humblest discourse admits of the first without raising the style much above common discourse. In the second degree we rise a step higher, and the per- sonification becomes more sensible. Thci third is the boldest of all rhetorical figures ; it is the style of strong passion only ; and therefore should never bo attempted, except when the mind is considerably heated and agitated. RULES FOR THE THIRD SORT OF PERSONIFICATION. I. •» ••! Never attempt it unless prompted by strong passion, and novar continue it when the passion begins to subsido. 11. Never personify an object that has not some dignity in itself. ■»■ ' i '.», . , ' ft!*t -( 43 gure. Thus, fields smile I, or a. disease rty of living first is wlien cribed to in- mate objects the third, 1, or as lis- bout raising d the per- 5 ; it is the Id never bo heated and ssion, and do. lignity in COMPARISON, ANTITHESIS, INTERROGATION, EX- ! CLAMATION, AND OTHER FIGURES OF SPEECH. "•.!;i '.:■'«-'.' ',■< •'• 'i A comparison, or simile, is the resemblance be- tween two objects expressed in form, and usually pursued more fully than the nature of a metaphor admits. Exam- ple : The actions of princes are like those great rivers, the course of which every one beholds, but their springs have been seen by few. ,-. . ., ,,,... , Comparisons are of two kinds, explaining and embellishing comparisons. ,. , . ., .. In explaining comparisons we explain one object by anoth- er with a view to make the hearer or reader understand that object more clearly. , , ,,,, In comparisons of this kind perspicuity and usefulness are chiefly to be studied. Embellishui ji comparisons more frequently occur than ex- plaining ones. Resemblance is the foundation of this figure. i '. A simile or comparison should never beinti'oduced in the midst of passion. / , : . >i Embellishing comparison however is not the language of a mind totally unmoved, for being a figure of dignity, it al- ways requires son^^ elovation in tho subject to make it proper. It supposes the imagination enlivened, though the heaH be not agitated.by passion. ''I ''I y SI ' I' ! fl 44 Comparisons must not be drawn from things, which have too near and obvious a resemblance of the object, with which they are compared. Neither ought they to be founded on likenesses too faint and distant. The object, from which a comparison is drawn ought nev- er to be an unknown object, nor one of which few people can have a cleR,r knowledge. . u , . ^ In compositions of a serious or elevated kind, similes should never be drawn from low or mean objects. Antithesis is founded on the contrast of two objects. By contrast, objects opposed to one another, appear in a stronger light. Too frequent use of antithesis is to be avoided. iNTERRoaATioNs and ExcLAjiiATioNS are passionate figures. The literal use of interrogation is to ask a question ; but, when men are prompted by passion, whatever they would affirm, or deny, with great earnestness, they naturally put in the form of a o" ::lIon ; expressing thereby the firmest con- fidence of cue truth of their own opinion ; and appealing to their hearers for the impossibility of the contrary. Exam- ple : " Hath he said it ? And shall he not do it ? Hath he spoken it ? And shall he not make it good 7' > Interrogation may be successfully employed in the prose- cution of close and earnest reasoning ; but exclamations be- iong to stronger emotions of the mind. , cui til L which have , with which 98 too faint ought ney- few people ad, similes bjects. pear in a te figures. on; but, jy would Uyputin nest con- lealing to Exam- Hath he le prose- tions be- 46 Vision is that figure which describes some past act or cir- cumstance, as if passing before our eyes at the present time. ' '"' '■ "' "'' ' '' ON THE CHARACTERS OF STYLE. ■••I'-.. :>>'-'' .■-- '•i". •• :••:?-•'■;.!■•:■, ••!' .•;!<••, ,,■■■ :■, There are nine general characters of style: viz., the Dif- fuse, the Concise, the Feeble, the Nervous, the Dry, the Plain, the JVeo<,the Elegant and the Flowery. A Difi^use writer expresses his ideas fully. He places them in a variety of lights, and gives the reader every possible as- sistance for understanding them completely. What he wants in strength he . ipplies in copiousness ; and his periods be- ing long, he gives free admittance to ornament of every kind. i , A concise writer expresses his ideas in the fewest words ; he employs none but the most expressive, and lops off all those which are not a material addition to the sense. What- ever ornament he admits, is adopted for the sake of force rather than of grace. The same thought he never repeats. The utmost precision is studied in his sentences ; and they are designed to express more ^o the reader's imagination than they express. Each of those has its peculiar advantages ; and each be- comes faul ty when carried to the extreme. - • < • ■ Discourses which are to be spoken require a more diffuse style than books which are to be read. The style of a feeble writer indicates that he has an indis- tinct view of the subject ; unmeaning words and loose epi- !■ I 4» thets will escape him; his expressions will be vague and gen- eral ; his arrapgements indistinct ; and our conceptions of his meaning will be faint and confused. A nervous writer always gives us a strong idea of his meaning. His words are always expressive because his mind is full of his subject ; every word, every phrase, and eveiy figure, render the picture which he would sot before us more striking and complete. , A dry style excludes every kind of ornament. Content with being understood, H aims not to please either the fancy orthe ear. A plain style rises one degree above a dry one. A writer of this character employs very little ornament, but rests al- most entirely upon his sense. He is particular to observe purity, propriety and precision in his language. A neat style is the next in order and advances into the re- gion of ornament ; but not of the most sparkling kind. A writer of this chai'actor pays considerable attention to the choice of his words and to their graceful collocation. His sentences are of a moderate length ; incling rather to brevity, than to a swelling structure, and closing with pro- priety. An elegant style implies a higher degree of ornament than a neat one ; possessing all its virtues without any of its defects. •• ) ' ' ■ • • A flowery or florid style implies excess of ornament. It is a promising symptom in a young composer, but in a ml natij unsi r ■ St towi 4!r ue and gen- iceptions of idea of his ise his mind and eveiy ore US more Content L' the fancy A writer tt rests al- to observe ito the re- kind. tention to ation. rather to I'ith pro- entthan ly of its nt. , but in a more experienced writer, judgment should chasten imagi- nation and cause him to reject every ornament which is unsuitable and redundant. ' . r , . ; . . DIRECTIONS FOR FORMING A PROPER STYLE. Study clear ideas of the subject concerning which you are to write or speak. ., Be acquainted with the views of as many authors on the same subject as possible. ^ ,. ., ■ :•.,'" Try and form a correct judgment on the different subjects which may come under your consideration. r. > Endeavor to be interested in the subject yourself; without this your style will be too dry, but when warm and inter- ested you will find expression to flow with ease and ra- pidity. Cultivate a taste for composing, Write compositions on a great variety of subjects. . ..ii AiTange your thoughts in as orderly a method as possible , commencing with the principal and most interesting thought, in order to secure the attention of your readers. ,,,,.; Before commencing your composition, draw off a sketch of your thoughts embracing the different items upon which you wish to vmte^ arranging them No. 1, 2, 3, 4, 6, &c. This being done you' can then arrange the different items according to the order in which you choose to place them in the compo- sition. ■'■ ■''"'■■ ' "■"•• '■' ■'■- M (; 48 Beware of writing in such haste as to acquire a bad style ; write therefore with much care. You must not however have such anxiety for words^ as to retard the course of your thoughts or cool the heat of your imagination. ,^^ I ' ' J i 1 f ; f )»■ This you would naturally do by pausing too long on every word you employ. ■ ^ ,.ii. ■• ,■■ :U\:j.> .w.; • ''-i /<(; ..ITi fj."l i • 'I'U i-; Tho work of correction must be left for a subsequent ex- amination. , ..:.., . . Be well acquainted with the style of the best authors. This will teach you to form a correct taste, and it will also supply you with a full stock of words on every subject. Translate some good author into your own words. n In doing this have some confidence in your, own genius. Be carefr.l not to adopt the author's peculiar phrases. ' GENERAL RULE. Be attentive to your words and expressions and solicitous about your matter. ■ •'! i; > 1,.'. '■■..I'.'iii',- Mi) .h».v <_ .:''i,f'^;iTr-.. ■■ ELOQUENCE OF POPULAR ASSEMBLIES. ^ Eloquence is the art of persuasion. ■ iH-M) .in ui* . . ,u: -it The essential properties of eloquence are solid argument, a clear method, and a manifested sincerity in the speaker. A commanding utterance and graceful style are also indis- pensable to true eloquence. ;n anc ), bad style ; '.);i;! ii<';,u, vords^ as to eat of your ag on every .-i I • iai ■■■■■ sequent ex- uthors. ty;-;^ , and it will ery subject. rds. . wn genius. hrases. ' ' •L ■ . ' ! ! solicitous UES. •■ [argument, jpoaker. alsoindis- 4» Its foundation is good sense and solid thought Conviction should be the principal object of the orator. He should also study the art of persuasion. ''Udkl'; Conviction aflfects the understanding, persuasion the will and the practice. The orator, therefore must not be satisfied with convinc- ing ; he must address himself to the passions; he must paint to the fancy and touch the heart. Eloquence is generally divided into three degrees ; the first is such as merely please the hearer, like Panegyrics and inaugural addresses : the second is when the speaker aims not merely to please but to inform, to instruct, and con- vince ; the tL'rd is that by which the hearer is not only con- vinced but interested and agitated, and carried along with the speaker ; the passions rising with his, and sharing all his emotions. ^-'*<'' ^-''-^ •-■ ■''■•• ^ "^ ^- -i"' ^^'-•■^■- '^-^^ni^^ i By passion is meant that state of mind which is agitated and fired by some object in view. ,t'(i' The public speaker should be perfectly master of the sub- ject upon which he is to speak; he should have the different parts all arranged in his mind, and be well acquainted with the views and sentiments of learned authors on the same subject. The speaker should always rest upon his matter and argu- ment ; for these will give to his discourse an air of manli- ness and strength, which are powerful instruments of per- suasion. Ornament reqmres only a secondary consideration. 'H \n I jd-rMCM h.H, RULES, (-r^i ••;••.,;;, .,-vo? -^} In public speaking you ought always to be persuaded of whateyer you recommend to others. ■<*}' j'» ; ..'■ ;' iJ )! .".,ii:v II. , J<(r '..'O- ■■!'" I,}.!; fl '.'-"H'-'';', ; • ■ I . ',1 ' «",'< ' . : , i .'.'>.' ■ The speaker should spare no puns in preparing and ar- ranging his matter : the words and expressions should be left chiefly for the time of deliyery. ),'J^-:t.'*'ir -i.-'ti ■;•>'..! .: \:.:> ' ■'.:)., [■'hs. ijV:. IT Short notes of the substance of the speech or discourse is very allowable, especially to those who are beginning to speak in publie. • .. > , • . , , ,. Popular assemblies give scope for the most animated man- ner of public speaking. In a great assembly there are movements oommunicated by mutual sympathy between the orator and his audience, and therefore in them passion is very easily excited. The expressed warmth of the speaker should always be suited to the subject, for it would be ridiculous to introduce great vehemence in a subject of small importance, or which from its nature should be treated with calmness. The speaker should never counterfeit warmth without feeling it. ,, y,-. /,'.:; •., .,; ., .).,,.. , ,',,_^,, (. Rule.— Follow nature; and never attempt a strain of el- oquence which is not prompted by your own genius. m rent -';i reuadedof ,ni .•'>' . >.\r, ig and ar- B ehould be r diBcourae Bginning to Imatedman- imunicated [is audience, always be introduce fee, or which ith without Itrainof el- lius. " A public speaker should never lose command of Mmseb^ lest in 80 doing he should lose the command of his audience. He must not attempt to warm his hearers at once> but gradually, and equally with himself. A speaker should be so far master of himself as in the midst of his warmth to be accurate in his expressions : this aids him to a yery great degree both to please and persuade. The confusion and disorder, which so dflen attend tlie warmth of uneducated speakers render them ungraceful and undignified ; and in a great measure hinder their speech or discourse from haying the desired effect. It is necessary for the speaker carefully to regard what the public ear will receive without disgust. , ^ \ ; > ., , • Imitation of ancient authors will betray a speaker into a boldness of manner with which the coolness of modem taste would be greatly displeased. •* t »•>-:.!>!:•;! ,'M-K) !■■ No one should attempt to speak in public without know- ing what would be suitable to his age and character ; to the subject and hearers, the place and the occasion. A diffuse manner is generally considered as the most pro- per for public speakers. In this matter however, the speaker must be guided by his subject and circumstances. . ' * ' ' It ought never to be forgotten that lest the hearer should grow weary with a long discourse, the speaker had better say too little than too much. ii>'i ':;..; , iiUi. By giving too many views of the subject and thereby ^^ m Hi f s V-M w I i ^^ 52 lengthening i^ he will surely exhaust the attention of his hearers, and leave them languid and fatigued, and with very confused views of the subject ; with which they might have been otherwise interested and delighted. ^ . ELOQUENCE OF THE BAR. 'jiM iij :;'■ ;; iW'tf; To be successful in speaking in popular assemblies the speaker must apply himself to every principle of action in human nature ; to the passions, to the heart, and to the un- derstanding ; but at the bar conviction is the principal object. , As the speaker at the bar addresses himself to one, or at most to a few judges, he would subject himself to very great ridicule, by attempting that ^igh, vehement, and passionate tone, which is suited only to a multitude of people, v •< i His chief business is to apply the Bubject in debate to law and statute. The judicial orarv:>ns of the ancients must not be consid- ered as a model of this kind of speaking ; as eloquence rather than jurisprudenco was their chief study. The grand secret of a lawyer's success, is his profoimd knowledge of his profession. Ho may bo a splondid speaker, and yet if his knowlodgo of the law bo suporficiul very few will choose to engage him in their defence. Ho should bo very particular in knowing all the facts and circumstances connected with every cose entrusted to his oare. / I'i T* ' '■ r^.' Sw ion of his i with Tory aight have « 1,-. .:.-.. mblies the ■ action in to theun- 3 principal one, or at very great passionate 9. r I, • ate to law be consid- eloquenco profound ♦ ■ :nowlodgo igago him ii , facts and ;ed to his 58 He will thus be enabled to fortify the weak parts of his client's cause, and he will also be prepared for all the argu- ♦ l*-*!!*^!!! Xii » ■■>i.■^■.»t,*#-l» J-*J #*,» -If* meats of his opponent. The study of eloquence is still necessary ; for the dryness of the subject usually agitated at the bar requires this study to command attention, and to prevent what the pleader ad- vances from being passed unregarded. i,,„,f, vuh 3..iuii. There is as much difference between impressions made on the mind by a cold, dry, and confused speaker, and that made by one who pleat^j the same cause with elegance, order and strength, as tbjre is between om* conceptions of an object when preoerced in twilight, and when viewed in the efful- gence or noon. .; .■.muo'ivkt Purity and neatness of expression should be the lawyer's grand study. His style should be perspicuous and proper, not needless- ly overcharged with the pedantry of law terms, nor affectedly avoiding these, when suitable and requisite. He should be particular in guarding against verbosity, a fault which is so often occasioned by speaking and writing hastily. .. M ■•■• ( !l \i\ty\Ui He should form himself to the habit of a strong and cor- eot stylo while he has leisure, that it may becon. i natural to him afterwards when compelled by a multiplicity of busi- ness to compose with precipitation. • '-;' • '*' ' ' In speaking at the bar, it should be distinctly shown, first, after stating the question, what is admitted : secondly, what is denied ; and, thirdly, where the line of division begins between the pleader and the advei*so party. ''^' ' wi^' ■■^ai H :ii I i w He should be 4i8tmct in i^^iMdfi^ifm^Bxnngm^eai of all iJ^e |Mtrt|,o|^bi0 pleading* -<■':■ n >vr. ,«;, -^ . s ^ .^^i A clear method is of the highest consequence in eyery species of oration ; but in those intricate cases which belong to the bar, it is infinitely essential* U-is' Y : ■ i>iV'.'./r, '.it,! ^ He must be as concise as possible in relating fi&cts ; for unnecessary minuteness in relatmg them overloads the memory. ^ . .O.i. .H.>.?f In argumentation, a more diffuse maimer seems requisite at the bar than on some other occairions ; for the intricacy of law points frequently requires the argument to be expan- ded, and placed in diflferent lights, in order to be fully ap- prehended. 'I' -a. f •■ I The lawyer should always be candi'l in stating the ai'gu- ments of his adversary. If he disguise them, or place them in fiedse light, the artifice will soon be discovered ; and the judge or judges will conclude, that he either wants discern- ment to perceive, or fairness to admit the strength of his opponent's reasoning. ' But if he state with accuracy and candor the arguments used against him, before he endeavors to combat them, a strong prejudice will be created in his &vor, he will appear to have full confidence in his cause, and the judge or judges will be inclined to receive more readily the impressions mado upon him by a speaker who appears both fan* and pene- trating. :■__' ■ -•..■!■' I" .l.rv. • I.*', ■•■i Wit is sometimes serviceable at the bar, particularly in a lively reply, by which ridicule is thrown on what an adver- sary has advanced. Nont however rises to eminence by be- ing a witty lawyer. M •'• . • ■> ' '■•• '-■;■•' "' *'■■ '•' '■' 56 ment of all se in every hich belong fiwtfl; for rloads the iB requisite 16 intricacy > be expan- fully ap- ; the ai'gu- placethem and the s discern- ^th of his 'guments t them, a II appear or judges ions made md peno* arly in a i>n adrer- Bobybo- An advocate should be particular in declining a cause Trhioh is odious and manifestly unjust : and in (i doubtful case he should lay his chief stress upon those arguments which appear to him to be most forcible, but he should al- ways keep in view a dignity of character so highly impoi'tant to his profession. , ■^ ''l^•.. '.■; '"'f '; eloqubncb; of the puli^it. . , To preach with interest, efifect and power, it is necessary for the preacher to have a fixed and habitual view of its ob- ject ; viz., to persuade men to become good. >>■ iiv';' '■ Tho T«nncipal characteristic of pulpit eloquence is gravity and V .1. ...... ... - ,....,„, I ; i It is neither easy nor common to unite these two to- gether. A proper tinion of these two, forms that character cf preaching which the French call Onetion; that affecting, penetrating and interesting manner, which flows from a strong sense in the preacher of the importance of the|trnths he delivers, and an earnest desire that they may make full impression upon the minds and hearts of his hean^rs. A pulpit discourse requires a strict attention to unity. By this is meant that there should be some mahi point to which the whole tenure of tha sermon shall refer. One object must predominate throughout the whole dis- course. . , ^ The unity of a lennon does not exclude the di'diion of U $. ;!:ii into heads, or eren the gubdiyision cf these heads : it requires ioly that union and connection be so &r preserved, as to make the whole concur in some one impression on the mind .;; vu ■■-.■,x:- .: -x<.:,.:- ■■■-- ... .•'•■ • r t T) ifoject of every sermon should be precise and partic- ular i M unity can never be so perfect in r general, as in a particular subject. . . . Attention is always commanded by taking some particular view of a great subject, and employing on that the whole forceof argument and eloquence. li >i"'>^ n-jmta '>^ A preacher should be cautious not to exhaust his subject smce unnecessary and tedious fullness is the very opposite of persuasion. . , , I ■ I "' ' "' '' ' ' ' There are always some things which he may suppose the hearers to know, and some which require only biief at- tention. !••,;■);. The grand object of the preacher should be to render his instructions interesting. . .Im».. -s . ^ ( . ' =. ...,;,! v>.vf. He should bring home to their hearts the tioiths which he inculcates ; and make each suppose himself particularly ad- dressed. Ho should avoid all intricate reasoning, avoid expressing himself in general, speculative propositions ; or laying down truths in an abstract, metaphysical manner. -M! A discourse ought never to be carried on in the strain of one writing an essay, but of one speaking to a multitude. The preacher should keep in view the different ages, char- acters, and conditions of men ; and he should accommodate diz( isap] Th^ preaci To' saw preaci '•■■•-'"» it requires ved, asto Q on the J id par<»c- t, as in a articular be whole 3 subject poBite of (. 1 'sit ' suppose nief at- ider his liichhe krly ad- ressing fdown Eiin of ide. char- odate 67 dizections and exhortations to each of these different classes. Whenever he advances what touches a man's character, or is applicable to his circumstances, he is sure of his attention. The study of the human heart is very necessary for the preacher. To discover a m?.n to himself in a light in which he never saw his character before, produces a wonderful effect in preaching, ilm: m;:' to unjon?! •;ij(;5'i'''t«fi:y jo wojtjo •vi'.*'-'' Sermons which are founded on the illustration of some peculiar character, or remarkable piece of history, in the sa- cred writings, although difficult in composition, are not only the most beautiful, but also the most useful., ,»;' i. : «<•,< "om' By pursuing this course, the preacher lays open, some of the most secret win'^ings of the human heart. This is an extensive field but little explored, and possesses all the advantages of being curious, new, and highly useful. Truth and good sense are the sole basis upon which the preacher can build with safety. .'■, t > , ./iir^c/r THE PLAN OF A DI8C0UBSB. »''•>'«'■ There are six parts which compose a regular discourse ; viz., the exordium or introduction, the statement or the divi- sion of the subject, the narration or explication, the reason- ing or arguments, the pathetic part and the conclusion. It is not necessary that each of these enter into every pub- lic discourse ; but they are the constituent'parts of a regular oration, and in every discourse some of them must occur. I V •i ' 1 1 I Great care should be taken in tlie introduction, as, at H 9t time the minds of the hearers are more easily pr'^judi^ed for, or against the speaker than at any other time. '""'^ An introduction should be easy and natiural, and always suggested the subject. The wiv;^ should not plan it until he has arranged in his own mind the substance of his discourse. Correctness of expression should be carefully studied in the introduction. At the beginning the hearers are more disposed tocriti- ,. .<,, , ,;,, The orator should seldom put forth alibis strength at the b^inniT^g; but it should rise and grow upon his hearers, as his discourse adyances. •^r^ijv ■>!,;, .1, ;; .11,.., The introduction is seldom the place for yehemence and passion ; for the audience ought to be gradually prepared, before the speaker renture on strong and passionate senti- ments. .1/ ..5! »■ When the subject is such that the very mention of it na- ' ^ ,;.^.T- ' V jf-'y )ii,a8,att7 9t y pr^judioed le. and always anged in his ly studied in Bed tooriti- ;hen entirely a good in- » only in his ), inhisges* w a certain 9 justice or ngth at the hearers, as nence and f prepared, Qate senti- 1 of itna- turaUy awakens some passionate emotion, or when the un- expected presence of some person or ol^oct m a popular asr sembly inflames the speaker, either of these will justify an abrupt and rehement exordium. An introduction should be proportioned both in length and kind to the discourse which is to follow. dJimtf; r^i'f b.',i.M After the introduction, the proposition or enunciation of the subject commonly succeeds. -, < .>. This should be expressed without any affectation, in the most concise and simple manner. It should also be clear and distinct. ■t % t^: !n »/»» To this generally succeeds the division, or laying down the method of the discourse; in the management of which the following rules should be carefully observed. 1 If j,s ..^.•(•t,ti»5?JB .'y'i'!'''') :'M.f;''>;yt>^^; ;^<^'.;j.-jti ;•!■'"» ^h'l^^ '■; ru.;;! 'i-tiW^ "nA'V .* ■■•I vltrMM .'.'".I'-Tif -ilMi.'f.cvi' rail .O.I.tiilV '.:■) '.-..W <.'\fiii',i:iiiiXO:! The parts into which the subject is divided should be really distmct from each other. ■'■■■;■ Observe. Should a speaker propoFe to explain, first tho advantages of virtue, and next those of justice or temper- ance, his divisions would be absurd, because the first head plainly comprehends the second. ■ ni: t' i>!'«.'l' rM' ci'.'. .'u; it ■,l.i • •..!• Care should be taken always to follow the order of nature, beginning with the most simple points, with such as are most easily understood, and necessary to be first discussed, and I 60 proceeding to those which are built on the former, and which are snpposed to be known. 'I*, ,'V¥. in. .-,1 ■ ■ . -1 The members of a division ought to exhaust the subject, otherwise the division is incomplete ; the subject is exhibited by pieces only, without displaying the whole. .>!;»yj::>i'-' ^sif-mjiiitK^ -i-jii^sWi-iMu ')nj nr,iJOii&n>n'{lr VI5'- a.'< . *V' >ivy .i/.c !,.J biiiorUi «uj'i Let preciseness and precision be peculiarly studied. '•> i^ac. 3 •:H in are Ob. 1. A division always appears to most advantage, v 'hen the several heads are expressed in the clearest, and mos;:; for- cible, and fewest words possible. 2. This never fails to strike the hearers agreeably i and contributes also to make the divisions more easily re- membered. V. Unnecessary multiplication of heads should be cautiously avoided. . , .'..:, ; ..._ ,.,{• ' .-,..': .^\,t .;,/■■, .1.11*1-!. Ob. 1. To divide a subject into many minute parts, by endless divisions and subdivisions, produces a bad effect in speaking. 2. In a logical treatise this may be proper, but it renders ap oration hard and dry, and unnecessarily fatigues the memory, nb '.,-"ti! ^4 i 3. A sermon may admit £rom one to four giand divisions ; seldom aro more allowable.. A^^tt ,f-iu^f^iu>.T u. c^^^^mn»^ w Narration or explication is the next part of the disconme in order. . - To be clear and distinct, to bo probable, and to be concise, are the qualities which critics chiefly require in narration. At the bar an act, or single circumstanco left in obscurity, or m'lunderstood by the judge, may destroy the effect of aJl the argument and reasoning which the pleader may have employed, ns^* '.C' ■j'-ni^Juii/j-v jjic-'«:/p;'«^ li;;;*. im«i$r^il^ If his narration be improbable, it will be disregarded ; if it be tedious and diffuse, it wUl fatigue and be forgotten. To render narration distinct particular attention is requi- site in ascertaining clearly the names, dates, pb^es, and ev- ery other important circumstance of the facts i ^counted. In order to bo probable in narration, it is necessary to ex- hibit the character of the persons of whom we speak, and to show that their actions proceeded from such motiyesasare natural and likely to gain belief. . •.'.. i In sermons, explication of the subject to be discoursed on occupies the place of narration at the bar, and is to be con- ducted in a similar manner. It must be concise, clear and distinct ; in a style correct and elegant rather than highly adorned. To be well heard the preacher must explain tlie doctrine of his text with propriety ; he must give a full and clear ac- oount of the nature of that virtue or duty which forms the subject of discourse. I',' '''■<> i 1 III 141 It:? II liil 62 . He must also consider what light his text will derive ftom 6ther passages of scripture, whether it be a subject nearly aUied to some other, from which it ought to be distinguished ; whether it can be advantageously illustrated by comparing or opposing it to some other thing ; by searching into oau> ses, and tracing effects ; by pointing out examples, or ap- pealing to the hearts of the hearers, that thus a precise And circumstantial view may be given of the doctrine inculcated. ARGUMENTATIVE PART OF A DISCOURSE. . „ Reason and argument constitute the foundation of all manly and persuasive eloquence. With regard to argument three tilings require attention ; first, invention of them ; secondly, proper disposition and arrangement of them; and thirdly, the disposition of them in the most forcible manner. Invention is undoubtedly the most material and the basis of the rest. ' -' ' "■ "' '■■' " ■-■■" "' • '" Arguments should advance in the form of climax, from the weakest to the most forcible. This method is recommended, when the speaker is convinced that his cause is clear and easy to be proved, i If he distrust his cause, and have but one material argu- ment, it is very proper to place this argument in the front; so as to prejudice his hearers early in his favor, and thus dis- pose them to pay attention to the weaker reasons which he may afterwards introduce. , ^ When amidst a variety of arguments, there is one or two more feeble than the rest, Cicero advises to place them in th^ befi the aloi I derive from iibject nearly stinguished; y comparing ing into oai> nples, or ap- predse and ) inculcated. URSE. 7„ ation of all attention ; ositlou and )n of them -•-.-■ ... ^■- 1 the basis nax, from peaker is oved. rial argu- he front; I thus dis- which he le Of two them in the middle, as a situation less conspicuous than either the beginning or end of the train of reasoning. '^^ **"* '^^ s^^' When arguments are strong, convincing and satisflEictory, tlie more they are separated the better ; each clan be viewed alone, can be amplified and contemplated. ^ When the arguments are of a doubtful character, or a presumptive nature it is safi^ to crowd them together, to form them into a phalanx, that, though individually wea]c, they may mutually support each other. Arguments should never be extended too far, nor multi- phed too much ; this dimmishes the strength of a cause and renders it suspicious. A few well chosen arguments can be remembered to ad- vantage, while a multiplicity of them burdens the memory and is sure to weaken conviction. i . . . r A speaker should never expose a favorable argument in a variety of lights for fear of enfeebling the impression which it would otherwise have made. THE PATHETIC PART OF A DISCOURSE. Carefully examine whether the subject admits of the pa- thetic. 1*0 determine this belongs to good sense and sound judg- ment. A great variety of subjects do not admit the pathetic at all, and even in those that are susceptible of it, an attempt to excite the passions in the wrong place may expose an ora- tor to ridicule. m «4 The speaker must Secure the judgment and understand- ing of his hearers ; for they must he satisfied there is suf- ficient cause for engaging in the cause with zeal and ardor. The pathetic is never admitted until argument and rea- soning hare produced their full effect. ^ The speaker should cautiously avoid giving his hearers 'warning even by insinuation, that he intends to excite their passions. ■ iiijiinu u^tt-.'Ui ,i«iij ..Uii;;MW* I- I.;.!! f; .s* i:s j ;■ To every emotion and passion, nature has adapted certain corresponding objects, and without setting these before the mind, it is impossible for an orator to excite that emotion. We are warmed with gratitude, we are touched with com- passion, not when a speaker shows us that these are noble dispositions, and that it is our duty to feel them ; nor when he exclaims against us for our indifference and coldness, but when he paints them before the mind in all their native love- liness and beauty. The basis of all successful execution in pathetic oratory is to paint the object of that passion which we desire to raise in the most natural and striking manner. The language of passion is always unaffected and simple, In painting to the imagination you may bo cool and delib- erate, but in painting to the heart you must be rapid and ardent. All digressions should be avoided which may inteiTupt or turn aside the swell of passion. ', ;' . ' ,. Comparisons are always dangerous and highly improper in the midst of the pathetic. .ou' ''iH aj n>t not Tj ers pass^ inste thei understand- there ifl BUf- and ardor. >nt and .rM^ ? his hearers excite their ipted certain before the b emotion. d with com- 9 are noble ; nor when oldness, but native love- V.I ■■'■), B oratbry is ire to raise nd simple, and delib- rapid and ;eiTupt or ,li .1!',. wnproper ^4 ••!>■! As violent emotions cannot be lasting so the pathetic should not be overlengthened. • t .' -:>«.»* It. i! •■ s. • t*- The speaker must also be careful to know what the hear- ers vdll bear ; for he who attempts to carry them farther in passion than they will follow him frustrates his purpose, and instead of warming them he takes the sure means of freezing them completely. " . - ,, .., THE PERORATION. Dfl. ;, *-• A few words is always su£Eicient in the conclusion of a discourse. Sometimes the whole pathetic part comes in most proper- ly at the peroration. ' ^ , if: '»« i When the discoui'se has been altogether argumentative, it is proper to conclude by summing up the arguments, pla- cing them in one view, and leaving the impression of them full and strong upon the minds of the hearers. Rule. — ^Place that last upon which you choose to rest the strength of your cause. w In every kind of public speaking, it is importar^c to hit the precise time of concluding. Rule. — ^Do not end abruptly nor unexpe;.;;!««.; t ■ ON DEUVERY. ^£i •-/!:•-.: ^.-^ h:<, ; '■.!;!, ■'*•; ;i ' '<'; Hii ■' ■.-•' 'vt' y.' I ,.:)IC-;i. The orator should endeavor to speak so as to be fully and easily understood. , He should express himself with such grace and energy as to please and to move his hearers. To be fully and easily understood, the chief requisites are, a due degree of loudness of voif.te, distinctness, slowness and propriety of pronunciation. The most important thing is to be heard, the speaker must therefore, endeavor to fill with his voice the space occupied by the assembly. Much depends upon the proper pitch and management of the voice. Every man has three pitches in his voice, the high, the middle, and the low. The high is used in calling aloud to some one at a distance ; the low approaches to a whisper ; the mid(jle is that which is employed in common conversation, and which should gen- erally be used in public speaking. The highest pitch is not necessary to bo well hoard by a groat assembly. The voice may be rendered louder without altering the key ; and the speaker wUl always be able to give the moit cat eff( the aubJQct ■ . . •• i'" be fully and d energy as iquisites are, ilowness and peaker must ice occupied lagement of le high, the a distance ; that which should gen- loard by a Jtering the re the most I persevering force of sound, in that pitch of voice to which in conversation he is accustomed. ^..v;. ^ :;, If he begin higher than this, he will fatigue himself and speak with pam ; and there jy be heard with pain by his au- dience. A greater quantity of voice should never be uttered, than y can be afforded without pain, and without any extraordinary effort. , . . , r . Rule. — ^Let the speaker fix his eye on some of the mosj; distant persons in the congregation or assembly, and imagine himself speaking to them. The reason of the above rule is ; we naturally and me- chanically utter our words with such strength, as to be heard by one to whom we address ourselves, provided he be within the roach of our voice Speaking too loudly is very offensive and exceedingly dis- gusting. The ear is wounded when the voice comes upon it in rumbling indistinct masses. Assent is never obtained by vohemenco and force of sound. . , ... M ... Distinctness of articulation is what is essentially necessary rather than quantity of sound. With distinct articulation a mun of a weak voice will make at extend further than the strongest voice can roach with- out it. The speaker must give every sound its due proportion, ; •f, 115 »( 68 and make every syllable and eren every letter to be heard distinctly. Rapidity of pronunciation must be carefully avoided. There is a happy medium between this and a lifeless drawling method, which laBt method should be carefully avoided. Slowness of pronunciation and clearness of articulation cannot be too industriously studied by the public speaker. Such pronunciation gives weight and dignity to a discourse, and assists the voice by pauses and rests, so very necessary to a graceful delivery. A hurried manner excites that flutter of spirit, which is the greatest eneiny to all right execution in oratory. Rule— Let every word receive that sound which the most polite usage has appropriated to it, and let the broad and vulgar pronunciation be cautiously avoided. Dissyllables, trissylables and polysyllables have always one accented syllable, let the spsaker mark that syllable by a stronger percussion, and pass more slightly over the rest. The same accent should be given to every word in public speaking and in common discourse. The higher parts of delivery are comprehended under four heads : viz., emphasis, pauses, tones, and gestures. By emphasis is meant a fuller and stronger sound of voice, by which we distinguish between the accented syllable of some word, on which we intend to lay particular stresi. to be heard kvoided. ind a lifeless be carefully articulation 3 speaker. a discourse, J necessary rit, which is )ry. ;h the most > broad and always one lablo by a ho rest. i in public lod under tares. d of voice, syllable of ;re8s. 69 BuLE. — Study to Acquire a just conception of the force and spirit of those sentiments which you are about to deliver. Emphatical words are not to be multiplied too much, but aro to be used with prudent reserve. Pauses are of two kinds : first, emphatical pauses; and secondly, such as mark the distinction of sense. An emphatical pause is designed to fix the hearer's atten- tion on something which has been just said. Such pauses are subject to the same rules of emphasis, and are not to be too often repeated. The principal use of pauses is, to mark the division of the sense, and at the same time permit the speaker to draw his breath ; and the proper management of such pau- ses is one of the nicest and most difficult articles in de- livery. ■ S T , It is peculiarly necessary for the speaker to have a proper command of breath. lie should always provide a full supply of breath for what- ever he is to utter. The breath must bo gathered at the intervals of a period as well as at the end of it. Pauses in public discourse must bo formed upon the man- ner in which we express ourselves in sensible conversation, and not upon the stiff, artificial manner which we acquire from reading books, according to common punctuation. In his tones the speaker is to regulate himself by the man* M « 70 ner in which he speaks when eng&ged in earnest dificourse with others. Tones of pronun*'' tion are different from those of em- phasis and pauses. M W > <)» t.iJ. They consist in xab modulation of the voice ; the notes or variations of sound which are employed in public speaking. BuLE. — Form your tones of publijo speaking upon those of animated conversation. < ^ When we speak upon a subject which deeply interests us, we naturally and mechanically speak in an eloquent, and per- suasive tone and manner. The speaker should never lay aside in *he public assembly, that voice with which he expresses himself in private. Nature will guide him so as to make the most forcible and pleasing impressions ; but affectation is contemptibly dis- gustmg. ON GESTURE. RuLE.—> Attend to the looks and gestures in which eam- ostness, indignation, compassion, or any other emotion dis- covers itself to the most advantage in the common discourses of men, and let these be your model. A public speakt)r however must adopt that manner most peculiar to himself, else it will appear stiff and forced. The study of action coniists chiefly in guarding against an;i mc as . Kr it discourse lose of ein- the notes or ic speaking. upon those aterests us, tit, and per- assembly, ^ate. broibleand ptibly dis- lich eam- lotion dis- discoursos ner most ced. 1^ against 71 any disagreeable motion, and in lettmingto perform such motions as are natural in the most graceful manner. Every speaker should study to preserve as much dignity as possible in the attitude of his body. His position should be erect and firm, that he may have the fullest and ft'eest command of all his motions. His countenance should con'espond with the nature of his discourse. In every kind of discourse a serious and manly look is to be maintained. The eyes should never bo fixed entirely on one object, but they should mv>ve easily around the audience. Motion made with the hands should be the principal part of gesture ; and It is more natural to use the right hand than the left. Warm emotions require the exercise of both hands ; but all motionL 3hould be easy and unrestrained. Motions made with the hands should prOcoed from the shoulders rather than from the elbow, to prevent narrow and confined motions which are always ungraceful. Perpendicului' movements are to be avoided. Oblique motions are most pleasing and graceful. Sudden and rapid motions are not good. Affectation is the destruction of good delivery ; whatever is natural is most likely to please because it shows the man, and has the appearance of proceeding from the heart. i^ ''J ' if i 72 f» ON MEANS OF IMPROVING IN ELOQUENCE. To improve in eloquence the speaker should endeavor ^o improve and refine his moral feelings. He should also cultivate habits of the several virtues. , A true orator must possoss generous sentiments, warm feelings, and a mind turned towardr^ nduiiration of those great and high objects, which men are by naturo formed tc veneralo. ,, , _ ..,,. •;.■■.:. Conneci;c:l wii,' I maiih virtues, he should possess strong and tender son libility to all the injuries, distresses, and sor- rows of his f*>Hi;'y creatures. .. ,,. A fund of knowledge is also indispensable to true oratory. A pleader must make himself thoroughly acquaiutod with law ; h(! must possess all that learning and experience which can be useful in supporting a cause or convincing a judge. A preacher must apply himself closely to the study of di- vinity, of practical religion, of morals, and of human nature ; that he may be rich in all topics of instruction and per- suasion. He who wishes to excel in any council or assembly should be thoroughly acquainted with the business that belongs to such assembly ; and should attend with accuracy to all the fiicts which may be the subject of question or deliberation. Beside the knowledge peculiar to his profession the pub- lic speaker should be acquainted with the general circle of polite literatui'6. 73 UENCE. ndeavor ^o irtues. ints, warm >n of those formed to ess strong , and sor- 10 oratory. iutod with Qcu which I. judge. adyofdi- Q nature ; and per- y should longs to o all the ation. he pub- jircle of He should be acquunted with poetry for the purpose of embellishing his style, and for suggesting lively images or pleasing illusions. - ^ '"i ; • !'• •;:>eMij u fl n .ifii.l!. He should be acquainted with history, because the know- ledge of facts, of eminent characters, and of the course of human affairs finds place on many occasions. „ v; . > Deficiency of knowledge on general subjects will expose a public speaker to many disadvantages ; and it will give his rival, who may be better qualified, a decided superiority over him. Without application and industry it is impossible for a person to excel in eloquence. , . . . No one ever became a distinguished pleader, or preacher, or speaker, in any assembly without previous labor and ap- plication. The student must beware of indolence and dissipation. He who is destined to excel in any art, will be distinguished by enthusiasm for that art ; which, firing his mind with the object in view, will dispose him to relish evei^ necessary labor. « Attention to the best models contributes greatly to im- provement in the arts of speaking and writing with pro- priety. No genius is so original, as not to receive improvement from examples in style, composition, and delivery. In imitating style a difference is to be observed between spoken and written discourses ; in the latter we expect cor- rectness and precision. ti i :iu ** ••%: ?% f I ,1* Spei^ng allows a more easy, copious style, less confined ; repetitions may sometimes be requisite ; the same thought must often be placed in different points of view ; since the hearers can catch it only from the mouth of the speaker. Exercise, both in composing and speaking, is a necessary means of improvement. :'^^"' =v< :'»,<«" tt-s^n •■ ',nir ii:m!n\ That kind of composition is nio^t useftil, which is con- nected ,with the profession to which the person intends to devote himself. He who wishes to write or speak correctly, should, in the most trivial kind of composition, in writing a letter, er even in common conversation, study to express himself with propriety. , ,,,,,^ . , ->.....,,, , -■. :,a-../: Exercises in speaking is only impoi*tant when undor pro- per regulations. Many debating societies in which people are brought 'to- gether from low stations, who know nothing of the Rules of public speaking but merely assemble to exhibit their talent, are not only useless but highly injurious. Even in those well regulated societies, the student of ora- tory should never accustom himself to speak at random on any subject ; he should never speak v'iLhout meditation, and he should be very particular in the choice of his subjects. , . , ^ • A student of oratory should never attempt to speak upon a subject upon nrhich he is ignorant, and when speaking, he should keep good sense and persuasion in view rather than a show of unmeaning eloquence. his Dio tioi 76 confined ; e thought since the )eaker. necessary 1 IB con- ntends to .,'f i ■'■.■ ; ,'; ' 1 Id, in the ', 6t even self with ndor pro- ' Aristotle was the first who took Rhetoric from the soph- ists and founded it on reason and solid sense. * His treiadse on Rhetoric is a very valuable composition. The Greek Rhetoricians who succeeded him improved on his foundation. . . ,• .,a„ . . *. ; ■' -> f,i-n-'J(.-i..i Two of their works still remain, DemetriuBPhalereus,and Dionysius of Halitences, who both wrote on the construc- tion of sentences and who deserve to be consulted. Cicero and Qnintilian were both able writers upon this subject and their works are not only instructive but highly useful. !'. . ''i..' II ON HISTORY. ,^4 til )j )ught-to- Rules of lir talent. of ora- ndom on jditation^ a of his ak upon king, he ler than History is a connected recital of past or present events. Its office is to trace the progress of man from the savage state, and through the several degrees of civilization, to the nearest perfection of which social institutions are capable. History serves to amuse the imagination and interest the passions. It improves the understanding, and tends to strengthen the sentiments of virtue. . ■ , ,'M'' « Oral tradition was, in early times, the only vehicle of his- torical knowledge : hence to secure the remembrance of im- portant facts, as compacts, treaties, &c., they were recited in the assemblies of the people. :;■ I 76 Historical poems was another method of transmitting the knowledge of events. The next method of preserving traditions was by visible monuments, erected upon occasion of any remarkable event: of this nature was the heap of stones raised by Jacob and Laban as a memorial of their mutual reconciliation. Coins, medak, and inscriptions, may be regarded as por- table, historical monuments. A general and accurate knowledge of Geography and Chronology is necessary in the study of history. , A knowledge of the situation and relative magnitude of the several countries of the earth assists and affords clear and distinct ideas of the events : and a general comprehen- sion of the current of time enables a person distinctly to trace their dependence on each other. A good historian should have a general acquaintance with the sciences, and with the principles which actuate human nature, as it will enable him to judge of the possibility and probability of certain facts, and be a guide in estimating the consistency of human characters, and with what is, or is not, within the powers of human nature. History, with regard to the nature of its subjects, may be divided into two classes : general and particular ; and with respect to time into two more : ancient and modem. General history relates to nations and to every thing of a public nature connected with them : the subject of particu- lar history refers to individual countries, or particular periods. > Ancient history commences with the creation of the world. as A. H: tting the by visible jle event: icob and I as por- phy and litude of -ds clear aprehen- jinctly to ce with human ility and itingthe >r is not, may be ind with ng of a particu- .rticular e world. 77 as given by Moses, and extends to the reign of Charlemagne A. D., 800. '*■ -■i.:.^;.^:-Mv.i-rL ,.;,„., ■ t'-^; Vkvv vJ-^t.v*tA-K» Modem history is dated from that period and extends to our own times. General history is divided into civil and ecclesiastical : the first contains the history of mankind in their various rela- tions to one another : the second considers them as acting or pretending to act in obedience to what they believe to be the will of God. History resolves itself into certain periods at each of which a great revolution took place, either with regard to the whole world, or a very considerable part of it. The first general period refers to transactions from the creation of the world to the flood, which are recorded in the first six chapters of the Bible. In that period men were not in a savage state : they had made some progress in the mechanical arts; they had invented music, and they found out the method of working metals. The second period of history commences at the deluge, about 1656 after the creation, and it extends to the beginning; of profane history. It includes the attempt at building the tower of Babel ; the history of Noah's sons ; the foundation of the kingdom of Babylonia and Assyria ; the migration and history of the Israelites ; the history of the Greeks and their expedition against Troy ; the founding of Carthage and of Rome. The third begins with the 28th Olympiad, about the year I. 'rM ; j S 11 ^^i «; B. G. 668 ; and it includes the destruction of the kingdom of Assyria by theMedes and Babylonians, and theorerthrow of the kingdom of Judea by Nebuchadnezzar King of Babvlon. inU'>'\fl';. The fourth period of history extends only to the conquest of Babylon by Cyrus, a period of 31 years, which event ' took place in the year B. C. 638. During the fifth period, the Jews under Cyrus, obtained leave to return to their own country, rebuild their temple, and re-establish their own worship : it includes likewise the reign of Alexander the great, and the overthrow of the Per- sian Empire, v; . .. ,. The sixth period includes the rise and progress of the four empires which had arisen out of the vast empire of Alex- ander, and the history of the exploits of the Bomans and Carthaginians till the destruction of Carthage about a cen- tury and a half prior to the birth of Christ. The seventh period is occupied in the conquests of the Romans, until their empire had attained its greatest mag- nitude, and until the time when an end was put to the Bo- man Republic ; it includes also the conquests of Britain by Claudius, and the destruction of Jerusalem by Vespasian. It ends with the death of Trajan. ' The eighth period extends from the death of Trajan to the division of the empire under Constantino. • i , >i;,.,i .^„i The ninth period exhibits the decline and miserable end of the western part of the Roman empire : it details important revolutions that occurred in Britain, Italy, France, and Spain. m kingdom verthrow King of conquest lich erent obtained ir temple, ewise the f thePe^- )f thefour e of Alex- imans and ut a cen- 3ts of the test mag- the Ro- iit«in by espasian. Ljan to the Ibleendof iportant mce, and 1» During this period Africa had changed its masters throe times ; the ' Vandals had expelled the Romans, «ud erected an independent kingdom which was at length overturned by the Emperors of Constantinople, and from them it was taken by the Goths, A. D. 620. 1-1 i^i J ..-ivv>««i', Lj;s !-^ The tenth period is dated from the flight of Mahomet in the year 622 : it includes the rise, progress, and victories of the conqueror, and the fall of his empire : it relates to the conquests of the Turks and Saracens, and extends to the time of the Crusades. r . • . ,.— The eleventh period of history commences with the cru- sades, and includes all the space intervening from between that time and the present. > , .. i .••i ' ON HISTORICAL WRITING. The great requisites.in a historian are, impartiality, fidelity, and accuracy. •,;,_, His first object should be to give his subject all possible unity. -•-■'"-■ "-" '''•'■■■'"" l:-- ^--"-^ ''--■■' The portions' of history should be connected by some uniting principle, which will produce on the mind something that is one. A historian should trace actions and events to their sources. He should be well acquainted with human nature and with politics. . • His skill in the former will enable him to describe the I'M i, liJi ii I. I .i tSkmftmmfimt^. 80 IS It characters of individuals ; and his knowledge of the latter to account for the revolutions of government, and the opera- tion of political causes on public affairs. Large experience, of the different modes of government has improved the modern historian, beyond the historian of antiquity. It is in the form of narrative only, that the historian is to impart political knowledge ; for formal discussions expose him to suspicion of being willing to accommodate his facts to his theory. Reflections, whether moral, political, or philosophical, may be insinuated in the body of the narrative. Clearness, order and connection are primary virtues in historical narration. This is attained when the historian is complete master of his subject, when ho can see the whole at one view ; and comprehend the dependence of all its parts. History should be conspicuous for gravity. There should be nothing mean or vulgar in the style ; no quaintnesB, no smartness, no affectation, no wit. A history should also be interesting ; and this is iho qual- ity which distinguishes a writer of genius and eloquonco. « To bo interesting, a historian must preserve a medium be- tween rapid recital, and prolix detail. Ho should be careful in making a proper selection of clr- oumBtancos. » / { 81 This gives life, body and coloring, to his narration, and constitutes what is termed historical painting. ^ "Orfi-XKj^^at In pictcresque description, the ancients eminently excel : for example the works of Thucydides, Livy, Sailust, and Tacitus are read with pleasure and delight. Sound morality should always reign in history. The historian should be always on the side of virtue, not by delivering moral instruction in a formal maimer, but merely by exciting indignation against the designing and vicious ; by appeals to the passions, he will not only improve his reader, but take away from the natural coolness of hia- torical narration. The inferior kinds of historical composition are annals, memoirs and lives. ' . • '^ il •h I ; 11' ■'^*; ON LOGIC. In discourses written or spoken the writer or speaker should possess Logic as a phiiosophor, and employ it as an orator. He should dispose his arguments in a nitural and lucid manner, and express them in such a stylo as to givo them full force. • Logic is the art of rer'soning; and is intended to guido and assist the intellectual powors in tho investigation of truth, and in communicatin., it to others. The operations of tho mind in acquiring and communic»- :k I ft I 82 \ tii^ knowledge are. Perception, Judgment, Beasoniug and Disposition; and into these parts logic is divided. Perception, or conception, is the attention which the mind giyes to impressions made upon it, and the results of per-* ception are sensations and ideas. Judgment is the operation of the mind by which we join two or more ideas together by an affirmation or negation. Judgment expressed in words is called an enunciation, and more frequently a proposition. In reasoning we determine the relatiop between twoideas, by comparing them with a third idea, called the middle term. Tho result of reasoning is an inference ; and the expres- sion of an act of reasoning is called a syllogism. denic the s^ The copttZc Example. A Creator is to be worshipped. God is a Creator ; Therefore God is to be worshipped. Tiiis is a syl- logism : and the inference is that God is to bo worshipped. A proposition is the affirmation or negabinn of one term about another ; and is either simple or compound. A simple proposition is that which cannot be resolyed into several : as Man is an animal. A compound proposition is that which can be resolved in- to several. A simple proposition consists of two parts, tho subject and pi'edicate. ' ' The subject is that of which something is affirmed or 83 oniug and -^^*:'■| •)• I the mind 8 of per- h we join gation. ition, and wo ideas, ) middle expres- Cfod is a is a syl- }hipped» Qe tenu ^ed into Ived in- ect and medor denied: the jTrec^tcato, that whichis affirmed ord^olcdol the subject. v The predicate consists of two parts, the copula and res copulata. Example. In the proposition, Man is an animal, the term man is the subject, is the copula, and animal the res copxdata. The res copulata alone, without the copula, is commonly called the predicate, and bj some the attribute. A proposition consists necessarily of three parts : " the thing about which something is asserted, called the subject : the thing which is asserted about it, called the predicate : and the particles expressing the nature of the assertion which is made. The predicate and particles expressive of the nature of the assertion are sometimes taken collectively, and cailod the predicate. Attribute should only be applied to the predicate when it is an adjective, as Man is rational. Logicians acknowledge no verb in a proposition but the verb substantive ; and if any other occur, they resolve it into the verb substantive or participial noun : as in the proposi- tion, .4 man runs, the predicate runs is resolved into — a run- ning thing. Simple propositions are divided into modal a,ndjpure. A modal proposition is that in which there occurs one of \ I i 1 ia- 'I. I ■■■«■■ -.i^lM^ 'U 84 the four modes— ^t is necessarj/, impossible, possible, con,' tingerU. d : A pure proposition is that in which novo of them occurs. A modal proposition consists of the dictum &m\ modus. Thus in the proposition, it is necessary that a man should be an animal ; — that a man shculd be an animal is the dictum, and necessary is the modus. The dictum is the subject, and the modus is the predicate : for the modus is connected with the copula, and what is so connected is the predicate. The pre ^^osition therefore ought to be expressed-— re ought leceaaary. and nog- I the sub- ho piedi- iniversal ect; as (I, every, tod to a many, )08ition sagreo; : 85 A fEtlse proposition affirms an agreement between idens that disagree, and a disagreemei. '; between those which agree : as " A good king oppresses his subjects." " Virtue is not the road to happiness*" A demonstrable proposition is one that may be proved by a train of reasoning, called demonstration. . . , .,. Demonstration is a succession of connected propositions, beginning with self evident, and advancing to remoter truths : such is mathematical demonstration, which begins with defi- nitions : from these it advances to axioms, or self e/ident propositions; and from thence to more remote truths. Gorrolaries are inferences deduced from truths already demonstrated. ON SYLLOGISM A syllogism is the expression of an act of reasoning, and includes three distinct propositions. Example 1. — l. Whatever is useful is honorable. 2. In- dustry is useful : 3. Therefore mdustry is honorable. Ex. 2. — 1. Every creature possessed of reason is bound to cultivate his mind. 2. Man is possessed of reason : 3. Therefore man is bound to cultivate his mind. In syllogism the proposition containlug the inference is called the conclusion ; the two preceding positions are the prer^'ses. Of the two promises, that is callod the major proposition in which the greater extreme is compared with the middle I, .., ^6 t^iAn : the miitbr prq)OBition is that hi ^^ch the leM ex- treme is compated with it. ^ :>:a ", ).' ''fY. '■Jfe; Example. — 1. Truth is Tenerable. 2. Christianity is truth ; 3. Therefore Christianity is venerable. "Christianity," "Venerable" and "Truth" are iii tBj aboye example the three terms of the syllogism. " Chris- tianity" and " Venerable" are the extremes, and " Truth" is the middle term. " Venerable" is the major and " Chris- tianity" is the minor term. " Truth is venerable." " Chris- tianity is truth," are the premi« .. . , •* ' ' ' ■' • LESSON I. '-. . ■ .':-'^/ 1. What is Rhetoric ? 2. What is language ? a. How is it to be regarded ? 4. What is spoken language ? 5. What written ? 6. What was tho first attempt towards writing ? 7. Who brought, letters first into Greece ? 8. Of how many letters did his alphabet consist ? 9. How was writing firfet exhibited ? LESSON H. 1. What ^ taste ? 2. Is it common to all ? 3. How is this known ? 4. Do all persons possess taste alike ? 5. To wliat is this difference to ho ascribed ? 6. How doee taste appear to be an improvable faculty ? 7. Repeat the gener- al rule. 8. What are .wsential 'n the decisions of taste ? 9. Of what is a good taste compounded ? I! 8P +rf •>" •;■'("?; "^'f^, LESSON III. r- ^ ■/: ,f;^;,:W7v>P a . 1. What iaeriticism ? 2. What is its design ? 3. What js genius ? 4. How may it be improved ? 6. To excel in ' this talent what must the student do ? 6. What is said of a peraon indifferently inclined towards the several profes- Bions? ■ LESSSON IV. •;4>i- !/?. c the I The idle! accc - (\ ', • 1. What is style ? 2. Of what is it a picture ? 3. What are the qualities of a good style ? 4 What does perspicu- ity signify ? 6. What does it require ? 6. With respect to words and phrases, how many properties does perspicuity require ? 7. Name them. 8. To what does purity relate ? 9. Propriety ? 10. What is precision? 11. Name the faults possible to written composition. 12. What is opposed to these three faults ? 13. By what is the ornament of stylo known ? LESSON V. 1. What is a sentence ? 2. Name the different kinds of sentences. 3. What is a simple sentence ? 4. What is a compound sentence ? 5. What are the principal parts of a sentence ? 6. What ai e the other parts usually called ? 7. What is a clause or member ? ■ LESSON VI. ■Mi' < I 1. What is punctuation ? 2. Name the principal points or marks. 3. Repeat Rule 1st, Rule 2nd, Rule 3ra, 4th, 6th, 6th. 7th, 8th, 9th, 10th, 11th, 12th, 13th, r4th, 16th, 16th, 17th. LESSON VIL ^l !' Repeat Rule 1st for written composition &g., 2nd, 3rd, 4th. 6th, 6th, 7th, 8th, 9th, 10th, 11th, 12th, 13th, 14th, 16th, 16th, 17th, 18th, 19th, 20th, 2l8t, 22nd, 23rd, 24th, 26th. Repeat the 1st Example corrected according to Rule 2nd. Tkee mutt have been tdie. Not proper because the objective 3. What ro excel in t is said of ral profes- •''hifii* 1,0 pronoun thee is made the subject of the verb mvst have been. But according to Rule 2nd, '' A noun or a pronoun which is the subject of the verb must be in the Nominative case/' Therefore thee should be thou : Thus, Thou must have been idle. v/t.Note. Let the pupil '^.orrect the whole of the Examples according to this manner. > ,,, ,, . ,. ;;r i.,; rt^^v. • (',-; LESSON VIII. 1 1 3. What } perspicu- respect to )er8picuity ity relate ? ) the faults pposed to It of stylo kinds of What is a parts of a lied ? 7. 1. What is indispensable to written composition and pub- lic speaking ? 2. What are the properties of a pei'fect sen- tence ? 3. What does clearness imply ? 4. What is said of the pronouns who, wkich, what, and that ? 5. What does the unity of a sentence imply ? 6. What is meant by the strength of a sentence ? u ■■ LESSON ON THE PERORATION. 1. What is sufficient in the conclusion? 2. What is said of the pathetic part ? 3. When the discourse has been alto- gether argumentative how must it be concluded ? 4. Re- peat the rule. 6. What is important in every kind of public speaking ? 6. Repeat the rule. 7. How should the speak- er always close ? 8. Why ? , ■ , . . . i .. LESSON ON DELIVERY. -;;,.. )al points , 4th, 6th, th, 16th, 2nd, Srd, Ith, 1.5th, th, 25th. ule 2nd. objective 1. How should the orator endeavor to speak? 2. To be un- derstood what are the chief requisites ? 3. What is the most important thing ? 4. Mention the three pitches of the hu- man voice. 5. How is each used ? 6. Is the highest pitch necessary to be well heard ? 7. In what pitch will the speak- er be enabled to give the most persevormg force of sound ? 8. What will be the consequence if he begin higher than this ? 9. What is said about uttering a greater quantity of voice ? 10. Repeat the rule. 11. What reason is given ? 12. What is very offensive and disgusting : 13. When is the ear wounded ? 14. What is essentially necessary rather than quantity of sound? 16. Repeat the additional remark. 16. What must the speaker give to every sound ? 17. What must be carefully avoided ? 18. Repeat the additional re- mark. 19. What ought to be industriously studied by every m 1 Bpesket} 20. What is en ^ of such pronundation ? 2}. ^^^iat is said of a Lamed manner? 22. Repeat the rule. 23. What is said of dissyllables, trissyllables and polysyllables ? 24. What accent sh ould be giren to every word in public speaking ? 25. Name the heads of the higher parts of de- hrery ? 26. What is meant by Emphasis. 27. Repeat the general rule. 28. How are emphatical words to be used ? 29. Name the two kinds of pauses. 30. What is said of the emphatical pause ? 31. To what rules are such pauses sub- ject? 32. What is said of the use and management of pauses? 33. What three directions are given the public speaker in breathing ? 34. How ought pauses in public speaking to be formed ? 35. How is the speaker i > regulate his tones ? 36. In what do tones consist? 37. Repeat the rule? 38. When do men naturally and mechanically speak in an eloquent manner ? 39. What should the speaker do with regard to his voice in a public assembly ? 40. What is nature said to do for the speaker ? 41. What is contemptibly disgusting ? 'A^ I \ I LESSON ON GESTURE. 1. Repeat th^ gcaoral rule on gesture. 2. What manner must ibo public fpoaker adopt ? 3. In what consists the stu- dy of acvioT^? 4. What should every speaker study to pra- serve ? 5. What should be his position ? 6. What is said of the speaker's countenance ? 7. What is to be maintained in every kind of discourse ? 8. What is said of the eyes of the speaker ? What should be the principal part of his gesture? 10. What kind of emotions require the exercise of both hands ? 11. What is said of all motions ? 12. What is to be done to prevent narrow and confined motions? 13. What movements are to be avoided ? 14. What motions are moet pleasing and graceful ? 15. Wliat motions are not good ? 16. What is the destruction of good delivery ? LESSON ON IMPROVING IN ELOQUENCE. 1. To improve in eloquence what should the speaker do ? 2. What else? 3. What must a true orator possess? 4. What else beside manly virtues I 5. What is also indispensable ? 6. With what must a pie der be acquainted "i 7. To yrhtkt must the preacher apply himself 1 8. To excel in any coun- cil or assembly with itmat should the speaker be acquainted^ m 2},. WJiat 23. What rsyllables ? in public rt; of de- Eiepeatthe be usod ? iaid of the auses sub- of pauses? peaker in king to be is tones ? 38. When eloquent regard to re said to sgustJng ? ; manner B the stu- y topra- aid of the ;ained in es of the gesture? of both bat is to 13. What are moet t good? kcir dfo ? 4. What insable ? ^0 whdt ly cotm- lainted? 6. What else beside the knowledge of his profession'? 10. Why should he be acquainted wtth poetry ? 11. Why with histo- ry 1 12. What would give his rival a decided superiority oter himi 13. What is indispensible to excel in eloquence^ 14. Of what must the student beware 1 16. What is neces- sary to excel in 'any art 1 16. What is said of attention to the best models 1 17. What is said about imprr nent from examples in style, &c ? 18. In imitating hat dif- ference is to be observed 1 19. What is sc "king 1 20. What is a necessary means of improreme Vhat compositon is the most useftil 1 22. What si j who wishes to speak and write correctly 1 23. Whu,t is saia of ex- ercises in speaking 1 24. What of debating societies'? 25. What should a student of oratory never attempt to do t 26. What is said of Aristotle 1 27. Who improved on his foundation 1 28. What two works are mentioned, tod what is said of them 'i 29. What is said of Cicero and Quintiliani LESSON ON HISTORY. i I 1. What is history 1 2. What is its office 1 3. What does history serve to do '? 4. What else 1 6. What was the vehicle of historical knowledge in olden times 1 6. What other method 1 7. What the next method t 8. What are to be regarded as portable, historical monuments 1 9. What is necessary to the study of history 1 10. What else is of importance 1 11. With what should a good historian be ac- quainted 1 12. Name the two classes of history. 13. What is said of general and particular history 1 14. When does ancient history commence'? 15. When does modem 1 16. How is general history divided? 17. Into what does his- tory resolve itself "? 18. To what does the first period refer 1 19. Were men then in a savage state 1 20. Bepeat what is said of the second period 1 21. What does this include 1 22. What is said of the third ? 23. Of the fourth? 24. Of the fifth 1 25. Of the sixth 1 26. Of the seventh 1 27. Of the eighth 1 28. Of the ninth 1 29. What is further remarked concerning the ninth period *? 30. What is said of the tenth? 31. Of the eleventh . 6th. r. uotion diB- tho ear? grateful of sound is said of hould be ent r 0. 10 r AGE. re figures divided ? 3. What are figures of Vords commonly called f 4. What is said of figuses of thought ? 5. How is language said to be enriched f 6. What do figures furnish ? 7. What is said of tropes ? 8. What is a synecdoche ? mm LESSON XII.— ON METAPHORS. 1. Upon what is metaphor entirely founded ? 2. It is nearly allied to what? 3. Qive the example. 4. What is further said of metaphor r 6. RcpetitRule 1st. 6. Repeat Ob. 1st. 7. Ob. 2nd. 8. Rule 2nd. 9. Ob. 1st. 10. Ob. 2nd. 11. Rule 3rd. 12. Ob. 1st. 13. Ob. 2nd. 14. Rule 4th. 15. Rule 5th. 16. Rule 6th. 17. Repeat the Obser- vation. 18. Rule 7tfa. 19. Ob. Ist. 20. Ob. 2ud. 21. Ob. 3rd. 22. Ob. 4th. ■i ? » hov 1. In what does a hyperbole consist? 2. What is said of thisficure? 3. Give the examples. 4. How many kinds of hypei-boies are there ? 6. Which are the best ? 6. When must hyperboles be employed with more caution ? 7. What is a bombast? 8. What is personification? 9. Give the examples. 10. How many de<£rees of this figure are tliore f 11 What admits of it? 12 What is said of the second de- gree? 13 What is said of the third? 14 Repeat Rule 1st for personification. 15 Repeat Rule 2nd. ■ ,, j^ LESSON XIV— ON COMPARISON ice. J'^; J 1 What is a comparison ? 2 How many kinds of com- parison are there ? 3 What is done in explaining; compari- sons? 4 What are chiefly to be studied in coiuparisonF of this kind? 6 Which occur more frequently .-' What is the foundation of this figure ? 7 When should a simile or comparison not be introduced? 8 What is said of embel- lishing comparison ? 9 What does it suppose? 10 From what should comparisons not be drawn ? 11 What more? 12 What is said of the object from which a comparison is drawn ? 13 What figures should be avoided in compositions of a serious kind ? 14 Upon what is antithesis founded f 10 How do objects opposed to one another appoar in strong- er light ? 16 What is to be avoided ? 17 What are inter- rogations nnd exclamations ? 18 Repeat what is said of in- terrogations. When may interrogations be successfully em- ploye ? ,A. LEJ380N XV— ON THE CHAEACTEBS QF STYm. 1 How many general characters of style are there? 2 Name them. 3 What is said of a diffuse -writer ? 4 Of a concise one ? 5 What is said of each of them ? 6 What difference between spoken and read discourses ? 7 What is said of the style of a feeble writer ? 8 What is said of a nervous writer ? 9 A dry style ? 10 A plain style ? 11 A neat sl^le ? 12 An elegant style ? 13 A florid style ? LESSON XVI— PIREOTIONS &c. . ^hat is the first direction for forming a proper style ? 2 The second ? 3 The next ? 4 The fourth ? B The next ? 6 The sixth ? 7 The next ? 8 What is necessaiy before you commence to write your composition ? 9 Of what are you to beware ? 10 What further direction is given ? 11 For what must the work of correction be left ? 12 With what ought the writer to be well acquainted? 13 What will be the benefit of this ? 14 What direction is here eiven ? 15 In doing this what is necessary ? 16 Of what ought the writer to be careful ? 17 Repeat the general rule. LESSON XVII— ON ELOQUENCE OF POPULAR ASSEMBLIES. 1 What is eloquence ? 2 What are its essential proper- ties ? 3 What are indispensible to true eloquence ? What is its foundation ? 6 What should be the principal Object ofthe^rator? 6 What should h^ ' o study ? 7 What do conviction and persuasion affect I What must the orator therefore do ? 9 How is eloquent. .. generally divided ? 10 What is said of the three degrees ? 11 What is meant by passion ? 12 What is neodsary to the public speaker ? 13 Upon what should he rest ? 14 What is said oi ornament ? 16 Repeat Rule Ist. 16 2nd. 17 3rd. 18 What gives scope to the most anunated manner of public speaking r ■ 19 W!.at is sud of movements in a jgreat as- sembly r 20 What is said of the expressed warmth of Uie speaker ? 21 What should the speaker never do ? 22 Re- peat the Rule. 23 What is further said of the public anoak- er ? 24 What must he not attempt to do ? 26 He should be so far master of himself as in tne midst of passion to be what ? 26 What is said of the confusion and disorder of uneducated speakers ? 27 What is the speaker carefully to nranc thoul 2 Name concise fference sBudof nenroiu A neat ir style ? be next ? Y before what are B given ? 12 With ^atwOl B given ? u^tthe ►PULAR proper- ' What al Object What do le orator ed? 10 leant by :er? 13 lament ? ) What f public ;reatag- i of the 22 Ba- le speak- sbould m to be lorder of ly to rega^ ? 28 'What is said of the imitation of ancient aur thors ? 29 No one should attempt speaking in puUlo with- out knowing what ? 30 Which manner is considered the most proper for public speakers ? 31 By what however must the speaker be guided ? 32 What ought never to be forgotten ? S3 What would be the effeet of giving too ma- ny views of the same subject ? LESSON XVIII— ELOQUENCE OF THE BAB. • 1 To be successful to what must the speaker apply him- self ? 2 By doing what would the speaker at the bar sub- ject himself to yery great ridicule ? 3 What is his chief business ? 4 What is said of the judicial orations of the ancients ? 5 What is the grand secret of a lawyer^s success ? 6 What is further said ? 7 In what should he be very par- ticular? 8 What will be the result of this? 9 What is further said of the study of eloquence ? 10 What compar- ison is made between the cola A-c. ^c, and the elegant speaker ? 11 What shoidd be the lawyer's grand study ? 12 What is said of his style ? 13 What s^omd he be par- ticular in guarding against ? 14 To the habit of what shoidd he form himself? 16 In speaking at the bar what should be distinctly shown ? 16 la what should he be distinct ? 17 What is said of a clear method ? 18 What is said of the lawyer's relating facts ? 19 What is said of argumentation ? 20 What should the lawyer be always candid in stating ? 21 What will be the result if he state them with accuracyand candor ? 22 What is said of wit at the bar ? 23 What causes should an advocate be particular in declining ? LESSON XIX.— ELOQUENCE OP THE PULPIT- 1 To preach irith interest, effect and power, what is nec- essary ? 2 What is the principal characteristic of pulpit el- oquence ? 3 What is said of this ? 4 What is said of the French Onction ? 6 What does a pulpit discourse require? 6 What is meant by this ? 7 What must predominate ? 8 The unity of a sermon does not what ? 9 What is said of the subject of every sermon ? 10 How is attention always commanded? 11 Of what should a preacher be cautious? 12 Bepeat the additional remark? 13 What should be the nand object ef the preacher ? 14 What more? 16 What stiould he avoid ? 16 What is further said about a discourse? 96 17 What should the preacher keep in view ? 18 When is he sure of attention ? 19 What study is necessary for the preacher ? 20 What produces a wonderful effect in preach- ing ? 21 What is said of sermons ? 22 What does the preacher do by pursuing this course ? 23 What io said of this ? 24 Upon what can the preacher build with safety ? LESSON XX.— THE PLAN OF A DISCOURSE. 1. How many parts are there in a regular discourse ? 2. Bepoat what is said of these ? 3. What is said about the in- troduction ? 4. When should a speaker plan his discourse ? 6. What should be carefully studied in the introduction ? 6. Why? 7 What is an indispensablo characteristic ? 8 How should the modesty of the speaker appear? 9 What should the orator also show ? 10 Repeat the additional remark? 11 What ii said about vohemeace in the introduction ? 12 What is the exception to this rule? 13 How should the in- troduction be proportioned ? 14 Wha*> succeeds the intrc- duction? 15 How should this be expressed? 16 To this what generally succeeds? 17 Repeat Rule 1st. 18 The observation to the Rule. 19 Rule 2nd. 20 Rule 3rd. 21 Rule 4th. 22 Ob. 1st. 23 Ob. 2nd. 24 Rule 6th. 25 Ob. 1st. 26 Ob. 2nd. 27 Ob. 3rd. 28 What is the next part in order ? 29 What are the properties which critics require in narration ? 30 What is said of an act or single circumstance left in obscurity at the bar ? 31 What will be the result of the improbability of the narration? 32 To render narration distinct what is necessary? 33 To be probable what is necessary ? 34 In sermons what takes the place of narration ? 35 What is said of it ? 36 What must the Preacher do to be well heard ? 37 What must he also do? LESSON XXL— ARGUMENTATIVE PART. 1 Whatconstitutes the foundation of all manly and per- suasive eloquence ? 2 How many things require attention with regard to argument ? 3 What is the basis of the rest ? 4 How should arguments advance ? 5 Where is this method recommended ? 6 If the speaker distrust his cause and have but one material argument, where should it be placed ? 7 When amidst a variety of arguments there be one or two more feeble than the rest, whore should they be placed ? 8 What is said of strong and convincing arguments ? 9 Of .■W tien is for the ►reach- es the said of fety? ,SE. ' •86? 2. b the in- icourse ? tion? 6. 8 How kt should remark ? [)n? 12 >d the in- he intrc- 6 To this 18 The Rule 3rd. e5th. 25 1 the next ich critics or single hat will be 32 To 33 To he |t takes the /hftt must ist he also Lrt. By and per- \ attention ^f the rest ? ihis method le and have llaced ? T pneor two [aced? 8 I? 9 Of 97 ■ *■■.■ '. ..■ '■ "■ , .■;■■,:-,/ • . arguments of doubtful character ? 10 Of a few well chosen arguments ? 11 Of a favorable argument ? LESSON XXII.— PATHETIC PART. 1 Repeat the first direction. 2 To determine this belongs to what ? 3 Repeat the additional remark ? 4 What must the speaker do ? 5 The pathetic is never admitted until when ? 6 What should tlie speaker avoid ? 7 To every emotion and passion nature has adapted >vhat ? 8 Repeat the additional remark. 9 What is the basis in all success- ful execution in pathetic oratory ? 10 What is said of the language of passion ? 11 What is said of painting to the imagination r 12 What should be avoided ? 13 Where are comparisons always dangerous and highly improper ? LESSON XXII.— ON PAGE 81* 1 What constitutes historical painting ? 2 In what did ther ancients eminently excel ? 3 What should always reign in history ? 4 What is further said about the historian ? 6 What are the inferior kinds of historical composition ? LESSON XXIIL— ON LOGIC. 1 In written or spoken discourses what should the writer or speaker possess ? 2 How should he dispose his argu- ments ? 3 What is logic ? 4 What are the operations of the mind in acquiring and communicati ng knowledge ? 6 What is perception ? 6 Judgment ? 7 Expressed in words what is it called ? 8 In reasoning what do we do ? 9 What is the result of reasoning ? 10 What is the expression of an act of reasoning called ? 11 Give an example? 12 What is a proposition ? 13 What is a simple proposition ? 14 What is a compound proposition ? 15 A simple proposition consists of what? 16 What is the ffuft;'cc« .? 17 What the predicate f 18 Of what does the predicate consist ? 19 Give an example. 20 What is said cf the res copula alone without tne copula ? 21 Of how many parts does a proposition consist ? 22 What is further said about the pre- dicate ? 23 When should an attribute only be applied to the predicate ? 24 What do logicians not acknowledge? 25 How are simple propositions divided ? 26 What is a modal proposition ? 27 What a pure proposition ? 28 Of what does a modal proposition consist ? 29 What is further 98 Baid of the dictum and modus ? 30 How may propositions also be divided ? 31 Wiiat is further said of propositions ? 32 What are the signs of a universal proposition ? 33 In what is the predicate limited to part of the subject ? 34 What are the signs of a particular proposition ? 35 What is a true proposition ? 36 What is a false proposition ? 37 What is a demonstrable proposition ? 38 What is a demon- stration ? 39 What are corolaries ? LESSON XXIV.— ON SYLLOGISM. 1 What is a syllogism ? 2 Examples. 3 In syllogism what is the conclusion ? 4 What is the major proposition? 5 What the minor ? 6 Example. 7 What is further said of syllogisms ? 8 What is a dilemma ? 9 Example. 10 What is analogy ? 11 Example. 12 What is a sophism ? 13 What is ignorantio clencbi ? 14 What is petitio princi- pii ? 16 What is arguing in a circle ? ■'r-:\~> ^^-jr':^- FINIS. •■■:,.('/■ i zms'U-.>:h ' '^-v^-. ii»,' .'•. .^i ,- ""-'■ '■■-A •! '\*:~:«.f4'; ^ .Jrj'viJ ,*, ■.,■:,» - ■'^0i\ :i.'i^ >positiotis »ositionB ? P 33 In ct ? 34 35 What ion? 37 a demon- Byllogism >poBition? rther said pie. 10 sophism ? io princi- INDEX. 4r Dedication, . L - Preface, _ _ - . - Recommendations, _ - - . 'Rhetoric — ^Lanjjuage — Taste, Criticism and Genius — Style, On Sentences, _ - - . Punctuation and Rules of - - . Examples to the Rules, Rules for Written Composition, Examples to the Rules, Structure of Sentences, - Rules of Rhetoric, _ - - . On the structure of Sentences — Harmony, Nature of Figurative Language, On Metaphors, > . - . Rules, _ _ - . . Hyperbole, Personification and Ajiostrophe, Rules for the third sort of Personification, Figures of Speech, _ - . . On the Chai'acters of Style, . - Directions for Forming a Proper Style, General Rule — Eloquence of Popular Aspcmblies, Rules, . . _ . . Eloquence of the Bar, Eloquence of the Pulpit, . - , The Plan of a Discourse, Argumentative part of a Discourse, The Pathetic part of a Discourse, The Peroration, - - - . On Delivery, _ - - - . On Gesture, _ - - . . On Means of Improving in Eloquence, On History, . - - . . On Historical Writing, - - - . On Logic, . - . . . On SyUogism, . - - - . Questions for Examination, Page 3 6 9 13 14 16 16 19 21 25 30 31 36 87 38 39 41 42 43 45 47 48 50 62 66 67 62 63 65 66 70 72 76 79 81 85 87 ■ ; ^ ki. - '0' IK . J f.Ji ':£'^r ■' ■ 4- '!-< ■*•■)■• i:7i^.. I RECOMMENDATIONS OF THE PRESS. After a thorough and careful examination of the work, we are convinced that those who are seeking the advancement and welfare of tho rising generation will feel grateful to the Rev. Gentleman for this literary production, and we cheer- fully recommend it to those who desire to acquaint them- selves with the fundamental principles of Rhetoric^ so essen- tial to good composition. — Belleville Intelligencer. We had ohserved several fiivorable notices of tho Rev. Mr, Hutchinson's Rhetoric in several of our exchanges, and the fact that it comes highly recommended l)y gentlemen of ability and experience, residing in this place and elsewhere, affords a guarantee as to its merits. — Hastings Chronicle. We can safely recommend it to the public, as a practiciU compendium, well adapted to its intended purposes.^ To^ ronto Patriot. It seems admirably adapted to popular use by the simpli-r city of its arrangement, and we trust it will be generally adopted as a class book. — Kingston JVews. , We earnestly recommend it to those who desire to writo with taste, elegance and propriety. — Port Hope JVatchman, Rhetoric— By the Rev. D. Falloon Hutchinson. This ia a short and very creditable treatise on Rhetoric. It is very logical in its arrangement and pertinent in its details. We thmk it well calculated to introduce young persons to the theory of public speaking, in an easy and pleasing manner, M well as to discipline their minds to a clear, unembarrassed and lucid arrangement of subject. We recommend this un- pretending treatise to the notice of Members of Parliament, Clergymen, Lecturers, and all who have occasion to speak iqi public. — Toronto Colonist. It is a complete exhibition of the graces and style of Eng.- )is)x composition and public oratory.— iS'tTncof Standard. > 'f Mir. Hutchinson has produced a very creditable work on RbiBtorio diBsigned mainly for the use of Academies and Schools. Many persons engaged from time to time in puB^ lie speaking, would find it an advantage to become aoqainted with the work before us. The subject is treated in a clear and satisfactory manner. The substance of many octavo Tolumes is here compressed within the limits of a little more than 100 pages. — Christian Guardian. The Rev. D. F. Hutchinson has placed in our hands a Glass Book on Rhetoric designed for the use of Academies and Schools in general. Auer a thorough examination of it we have no hesitation in saying it will be of incalculable service to those who desire to acquire an easy, elegant, and correct style. — Cobourg Star. The Rev. Mr. Hutchinson's Rhetoric. We have received a copy of this work from the author now in Montreal. We have no hesitation iu recommending it to the public gener- ally, and to the instructors of youth particularly as an ex- cellent adjunct to tho usual catalogue of school books. Its simplicity, clearness and accurate definition are its great merits ; and we hope that the author may obtain that pat- ronage that his labors deserve. — Montreal Courier. This work will no doubt, be found very useful in our pro- vincial seminaries. We strongly recommend it to the con- sideration of the Board of Education as a very fit work to be introduced as a common School Book. — Brockville Statea- man. «>:. _ '- ^..■;-' The Rev. }i. F. Hutchinson has laid upon our table a copy of his Rhetoric. The work is very creditable to the author, and calculated to be useful to the youth of the Province. — St. Catharines Journal. The Rev. D. F. Hutchinson's Rhetoric. As an aid to ele- gant and correct writing, we have no doubt that this work will be exceedingly valuable. — Bytowu Orange Lily. :* ■! 4- * >le work on demiea and ime in pufh 16 acqainted id in a clear any octavo k little more >ur hands a Academies mination of ncalculable legant, and ye receired treal. We iblic gener- y as an ox- ooks. Its e its great n that pat- n our pro- o the con- vrork to be 'e States- > »-■«?. •*-•«■ I I ^. / o f\ot ^' ^. .., ^ X f t~ ^i w )Ie a copy le author, evince. — lid to ele- tbis work '.A 44