eloquence is particularly valuable, are the halls of legislation, the pulpit, and the bar: and in each of these stations, it is rewarded always with fame, and generally with wealth.

The senator who awakes the slumbering energies of mankind, and guides them to the preservation or attainment of public welfare; the advocate who defends the oppressed and vindicates the innocent; and the divine,* who, with sweet persuasion, reclaims the dissolute, and consoles the afflicted: are amongst the first objects of general gratitude and respect. But in a more enlarged view of mankind, there is undoubted utility in a clear habit of thinking, and an easy mode of enunciation.

Town meetings, and other local assemblies, are frequently convened, to decide on subjects materially affecting general interests. On these occasions, artifice can be exposed, or prejudice successfully encountered, only by the aid of ready elucidation. The advantage indeed of correctness and facility of speech is so obvious, and the want of it is a deficiency so sensibly felt, that it would be useless in this place to attempt any further illustration.

* Those who are studying for the ministry, are referred to Mr Ware's "Hints on Extemporaneous Preaching," a little book which may well be considered as a companion to the present work.

That there is however a prevailing defect in the art of public speaking, is proved by continual experience: it may therefore not be unworthy attention to inquire into its cause.

To attain the powers necessary for standing up before a numerous audience, and delivering without hesitation or embarrassment, a long series of well-adjusted sentiments, appears so difficult, that many are deterred even from an attempt. Nor will this timidity seem extraordinary, when the powers requisite to an orator, are merely enumerated.

He must be perfectly acquainted with his subject, and be able to examine it in detail, as well as in the aggregate. Whatever can favour his own opinion, or can be urged against it, must be familiar to his mind. All that can illustrate or embellish his subject must be recollected: and these resources must be so digested, that there be not omission, redundancy or disorder; but that one topic lead to another by regular connection. Lastly, he must have such command of language, as will prevent, not only hesitation, but the use of an inelegant phrase; and will preserve his sentences in strict modulation.

And though men have existed, and still exist, who have faithfully realized this sketch of an orator; yet one of the causes which have contributed to the scarcity of good public speakers,

seems to be a diffidence, or rather a despair of conquering such overbearing difficulties.

Another cause of this deficiency, has probably been the embarrassment which a person, unaccustomed to address a large number, must feel in the attempt: an embarrassment so distressing, and seemingly so invincible, that few have the fortitude to endure it.

The circumstance however to which the deficiency in the art of public speaking may perhaps in the greatest measure be attributed, is the want of any plan of instruction in this most useful art. Among the extent and variety of our elementary works, with the single exception of the one referred to on a preceding page, and that addressed to one class only, not one has appeared professing to teach this valuable art. A great deal has been done to promote the practice of recitation, and to train young persons in a correct and elegant mode of articulation and gesture. But it remains to be shown by what means the mind may be trained to the habit of thinking accurately; and of expressing its ideas orally, in clear, elegant, and unembarrassed

terms.

Whether the apparent difficulty of devising a mode by which this purpose could be accomplished, has dissuaded persons from the attempt; or whether an accidental disregard of the sub

ject, has been the cause of this omission: it can hardly be useful to inquire. The defect must be acknowledged; and the utility of a system, to inculcate a practice so elegant and advanta geous, can scarcely be doubted.

It is from these considerations, and under a persuasion that the art of extemporaneous speaking is susceptible of tuition, that we have attempted to supply the deficiency in the following work.

The art of written composition has been explained and facilitated by various modes. As the object of speaking and writing must be the same, it may not be unprofitable first to consider the means by which the ability for written composition can be acquired.

In order to write upon any subject, it is necessary to understand it; that is, to be able to appreciate what it is intended to discuss; this is commonly called the perception. After the subject itself is thus far understood, an opinion or judgment must be formed upon it. The considerations which produced that judgment, generally termed arguments, are next to be ascertained, and arranged in regular connection. When, in addition to these mental operations, correctness in the choice, and harmony in the disposition, of language shall have also been acquired; little seems wanting for this art of discussion. All these however may be effected at

leisure, and in seclusion: and the distinctions therefore between oral and written composition, seem to consist in the difference between writing and speaking; between deliberation and rapidity; and between the tranquillity of retirement, and the agitation of a public assembly.

To the requisites therefore thus enumerated for the art of written composition; the faculty of public speaking moreover needs rapid discrimination, retentive memory, clear articulation, correct emphasis, and graceful deportment. Let each of these qualifications be now separately examined, and let us inquire by what means they may be obtained or improved.

The power of discrimination is by far less a natural endowment than a result of habit. It is indispensable in every art and science, and is gained by continued practice. If a picture be shown to a connoisseur, his experience enables him to determine, first, the department of the art to which it belongs; that is, whether it represent an event in history, a scene in nature, a general passion, or a particular individual: and next, to ascertain its peculiar excellences, whether in genius of conception, accuracy of delineation, or brilliancy of colouring. The quickness with which he forms his conclusions, will generally be proportionate to the extent of his practice. The same principles of discrimi