And he gives us a very comprehenfive defcription of a perfect orator in a few words, when he fays: "He is one who can speak upon a low fubject acutely, upon a lofty subject with fublimity, and upon a moderate fubject temperately." But al-' though he mentions feveral among the Greeks, and fome few among the Romans, who excelled in one or other of thefe different kinds; yet one who excelled in them all, he fuppofes never to have existed. Each of them feems to require a very different genius, fo that it is fcarce poflible for the fame person to fucceed in them all. It is therefore best for every one to pursue that which his genius feems most inclined to.

SECT. I OF PRONUNCIATION in GENERAL. 303. PRONUNCIATION is alfo called ACTION by fome of the ancients: Though, if we attend to the proper fignification of thefe words, the former refpects the voice, and the latter the geftures and motions of the body. But if we confider them as fynonymous terms, in this large fense pronunciation or action may be faid to be a fuitable conformity of the voice, and the feveral motions of the body, in speaking, to the subject matter of the difcourfe.

304. The beft judges among the ancients have reprefented this as the principal part of an orator's province, whence he is chiefly to expect fuccefs in the art of perfuafion. When Cicero, in the perfon of Craffus, has largely and elegantly difcourfed upon all the other parts of oratory, coming at laft to speak of this, he fays: "All the former have their effect as they are pronounced. It is the action alone that governs in fpeaking; with out which the beft orator is of no value, and is often defeated by one, in other refpects, much his inferior." And he fays, that Demofthenes was of the fame opinion, who, when he was afked what was the principal thing in oratory, replied AЯion; and being asked again a 2d and a 3d time, what was next confiderable, he ftill made the fame answer; by which he intimated, that the whole art did in a manner confift in it. And indeed, if he had not judged this highly neceffary for an orator, he would fcarcely have taken fo much pains in correcting those natural defects, under which he laboured at firft, in order to acquire it. (See DEMOSTHENES.)

305- Nor was he lefs careful in endeavouring to gain the habit of a becoming and decent gefture; for which purpose he used to pronounce his difcourfes alone before a large glass. Such pains did this prince of the Grecian orators take to remove those difficulties, which would have been fufficient to have difcouraged an inferior genius. To how great a perfection he arrived in his ac tion, under all these disadvantages, by his indefatigable diligence, is evident from the confeffion of his great adversary and rival in oratory, SCHINES; who, when he could not bear the difgrace of being worfted by Demofthenes in the caufe of Cteliphon, retired to Rhodes. And being defired by the inhabitants to recite to them his own

oration upon that occafion, which, accordingly, he did the next day, they requefted of him to let them hear that of Demofthenes; which having pronounced in a moft graceful manner, to the ad. miration of all prefent, "How much more (fays he) would you have wondered, if you had heard him fpeak it himself!" Quintilian fays, that " it is not of fo much moment what our compofitions are, as how they are pronounced; fince it is the manner of the delivery by which the audience is moved." And therefore he afferts, that “an indifferent difcourfe, affifted by a lively and graceful action, will have greater efficacy than the fineft harangue, which wants that advantage."

*

306. The truth of this fentiment of the ancients concerning the power of pronunciation, might be proved from many inftances. HORTENSIUS, à cotemporary with Cicero, and, while living, next to him in reputation as an orator, was highly ap plauded for his action. But his orations after his death, as Quintilian tells us (for there are none extant), did not appear answerable to his character; whence he concludes, there must have been fomething pleasing when he spoke, by which he gained his character, which was loft in reading them. But Cicero himfeif affords a decifive inftance of this. After the death of Pompey, when Cæfar had got the government into his own hands, many of his acquaintance interceded with him in behalf of their relations and friends, who had been of the contrary party in the late wars. A mong others, Cicero folicited for his friend Ligarius; which Tubero understanding, who owed Ligarius a grudge, he oppofed it, and undertook to reprefent him to Cæfar as unworthy of his mercy. Caefar, himself was prejudiced against Ligarius; and therefore, when the caufe was to come before him, he faid, "We may venture to hear Cicero difplay his eloquence; for I know the perfon he pleads for to be an ill man, and my enemy." But, in the course of his oration, Cicero fo worked upon his paffions, that, by the frequent alteration of his countenance, the emotions of his mind were very confpicuous. And when he came to touch upon the battle of Pharfalia, which had given Cæfar the empire of the world, he represented it in that moving and lively manner, that Cæfar could no longer contain himself, but was thrown into fuch a fit of fhivering, that he dropped the papers which he held in his hand. This was the more remarkable, becaufe Cæfar was himself one of the greateft orators of that age, knew all the arts of address and avenues to the paffions, and confequently was better prepared to guard against them. But neither his fkill, nor refolution, was of fufficient force against the power of oratory; but the conqueror of the world became a conqueft to the charms of Cicero's eloquence; fo that contrary to his intention, he pardoned Ligarius. That oration is ftill extant, and appears exceedingly well calculated to touch the tender paffions; but we believe it can scarce be difcernible to any in reading it, how it fhould have had fo surprising an effect; which must therefore have been chiefly owing to the wonderful address and manner of the speaker.

307. The more natural the pronunciation is, it will be the more moving. And therefore the an

f

cients make it one qualification of an orator, that he be a good man; because a person of this character will make the cause he efpoufes his own, and the more fenfibly he is touched with it himfelf, his action will be the more natural, and thus the more eafily affect others. Cicero fays, "It is certain that truth in every thing excels imitation; but if that was fufficient of itself in action, we fhould have no occafion for art." In his opinion, therefore, art, if well managed, will affift and im prove nature. Sometimes the force of it is fo great, that, even where it is wholly counterfeit, it will work the fame effect as if it were founded in truth. This is well known to those who frequent the theatre. In tragedies, though we know that every thing we fee and hear is feigned, yet fuch is the power of action, that we are often affected by it as deeply as if they were all realities. Anger and refentment at the appearance of cruelty, concern and folicitude for diftreffed virtue, rife in our breafts; and tears are extorted from us for oppres fed innocence. If art then has fo great an influence upon us when fupported by imagination, how powerful must be the effect of a juft and lively representation of what we know to be real?"

308. A warmth of expreffion and vehemency of motion fhould rife in proportion to the importance of the fubject and concern of the fpeaker. The learned author of Dialogues of Eloquence, (p. 92.) fays, "The Romans had a very great talent this way, and the Greeks a greater. The eastern nations excelled in it, and particularly the Hebrews. Nothing can equal the ftrength and vivacity of the figures they employed in their difcourfe; and the very actions they used to express their sentiments, such as putting ashes on their heads, tearing their garments, and covering themselves with fackcloth under any deep diftrefs and forrow of mind."

309. As action therefore was judged fo neceffa ry a qualification in an orator among the ancients, fo they made ufe of several methods and expedients for the better attaining it. The principal of thefe we fhall briefly mention:

310. Decency of pronunciation is an habit. And as all habits are gained by time, fo the fooner they are learned, they are generally acquired with the greater eafe. Quintilian was fo fenfible of this, that in order to have persons trained up to it, he begins with them in their childhood, and even gives directions how they fhould be taught to pro. nounce, when they firft learn to read. And he ad. vises, that they should then be instructed where to fufpend their voice, and make the proper pauses; when to raise or fink their voice, or give it a proper inflection; to be flower or fafter, more vehement or fedate, as the nature of the fubject may require; and that the tone of their voice be always manly and grave, but at the fame time mix ed with an agreeable sweetness.

311. The ancients likewife had perfons whom they called PHONASCI, whose proper bufinefs was to teach them how to regulate their voice; and others, who inftructed them in the whole art of pronunciation, both as to their voice and geftures. These laft were generally taken from the theatre, being eminent experienced actors.

312. But though they made use of actors to inAruct their youth in forming their fpeech and

geftures, yet the action of an orator was very dif. ferent from that of an actor. Cicero reprefents this diftinction, when, fpeaking of an orator, he fays, "the motions of the body ought to be fuited to the expreffions, not in a theatrical way, mimick. ing the words by particular gesticulations, but in a manner expreffive of the general sense, with a fedate and manly inflection of the fides; not taken from the ftage and actors, but from the exercife of arms and the paleftra." And Quintilian fays, "Every gefture and motion of the comedians is not to be imitated, nor to the same degree.” When thus far prepared, they were fent to the schools of the rhetoricians, to cultivate their style, and acquire the whole art of eloquence; particularly a juft and accurate pronunciation. And as the Greeks were moft celebrated for their skill in oratory, the Roman gentry and nobility generally fent their fons abroad, under the tuition of some Grecian mafter. Thus Cicero was fent to Rhodes, to study under the famous Molo, and Brutus under Pammenes; Cæfar was going to the fame place when taken by pirates; and Auguftus afterwards ftudied there under Apollodorus.

313. Nor, after all this pains and industry, did they yet think themselves fufficiently qualified to take upon them the character of orators, till they got together their friends who were judges of fuch performances, and declaimed before them in private. These persons made observations on their language and pronunciation, and remarked any thing they thought improper, in their method, style, voice, or action. This gave them an opportunity to correct any defects at firft, before they became habitual.

SECT. II. Of the VOICE.

314. The influence of founds, either to raise or allay our paffions, is evident from mufic. And cer tainly the harmony of a fine discourse, gracefully pronounced, is as capable to move us, if not in a way fo violent and ecftatic, yet not lefs powerful and more agreeable to our rational faculties. As perfons are differently affected when they speak; fo they naturally alter the tone of their voice. It rifes, finks, and has various inflections, according to the state and difpofition of the mind. When the mind is calm and fedate, the voice is moderate and even; when the former is dejected with forrow, the latter is languid; and when that is inflamed by paffion, this is raifed and elevated. It is the orator's business, therefore, to endeavour, that the tone of his voice appear naturai and un. affected. For this end, he muft fuit it to the na ture of the subject; but ftill fo as to be alway decent. Some deliver a difcourfe in a low drawling manner; others hurry on in fo loud and boif. terous a tone, as if they imagined their hearers were deaf. But all the harmony of fpeech lies in the proper temperament of the voice between thefe extremes. The principal properties of voice may be referred either to quantity or quality.

315. I. The QUANTITY of the voice confifts in its highness or lowness, faviftness or flanefs, and the intermediate degrees between them.

lic,

316. i. Every perfon who frezke fhould endeavour to fill the place where he speaks. But ftill he ought to be careful not to exceed the

natural

Batural key of his voice. If he does it will neither be foft nor agreeable; but either harsh and rough, or too thrill and fqueaking. Befides, he will not be able to give every fyllable its full and diftinct found; which will render what he says obscure. 317. ii. The like caution is to be used againft the contrary extreme, that the voice be not drop ped, and fuffered to fink too low. This will give the fpeaker pain in railing it again to its proper pitch, and be no lefs offenfive to the hearers.

318. The medium between these two is a moderate and even voice. But this is not the fame in all; that which is moderate in one would be high in other. Every perfon therefore must regulate it by the natural key of his own voice. A calm and fedate voice is generally best; as a mo⚫ derate found is most pleasing to the ear, if it be clear and distinct. But this equality of the voice muft alfo be accompanied with a variety, other. wife there can be no harmony. Nothing is lefs pleafing than a difcourfe pronounced throughout in one continued monotony. The gradations, whether higher or lower, fhould be fo gentle and regular as to preserve a due proportion of the parts and harmony of the whole. An even voice is best fitted to keep the mind to close attention. But the voice ought to agree with the ftyle; and as the orator's province is not only to apply to the mind, but likewife to the paffions; thefe require a great variety of the voice, high or low, vehement or languid, according to the nature of the paffions he defigns to affect.

319. iii. The next property is swiftnefs. That fome expreffions ought to be pronounced fafter than others, is manifeft. Gay and sprightly ideas hould not only be expreffed louder but alfo fafter, than fuch as are fad and melancholy. And when we prefs an adversary, the voice fhould be brifk and quick. A precipitant and hafty pronuncia tion, however, is culpable, as well as fpeaking too Aow. This argues a heavinefs in the fpeaker; and as he appears cool himself, he can never expect to warm his hearers.

320. To avoid both these extremes, the voice ought to be fedate and diftinct. To render it diftinct, it is neceffary, not only that each word and fyllable fhould have its juft and full found, both as to time and accent; but likewife that every fentence and claufe fhould be feparated by a proper pause and interval. This is eafy to be done in reading, from the affiftance of the points, (fee PUNCTUATION); but it is no less to be attended to in fpeaking. In proportion to the length and importance of the paufes, the voice must be fufpended in different measures of time. But be tween fentence and sentence we refpire, and begin anew. In long periods, the voice fhould be favoured by beginning low and fedately, that it may hold to the end without refpiration; or if not, the breath ought to be recovered without finking the voice. For, if once the voice drop for want of breath before the period be finished, not only the beauty but the fenfe will be injured. Quintilian lays a great stress upon a due attention to these pauses; and fays, Though it may appear not fo confiderable in itself, yet all the other virtues of a good pronunciation are deficient without it."

321. II. The chief QUALITIES of the voice are ftrength, clearness, fulness, and smoothness. Though it is not in our power to give ourselves what qualities of the voice we please, several defects of the voice may be helped by care and attention. Temperance is a great prefervative of the voice, and all excefs is greatly prejudicial to it. The voice muft fuffer, if the organs of fpeech have not their proper tone. For this purpose they must be kept in a due temperature; neither too moift nor too dry. All exceffes affect the organs one or other of these ways.

4322. i. Aftrong voice is very serviceable to an orator, because he is thereby capable to make himself heard. And if at any time he is forced to ftrain it, he is in lefs danger of its failing him before he has finished his difcourfe. But he who has a weak voice fhould be careful not to strain it. He ought to begin low, and rise gradually to fuch a pitch as the key of his voice will easily carry him, without being obliged to fink afterwards. Frequent inflections of the voice will be fome affiftance to him. But he should take care to speak deliberately, and ease his voice, by allowing due time for refpiration at all the proper pauses. It is an extreme much lefs inconvenient for fuch a perfon to speak too flow than too faft. But this defect of a weak voice is fometimes capable of being helped by proper methods; as is evident from the inftance of Demofthenes.

323. ii. A voice is faid to be clear, when the organs of fpeech are fuited to give every fingle letter, and all the combinations of them in fyllables and words, their proper and diftinct found. Such a voice is very agreeable to the hearers; and no lefs fo to the fpeaker, as it faves him a great expence of spirits. For a moderate voice, if clear, will be as diftinctly heard, as one much louder, if obfcure. This is a great advantage to the speaker, because he can better help his voice under command, and modulate it at pleasure. An obfcure and confufed voice is not always occafioned by a deficiency in the organ; but is often the effect of a bad habit. Some, either from want of due care ' at first, or from inadvertency and negligence afterwards, run into a very irregular and confused manner of expreffing their words; either by mifplacing the accent, confounding the found of the letters, or huddling the fyllables one upon another, fo as to render what they fay often unintelligible. The moft likely way to mend fuch faults is to speak deliberately.

324. iii. A full voice differs from a ftrong or a loud voice. It fills the ear, but it is often not pleasant. And therefore to render it fo, it should be frequently varied. Yet it seems better fuited to the character of an orator, than a small and fhrill voice; because it has fomething in it more grave and manly. And thofe, who have the misfortune of a very fmall voice, fhould be cautious of railing it to too high a pitch, efpecially at once; because the fudden compreffure of the organ is apt to occafion a fqueaking and disagreeable found...

325. iv. A foft and smooth voice is the most mufical, efpecially if it be flexible. Nothing is lefs harmonious than a voice that is harsh and rough. From thefe properties of the voice, we may con clude that to be the fittest for an orator which is moderate

moderate, diftin&t, firm, clear, and fmooth, and eafily flexible to the several variations of found, which the various parts of the discourse may require.

SECT. III. Of GESTURE.

326. By GESTURE is meant, a fuitable conformity of the motions of the countenance and feveral parts of the body in speaking to the subjectmatter of the difcourfe. The word is here ufed in a larger fenfe than is done in common language. For we rarely use that word to denote the motions of the countenance, but as these make a confiderable part of our prefent fubject, they muft here be comprehended under this term.

327. It is not agreed among the learned, whether voice or gefture has the greater influence upon us. But as the latter affects us by the eye as the former does by the ear, gefture feems to have this advantage, that it conveys the impreffion more speedily to the mind. Nor is its influence lefs upon our paffions; nay, in some inftances it appears to act more powerfully. A caft of the eye fhall exprefs defire in as moving a manner as the softeft language; and a different motion of it refentment.

328. Nor is it in some respects less various and expreffive than language. CICERO tells us, he often diverted himself by trying this with RoSCIUS the comedian; who could express a sentence as many ways by his gestures, as he himself by words. And fome dramas, called PANTOMIMES, are carried on wholly by mutes, who perform every part by gestures only, in a way very intelligent, as well as entertaining to the fpectators. Well therefore might Cicero call action (or gefture) the language of the body, fince it is capable in fo lively a manner to exprefs both our ideas and paffions. But with refpect to oratory, gefture may very properly be called the fecond part of pronunciation; in which, as the voice fhould be fuited to the impreffions it receives from the mind, fo the feveral motions of the body ought to be accommodated to various tones and inflections of the Voice. When the voice is even and moderate, little gefture is required; and nothing is more un natural than violent motion, in difcourfing upon ordinary and familiar fubjects. The motions of the body should rife therefore, in proportion to the vehemence and energy of the expreffion, as the natural and genuine effect of it.

329. It is hardly neceffary to mention, that by the uniform practice of all nations, the moft proper pofture for a public speaker is to address his audience ftanding. But though ftanding appears to be the most proper pofture, yet it is very unbecoming for the body to be entirely without motion. It should not long continue in the fame pofition, but be constantly changing, though the motion be very moderate. There ought to be no appearance of stiffness, but a certain eafe and pliablenefs, fuiting every expreffion; by which means, when a greater degree of motion is neceffary, it will appear lefs fudden and vehement; for as the raifing, finking, and various inflections of the voice must be gradual, fo likewife fhould the motions of the body. It is only on fome particular occa

fions that an hasty impetuofity is proper in either cafe.

330. As to the feveral parts of the body, the head is the most confiderable. To lift it up too high has the air of arrogance; to ftretch it out too far, or throw it back, looks clownish; to hang it downwards on the breaft, fhows an unmanly bafbfulnefs; and to fuffer it to lean on either shoulder argues indolence. Wherefore, in calm and fedate discourse, it ought to keep its natural state, an upright pofture. However, it fhould not be long without motion, but gently turn, fometimes on one fide, and fometimes on the other, as occafion requires, that the voice may be heard by all who are prefent. It should always accompany the other actions of the body, and turn on the same fide with them; except when averfion to any thing is expreffed, which is done by stretching out the right hand, and turning the head to the left.

331. But it is the countenance that chiefly reprefents both the paffions and the difpofition of the mind. By this we fupplicate, threaten, footh, invite, forbid, confent, or refuse, without speaking. But the feveral parts of the face bear their part, and contribute to the proper and decent motion of the whole. In a calm and fedate discourse, all the features retain their natural appearance. In forrow, the forehead and eyebrows lour, and the cheeks hang down. But, in joy and cheerfulness, the forehead and eyebrows are expanded, the cheeks contracted, and the corners of the mouth drawn upwards. Anger and resentment contract the forehead, draw the brows together, and thrust out the lips; and terror elevates both the brows and forehead. See LE BRUN's description of the effects of the paffions on the features, under DRAWING, Sec. XI.

332. But as the EYES are the most active and fignificant, Cicero advises, that the greatest care fhould be taken in their management. We readily guefs at a person's intention, by his eyes. And any fudden change or emotion of the mind is prefently followed by an alteration in the look.” In fpeaking therefore upon pleasant and delightfu! fubjects, the eyes are brifk and cheerful; as, on the contrary, they fink and are languid in deliver. ing any thing melancholy and forrowful. A gentle and moderate motion of the eyes is in an orator moft fuitable, always directed to fome of the audience, and gradually turning from fide to fide with an air of respect and modefty, and looking them decently in the face, as in common difcourfe: Such a behaviour will of course draw at tention. But as all the paffions are in the most lively manner expressed in the eyes, their motions ought to vary according to the different nature of thofe paffions they are fuited both to discover in the fpeaker, and convey to his bearers; fince, as the quickest accefs to the mind is by the fight, a proper well-timed look will sooner effect this than can be done by words.

333. As to the other parts of the body, the fhoulders ought not to be elevated; as it contracts the neck, and hinders the proper motion of the head. Nor, on the other hand, fhould they be drawn down and depreffed, as this occafions a stiffness both on the neck and the whole body.

Their natural posture therefore is most easy and graceful.

334. A continued motion of the arms any way, is to be avoided. Their action fhould generally be very moderate, and follow that of the hands unlefs in very pathetic expreffions, where it may be proper to give them a more lively spring.

335. The hands need never be idle. Quintilian feems to think them as necessary and powerful in action, as Cicero does the eyes. "The hands

(fays he), without which all gefture is lame and weak, have a greater variety of motions than can well be expreffed; for they are almoft equal to our words. In fhort he ftyles them "the common language of all mankind." Now, all bodily motion is either upward or downward, to the right or left, forward or backward, or elfe circular. The hands are employed by the orator in all thefe, except the laft. And as they ought to correspond with our expreffions, fo they ought to begin and end with them. In admiration, and addreffes to heaven, they must be elevated, but never raised above the eyes; and in fpeaking of things below us, they are directed downwards. Side motion fhould generally begin from the left, and terminate gently on the right. In demonftrating, addreffing, and on feveral other occafions they are moved forward; and in threatening fometimes thrown back. But when the orator speaks of himself, his right hand fhould be gently laid on his breast. When no other motion is neceffary, the hands fhould be kept about as high as the breast, so as to make near a tight angle with the arm. This is not only graceful, but likewife the moft eafy posture, and gives the leaft ftrain to the mufeles. They should never be fuffered to hang down, nor to loll upon the cushion or bar. The left hand fhould never move alone, but accommodate itself to the motions of the right. In motions to the left fide, the right hand fhould not be carried beyond the left fhoulder. In promises and expreffions of compliment, the motions of the hands fhould be gentle and flow; but in exhortations and applaufe more fwift. The hands fhould generally be open; but in expreffions of compunction and anger they may be clofed. All finical and trifling actions of the fingers ought to be avoided; nor fhould they be ftretched out and expanded in a ftiff and rigid posture, but kept eafy and pliable.

336. Neither the breaft nor the belly should be thruft out, as it looks ill, and hinders the free motion of the trunk; which ought not to be kept too ftiff and upright, but easy and flexible, always fuiting itfelf to the motions of the head and hands. The feet fhould continue fteady, and not give the body a wavering and giddy motion by frequently thifting; though fome perfons fall into that habit without moving their feet.

337. The geftures hitherto treated of are fuch as naturally accompany our expreffions. Thofe above mentioned, if duly attended to, will be found fufficient to answer all the purposes of our modern pronunciation. The ancients, indeed, used several more vehement actions and geftures than we are accuftomed to. PHILIP, the Roman orator, was wont to tell his friends," he was VOL. XVI. PART II.

never fit to talk, till he had warmed his arm." He doubtless, therefore, used a more violent motion with his arms and hands than is common with us. And Cicero calls the arm projected the orator's weapon. Indeed, to extend or brandish the arm, carries in it an air of command and authority, which was not unbecoming the character of Philip, who was a perfon of the highest rank and quality.

338. To fpeak low at firft has the appearance of modefty, and is beft for the voice; which, by rifing gradually, will with more cafe be carried to any pitch that may be afterwards neceffary, without straining it. However, some variation of the voice is always proper to give it harmony. Sometimes it is not improper for an orator to fet out with a confiderable degree of warmth, expreffed by such an elevation of the voice and geftures of the body as are fuited to represent the emotions of his mind. But this is not ordinarily the cafe. We have fome inftances of this in Cicero; ás in his oration for Rofcius Amerinus,, where the heinoufnefs of the charge could not but excite his indignation against the accufers. And in that against Piso, and the two first against Catiline, which begin in the fame manner, from the refentment he had conceived against their perfons and conduct.

339. In the narration the voice ought to be raised to a higher pitch. Facts should be stated diftinctly and accurately, with a proper emphafis laid upon the principal circumstances. The propofition fhould be delivered with a clear and audible voice, and its divifions diftinctly marked.

340. The confirmation admits of a great variety, both of voice and gefture; and the reasoning ought to be accompanied with fuitable actions. In confutation, the arguments of the oppofite party should be ftated plainly and diftinctly, unless they appear unworthy of a serious answer; in which cafe they may be answered with humour, or expofed with ridicule. TUBERO having made it part of his charge against Ligarius, that he was in Africa during the civil war between Cæfar and Pompey, CICERO, in his reply, said, “ Cæfar, my kinfman, Tubero has laid before you a new crime, and till this day unheard of, that Q. Ligarius was in Africa!"

341. In the conclufion, both the voice and gefture should be brifk and fprightly, which may feem to arife from a fense of the fpeaker's opinion of the goodness of his caufe, and that he has offered nothing but what is agreeable to reason and truth; as likewife from his affurance that the audience agree with him in the fame fentiments. In every undertaking that requires care and thought, perfons are apt at first to be fedate and moderate, but when it is drawing to an end, and is near finished, it is very natural to appear more gay. If an enumeration of the principal arguments of the difcourfe be convenient, as it fometimes is, where they are pretty numerous, or the difcourfe is long, they ought to be expreffed in the moft clear and forcible manner. And if there be an address to the paffions, both the voice and gefture must be fuited to the nature of them.

Ppp

342. Thus