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ORATORY.

i. As to simple sentences, we c:\ll llr.it order natural,-when allthe words in a sentence are so placed, as they are connected with,or follow each other, in a grammatical construction.

ii. Artificial order, as it respects simple sentences, has little orno regard to the natural construction of words; but disposes themin such a manner as wdl be most agreeable to the ear, and best an-swer the design of the speaker. As to compound sentences, orsuch as consist of two or more members, either simple or com-pounded ; what relates to the words in each member separately isthe same as in simple sentences. But with regard to the disposi-tion of the several members, that is called the natural order, whichso places them as they mutually depend on each other. Whenthis order is inverted, it is styled artificial. In amplifying, orderrequires a constant gradation from a less to a greater; as whenCicero says, Ambition creates hatred, shyness, discords, seditions,and wars. On the contrary, in extenuating, we should descendfrom a greater to a less; as if, speaking of the ancient laws ofHome, one should say, They were so far from suffering a Homancitizen to be put to death, that they would not allow him to bewhipped, or even to be bound. In constituting any whole, wepul the parts first; as, Invention , disposition, elocution, and pro-nunciation, make up the art of oratory. But in separating any whole,the parts follow: as, The art of oratory may he be divided intothese lour parts; invention, disposition, elocution,and pronunciation.In every enumeration' care must he taken not to mix the wholewith the parts; but if it be mentioned at all, it must.either be putlirst or last. So it would be wrong to say, “ lie was a man of thegreatest prudence, virtue, justice, and modesty for the word•virtue here contains in it the other three, and therefore should notbe inserted among them.

III. Juncture and numbers relate to letters and syllables; theformer treating of their connection, and the latter of their quantity.Juncture respects the quality of syllables. A due attention isto bepnid lo the nature of the vowels, consonants, and syllables in theconnection of words, with regard to the sound. When a word ends•with a vowel, and the next begins either with a different vowel,or the same repealed, it usually lenders the pronunciation hollowand unpleasant. Those which have the weakest and smallestsound, follow best; because they occasion the least alteration ofthe organ in forming the two sounds. If a word end with a vowel,1 in* next ought to begin with a consonant, or such a vowel whosesound may agree well with the former. But if a word concludenilh a consonant, either a vowel should follow, or such a consonantwhose proper pronunciation will suit with it. And the same sylla-ble ought not to be repeated at the end of one word, and the be-ginning of the next. This last, however, rarely happens in ourlanguage, which abounds with consonants.

IV. Number respects the quantity ot syllables. In the Greekand Homan languages every syllable has its distinct quantity ; andis either long, short, or common : two or more of which joined to-gether in a certain order make a foot, and a determinate numberof these in a different order constitute their several sorts of verse.Though their prose was not so confined with regard to the feet,euher as to the kind or place of them, as their metrical composi-tions; vet it had a sort of measure, more especially in the rise andcadency of their periods. This they called rhetorical number.Hut their rules are not applicable to our language, which lias notthat accurate distinction of quantity in its syllables. A great num-ber of monosyllables do not sound well together. For as thereought to be a greater distance in the pronunciation between oneword and another, than between the syllables ot the same word;such pauses, though short, yet, when too frequent, make thesound rough, and thus spoil its harmony. 'I his is the more ne-cessary to be attended to, because the English language abounds

with monosyllables.

Of Dignitv.

Dignity consists in the right use of tropes and figures. It isnot sufficient for an orator to express himself with propriety andclearness, or in smooth and harmonious periods ; but his languageshould be suited to the nature and importance of the subject.And, therefore, as elegance gives rules lor the fu st of these, andcomposition for the second ; so does dignity lor the last. It isevident, that different subjects require a different sty le and man-ner of expression; fur, as Quintilian says, “ What is magnificent

in one discourse would be turgid in another.” This variety inthe manner of expression arises in a great measure from tropesand ligures, which not only enliven and beautify a discourse, butgive it likewise force and grandeur. Tropes and figures are thusdistinguished: Tropes mostly affect single words, but figureswhole sentences. A trope conveys two ideas to the mind bymeans of one word ; but a figure throws the sentence into a dif-feient form from the usual manner of expression. Tropes arechiefly designed to represent our thoughts, but figures our, passions.A trope is a figure of words, and lias been usually defined to bethe change of a word from its proper signification to seine otherwith advantage, either as to beauty or strength. But tliis defini-tion is not strictly just; for, in every trope, a reference is had totwo tilings, which occasions two ideas; one of the thing expressed,and another of that lo w hich it has a respect. For all tropes aretaken either from tilings internally, or externa'ly, related; orfrom some similitude between them ; or from a contrariety. Thefirst of these is called synecdoche, the second metonymy, the thirdmetaphor, and the last irony. The reasons which occasioned theintroduction of tropes, as Quintilian observes, are three; necessity,emphasis, and beauty.

i. Tropes were first introduced from necessity, deriving theirorigin from the barrenness of language, because no language con-tains a sufficient number of proper words to express all the differ-ent conceptions of our minds; but the principal cause ot their in-troduction seems to be that extensive influence which imaginationpossesses over every kind of speech. 'Fhe mind considers the samething various ways; views it in different lights; and compares itwith other things. Hence it is furnished with an almost infinitenumber of ideas; which cannot all be expressed by proper words,since new ideas occur daily. And were this possible, yet it wouldbe impracticable; because the multitude ot words must be sovastly great, that the memory could not retain them, nor reealthem as occasion required. Tropes have redressed both these in-conveniences. Thus, where a word is wanting to express anyparticular tliiug, it is clearly represented l>y the name of someother thing resembling it: the cause is signified by the effect; thesubject by the adjunct; or the contrary. And the whole is oftenunderstood by a part, or a part by the whole. Thus, by the useof tropes, the mind is helped to conceive of something not ex*pressed, from that which is expressed.

ii. A second use of tropes is emphasis. Tropes often expressthings with greater force Ilian can be done by proper words.Sometimes a lively trope conveys a fuller and more just idea of athing than a large periphrasis. 'Finis, when Virgil calls the Scipio ’stwo thunderbolts of war, lie gives a more lively image of the rapidforce and speedy success of their arms, than could have been con-veyed by a long description in plain words. And in many casesthe tropical use of words is so eniphatical, that in this respect itmay be justly esteemed the most proper. So, incensed with an-ger, inflamed with desire, fallen into an error, are all metaphoricalexpressions, yet perhaps no proper words can be made use of,which will convey a more lively image of the thing we design torepresent by them.

fii. Beamy and ornament have been another cause of the use oftropes. Some .subjects require a more florid and elegant dressthan others. And it is the business of an orator to entertain hisbearers while lie instructs them. Cicero lias observed, that, “asgarments were lirst invented from necessity, to secure us from theinjuries of the weather, hut improved afterwards lor ornament anddistinction; so .the poverty ol language lirst introduced tropes,w hich were afterwards increased for delight/’ As to the c hoice oftropes, they ought neither to he obscure nor too far-letclied, lestthey should become unintelligible. It is necessary in a goodtrope, not only that there be a near affinity between the two ideas,but likewise that this affinity he obvious. A trope should likewisebear a due proportion to the thing it is designed to represent, soas neither lo heighten nor diminish the just idea of it. Poets in-deed are allowed a greater liberty in this respect; but cm oratorshould he modest in his expressions. 'J ropes are divided intoprimary and secondary.

I. Primary tropes are subdivided into four species; I. Meta-phor: k. Metonymy: 3. Synecdoche: 4. Irony.

I. A Metaphor is usually defined, A trope, which changeswords from their proper signification to another different from it,

by