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THE advantages proposed to be attained by the study of Rhetoric, are :—

1. Some acquaintance with the philosophy of rhe


2. The cultivation of the taste, and in connexion, the exercise of the imagination.

3. Skill in the use of language. 4. Skill in literary criticism.

5. The formation of a good style.

By the philosophy of rhetoric, I here refer to those principles in the science of the philosophy of mind, and in the philosophy of language, on which are founded those conclusions and directions which are applicable to literary criticism, and to the formation of style. Obviously, then, it may be answered, that an acquaintance with the science of intellectual philosophy, and with the philosophy of language, should precede the study of rhetoric. Hence, no doubt, Milton and others assign to this branch of study the last place in a course of education.

But it is known to all, that the prevalent opinion and practice are different from those recommended by Milton; so that our inquiry should be, what is the best practical method of acquainting the young with the philosophy of rhetoric-those whose minds are not accustomed to philosophical investigations, and who are ignorant of those sciences on which the art is founded.

I answer, that, while the attention should be directed to few principles, and those most essential in a practical view, instruction should be imparted principally by familiar, talking lectures. A text-book, if one is used,

should contain but a mere outline,- some general principles plainly stated, and well illustrated.

Here I would more fully state, what I mean by familiar, talking lectures. Suppose I wish to make the student understand what I mean by taste, and in so doing, I have occasion to speak of the judgment, sensibility, imagination, emotions of beauty and sublimity. Now, should I attempt to effect my purpose by a definition, or an extended technical explanation of these terms, there would be little reason to hope for success. I would rather refer him directly to the operations of his own mind, point out to him instances where he forms a judgment, where his sensibility is excited, his imagination called into exercise, and emotions of beauty and sublimity kindled up in his own soul. It is true, he may not, after this, be able to give me an exact definition of these faculties and intellectual operations, but he has learned what is meant by the proposed terms; and when I have occasion to use them afterwards, I have no fear of not being understood.

No one will deny that instruction in this part of rhetoric is attended with difficulty. The subjects themselves are intricate; hard to be understood, and still harder to explain, especially to those whose minds are immature and unaccustomed to philosophical reasonings. Here, then, is room for much ingenuity in the instructor; and without a skilful effort on his part, the efforts of the pupil will be of little avail. Above all things, let not the mockery of set questions and set answers be practised, in teaching what pertains to the philosophy of rhetoric.

After all, it must be allowed, that with the most skilful instruction, and the best text-book, young students will obtain but imperfect ideas in what pertains to the philosophy of rhetoric. Still, what is thus imperfectly acquired, will be of importance to them as opening some interesting fields of thought, which, with strengthened powers, they may afterwards explore; and further, as aiding them in better understanding the nature of the rules and directions founded on these important and somewhat intricate principles.

I have stated as a second object to be attained by the study of rhetoric, the cultivation of a literary taste, and, in connexion, the exercise of the imagination.

The cultivation of a literary taste must evidently depend principally on a familiarity with those productions, which are esteemed models of excellence in literature. In this respect, there is a close analogy to the cultivation of taste in painting, or in any of the fine arts. We may also learn something on this subject, from the course pursued by painters in the improvement of their taste. They visit the most celebrated galleries, and seek for models of excellence in their art; and these they make the objects of close, long-continued, and patient study. They inquire what there is to excite admiration in these paintings, and dwell on their different prominent beauties, and in this way cultivate and improve their tastes. Now it is in the same way that a literary taste is to be cultivated. And that the student may skilfully use his models of excellence in literature, and unite with his observation of them the application of those principles on which they depend, he needs the assistance of an in


In stating the details of the course here recommended, I remark, that, by the aid of the text-book prepared with reference to the proposed method of instruction, the student may have brought to his view examples of those instances, where there is most frequent occasion for the exercise of literary taste. I here refer to what are termed the ornaments of style. In connexion with these examples, the nature of whatever in literary productions comes under the cognizance of literary taste, may be explained. The different ornaments of style may be pointed out to his notice, and he may be led fully to see why attempts of this kind are in some instances successful, and in other instances fail.

When the examples thus cited, and the comments upon them, have become familiar to the student, let his attention be directed to the finding of examples in English writers, which may exhibit similar ornaments of style, and in the examination of which, there is opportunity for

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