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I am aware, that, from the deduction given above, it may be urged, that the fact as here represented, seems to subvert the principle formerly laid down, and that as practice in the art has given the first scope for criticism, the former cannot justly be considered as deriving light and direction from the latter; that, on the contrary, the latter ought to be regarded as merely affording a sort of intellectual entertainment to speculative men. It may be said, that this science, however entertaining, as it must derive all its light and information from the actual examples in the art, can never in return be subservient to the art, from which alone it has received whatever it has to bestow. This objection, however specious, will not bear a near examination. For let it be observed, that though in all the arts the first rough drafts, or imperfect attempts, that are made, precede every thing that can be termed criticism, they do not precede every thing that can be termed knowledge, which every human creature that is not an idiot, is every day, from his birth, acquiring, by experience and observation. This knowledge must of necessity precede even those rudest and earliest essays; and if in the imperfect and indigested state in which knowledge must always be found in the mind that is rather self-taught than totally untaught, it deserves not to be dignified with the title of Science, neither does the first awkward attempt in practice merit to be honoured with the name of Art. As is the one, such is the other. It is enough for my purpose, that something must be known, before any thing in this way, with a view to an end, can be undertaken to be done.

At the same time it is acknowledged, that as man is much more an active than a contemplative being, and as generally there is some view to action, especially in uncultivated minds, in all their observations and inquiries, it cannot be doubted that, in composition, the first attempts would be in the art, and that afterwards, from the comparison of different attempts with one another, and the consideration of the success with which they had been severally attended, would arise gradually the rules of criticism. Nor can it, on the other hand, be pleaded with

any appearance of truth, that observations derived from the productions of an art, can be of no service for the improvement of that art, and consequently of no benefit to future artists. On the contrary, it is thus that every art, liberal or mechanical, elegant or useful, except those founded in pure mathematics, advances towards perfection. From observing similar but different attempts and experiments, and from comparing their effects, general remarks are made, which serve as so many rules for di recting future practice; and from comparing such general remarks together, others still more general are reduced. A few individual instances serve as a foundation to those observations, which, when once sufficiently established, extend their influence to instances innumerable. It is in this way that, on experiments comparatively few, all the physiological sciences have been reared; it is in this way that those comprehensive truths were first discovered, which have had such an unlimited influence on the most important arts, and given man so vast a dominion over the elements, and even the most refractory powers of nature. It is evident, therefore, that the artist and the critic are reciprocally subservient, and the particular province of each is greatly improved by the assistance of each other.

But it is not necessary here to enter farther into this subject; what I shall have occasion afterwards to advance on the acquisition of experience, and the manner of using it, will be a sufficient illustration.

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Eloquence in the largest acceptation defined, its more general forms exhibited, with their different objects, ends, and characters.

IN speaking there is always some end proposed, or some effect which the speaker intends to produce in the hearer. The word eloquence in its greatest latitude denotes,' That art or talent by which the discourse is 'adapted to its end.'†

All the ends of speaking are reducible to four; every speech being intended to enlighten the understanding, to please the imagination, to move the passions, or to influence the will.

+Dicere secundum virtutem orationis. Scientia bene dicendi." Quintilian. The word eloquence, in common conversation, is seldom used in such a comprehensive sense. I have, however, made choice of this definition on a double`account: 1st, It exactly corresponds to Tully's idea of a perfect orator; " Optimus "est orator qui dicendo animos audientium et docet, et delectat, et permovet." 2dly, It is best adapted to the subject of these papers. See the note on page 20.

Any one discourse admits only one of these ends as the principal. Nevertheless, in discoursing on a subject, many things may be introduced, which are more immediately and apparently directed to some of the other ends of speaking, and not to that which is the chief intent of the whole. But then these other and immediate ends are in effect but means, and must be rendered conducive to that which is the primary intention. Accordingly, the propriety or the impropriety of the introduction of such secondary ends, will always be inferred from their subserviency or want of subserviency to that end, which is, in respect of them, the ultimate. For example, a discourse addressed to the understanding, and calculated to illustrate or evince some point purely speculative, may borrow aid from the imagination, and admit metaphor and comparison, but not the bolder and more striking figures, as that called vision or fiction*, prosopopœia, and the like, which are not so much intended to elucidate a subject, as to excite admiration. Still less will it admit an address to the passions, which, as it never fails to disturb the operation of the intellectual faculty, must be regarded by every intelligent hearer as foreign at least, if not insidious. It is obvious, that either of these, far from being subservient to the main design, would distract the attention from it.

There is indeed one kind of address to the understanding, and only one, which, it may not be improper to observe, disdains all assistance whatever from the fancy. The address I mean, is mathematical demonstration. As this doth not, like moral reasoning, admit degrees of evidence, its perfection, in point of eloquence, if so uncommon an application of the term may be allowed, consists in perspicuity. Perspicuity here results entirely from propriety and simplicity of diction, and from accuracy of method, where the mind is regularly, step by step, conducted forwards in the same track, the attention no way diverted, nothing left to be supplied, no

• By vision or fiction is understood, that rhetorical figure of which Quintilian says, "Quas pavarias Græci vocant, nos sane visiones appellamus, per quas ima"gines rerum absentium ita repræsentantur animo, ut est cernere oculis ac præ"sentes habere videamur."

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