Thirdly, it may be pretended that the disorders of the ancient governments, and the enormous crimes of which the citizens were often guilty, afforded much ampler matter for eloquence than can be met with among the moderns. Were there no Verres or Catiline, there would be no Cicero. But that this reason can have no great influence, is evident. It would be easy to find a Philip in modern times; but where shall we find a Demosthenes?

What remains, then, but that we lay the blame on the want of genius, or of judgment in our speakers, who either found themselves incapable of reaching the heights of ancient eloquence, or rejected all such endeavours as unsuitable to the spirit of modern assemblies? A few successful attempts of this nature might rouze the genius of the nation, excite the emulation of the youth, and accustom our ears to a more sublime and more pathetic elocution than what we have been hitherto entertained with. There is certainly something accidental in the first rise and the progress of the arts in any nation. I doubt whether a very satisfactory reason can be given why ancient Rome, though it received all its refinements from Greece, could attain only to a relish for statuary, painting, and architecture, without reaching the practice of these arts while modern Rome has been excited by a few remains found among the ruins of antiquity, and has produced artists of the greatest eminence and distinction. Had such a cultivated genius for oratory, as Waller's for poetry, arisen, during the civil wars, when liberty began to be fully established, and popular assemblies to enter into all the most material points of governments; I am persuaded so illustrious an example would have given a quite different turn to British eloquence, and made us reach the perfection of the ancient model. Our orators would then have done honour to their country, as well as our poets, geometers, and philosophers, and British Ciceros have appeared, as well as British Archimedeses and Virgils.

It is seldom or never found, when a false taste in poetry or eloquence prevails among any people, that it has been preferred to a true, upon comparison and reflection. It commonly prevails

merely from ignorance of the true, and from the want of perfect models, to lead men into a juster apprehension, and more refined relish of those productions of genius. When these appear, they soon unite all suffrages in their favour, and, by their natural and powerful charms, gain over even the most prejudiced, to the love and admiration of them. The principles of every passion, and of every sentiment, is [sic] in every man; and when touched properly, they rise to life, and warm the heart, and convey that satisfaction, by which a work of genius is distinguished from the adulterate beauties of a capricious wit and fancy. And if this observation be true with regard to all the liberal arts, it must be peculiarly so with regard to eloquence; which, being merely calculated for the public, and for men of the world, cannot, with any pretence of reason, appeal from the people to more refined judges; but must submit to the public verdict, without reserve or limitation. Whoever, upon comparison, is deemed by a common audience the greatest orator, ought most certainly to be pronounced such by men of science and erudition. And though an indifferent speaker may triumph for a long time, and be esteemed altogether perfect by the vulgar, who are satisfied with his accomplishments, and know not in what he is defective; yet, whenever the true genius arises, he draws to him the attention of every one, and immediately appears superior to his rival.

Now to judge by this rule, ancient eloquence, that is, the sublime and passionate, is of a much juster taste than the modern, or the argumentative and rational; and, if properly executed, will always have more command and authority over mankind. We are satisfied with our mediocrity, because we have had no experience of anything better; but the ancients had experience of both, and upon comparison, gave the preference to that kind of which they have left us such applauded models. For, if I mistake not, our modern eloquence is of the same style or species with that which ancient critics denominated Attic eloquence, that is, calm, elegant, and sublime, which instructed the reason more than affected the passions, and never raised its tone above argument or common

discourse. Such was the eloquence of Lysias among the Athenians, and of Calvus among the Romans. These were esteemed in their time; but when compared with Demosthenes and Cicero, were eclipsed like a taper when set in the rays of a meridian sun. Those latter orators possessed the same elegance, and sublimity, and force of argument, with the former; but what rendered them chiefly admirable, was that pathetic and sublime, which, on proper occasions, they threw into their discourse, and by which they commanded the resolution of their audience.

Of this species of eloquence we have scarcely had any instance in England, at least in our public speakers. In our writers, we have had some instances, which have met with great applause, and might assure our ambitious youth of equal or superior glory in attempts for the revival of ancient eloquence. Lord Bolingbroke's productions, with all their defects in argument, method, and precision, contain a force and energy, which our orators scarcely ever aim at; though it is evident that such an elevated style has much better grace in a speaker than in a writer, and is assured of more prompt and more astonishing success. It is there seconded by the graces of voice and action: the movements are mutually communicated between the orator and the audience : and the very aspect of a large assembly, attentive to the discourse of one man, must inspire him with a peculiar elevation, sufficient to give a propriety to the strongest figures and expressions. It is true, there is a great prejudice against set speeches; and a man cannot escape ridicule who repeats a discourse as a school-boy does his lesson, and takes no notice of anything that has been advanced in the course of the debate. But where is the necessity of falling into this absurdity? A public speaker must know beforehand the question under debate. He may compose all the arguments, objections, and answers, such as he thinks will be most proper for his discourse.8 If anything now occurs, he may supply

8 "The first of the Athenians, who composed and wrote his speeches was Pericles, a man of business and a man of sense, if ever there was one. πрŴтоS γραπτὸν λόγον ἐν δικαστηρίῳ εἶπε, τῶν πρὸ αὐτοῦ σχεδιαζόντων. [He first spoke

it from his invention; nor will the difference be very apparent between his elaborate and his extemporary compositions. The mind naturally continues with the same impetus or force which it has acquired by its motion; as a vessel, once impelled by the oars, carries on its course for some time, when the original impulse is suspended.

I shall conclude this subject with observing, that, even though our modern orators should not elevate their style, or aspire to a rivalship with the ancient; yet is there, in most of their speeches, a material defect, which they might correct without departing from that composed air of argument and reasoning to which they limit their ambition. Their great affectation of extemporary discourses has made them reject all order and method, which seems so requisite to argument, and without which it is scarcely possible to produce an entire conviction on the mind. It is not that one would recommend many divisions in a public discourse, unless the subject very evidently offer them: but it is easy, without this formality, to observe a method, and make that method conspicuous to the hearers, who will be infinitely pleased to see the arguments rise naturally from one another, and will retain a more thorough persuasion than can arise from the strongest reasons which are thrown together in confusion.

ESSAY XXII. - OF TRAGEDY.

It seems an unaccountable pleasure, which the spectators of a well-written tragedy receive from sorrow, terror, anxiety, and other passions, that are in themselves disagreeable and uneasy. The more they are touched and affected, the more are they delighted with the spectacle; and as soon as the uneasy passions cease to operate, the piece is at an end. One scene of full joy and contentment and security, is the utmost that any composition of this kind can bear; and it is sure always to be the conclud

a written speech in court, as his predecessors spoke extempore.] SUIDAS on Pericles." HUME'S note,

ing one. If, in the texture of the piece, there be interwoven any scenes of satisfaction, they afford only faint gleams of pleasure, which are thrown in by way of variety, and in order to plunge the actors into deeper distress by means of that contract and disappointment. The whole art of the poet is employed in rouzing and supporting the compassion and indignation, the anxiety and resentment of his audience. They are pleased in proportion as they are afflicted, and never are so happy as when they employ tears, sobs, and cries, to give vent to their sorrow and relieve their heart, swoln with the tenderest sympathy and compassion.

The few critics who have had some tincture of philosophy, have remarked this singular phenomenon, and have endeavoured to account for it.

L'Abbé Dubos, in his reflections on poetry and painting, asserts that nothing is in general so disagreeable to the mind as the languid, listless state of indolence, into which it falls upon the removal of all passion and occupation. To get rid of this painful situation, it seeks every amusement and pursuit; business, gaming, shews, executions; whatever will rouze the passions, and take its attention from itself. No matter what the passion is: let it be disagreeable, afflicting, melancholy, disordered, it is still better than that insipid languor which arises from perfect tranquillity and

repose.

It is impossible not to admit this account, as being, at least in part, satisfactory. You may observe, when there are several tables of gaming, that all the company run to those where the deepest play is, even though they find not there the best players. The view, or, at least, imagination of high passions, arising from great loss or gain, affects the spectator by sympathy, gives him some touches of the same passions, and serves him for a momentary entertainment. It makes the time pass the easier with him, and is some relief to that oppression, under which men commonly labour, when left entirely to their own thoughts and meditations.

We find that common liars always magnify, in their narrations, all kinds of danger, pain, distress, sickness, deaths, murders, and