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power of persuasion, that prevail in the senate and the bar, are also as available in discourses from the pulpit; yet the former dealing only with social questions and temporary matters, while the latter embraces all the interests of futurity, it necessarily becomes more deeply impressive in its tone, more earnest in its solemn appeals. The enunciation of Divine truth, with its animating hopes and sublime prospects, bears no comparison with sublunary things; and the Christian minister, with the Inspired Volume in his hand, with its constraining motives and heart-stirring appeals, with the force and graphic beauty of its language and sublime imagery, will have little need to draw upon his own stores of thought and argument, these, in their most attractive form, being supplied to him. It was well said by Bishop Gastrell, "We cannot speak better of the Things of God than in the Words of God;" but after conceding this, it will still be evidently of the first importance that the delivery should rise to the elevation of the Subject, and the Preacher's aim will be to give full and weighty effect to the truths he utters, whether in the milder tones of affectionate expostulation, or with the measured dignity of the Divine authority.

THE DRAMA.

He who aims at excellence will find in the Drama an attractive field for varied and animated exercise, exhibiting all extremes, from the deeply tragic to the satirical and humorous, from playful irony to the bitterest sarcasm, while abounding in sprightly dialogue and smart repartee, and still blended with lively incident.

In scenic representations the finished actor shares largely in the praise due to the dramatist; but their merits are very different, for the actor is but the exponent of the writer's thoughts. He will depict the leading character, but the author gives life and being to them all. Let us not, however, underrate the actor's merit who faithfully personates the shades and contrasts of character, investing each in turn with its

striking peculiarities, and with a witty and pointed expression. To do this with graphic effect demands practised excellence, and is a proof that he has closely studied and appreciated the force and beauty of the sentiment to which he gives a full and feeling expression: and hence we are presented with a lively transcript of social and domestic manners, in the various ranks and circumstances of Life.

Of this class of Compositions, the historical Drama justly takes precedence, embodying the events and characters of other times, and portraying a faithful picture of the past. These excite a real interest, and are generally far more attractive than mere fiction; and of this Shakspeare seems to have been fully sensible, as his best plays bear witness. To the student, it will be obvious that to excel in this accomplishment will require much study and practice, with no small amount of persevering energy.

PROSE AND POETIC MISCELLANIES.

These are without number, and not unfrequently to be found in the shape of selections from favourite authors, and often diversified in style and matter, from the loftiest flights of imagination to the deepest pathos, while depicting the struggles and conflicts of feeling and passion. Some of these are of surpassing beauty, and perfect gems of thought and literary talent; and the student may freely indulge his own taste in the use of them, as they offer spirited materials for practice; and the rule holds good, that we are most likely to excel in that in which we delight.

THE ELEMENTS OF SUCCESS IN PUBLIC SPEAKING, WITH LORD BROUGHAM'S ADVICE TO MACAULAY.

On this justly-esteemed and admired art of speaking and reciting with fluent ease and propriety, much has been penned in the shape of advice and guidance in the path to excellence, and perhaps the best is that which partakes least of the

artificial, for Nature should ever take the lead; and we would begin by saying,-As in friendly converse, so in a public address, be natural and self-possessed. We are so in common intercourse, without the aid of a monitor, and the same holds good in more serious efforts. "Merit," we admit, “is ever modest;" nevertheless, it behoves the Champion of right to be bold and fearless; for in every such case, if the countenance betray hesitation or any shade of anxiety, it will beget suspicion, and be unfavourably interpreted; and in a public address, a main element of success is, to appeal and to speak as fully conscious of your own truth and ability. The position thus assumed is a most honourable one; you are exerting the noblest of influences, that of mind upon mind, and should be in nowise troubled as to what your auditory may be thinking of you; neither be disconcerted by numbers, they consist but of units, and it would occasion you no disquiet to address them singly. Enter fully with heart and spirit into your subject; and if the glow of feeling animates your countenance, check it not, but give free utterance to your thoughts in a modest and cheerful tone.

In your remarks be brief and clear, and in your opinions decided, bearing in mind, that an impressive appeal to the heart will often succeed where the most studied arguments might fail; and while striving to persuade, use your best endeavour to please. Let your articulation be deliberate, for any degree of haste and precipitancy may mar the effect of a good argument. A well-timed tact and emphasis give weight and point even to the soundest reasoning, and may be ranked among the known elements of persuasion.

From one of the published letters of Lord Brougham we extract the following advice, addressed to Zachary Macaulay, when studying for the law at Oxford. "The first foundation of excellence," says his Lordship, "is to be laid in early application to general knowledge, and in the habit of easy speaking at will;" and next to cultivate, what his Lordship terms, "a chaste eloquence," and for this he recommends Edmund

Burke's best compositions, viz., "Thoughts on the Causes of Popular Discontent;" his speech "On American Conciliation;" and "The Nabob of Arcot's Debt." Also Fox " On the Westminster Scrutiny;" "On the Russian Armament;" and "On the War." Also one or two of Windham's and Sheridan's best Orations. Above all, he is to cultivate a close intimacy with Cicero and Demosthenes; and, finally, much writing, and also reading with persevering application.

After all that has been said on the subject, and that Wit and skill can devise, we hold that plain, sterling Truth is the native soil of genuine Eloquence; its strong and earnest appeal is irresistible; and when wielded by a Master-spirit, is invincible. All time-serving appliances are impotent against the champion so armed, while battling for the right. Entrenched in Truth's impregnable fortress, and proof against all attacks, he knows neither fear nor defeat, but still goes forth on his way conquering and to conquer.

Self-culture, doubtless, lies at the root of all excellence, and is the only means of solid improvement. Perseverance alone crowns all effort with success; and he that would reap plentifully, must not sow sparingly.

COMPOSITION.

REMARKS ON LITERARY COMPOSITION, AND THE READIEST MEANS FOR ITS ACQUISITION.

COMPOSITION, implying that process of thought whereby we arrange and combine our ideas before giving expression to them, is the soul of Eloquence, enabling us to set forth our best Thoughts in their most attractive dress, and thus being the first essential step towards success. The power of thinking, in this sense, is a matter of no small difficulty, especially with the young, for it requires us to concentrate our thoughts on their object, not only with fixed attention, but also in a spirit of close and searching inquiry. To assist the student in surmounting this difficulty, writers on the subject have adopted a variety of expedients, in the shape of rules and exercises, illustrative of the principles of grammar, and their application, with numerous details, which, however helpful to the younger pupil, would be little better than a loss of time to the more advanced student; for these, we assume, are not ignorant of the ordinary rules of grammar, and can ill spare the time to wade through the drudgery and dry details of such set forms.

We propose not only a shorter and more pleasing route, but we trust, also, a more profitable one. In any case, we doubt whether the strict formality of methodical systems may not often prove rather a hindrance than a help to minds of a superior cast. Had the early genius of Shakspeare been thus cramped, and rigidly tied down to precise modes and details of study, we much doubt whether his imagination would have expanded with the noble freedom, and bold and graphic originality, which constitutes the great charm of his dramatic

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