with travestie, caricature, &c., in their obvious application, speak for themselves, and need not be enlarged upon.

It seems but natural that the youthful aspirant should prefer the lively and inspiriting practice of Elocution to the quiet and studious culture of Composition; but it may be well to beware of false estimates, nor overprize the former at the expense of the latter. The one is but the outward form in its most attractive dress; the other is the essential spirit and life of Eloquence. Cicero, as is known, excelled, as a model, in both; but the philosophic Socrates, though shining less, was-wherein he differed-by no means his inferior; neither was Plato second to Demosthenes; yet, presenting a striking contrast, Demosthenes was the great popular leader, with elocutional powers that commanded applause, and stirred the heart of Athens as of one. He carried, as it were, the Passions by storm; whereas Plato, in his contemplative retirement, by the purity and sublimity of his compositions, has established his empire over superior minds till the end of time.

THOUGHTS ON THE CAUSES OF THE DEARTH OF ORIGINALITY, OR WHAT HAS BEEN TERMED THE DECAY OF GENIUS, IN MODERN WRITERS.

That there is a dearth of originality, or, as it is termed by some, a decay of Genius in the literary productions of the day, is an often repeated complaint, among our Critics, in their strictures on the subject, and apparently not without reason; and it is a just cause for regret were it really so; but it is difficult to conceive that there is any actual diminution or falling off in the faculties of the human mind in this age of progress in all other matters. The question arises, To what are we to attribute this seeming declension of mental power? May we not find it, or at least seek for it, in the more striking characteristics of the time? Haste and hurry are the order of the day; and it extends to literature. Witness our cheap press. Every man, be his object what it may, is speeding to its

accomplishment, and seizes every available means for quickening his efforts. Is there, we ask, no lack of the encouragement that should act as a spur to the deep and diligent research and study, which is so great a consumer of time, and which demands for its elaborate productions severe and protracted study? In these days of sharp competition, one of the first questions the literary man naturally asks himself is, Will it pay? and will he not be tempted, in most cases, for the saving of time and study, to avail himself of the materials at hand, and to compile from these accumulated stores, rather than tax his thoughts, and draw upon his own resources, for what, after all, may prove far less marketable? and, hence, there is small cause for wonder if originality be rare. In this questionable state of literature, as respects the genuineness of its production, there is one bright and redeeming feature, viz., the wide and rapid diffusion of information on all social questions and matters of common interest; and having this in abundance, we may be content to forego, in part at least, the rarer and richer, because unborrowed, fruits of innate Genius. It is one of the characteristics of the age, that men are averse to deep study, and will not, if they can avoid it, be at the trouble of thinking deeply on any question, unless it affect their present interest. With rare exceptions, it is generally acknowledged that this is the case, and the remedy is solely in their own hands. In the matter of literary composition, there is no bye-road-no possible means for attaining to excellence, but by diligent and persevering study and practice, combined with the best aids that can be procured for the furtherance of so desirable an object. It is only by such training that the Mind is led to feel and assert its power of original Thought, and show forth its claim to the character of Genius.

RHETORIC,

FIGURATIVELY ILLUSTRATED.

RHETORIC, with its striking array of TROPES and FIGURES, constitutes the very life and beauty of Oratory. It presents to us the best thoughts in their richest and most attractive dress, captivating the Fancy while it convinces the Judgment. With all that is noble in sentiment, it combines all that can charm in poetic imagery. It is, in fact, the crown of Eloquence, adds grace to the force of Truth, and doubles the powers of Persuasion. Delighting, while it instructs, with the battery of its Wit it demolishes the strongholds of Falsehood and Imposture. Without it, the most impressive discourse becomes tedious, and fails to kindle a generous enthusiasm, or patriotic feeling.

He who would know what Eloquence, when thus gifted, can do, let him turn the page of ancient Story, glowing with the impassioned language of Patriotism, in the masterly pleading of Cicero, or the generous outburst of feeling in Demosthenes, which, like a torrent, swayed and stirred the hearts of the men of Athens. And whence the grand secret of their triumphs and enduring Fame? They were eminently truthful, as well as ardently earnest; and to this, rather than to any external graces, they owed their success. This was the charm and the power, even their sincerity. It is true, the occasion may arise for the concealment of Thought; but this, perhaps, is the hardest task even to the finished Orator. The forced and artificial effort is painful, for it is false. Any strong passion or emotion working within will struggle for expression in the mien and countenance, even to betrayal. That the current of speech should flow in one direction, while the thoughts are running in an opposite

channel, is doing violence to Nature; and an unnatural effort can never please. Men are shrewd observers, and as quick to detect Imposture as to resent it, whence merited disgrace will be the luckless Orator's meed. Hence, we safely infer, as a primary essential, that there should ever be a perfect harmony between the inmost thoughts and the outward expression of them.

It will be seen, that in our metaphorical illustrations we have borrowed largely from the prophetic portions of Holy Writ; as every Scholar knows, and as the most eminent Critics have agreed, in these are richly stored the purest and loftiest strains of Eloquence. From this Fountain-head of Wisdom and Truth we have freely drawn, and it may suffice to point to the impassioned language of Isaiah, inimitable in its sublimity and graphic beauty, and far transcending other Compositions, Ancient or Modern. Dealing with realities of the sublimest import, it is too dignified to stoop to common phrase, but shadows forth its Divine behests, its teachings and revealings, in the language of Metaphor, and clothes its majestic Oracles with the boldest and most striking similitudes presented in the visible Creation; while all that is most graphic and glowing in Oriental imagery is employed in embellishment and illustration,-and this is as it should be. In the appellations of the Deity, our Reason assents to the loftiest Figures. Hence the Titles, "THE FATHER OF LIGHTS," "THE ROCK OF AGES," and "THE LORD OF HOSTS;" and such are the most appropriate.

Whether in the Courts of Law, in the private circle, or public arena, all can appreciate the manly eloquence of a spirited and masterly advocacy of whatever is truthful and good. But if the real worth of this talent is to be estimated by its results, how is the mission of the Teacher of Divine Truth magnified! It is confessedly of passing importance that he, of all men, should eminently excel in the power of persuasion; and we have ventured upon our interesting task the rather that it has recently seemed good to certain Dignitaries

of the Established Church to call the attention of the younger Clergy to the desirableness of cultivating to the utmost a more powerfully impressive delivery, which it would seem had by some been more or less neglected,

We have done our best for the Student's use and guidance in our selection and arrangement of materials; but, as in other and humbler attainments, he must be indebted for success to his own exertions. Diligence and progress run parallel to each other, nor can any precepts of Art give Eloquence where perseverance is wanting; but, sustained by this excellent helpmate, he will assuredly succeed.

OF TROPES AND FIGURES.

THE TROPE, from the Greek verb, to turn, is, employing a figurative in place of a common expression. Its simplest form is the substituting a simple word for another word, as when we call a HERO a lion; or say with the Poet,

"A WIT's a feather, and a CHIEF, a rod.”

Thus the Scipios have been termed, Thunderbolts of war.*

THE FOLLOWING ARE VARIETIES OF THE TROPE.

The Metaphor.

The Allegory.

The Metonymy.

The Synecdoche.

The Irony.

The Sarcasm.

The Hyperbole.

The Catachresis.

A METAPHOR often expresses similitude in its briefest and most graphic form; but this is no rule, for it opens a boundless field of diversified beauties. By it we compare Youth to

To say, "He acted like a lion," is no metaphor; it is a plain comparison.

D