"One alone is smitten, and all are delivered. God smites his innocent Son for the sake of guilty man; and pardons guilty man for the sake of his innocent Son!"

To this figure belongs seeming contradictions, as in Cato's remark of Scipio Africanus :

"He was never less at leisure than when at leisure; nor less alone than when alone."

Periphrasis or Circumlocution is a figure in which, for the sake of variety, ornament, or prudential reasons, more words are used than are absolutely necessary.

Describe what is meant by Prevention.

Prevention is a figure in which the speaker anticipates an objection and answers it. Prosopopia or Personification.

This figure, perhaps, may be considered the finest, boldest, and most common. It is the giving life and rationality to inanimate things and qualities, and so to speak of them and to them as if they were real personages, as :

"How many thousands of my poorest subjects
Are at this hour asleep! O gentle sleep,
Nature's soft nurse, how have I frighted thee,
That thou no more wilt weigh my eye-lids down,

And steep my senses in forgetfulness ?

Why rather, sleep, ly'st thou in smoky cribs,

Upon uneasy pallets stretching thee,

And hush'd with buzzing night flies to thy slumber,

Than in the perfum'd chambers of the great,

Under the canopies of costly state,

And lull'd with sounds of sweetest melody?

Wilt thou, upon the high and giddy mast,
Seal up the ship-boy's eyes, and rock his brains
In cradle of the rude imperious surge,

And in the visitation of the winds,

Who take the ruffian billows by the top,

Curling their monstrous heads, and hanging them
In deaf'ning clamours on the slipp'ry shrouds,

That, with the hurly, death itself awakes?

Can'st thou, O partial sleep, give thy repose
To the wet sea-boy, in an hour so rude;
And, in the calmest and the stillest night,
With all appliances and means to boot,

Deny it to a king? Then, happy low! lie down ;

Uneasy lies the head that wears a crown."

Now, gentle gales,

Fanning their odoriferous wings, dispense

SHAKSPERE.

Native perfumes, and whisper whence they stole
Those balmy spoils."

MILTON.

"All nature mourns; the floods and rocks deplore,
And cry with me, Pastora is no more."

I see the next figure is Repetition.

CONGREVE.

Repetition is a figure which gracefully and emphatically repeats either the same words or the same idea in different words.

Ay, ay; and she hath offer'd to the doom,
(Which unrevers'd stands in effectual force)
A sea of melting pearl, which some call tears;
These at her father's churlish feet she tender'd;
With them, upon her knees, her humble self,

Wringing her hands, whose whiteness so became them,

As if but now they waxed pale for woe;

But neither bended knees, pure hands held up,

Sad sighs, deep groans, nor silver-shedding tears,
Could penetrate her uncompassionate sire."

SHAKSPERE.

Sentence, or Maxim, or Axiom, is a short remark or observation which contains much instruction and good sense in a few words.

"The calumny of enemies is less dangerous than the flattery of friends."

SHAKSPERE.

"How sharper than a serpent's tooth is it to have a thankless child."

Suppression is a figure in which, from excess of passionate emotion, or modesty, the speaker suddenly breaks off his discourse; but though not completed the rest is readily understood.

Suspension is the carrying out of a sentence in such a manner as keeps our attention in suspense, in expectation of something considerable at the end.

"No ceremony that to the great belongs,

Not the king's crown, nor the deputed sword,
The marshall's truncheon, nor the judge's robe,
Become them with one half so good a grace,
As mercy does."

Transition. This figure is of two kinds; the one when the speaker or writer suddenly starts from one subject to another, which at first seems unconnected therewith; the other when a speech is abruptly introduced without notice, as,

"Both turn'd, and under open sea ador'd

The God that made both sky, air, earth, and heaven;

Thou madest the night,

Maker Omnipotent! and thou the day!"

MILTON.

Vision or Image is nearly allied to Description. It is a figure in which distant and unseen things are boldly imagined by the writer or speaker, and brought vividly before the mind of another, as:

"He spoke, and, to confirm his words, outflew

Millions of flaming swords."

See also the "Song of Deborah," in Judges v. 18.

MILTON.

At folio 180 you spoke of the Parts of a Speech, or an Oration, will you refer to them now?

Yes; the Parts of a Speech or Oration are said to be five, namely, Invention, Disposition, Elocution, Memory, and Delivery.

You have made some observations on the Delivery of a Speech?

Yes; and under the Rules of Composition we have included Elocution, which has reference to the finding out of proper language and ornamental expressions. Then that would leave three parts out of the five for consideration, namely, Invention, Disposition and Memory?

Yes, and we may observe as concerning Memory, that it is that power or faculty of the mind which receives, retains, and exhibits again, as occasion requires, the ideas that have been presented to it.

You have now to consider Invention and Disposition, which will you take first?

We will in the first place consider

Invention, which is the finding out of such arguments as are suitable to the subject.

Arguments may appeal to the Reason, to the Moral Sentiments, or to the Affections.

To the Reason by informing the Judgment.

To the Moral Sentiments to awaken the Conscience.

To the Affections to move the Passions.

Arguments are divided into ARTIFICIAL and INARTIFICIAL. ARTIFICIAL arguments are such as are found out by the learning and skill of the orator, and differ according to the topic.

Topics are of three kinds-Demonstrative, Deliberative, and Juridical.

Demonstrative comes from the Latin, Demonstrure: all such discourses as admit of no contradiction, because they show forth truth as in the light of noon.

Deliberative includes whatever may be the subject of debate, consultation, or advice.

Juridical, or such as are constructed according to those laws of evidence which rule in courts of law.

INARTIFICIAL ARGUMENTS are based upon written, or parole evidence, including written laws, wills, or other legal instruments. Disputes may arise from these by Ambiguity, Disagreement between the words and intention, Contrariety or Clashing, Opposition to Law, to Reason, or to Natural Affection, Conscience, or Public Morals.

Parole, or spoken evidence: in receiving this evidence we

must consider whether it is given from personal knowledge or from hearsay; also the character of the witness, his connections, his situation in life, and whether he has any, and what interest in the matter in hand.

Contracts are either public or private.

Public Contracts are leagues, alliances, &c., between states. Private Contracts refer to lesser bodies of men or individuals.

Well, have you any observations to make on Moral Arguments?

Arguments from Morals require that the orator himself, be honest, prudent, modest, and benevolent; and, secondly, he should take care that the thing he is trying to persuade his audience to accept, be honourable, just, serviceable, &c.

Have you anything to observe on arguments from the Affections?

Arguments from the Affections are such as are intended

to excite or calm the passions or affections; an orator should therefore understand human nature, that he