appear, and what artists call breadth of style takes their place. Sharpness, nasality and obscurity of tone, are no longer heard, while awkward constraint in attitude and gesture gives place to freedom and heartiness. (Vide pp. 161 and 169.) Even that most difficult, and, in our judgment, most valuable of all modes of address, a graceful, spirited, and yet commanding familiarity, is most rapidly acquired through the bold freedom necessary for mass meetings. The cultivation of familiar speaking being obviously most appropriate for the Senior year, the following lessons form, therefore, an appropriate introduction to it, in addition to being necessary as the conclusion of the Junior series of practisings.

LESSON I.

FULLEST EXPANSION.

Remarks. The most natural and pleasant mode of practising that slowness, distinctness, and sustained energy or grace of manner, and (to use familiar language) that whole-souled expression, which we are now proceeding to cultivate, will be to imagine ourselves speaking to several thousands of people assembled in the open air.

Directions.-Without violence or vociferation, proceed in the style of effective address to a mass meeting. Imagine such an assembly before you, and nature will suggest the means of success.

Endeavor to adapt your delivery to an extreme distance, in respect of key, slowness, accent, emphasis, articulation, a sustained and harmonious rhythm, and wide ranging gestures and changes of position.

Cultivate this adaptation with energy, and also with patience.

LESSON II.

REFINEMENT.

Remarks. It is apt to be supposed that successful speaking in the open air, must necessarily exhibit considerable coarseness and rudeness. This is a mistaken notion. A musical voice is heard the farthest, and is most favorable for articulation. The gestures need not be violent or extravagant. They simply require to be wide and free.

Directions. Repeat the same practice, but in the

MEDITATIVE MOOD.

By so doing, rude energy will be changed into bold and commanding enthusiasm.

No disagreeable degree of loudness will be necessary.

LESSON III.

ENLARGED SCALE.

Remarks. When speaking in the circumstances we are now supposing, it will not be sufficient to trust, as on ordinary occasions, merely to natural impulses. The speaker must take pains to set forth a striking exhibition of what ought to attract the attention of the audience. He must intentionally enlarge the scale of the picture, with reference to its being viewed from a distance. Otherwise what he does will appear tame and uninteresting.

Directions. Take pains to attract attention from a distance.

Give an intentional increase of force and boldness to the emphasis.

Study the boldly poetical and passionate in attitude and gesture.

In this lesson, practise yourself in making a display of such things.

LESSON IV.

EMPLOYMENT OF STRIKING PASSAGES.

Remarks. It is one of the last and highest attainments in delivery, to be able to make an intentional employment of the most striking passages in a discourse. We are here, indeed, getting upon dangerous ground; yet finished oratory habitually places great dependence upon favorite passages. The student of delivery must not shrink from this study, notwithstanding the examples which are so often witnessed of mere ostentation and clap-trap.

Directions.-Distinguish definitely in your mind, certain passages as best adapted for useful effect.

Make especial efforts upon them. Enter upon them with some deliberation. Pause somewhat after them. Do not spoil their exhibition, by shrinking from an unreserved freedom and boldness.

LESSON V.

TEMPERANCE.

Remarks.-The directions of Shakespeare are universally known, yet it will be well to quote them: "In the very torrent, tempest, and as I may say, whirlwind of your passion, you must acquire and beget a temperance that may give it smoothness."

But with reference to the opposite extreme also, it will be not inappropriate to introduce a criticism of the celebrated Dr. Beecher, after hearing, by request, an exhibition of a rhetorical society. Gentlemen, a river must indeed have banks, but still there must be a river." In this lesson the style for a mass meeting must be given in its full extent.

Directions.-Exhibit a bold and striking delivery, but moderate it sufficiently for the time, place and occasion, on which you are about to speak.

But let this be done without unnatural reserve and self-restraint.

Neither suffer yourself to become tame.

a free scope.

Give nature

Be perfectly collected, and sufficiently calm.

If you have to fear ungenerous criticism, and it is really necessary to protect yourself against it, proceed, in a considerable degree, in the Meditative Mood. will afford an infallible protection.

This

Observation.-As the most serious hindrance to eloquence is the fear of unsympathizing and illiberal criticism, let the speaker himself cultivate a "large tolerance" in his criticisms upon others. He will find such habits of great assistance to his own confidence when speaking.

431.

PREPARATION

FOR JUNIOR EXHIBI

TIONS AND COMMENCEMENTS.

In the first place, the fact must be borne in mind, that few cases occur, in which a young man does not exhibit a much more natural and interesting delivery, when speaking an extract from some elegant writer, than when delivering his own composition. This assertion is indeed contrary to prevalent opinion, but the experience of instructors establishes its truth. To say nothing of a not unreasonable degree of diffidence, the genuine modesty which almost always characterizes a really good scholar, causes him to do less justice to the merits of his own composition than they deserve. Especially if the style is in good taste and free from exaggeration or pretension, is the writer apt to fail in giving an earnestness or elevation of delivery correspondent to the actual importance or interest of his finest thoughts. It must be remembered that eloquence of delivery does not depend primarily upon a rhetorical structure of style. Though the contrary opinion is often entertained, it is yet a mistaken notion, and one of exceedingly injurious consequences. On the contrary, the very highest degree of eloquence in delivery, absolutely requires that the language uttered be plain and simple. It will be sufficient to refer to the Bible, to Shakespeare, and to Demosthenes, Chatham, Grattan and Patrick Henry. The practical direction, therefore, must be for the student to render full justice to the actual ideas which he has written, although the language in which they are expressed, may not of itself excite his enthusiasm. More particularly let this be done in all cases in which the imagination is appealed