out the persuasive part of his discourse; for if he fail, we are rudely thrust back upon our former state of insensibility, and are farther from the condition he designed than ever.

And now if we are inclined to think that the orator's persuasion partakes of the nature of trick or stratagem, let us reflect that this is just the stratagem which we practise on ourselves constantly in leading our own minds into phases of benevolence, gratitude, or devotion; and especially in that self-censure which grows out of our constant short-comings in the matter. We may then justly subject ourselves to persuasive discourse, only using our better judgment in determining that it is rightly done, and appeals to right motives.

Of the detailed methods, by which we persuade in discourse, very much might be said; as, for instance, of the employment of sympathy; of pathos, in its various forms; of the contagion of passion, by which tears demand tears, rage kindles rage, and desire begets desire; but we must content ourselves with the mention of a few of the general modes in which persuasion is used.

Persuasion proper has for its purpose to lead one to the performance of something new, and different from a former course of action.

Dissuasion, which is another class under the general head of Persuasion, is designed to cause a person

to abandon a course already pursued, or to desist from an undertaking which has just been determined upon, and not yet followed.

There is also a third kind of persuasion sometimes enumerated, the object of which is to strengthen a person in the continuance of a course already adopted, and thus far persevered in; but from which he is in some danger of falling.

The power of persuasion, in a public speaker, depends much upon the character which he has with his audience; and this character springs from the opinion which they entertain of his honesty, talent, and kind intentions towards them. To this should be added a certain amount of tact, by which, while he intends to exert power and influence, always directed with an honest aim, he shall seem to leave the natural treatment of the subject to produce the desired effect, rather than himself to be playing upon the sensibilities of the audience; and this brings us to a brief consideration of the manner in which the address to the feelings should be conducted.

(80.) Of the Feelings.

The term Feelings, thus used, is intended to comprehend the passions and sentiments in all their variety, and thus the kinds of effect to be produced by such an address are widely different; but a few general directions will apply to them all.

When such an appeal is designed it should come without being heralded, spontaneously as it were, or it excites no sympathy. Men, it has been before observed, are impatient upon this point; and dislike to have their feelings forced. And so, if a speaker should by the manner of his address seem to say, "Now I am going to excite your anger; and now I shall claim your pity,”—the heart shuts itself against such a vain-glorious boast, and remains insensible to the appeal. It is, in part at least, upon this ground that what is called good advice is often rejected; and many orations and sermons lose their hortatory power because they partake of this fault.

Often it is only necessary for the persuasive part of the discourse to heighten or strengthen the impression made by the conviction of truth; and thus truth itself is eloquent in moving the will. Much, it is clear, depends also upon the illustrations which persuasion uses to effect its purpose. Figures of thought couched in figures of speech, such as comparisons, metaphors, the climax, and others, are used.

Thus, if we would awaken pity for an orphan child, who is in great want, in the breast of one who is herself a mother, let us ask her to imagine her own child deprived of its parents, and thrown upon the mercy of a cold and thoughtless world: let us endeavour to paint such a picture, with glowing words, before her. The illustration is potent, and the words which pre

sent these may be so chosen as to make the picture a striking one, just as the colours and pencil of the artist embody his great idea with a beautiful garb to greet the eye. Such illustrations are indeed strikingly analogous to pictures. But enough has been said on the general subject of persuasion to show its design, and the general modes in which this end is attained. It.constitutes a secondary, but an important object of discourse. It becomes necessary to proceed, without longer explanation upon this point, to the next general division of Rhetoric.

We have discussed INVENTION at length: we come now to consider the ARRANGEMENT of discourse; and this it will be remembered is preparatory to the third and last division, STYLE.

CHAPTER XI.

ARRANGEMENT.

(81.) The Parts of a Discourse.

THE second of the great divisions of the rhetorical art, in the construction of discourse, was stated to be Arrangement.

It is manifest that in the process of Invention, which has now been fully explained, much partial arrangement must have taken place; but the adaptation of the parts of a discourse to each other has led to an examination of these different parts and titles, indicating their places and functions in the discourse taken as a whole.

In this consideration the arrangement of arguments is of the greatest importance; or we pay the greatest respect to those parts of a discourse designed to convince. Thus, a proper connection is kept up in the proofs of our original theme.

As a proof of the importance of the arrangement of arguments, we have a story of Demosthenes and Æschines, the two contestants for the palm of oratory