tion or explication; the reasoning or argument; the pathetic part; and the peroration or conclusion. 1. The design of the exordium is to conciliate the good . opinion of the hearers; to excite their attention; and to render them open to persuasion. An introduction should be easy and natural, and always suggested by the subject of the discourse. 2. The statement should be as clear and distinct as possible, and expressed in the most concise and simple manner: for that speaker or writer is best attended to, who gives a brief and plain view of the points in question. 3. The qualities essential to narration are, to place in the most striking point of view, every fact which is to the advantage of the speaker; and to soften such as are not favourable to his cause. To be distinct and concise, are especial requisites to narration, which ought to illustrate every thing that follows. 4. Arguments should be disposed in a natural and lucid manner; expressed in the most forcible language; and none but the most important admitted or dwelt upon. 5. The pathetic part should be unaffected and simple; accommodated to the proper language of the passions; and should possess no extraneous ornaments. 6. The conclusion must be regulated by the nature of the discourse; sometimes, the arguments must be summed up and repeated; sometimes, the tone of pathos should be assumed; and at others, it should rise into dignity and spirit. But the principal rule is, to place that last, which is of the greatest importance to the subject. SECT. II-STYLE. STYLE is the manner in which a person expresses himself by means of words, and it is characteristic of his thoughts. Every country possesses a language and a style suited to the genius of its inhabitants. The principal distinctions of style arise from the diversity of subjects. The same mode of expression would be as inconsistent upon different occasions, as the same dress for persons of different ranks, or, for different seasons of the year. A plain style rejects all ambitious ornaments. It should possess perspicuity and precision: rhetorical figures or musical arrangement need not be resorted to. This style is peculiarly suited to philosophical discussion, which does not ad mit of much ornament. Its chief merit is, that its meaning is intelligible to all, and that it requifes no explanatory circumlocutious. Of the plain or simple style, there are many striking instances in the Scriptures. In the beginning GOD created the heavens and the earth. And again, GOD made two great lights; the greater light to rule the day, and the lesser light to rule the night: He made the stars also. The sublime, when elevated to the utmost extent of its powers, does not attend to any niceties of language; it gives the most vigorous and lively conception of things, and expresses them in the most emphatic terms. Many striking instances of the sublime are to be found among antient authors. Of all writings, the BIBLE affords us the most wonderfully noble descriptions. The Psalms abound with them. The waters saw thee, O GOD, the waters saw thee, and were afraid; the depths also were troubled. The clouds poured out water, the air thundered, and thine arrows went abroad. The voice of thy thunder was heard round about; the lightning shone upon the ground; the earth was moved and shook withal. Thy way is in the sea, and thy paths in the great waters, and thy footsteps are not known.' The noblest example recorded by Moses, and so much celebrated by Longinus in his treatise on the sublime, is this. And God said, let there be light, and there was light. A similar thought is magnificently expanded in Isaiah xxiv. 24, 27, 28. He rode upon the cherubim, and did fly: he came flying upon the wings of the wind, Psalm xviii, 10. This has been rendered by Sternhold and Hopkins in the true spirit of poetry, and is, perhaps, one of the most sublime passages in the English language: full royally he rode, came flying all abroad. On cherubs and on cherubims,* The New Version of Brady and Tate affords a complete specimen of the Bathos, or the art of sinking in poetry. The chariot of the king of kings Which active troops of angels drew, • This should be cherub and cherubim, both being Hebrew words; just as we say, phenomenon and phenomena from the Greek. The chariot, the active troops of angels DRAWING it, -the STRONG tempest-its RAPID WINGS, present to the mind, a collection of images, both ludicrous and absurd. The two sluggish words, most amazing, used to convey an idea of extreme swiftness, are equally improper. For fur ther instances of the sublime, see also Isaiah vii. 7. viii. 9, 10. xliv. 24, 27, 28. xl. 12. 15. 17. xlv. 6. Job xxxix. 19-25. Psalm xxxvii. 35, 36. Exod. iii. 14, Dan. vi. 14. 31. Job xxvi. 14. The pathetic style speaks the language of nature; art and labour must have no share in forming it. There is a material difference between painting to the imagination and to the heart; in the latter, no effect can be produced, unless it seem to be the work of nature only. The completest specimens of the pathetic, perhaps, are the two following from the Scriptures. But Zion said, the Lord hath for saken me, the Lord hath forgotten me. Can a woman forget her sucking child, that she should not have compassion on the son of her womb? Yea, they may forget, yet will I not forget thee. Isaiah xlix. 14, 15. O Jerusalem, Jerusalem, thou that killest the prophets, and stonest them which are sent unto thee, how often would I have gathered thy children together, even as the hen gathereth her chickens under her wings, and ye would not. Matt. xxiii. 37. See also Zech. ii. 8 Psalm xvii. 8. Gen. xliii. 30. xlv. 12. 14, 15. Lament. Jerem. i. 1. 4. ii, 10. iv. 4. ix, 1. Isaiah Ixiii. 15. lxiv. 8-12. Purity of style consists in the use of such words and constructions as belong to the idiom of the language in which we write in opposition to words that are obsolete, new-coined, or used without proper authority. By perspicuity, we arrange the words and parts of a sentence in such a manner, as to convey our ideas clearly to the minds of others. Energy or vigour of style, consists principally in brevity, and a proper use of tropes and figures, for an explanation of which, see the next section. The harmony, or euphony of a sentence depends upon the introduction of words and sentences which vary in their length; these, however, must be skilfully arranged, or there will be no musical construction. To attain dignity of style, or sublimity, the object described, must not only in itself be sub lime, but must be placed in such a point of view, as to afford a full and clear impression of its grandeur. It must be described with strength, with conciseness, and with simplicity. Beauty of style comprehends purity, perspicuity, harmony, and a judicious use of figurative language. SECT. III.-ORNAMENTS OF COMPOSITION. These are divided into tropes and figures. 1. A trope is the alteration of a word or sentence with advantage from its proper signification to another meaning: as in 2 Sam. xxiii. 3. GOD is a rock; here the trope lies in the word rock, which is changed from its original sense, as intending one of the strongest works and surest shelters in nature, and is employed to signify, that GOD by his faithfulness and power is the same security to the soul that trusts in him, as the rock is to the man that builds upon it, or flies for safety to its impenetrable recesses. So our LORD speaking of Herod, Luke xiii. 32. says, Go ye and tell that fox; here the word fox is alienated from its proper meaning, which is that of a beast of prey, and of deep cunning, to denote a mischievous and crafty tyrant. 2. A figure is an arrangement of words differing from the common method, to express in an emphatic manner, the emotions of the mind. A figure differs essentially from a trope, as there is no translation of a word from its proper into an improper sense; and it is easily distinguisliable from ordinary language, as it casts a new form upon speech, and ennobles and adorns our discourses. The following is a specimen of highly figurative language. It is a speech delivered by an American chief to the deputies of the English nation with whom he had concluded a treaty of peace: "We are happy in having buried under ground the red "axe, that has so often been dyed with the blood of our "brethren. Now, in this fort, we enter the axe, and plant "the tree of peace. We plant a tree whose top will reach "the sun; and its branches spread abroad, so that it shall "be seen afar off. May its growth never be stifled and "choaked; but may it shade both your country and ours "with its leaves! Let us make fast its roots, and extend "them to the utmost of your colonies. If the French 66 "should come to shake this tree, we should know it by the "motion of its roots, reaching into our country. May the great spirit allow us to rest in tranquillity upon our mats, "and never again dig up the axe to cut down the tree of peace! Let the earth be trod hard over it, where it lies "buried. Let a strong stream run under the pit to wash "the evil away out of our sight and remembrance. The "fire, which had long burned in Albany, is extinguished. "The bloody bed is washed clean, and the tears are wiped "from our eyes. We now renew the covenant chain of "friendship. Let it be kept bright, and clean as silver, " and not suffered to contract any rust. Let not any one pull away his arm from it." Colden's Hist. of the five Indian Nations. The principal tropes are Metaphor, Simile, Allegory, Hyperbole, Irony, Synecdoche, and Metonymy. The principal figures are Interrogation, Prosopopëia, Apostrophe, Antithesis, and Climax. Examples of these tropes and figures will be drawn, principally, from the SACRED SCRIPTURES:-those Sacred Scriptures, which, while they are revered as the Oracles of GOD, graciously communicated for the instruction and advantage of mankind in their highest and everlasting interests;-so ought they to be admired for the immense variety of thetorical beauties displayed in every page contained in them. The BIBLE, though commonly regarded as containing only lessons of morality and plain statements of facts, abounds with the most sublime images, and every ornament of which style is susceptible. § 1. Tropes. 1. A metaphor is founded on the resemblance which one object bears to another. It is nearly allied to simile or comparison, and differs from it, only in being expressed in a shorter form. Thus when we say of a man, that he acted like a lion, it is a comparison; but when we say he is a lion, it a metaphor. The Psalmist says, Thy word is a lamp unto my feet, and a light unto my path. Our Saviour is likened unto a vine, a lamb, a door, &c. and men are styled wolves, sheep, dogs, &c. St. Jude, in his epistle, ver. 12, 13. has a continuation of vehement metaphors, |