that relate entirely to another, but just so far as is necessary to give a clearer knowledge of the subject in hand.

2. Let every complicated idea be divided into its distinct single parts, as far as the nature of the subject and your present design require it. Though you must not abound in needless subdivisions, yet something of this work is very necessary. Thus, if we say, that a poet must possess great powers; we express an idea, complicated or compounded of many others; therefore, if this complicated idea be material to our discussion, we should divide or explain it, by enumerating the several powers of which a poet must be possessed, viz. brilliant genius, profound and acute observation, deep learning, great command of language, &c. &c.

3. Keep each part of the subject in its own place. Put those things all together that belong to one part or property, one consideration or view of your subject. This will prevent needless repetitions, and keep you from intermixing things which are different. We must maintain this distinction of things and places, if we would be safe from error. It is confusion that leads us into endless mistakes, which naturally arise from a variety of ideas ill-joined, sorted, or ill-disposed.

4. In the partition of your discourse into distinct heads, take heed that your particulars do not interfere with each other.

Rule 29. Your method must be full without deficiency, and it must be short, or without superfluity. The fullness of a discourse enlarges our knowledge, and the well-concerted brevity saves our time.

Have a care of tedious prolixity, or drawing

out any part of your discourse to an unnecessary and tiresome length. It is much more honourable for an instructor, an orator, a pleader, or a preacher, that his hearers should say, "We were afraid he would have done," than that they should be tempted to show signs of uneasiness, and long for the conclusion. Do not multiply explanations where there is no difficulty, or darkness, or danger of mistake.

Be not fond of proving those things which need no proof, such as self-evident propositions and truths universally confessed, or such as are entirely agreed to and granted by your opponents.

As there are some things so evidently true, that they want no proof, so there are others so evidently false, that they want no refutation. It is mere trifling, and a waste of our invaluable time, to invent and raise such objections as no man would ever make in earnest, and that merely for the sake of answer. ing and solving them; this breaks in notoriously upon the due brevity of method.

Do not suffer every occasional and incidental thought to carry you away into a long parenthesis, and thus to stretch out your discourse, and divert you from the point in hand.

A man, who walks directly but slowly towards his journey's end, will arrive thither much sooner than his neighbour, who runs into every crooked turning which he meets, and wanders aside to gaze at every thing that strikes his eyes by the way, or to gather every gaudy flower that grows by the side of

the road.

To sum up all: there is a happy medium to be observed in our method: so that the brevity may not render the sense obscure, nor the argument feeble, nor our knowledge merely superficial; and on the other hand, that the fullness and copiousness of our method may not waste the time, tire the hearer, or fill the mind with trifles and impertinences.

Rule 30.-All the parts of an argument should be well connected; and these few short directions will probably suffice for this purpose:

Keep your main end and design ever in view, and let your discourse have a tendency towards it, and as far as possible make that tendency visible all the way otherwise the hearers will have reason to wonder for what end this or that particular was introduced.

Let the mutual relation and dependence of the several branches be so just and evident, that every part may naturally lead onward to the next, without any huge chasms or breaks, which interrupt and deform the scheme. The connection of truths should arise and appear in their successive ranks and order, as the several parts of a fine prospect ascend just behind each other, in their natural and regular elevations and distances, and invite the eye to climb onward with constant pleasure till it reach the sky. Whatsoever horrid beauty or sublimity a precipice or a cataract may add to the prospect of a country, yet such sort of hideous and abrupt appearances in a scene of reasoning are real blemishes and not beauties. When the reader is passing over such a treatise, he often finds a wide vacancy, and makes an uneasy stop, and knows not how to transport his thoughts over to the next particular, for want of some clue or connecting idea to lay hold of.

Finally, where the ideas, propositions, and arguments, are happily disposed, and well connected, the truth is secure; nevertheless, the discourse becomes much more agreeable, when proper and graceful expression joins the parts of it together in an inviting and entertaining manner.

STYLE OF LANGUAGE.

Having thus prescribed a plain and easy discipline for reasoning, this, in addition to the preceding instructions for delivery, discrimination and retention, would render the present system complete. But, in order to give the student every possible assistance in his attempts to attain true oratory, the following instructions are added, to aid him in the acquisition of correct and elegant phraseology.

Rule 31. Make no effort at elegance of expression, until strict accuracy of language shall have been obtained.

Strict accuracy of language includes, not only a faithful observance of all the rules of grammar, but a rigid attention to perspicuity.

It has already been suggested, that no one should attempt the art of public speaking, who has not previously attained a practical knowledge of grammar, and facility in written composition. But as there may be many who consider themselves thus qualified, and nevertheless, unconsciously, practise many violations of perspicuity, rules are here given to assist them in obtaining an accurate style.

It is to be hoped that no one will disregard so important a branch of literary composition, whether written or oral. Perspicuity is the fundamental quality of style; a quality so essential in every kind of writing, that for the want of it nothing can atone. It is not to be considered as merely a sort of negative virtue or freedom from defect. It has higher merit it is a degree of positive beauty. We are pleased with an author, and consider him deserving praise, who frees us from all fatigue of searching for his meaning; who carries us through the subject

without any embarrassment or confusion; whose style flows like a limpid stream, through which we see to the very bottom.

The study of perspicuity and accuracy of expression consists of two parts: first, to single words and phrases; and then to the construction of sentences. These qualities of style, considered with regard to words and phrases, require the following properties: purity, propriety, and precision.

Rule 32. Use such words and such constructions as belong to the idiom of the language which we speak; and reject words and phrases that are taken from other languages, or that are ungrammatical, obsolete, new coined, or used without proper authority.

Rule 33.-Select such words as the best usage has appropriated to those ideas which we intend to express.

Rule 34.- Avoid low expressions, such as helter skelter, stark staring mad, &c.

Rule 35. Do not use the same word too frequently, nor in different senses.

Rule 36.- Avoid the injudicious use of technical terms.

Rule 37.-Avoid equivocal or ambiguous words.

Thus, if it were said-"Richard promised his father never to abandon his friends," it would not appear, whether the friends of Richard or those of his father were meant.