the speakers merely to modern eloquence; that is, to good sense, delivered in proper expression.
Perhaps it may be acknowledged, that our modern customs, or our superior good sense, if you will, should make our orators more cautious and reserved than the ancient, in attempting to inflame the passions, or elevate the imagination of their audience: But, I see no reason, why it should make them despair absolutely of succeeding in that attempt. It should make them redouble their art, not abandon it entirely. The ancient orators seem also to have been on their guard against this jealousy of their audience; but they took a different way of eluding it.14 They hurried away with such a torrent of sublime° and pathetic, that they left their hearers no leisure to perceive the artifice, by which they were deceived. Nay, to consider the matter aright, they were not deceived by any artifice. The orator, by the force of his own genius and eloquence, first inflamed himself with anger, indignation, pity, sorrow; and then communicated those impetuous movements to his audience.
Does any man pretend to have more good sense than JULIUS CÆSAR? yet that haughty conqueror, we know, was so subdued by the charms of CICERO’S eloquence, that he was, in a manner, constrained to change his settled purpose and resolution, and to absolve a criminal, whom, before that orator pleaded, he was determined to condemn.15
dSome objections, I own, notwithstanding his vast success, may lie against some passages of the ROMAN orator. He is too florid and rhetorical: His figures are too striking and palpable: The divisions of his discourse are drawn chiefly from the rules of the schools: And his wit disdains not always the artifice even of a pun, rhyme, or jingle of words. The GRECIAN addressed himself to an audience much less refined than the ROMAN senate or judges. The lowest vulgar of ATHENS were his sovereigns, and the arbiters of his eloquence.16 Yet is his manner more chaste° and austere than that of the other. Could it be copied, its success would be infallible over a modern assembly. It is rapid harmony, exactly adjusted to the sense: It is vehement reasoning, without any appearance of art: It is disdain, anger, boldness, freedom, involved in a continued stream of argument: And of all human productions, the orations of DEMOSTHENES present to us the models, which approach the nearest to perfection.d
Thirdly, It may be pretended, that the disorders of the ancient governments, and the enormous crimes, of which the citizens were often guilty, afforded much ampler matter for eloquence than can be met with among the moderns. Were there no VERRES or CATILINE, there would be no CICERO. But that this reason can have no great influence, is evident. It would be easy to find a PHILIP in modern times;17 but where shall we find a DEMOSTHENES?
What remains, then, but that we lay the blame on the want of genius, or of judgment in our speakers, who either found themselves incapable of reaching the heights of ancient eloquence, or rejected all such endeavours, as unsuitable to the spirit of modern assemblies? A few successful attempts of this nature might rouze the genius of the nation, excite the emulation of the youth, and accustom our ears to a more sublime and more pathetic elocution, than what we have been hitherto entertained with. There is certainly something accidental in the first rise and the progress of the arts in any nation. I doubt whether a very satisfactory reason can be given, why ancient ROME, though it received all its refinements from GREECE, could attain only to a relish for statuary, painting and architecture, without reaching the practice of these arts: While modern ROME has been excited, by a few remains found among the ruins of antiquity, and has produced artists of the greatest eminence and distinction. Had such a cultivated genius for oratory, as WALLER’Se for poetry,18 arisen, during the civil wars, when liberty began to be fully established, and popular assemblies to enter into all the most material points of government; I am persuaded so illustrious an example would have given a quite different turn to BRITISH eloquence, and made us reach the perfection of the ancient model. Our orators would then have done honour to their country, as well as our poets, geometers, and philosophers, and BRITISH CICEROS have appeared, as well as BRITISH ARCHIMEDESESf and VIRGILS.19,g
It is seldom or never found, when a false taste in poetry or eloquence prevails among any people, that it has been preferred to a true, upon comparison and reflection. It commonly prevails merely from ignorance of the true, and from the want of perfect models, to lead men into a juster apprehension, and more refined relish of those productions of genius. When these appear, they soon unite all suffrages in their favour, and, by their natural and powerful charms, gain over, even the most prejudiced, to the love and admiration of them. The principles of every passion, and of every sentiment, is in every man; and when touched properly, they rise to life, and warm the heart, and convey that satisfaction, by which a work of genius is distinguished from the adulterate° beauties of a capricious wit and fancy. And if this observation be true, with regard to all the liberal arts, it must be peculiarly so, with regard to eloquence; which, being merely calculated for the public, and for men of the world, cannot, with any pretence of reason, appeal from the people to more refined judges; but must submit to the public verdict, without reserve or limitation. Whoever, upon comparison, is deemed by a common audience the greatest orator, ought most certainly to be pronounced such, by men of science and erudition. And though an indifferent speaker may triumph for a long time, and be esteemed altogether perfect by the vulgar, who are satisfied with his accomplishments, and know not in what he is defective: Yet, whenever the true genius arises, he draws to him the attention of every one, and immediately appears superior to his rival.
Now to judge by this rule, ancient eloquence, that is, the sublime and passionate, is of a much juster taste than the modern, or the argumentative and rational; and, if properly executed, will always have more command and authority over mankind. We are satisfied with our mediocrity, because we have had no experience of any thing better: But the ancients had experience of both, and, upon comparison, gave the preference to that kind, of which they have left us such applauded models. For, if I mistake not, our modern eloquence is of the same stile or species with that which ancient critics denominated ATTIC eloquence, that is, calm, elegant, and subtile, which instructed the reason more than affected the passions, and never raised its tone above argument or common discourse. Such was the eloquence of LYSIAS among the ATHENIANS, and of CALVUS among the ROMANS.20 These were esteemed in their time; but when compared with DEMOSTHENES and CICERO, were eclipsed like a taper° when set in the rays of a meridian sun.° Those latter orators possessed the same elegance, and subtilty, and force of argument, with the former; but what rendered them chiefly admirable, was that pathetic and sublime, which, on proper occasions, they threw into their discourse, and by which they commanded the resolution° of their audience.
Of this species of eloquence we have scarcely had any instance in ENGLAND, at least in our public speakers. In our writers, we have had some instances, which have met with great applause, and might assure our ambitious youth of equal or superior glory in attempts for the revival of ancient eloquence. Lord BOLINGBROKE’S productions, with all their defects in argument, method, and precision,h contain a force and energy which our orators scarcely ever aim at; though it is evident, that such an elevated stile has much better grace in a speaker than in a writer, and is assured of more prompt and more astonishing success. It is there seconded by the graces of voice and action: The movements are mutually communicated between the orator and the audience: And the very aspect of a large assembly, attentive to the discourse of one man, must inspire him with a peculiar elevation, sufficient to give a propriety to° the strongest figures and expressions. It is true, there is a great prejudice against set speeches; and a man cannot escape ridicule, who repeats a discourse as a school-boy does his lesson, and takes no notice of any thing that has been advanced in the course of the debate. But where is the necessity of falling into this absurdity? A public speaker must know beforehand the question under debate. He may compose all the arguments, objections, and answers, such as he thinks will be most proper for his discourse.21 If