of milk as we say, who is a house-warmer, with his obvious honesty and good meaning, and a hue-and-cry style of harangue, which inundates the assembly with a flood of animal spirits, and makes all safe and secure, so that any and every sort of good speaking becomes at once practicable. I do not rate this animal eloquence very highly; and yet, as we must be fed and warmed before we can do any work well, even the best, so is this semi-animal exuberance, like a good stove, of the first necessity in a cold. house.

Climate has much to do with it,-climate and race. Set a New Englander to describe any accident which happened in his presence. What hesitation and reserve in his narrative! He tells with difficulty some particulars, and gets as fast as he can to the result, and, though he cannot describe, hopes to suggest the whole scene. Now listen to a poor Irishwoman recounting some experience of hers. Her speech flows like a river, - so unconsidered, so humorous, so pathetic, such justice done to all the parts! It is a true transubstantiation,— the fact converted into speech, all warm and colored and alive, as it fell out. Our Southern people are almost all speakers, and have every advantage over the New

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England people, whose climate is so cold that 't is said we do not like to open our mouths very wide.' But neither can the Southerner in the United States, nor the Irish, compare with the lively inhabitant of the south of Europe. The traveller in Sicily needs no gayer melodramatic exhibition than the table d'hôte of his inn will afford him in the conversation of the joyous guests. They mimic the voice and manner of the person they describe; they crow, squeal, hiss, cackle, bark, and scream like mad, and, were it only by the physical strength exerted in telling the story, keep the table in unbounded excitement. But in every constitution some large degree of animal vigor is necessary as material foundation for the higher qualities of the art.

But eloquence must be attractive, or it is none. The virtue of books is to be readable, and of orators to be interesting; and this is a gift of Nature; as Demosthenes, the most laborious student in that kind, signified his sense of this necessity when he wrote, "Good Fortune," as his motto on his shield. As we know, the power of discourse of certain individuals amounts to fascination, though it may have no lasting effect. Some portion of this sugar must intermingle. The right eloquence needs no bell to call the

people together, and no constable to keep them. It draws the children from their play, the old from their arm-chairs, the invalid from his warn chamber: it holds the hearer fast; steals away his feet, that he shall not depart; his memory, that he shall not remember the most pressing affairs; his belief, that he shall not admit any opposing considerations. The pictures we have of it in semi-barbarous ages, when it has some advantages in the simpler habit of the people, show what it aims at. It is said that the Khans or story-tellers in Ispahan and other cities of the East, attain a controlling power over their audience, keeping them for many hours attentive to the most fanciful and extravagant adventures. The whole world knows pretty well the style of these improvisators, and how fascinating they are, in our translations of the Arabian Nights. Scheherezade tells these stories to save her life, and the delight of young Europe and young America in them proves that she fairly earned it. And who does not remember in childhood some white or black or yellow Scheherezade, who, by that talent of telling endless feats of fairies and magicians and kings and queens, was more dear and wonderful to a circle of children than any orator in England or America is now?'

The more indolent and imaginative complexion of the Eastern nations makes them much more impressible by these appeals to the fancy.

These legends are only exaggerations of real occurrences, and every literature contains these high compliments to the art of the orator and the bard, from the Hebrew and the Greek down to the Scottish Glenkindie, who

Homer specially delighted in drawing the same figure. For what is the Odyssey but a history of the orator, in the largest style, carried through a series of adventures furnishing brilliant opportunities to his talent? See with what care and pleasure the poet brings him on the stage. Helen is pointing out to Priam, from a tower, the different Grecian chiefs. "The old man asked: 'Tell me, dear child, who is that man, shorter by a head than Agamemnon, yet he looks broader in his shoulders and breast. His arms lie on the ground, but he, like a leader, walks about the bands of the men. He seems to me like a stately ram, who goes as a master of the flock.' Him answered Helen, daughter of Jove, 'This is the

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wise Ulysses, son of Laertes, who was reared in the state of craggy Ithaca, knowing all wiles and wise counsels.' To her the prudent Antenor replied again: 'O woman, you have spoken truly. For once the wise Ulysses came hither on an embassy, with Menelaus, beloved by Mars. I received them and entertained them at my house. I became acquainted with the genius and the dent judgments of both. When they mixed with the assembled Trojans, and stood, the broad shoulders of Menelaus rose above the other; but, both sitting, Ulysses was more majestic. When they conversed, and interweaved stories and opinions with all, Menelaus spoke succinctly, few but very sweet words, since he was not talkative nor superfluous in speech, and was the younger. But when the wise Ulysses arose and stood and looked down, fixing his eyes on the ground, and neither moved his sceptre backward nor forward, but held it still, like an awkward person, you would say it was some angry or foolish man; but when he sent his great voice forth out of his breast, and his words fell like the winter snows, not then would any mortal contend with Ulysses; and we, beholding, wondered not afterwards so much at his aspect.'" Thus he does not fail to arm Ulysses

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