tems of general rhetoric as one of those which give specific character to discourse and furnish the grounds of classification, is to be attributed mainly to the fact that in deliberative and judicial eloquence this can seldom if ever be proposed as a leading object, and such systems have been constructed chiefly in reference to those departments of oratory.

In forensic speaking, however, excitation often enters in a subordinate office; and there continues subject to its own regulating principles, although modified somewhat by the controlling aim of such discourse. Indeed, as has been observed elsewhere, the various forms of oratory, as explanation, confirmation, excitation, and persuasion, often mingle together, each retaining its characteristic features in the same discourse; while, still, it remains true that one or the other must in every case predominate and give character to the whole discourse, and the others be only subservient to this main design.

$ 189. The work of excitation is accomplished either by the appropriate presentation of the object of feeling merely, or by this combined with the power of sympathy.

The two departments of excitation are, accordingly, PATHETIC EXPLANATION and the EMPLOYMENT OF SYMPATHY.

The feelings, like the intellect, belong to the spontaneities of the mind; and are only indirectly controlled by the will. They move necessarily more or less on the presentation of their appropriate objects. They are, nevertheless, as phenomena of the same mind, subject to an influence from the will and the understanding, as well as from the general tone and habits of the mind.

It will sometimes be necessary in excitation to prove a

fact or truth. But this process is only incidental; whereas explanation is the direct means of awakening feeling.

$ 190. The more general unity of the discourse in excitation will consist in the singleness of the theme; the narrower unity, in the singleness of the feeling or affection to be addressed.

It will be observed that the theme as well as the feeling addressed, may be individual or generic; may embrace a single object or a class of objects. Generally, where the feeling to be excited is made the germ of development, the theme will embrace the several particulars addressed to the feeling.

It is of importance to distinguish carefully between the theme and the feeling addressed in excitation. They are not unfrequently confounded in popular discourse. We say, thus, in loose language, that the subject or theme of a discourse, the design of which is to awaken "hope,' is the affection itself—hope. Properly speaking, this is the object of the discourse, while the theme embraces the considerations presented for the purpose of awakening the affection.

$191. The form of the discourse in excitation will vary according as the theme or the feeling addressed, is made the germ of the development. If the feeling addressed furnish the germ, the discourse will be more purely excitatory in its character; if the theme, the discourse will have more of an explanatory form.

In a pulpit dircourse, thus, the passion of Jesus Christ might be exhibited as a single fact fitted to excite various emotions, as of gratitude, love, confidence. In this case the development of the discourse would more naturally spring

from the particular feelings addressed. They would consti tute accordingly the leading heads of the discourse.

On the other hand, the same fact might be exhibited as bearing, in several distinct aspects, on a single emotion or grace of character. Then these several aspects of the fact would more naturally furnish the ground of distribution and arrangement in the discourse.

So in Panegyrics, sometimes, the character as one complex whole or a single feature is presented with the design of moving the affections generally; and sometimes a single affection is addressed by the exhibition of such traits as are adapted to awaken it.

§ 192. In excitation it is more necessary than in explanatory or argumentative discourse to have regard to the feelings of those addressed; since ignorance or mistake here may occasion an entire failure in the very object of the discourse.

§ 193. The mind addressed may be either favorable or unfavorable or indifferent in respect to the object of the speaker.

If the mind be favorable or indifferent, the object may be directly presented with exhibitions of feeling corresponding in degree to the state of feeling in the hearer.

§ 194. If the mind addressed be influenced by a feeling opposed to that which the speaker desires to awaken, great caution is necessary in undertaking to remove it, as a direct opposition will generally only irritate or inflame it the more.

The allaying of such unfavorable feeling may be accomplished indirectly by first exhibiting such views

of the object as will not so directly oppose the existing state of feeling and then, as interest shall be awakened, by passing gradually to other views more favorable to the object of the speaker.

Or other feelings, in their nature incompatible with those to be allayed, and yet not directly opposed to them, may be awakened and thus the unfavorable feelings be displaced.

The speeches of Anthony in the Julius Cæsar of Shakspeare furnish fine exemplifications of the first of these methods of allaying an unfavorable state of feeling. Anthony finds. the populace triumphing over the death of Cæsar and cheering the conspirators. He does not at once present himself in opposition. He appears, at first, as the friend of Brutus. He disclaims all intentions of praising Cæsar. He thus gets their attention; fixes it on Cæsar and then proceeding to speak of his faults gradually passes to defend his character, at the same time, mingling in high professions of respect for the conspirators, till finally, the rage of the hearers at Cæsar's usurpations and tyranny having been allayed, he presents the proper matter for turning their feelings in the opposite direction, and leaves them clamoring furiously for the destruction of all Cæsar's enemies.

In Brutus' speech just preceding, the second of the methods indicated is exemplified, and the love of the populace for Cæsar is artfully displaced by their love to their country; a sentiment, as here exhibited, incompatible with attachment to Cæsar

CHAPTER II.

OF THE THEME IN EXCITATION.

$195. As the theme in excitation is a conception, § 123, it must ever appear under that form.

If, consequently, a judgment or truth be presented as the object in reference to which the feelings are to be viewed, it will appear in the form of a dependent and not of a principal clause.

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Generally language will allow the expression of a fact or truth, when used as a theme, in discourse, either in the form of a verb or of a noun. We may equally represent the theme, the death of Christ," under this form or under the form, "That Christ died." The latter form turns the mind more directly and unequivocally on the fact as an actual occurrence; and, when this is desired, this form is preferable to the other.

It is of advantage to represent the theme in its appropriate form; as, otherwise, the mind might unconsciously be drawn off to a proof of the fact or truth instead of a simple exhibition of it for the purpose of exciting feeling.

§ 196. The theme, in excitation, farther, must embrace the object of the feeling addressed.

Although men may, possibly, be excited to a blind passion, so to speak, that is, be aroused by sympathy or otherwise in reference to no distinctly apprehended object, it can yet never be regarded as a proper aim of rational discourse to produce such unintelligent excitement. It is true, indeed, that the passions never move, except as addressed through the intellect, and even in the ravings of a mob there is some intellectual perception, still rational discourse will not