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dently pronounce that no one production is introduced, which claims not our regard, by the brilliancy of its diction, or the solidity of its mat

ter.

Each speech of the collection is, moreover, headed by what are unambitiously termed "Prefatory Remarks," sometimes copious, and always of sufficient extent to furnish a prompt and luminious explanation of the circumstances of the case out of which the speech arose.

These introductory notices may, indeed, be consulted as sources both of instruction and amusement. They supply much information of a curious and interesting nature, not easily elsewhere to be obtained, and are occasionally interspersed with critical strictures, and political reflections, singularly acute, and inflexibly orthodox.

A work, which thus presents, in a form so attractive, the learning of the bar, the wisdom of the senate, and the eloquence of each, surely cannot require any other recommendation to the lawyer, politician, or polite scholar, than the mere annunciation of its contents. But there is one view in which we deem it our bounden duty to press the importance of this compilation. We allude to its affording the most correct models for the study of eloquence "to the rising genius of the country.” This point, has, however, been so ably urged by the Editor, in his general preface, that we shall be content to borrow what he has said respecting it.

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"Whether, he observes, we have regard to reputation or to utility, whether we wish to shine in private conversation, or in public speaking, the study of the finest models is vital to success. These are the guides, by which Genius must be directed, and without which the strongest intellect may fruitlessly or deviously employed. It has been no less justly than elegantly asserted by an admirable instructor of the most correct and delicate taste in the liberal arts, and who rigorously observed his own maxims, that an implicit obedience to the rules of art, as established by the Great Mas. ters, should be exacted from the juvenile student. When Genius has received its utmost improvement, rules may possibly be dispensed with. But let us not destroy the scaffold until we have raised the building.'

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"These are precepts, which seem no less applicable to the study of eloquence. They are, at least, the precepts which are enjoined by the highest authority of antiquity. Both Cicero and Quintilian exhort their pupils to adhere to the established models, lest they fall into a wild licentiousness of taste.

Poeta nascitur orator fit The orator is the creature of education.

* Sir Joshua Reynolds.

By a system of rhetorical discipline, Bolingbroke and Pultney, Murray and Pitt, Lyttleton and Burke, Townsend and Fox attained their glorious preeminence and alternately at the desk or the toilet, in conversation or in council, were able to convince, to persuade, to dazzle, and to delight.

"The student, who, with a mixture of enthusiasm and industry, shall "meditate" the contents of this work can hardly fail to acquire the habit of conversing and speaking with elegance and energy.

"Whatever tends to improve, or widen the dominion of speech cannot be an object of indifference to a free people. Eloquence has always been admired and studied, but never with more ardour and success, than by republicans. It engages particularly their attention, because it opens to them the widest avenue to distinction. Compared to it, the influence of the other attributes, which elevate to rank, or confer authority, is feeble and insignificant. In Greece and Rome it rose, by assiduous culture, to the loftiest pitch of refinement, and the history of those Commonwealths confirms, by innumerable proofs, the truth, that 'Eloquence is power.'

"But nowhere has a condition of things prevailed holding out stronger incitements to its acquirement, or more auspicious opportunities for its profitable exertion than in the United States. In the peculiar construction of our political institutions, there are advantages to the orator, which did not belong even to the ancient democracies. The complex fabric of our federative system has multiplied beyond the example of any government, legislative assemblies, and judiciary establishments: each of which is not only a school of eloquence, but a field yielding an abundant harvest of fame and emolument. It is indeed in our Republic a never-failing source both of honour and riches. Without the charmful power of fluent speech, no man, however ambitious, can expect very ample or lucrative practice at the bar, or an elevated seat in the Senate. The road to political preferment is nearly impassable to all but the rhetorical adventurer. A silent lawyer has but few fees, and narrow is the congregation of a hesitating divine. Eloquence,' in the language of a favourite friend, may truly be considered in every country, where the freedom of speech is indulged, a synonimous with civic honours, wealth, dignity and might. In the last particular, its potency is that of a magician. It wields at will our fierce democracie.' It shakes "the arsenal," and thunders to the utmost verge of our political sky, as Demosthenes

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"Fulmined over Greece

To Macedon and Artaxerxes' throne."

The volumes, now published, are understood to complete that portion of the work which is appropriated to the eloquence of Europe. But the editor promises, at a future period, not too remote, to add to the collection a volume of American speeches, and intimates, if he re

* Mr. Dennie.

ceive adequate encouragement, to continue, at proper intervals, the.

series.

“Eager,” says he, “to vindicate the insulted genius of my native land, I am sensible in no way can it be done more successfully than by exhibiting its eloquence. For if our writers form but a small company, the regiment of our speakers is full. It may be safely affirmed, that since the Athenian democracy, with no people has the talent of public speaking so generally prevailed. Eloquence of the highest order and purest kind we may not have attained. But though we have not emulated those lofty strains, and brilliant effusions, which the ancient specimens display, or are to be seen in some of the spirited harangues that the momentous events of modern Europe have inspired, yet, in that style of oratory, which shines, without dazzling, and charms, rather

than excites astonishment or kindles enthusiasm, we are

extensively gifted

and eminently excel. There have been, perhaps, brighter luminaries, but not a greater constellation. Collectively, we are entitled to boast of as much elo

quence, as has been exhibited in any age or country."

These observations contain sound criticism, and are elegantly expressed. We hope the Editor will speedily redeem the pledge, which he has given to the public, and that he may be induced, by a liberal tronage, to proceed in his design of preserving the eloquence of his country. Such a work is wanted, and no one will execute it with more

ability.

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We shall close this article, by presenting to our readers the final paragraph of the Editor's preface, not only as a piece of very animated and eloquent composition, but more especially as illustrating his unas

piring modesty.

"I trust," says he, " perhaps too sanguinely, that though the contents of this compilation may not equal extravagant expectations, yet, at least, that the industry it displays may deserve public favour. A splendid specimen of Claude, is a beautiful picture which will affect us, however it be disposed. oratory, like one of the cartoons of Raphael, or one of the landscapes of Materials, such as form the basis of this work, must have their value under the hand of the humblest workman. Here, as we alternately mark the pure style, and purer doctrines of Pitt, the rapid elocution of Fox, the variegated imagery of Burke, the meteor scintillations of Curran, the pungent sarcasms

of Sheridan, and the benignant sentiments of Wilberforce,

we discover now

the vigour of Hercules, and now the frolic of a Bacchant, with all the delightful shapes of mental grace and beauty."

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THE DRAMA-FOR THE PORT FOLIO.

SHAKSPEARE'S MERRY WIVES OF WINDSOR.

THE Merry Wives of Windsor is said to have been written in fourteen days. This tradition is so favourable to the genius of its author and so truly indicative of the rapidity of his conceptions, and his facility of composition, that the admirers of Shakspeare are unwilling to believe it without foundation. The Telemachus of Fenelon was completed with scarcely an erasure in three months. Why then may not a comedy of little comparative length, reflection, or research, have been the fruit of a much shorter period of labour, when it came from an author preeminent for the magical rapidity with which the execution always followed his design. The play too bears with it those characteristicks of genuine humour which never could have been produced by laborious exertions, and which would have been destroyed by any efforts of correction or ornament.

It seems to be understood that this comedy was written by the direction of Queen Elizabeth. If so, it proves that true genius will triumph though controlled in its direction, and contradict the belief that the productions of fancy must be spontaneous to be excellent. Like all others who had an opportunity to form an opinion, the Queen had been delighted with the character of Falstaff. She had seen in him a representation perfectly unexampled on the stage, and a uniform consistency of character from which the author had never deviated. His prominent and distinguishing traits had been fully exhibited. He had been delineated avaricious, yet profligate; boastful, yet cowardly; abandoned, yet hypocritical; and unfeeling, yet sensual: an assemblage of vices apparently inconsistent, though united without a violation of nature in hiss gross person. The part appeared to be exhausted, and no one but herself wished for an alteration. But the virgin Queen, influenced perhaps by a capriciousness of disposition, which slanderous history has ascribed to her, or perhaps prompted by a curiosity which a no less slanderous world has attributed to the sex, or yet perhaps anxious to learn something of a passion which she was not calculated to feel, insisted upon seeing her fat favourite in

ove.

Here was an undertaking worthy of the genius of Shakspeare. alstaff in love! Falstaff! whose heart, if he ever had any, must have been dissolved in an ocean of sack, and whose feelings, if Nature had been bountiful enough to bestow them, must have been destroyed his habits of profligacy and debauchery! But a Queen had commanded, and Shakspeare must obey. He could describe to admirathe gentle Romco sighing forth his very soul with passion; he VOL. II.

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could convert the stern Othello, who knew little of the world "more than pertained to feats of broils and battle," he could convert him into a tender lover, and he could even infuse a fervent adoration into the heart of Benedick. With these no change of nature was required; the hero's soul could soften, and the careless soldier could be made to feel: but to make Falstaff love would have been to elicit gold from the basest eartlis. Shakspeare was too perfect a master of nature not to know that love, properly so called, was perfectly inconsistent with the character he had drawn; that the infamous debauchee whose whole soul was concentered in a cup of sack, must lose all his interest, his humour, his peculiarities, and his comic vices, if he displayed a single symptom of love. Since, then, it could not be fully effected, his object was to comply with the wishes of his patroness as nearly as he could; and after enlivening the scenes of the two Henrys, and surpassing in interest even Hotspur and the Prince of Wales, Falstaff was again in

the

troduced upon stage.

He still appeared the boasting Bobadil, the hoary profligate, and the unfeeling sensualist; but he appeared with variety though not with change; he no longer associated with Princes even in disgraceful obscurity, but met hand in hand with fellows of his own complexion, among whom he felt no restraint, and among whom, of course, a fuller development of character could be made. These characters are all auxiliary to the display of Falstaff; they are probably created as pillars to the edifice, as figures to complete the original design; but Falstaff is the life, the spirit, the soul of the comedy: the play was

made for Falstaff, and not Falstaff for the play.

As the players do not keep counsel, Sir John very candidly unfolds his own character and that of his companions. On Pistol's application

to him for money after their quarrel, he replies:

I have been content, Sir, you should lay my countenance to pawn: I have grated upon my good friends for three reprieves for you and your coach-fellow Nym: or else you had looked through the grate like a geminy of baboons. I am damned in hell, for swearing to gentlemen my friends, you were good soldiers and tall fellows: and when mistress Bridget lost the

handle of her fan, I took't upon my honour thou hadst it not.

Pistol. Didst thou not share? Hadst thou not fifteen pence?
Falstaff. Reason, you rogue, reason:

Thinkst thou I'll endanger my

soul gratis? At a word, hang no more about me, I am no gibbet for

you:

not bear a letter for me you rogue!-You stand upon your honour! Why go-a short knife and a throng :-to your manor of Pickt-hatch, go-You'll thou unconfinable baseness, it is as much as I can do, to keep the terms of my honour precise. I, I, I myself sometimes leaving the fear of heaven on

the left hand, and hiding mine honour in my necessity, hedge, and to lurch," &c.

am fain to shuffle, to

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