Columbus Democrat. [volume] (Columbus, Miss.) 18??-18??, 1852-07-17

er than the luic, and yet oyeIpowering as The
storm upon the mountain. All his efforts must
accord with circumstances, and must harmonzs
with one another. In the selection Of his theme,
he must consult the occasion; in the style of his
he must consult the theme in his
manner be must consult the ST. Of composition.
In these there must be an amiable concord, or the
will offend some fne' impulse.
Such. gentlemen, is the fitting out which ma
tarss man should have in bis plan, youth; and
such Is asked Of every hearth stone.
Bot let US descend to particulars and mention
some few gRrlng vices, which the want Of These
tools lead into, and make It important to avoid.
lst. Above all things, If you would win the
praise Of eoqueuce, diligently avoid afiectalion.
Ii is only necessary to call your attention 10 every
day occurrences, where you see monkey-lke, Is
caugh, another's living voice, with all its inIona'
tons, and mimics all his motions, even 10 bis
very Iefk of head and blink Of eye.
AhtcIalion it is offensive as hypocrisy. It
mist he avoided or there will be no hope Of gain
neg popular appreciation and applause No e1'
cellcuees, or combination Of exceences, can ia
the pubic estimation, redeem you from ne curse,
It Is known to be so eminently hateful, that It Is
ndalged IA. only in supposed concsament. But
t cannot be concealed. 1t is instantly discerhed
N the voice and manner Of an entire stranger
whatever may be his efforts TO conceal II. 1t Il
q species OF counterfeit which requires no wit
ness to expose. Nature herself abhors Il. II
fIars violence to hcr well arranged economy by
which she varies the shades of human charac-
ter; by which as our common mother she I'M
presses each child with is proper features ~
presiess Of The family weds us TO the gift ani
iorhds US 10 put asundor what she has joined ti'
n u. s1n may n
deed permit divorce, but will take just re-
venge by marking our yisage with the sign OF ~.
confluence.
Oh how painful to see the fire Of genius burn
ing in The soul and no oals at hand to chIscl ouJ
The road clear Of the breakers OF imitation
But what il may be asked, is the design
of defamation If II does not aim to repu
dints naturel We answer It's design is to coa-
vert us back to nature, from whence We has
eoped. and make rs her disciples. II is an er.
ror 70 suppose that debut upon the stage
made in natures style, and hat It's errors o.
her vices. Compare the awkward dnlncss
the young decaimer, with his eloqueuf
menee amid exciting spous, when vi
soul Of fire he rouses his young playm
YOU will sec that nature is the voice aud
eloquence. Reject nature, then, for an Ell
imitation of that which nature never made =
and YOU will indeed amuse the public mind bn
The amusement of that mind will be tho delight
in The ridiculous.
an5. Another error of no small magnitude, Is
excessive and violent action. Action Is empha~
sis addressed to the eye. To render il impress
i've Il must be both rare and graceful. II Il be
displayed in every sentence, Il becomes insipid
and offensive. To vary the river scenery an
occasional rush Of water Is delightful but cur
rent generally placid is what mparls interest TO
The cataract. II were better the speaker should
never raise hand than keep II in an eternal
rage Of action.
Shak speare warns the actor ''noi TO oversiep
the modesty Of nature" Shall the stage regard
the modesty of nature, and every thing else avoid
aud deride in Or has nature now fallen into
her doage, lot her charms, and cast away the
modesty Of her youth This we might suspect,
when we see speaker, display TO his audience
variety Of Jerks, which threaten the violent
dislocation of his members; whan in thousand
acute angles, be seems to ape the zlg-zag lieht-
ming. and manfIlly wars and struggles with The
elements TO eGpel them from the surrounding
space This raging manner is never, or scarce
~ ever commendabe. No height Of passion can
sanction It. The deepest emotions OF the soul
are not thus displayed 10 advantage. Such emo
ions should appear to the audience under an ap-
nareui effort at concealment. They should seem
10 be partially exposed because concealmenl was
impossible. For this the counicnance, and es-
pecially the eye, mus, become the reporter oi he
passions.
The most moving strains Of eloqnenee TO which
man ever listened, were accompanied with lw
graceful gestures, bu, music like heaven howed
from his lips, while passion glowsd in every 'e@-
ure. like ihe glare Of feTyid Lightning IN The lace
Of The cloud.
Ard. And The last error we shall notice COM
mon 10 the uninitiated, is boisierors delivery -,
This certainly Is foe to eloquenee. 1t mistakes
human nature. Il is intended as an evidence oi
deem emotion, bot i is rather the evidence oi he
want of IT, Slight emotion Is gauulous and
boiserous Bot when il becomes deep and Ter
yid and is permitted 10 flow of in natures o"n
channel. # is not IN way tha' causes loud eR-
,Io.ions. "He was 70 effected that he could not
speak.r is hint that should not be lost bois-
ferrous speaking is sometimes practised 70 rase
emotion in The speaker, but i qnenches falbef
man lights 10 the fame. Il is every way hurt
bl If there be passion, u ethausis mere o.
poos. II prsvenfs h. An effectaion Of Il u iaken
b, byooerisy. and arms the bearer with an inFln-
e,lIe resolution 10 resist al argument ana ai'-
peal.
Shakespeare insists that in ihs ''veFy whiriS .nd
of pas.ion. tbe speaker must temper is expression
in,. smoo,hne.s." u this he gave uilerancs @
na,urs- Il oiT.nds ihs very sOul, TO bear robust
fsi.ow lear passion into taiisrs." The lalsloni
Iii a. ths person arpesr 70 some advantage
A.. L.i,g concealed. Reveal bat lhhe ard t
! I'm he more winning than eu'ire exposure. =
,,a-.,,rous delivery s uniriendly 20 all ihe ai.n-
tg,,,. Of oralorg. Il breeds graceisss a1aea.
,,ghis,ies words. ssb,ncis thoughts, con.asss
,rvuneni. and in a word, begeis a.most ever
,ies Of composition and delivery.
These tOu viii admit gentlemen, are some os
= -. A.. - tk.s tkex shoud L..