On the other hand it is emphatically part of his prosession and the undertaking which he makes in offering himself as a teacher of eloquence, to point out the merits of authors or, for that matter, any faults that may occur: and this is all the more the case, as I am not asking teachers to undertake the task of recalling their pupils to standat their knee once more and of assisting them in the reading of whatever book they may select.

It seems to me at once an easier and more profitable method to call for silence and choose some one pupil—and it will be best to select them by turns—to read aloud, in order that they may at the same time learn the correct method of elocution.

The case with which the speech selected for reading is concerned should then be explained, for if this be done they will have a clearer understanding of what is to be read. When the reading is commenced, no important point should be allowed to pass unnoticed either as regards the resourcefulness or the style shown in the treatment of the subject: the teacher must point out how the orator seeks to win the favour of the judge in his exordium, what clearness, brevity and sincerity, and at times what shrewd design and well-concealed artifice is shown in the statement of facts.

For the only true art in pleading is that which can only be understood by one who is a master of the art himself. The teacher will proceed further to demonstrate what skill is shown in the division into heads, how subtle and frequent are the thrusts of argument, what vigour marks the stirring and what charm the soothing passage, how fierce is the invective and how full of wit the jests, and in conclusion how the orator establishes his sway over the emotions of his audience, forces his way into their very hearts and brings the feelings of the jury into perfect sympathy with all his words.

Finally as regards the style, he will emphasise the appropriateness, elegance or sublimity of particular words, will indicate where the amplification of the theme is deserving of praise and where there is virtue in a diminuendo; and will call attention to brilliant metaphors, figures of speech and passages combining smoothness and polish with a general impression of manly vigour.

It will even at times be of value to read speeches which are corrupt and faulty in style, but still meet with general admiration thanks to the perversity of modern tastes, and to point out how many expressions in them are inappropriate, obscure, high-flown, grovelling, mean, extravagant or effeminate, although they are not merely praised by the majority of critics, but, worse still, praised just because they are bad.

For we have come to regard direct and natural speech as incompatible with genius, while all that is in any way abnormal is admired as exquisite. Similarly we see that some people place a higher value on figures which are in any way monstrous or distorted than they do on those who have not lost any of the advantages of the normal form of man.

There are even some who are captivated by the shams of artifice and think that there is more beauty in those who pluck out superfluous hair or use depilatories, who dress their locks by scorching them with the curling iron and glow with a complexion that is not their own, than can ever be conferred by nature pure and simple, so that it really seems as if physical beauty depended entirely on moral hideousness.

It will, however, be the duty of the rhetorician not merely to teach these things, but to ask frequent questions as well, and test the critical powers of his class. This will prevent his audience from becoming inattentive and will secure that his words do not fall on deaf ears. At the same time the class will be led to find out things for themselves and to use their intelligence, which is after all the chief aim of this method of training. For what else is our object in teaching, save that our pupils should not always require to be taught?

I will venture to say that this particular form of exercise, if diligently pursued, will teach learners more than all the text-books of all the rhetoricians: these are no doubt of very considerable use, but being somewhat general in their scope, it is quite impossible for them to deal with all the special cases that are of almost daily occurrence.

The art of war will provide a parallel: it is no doubt based on certain general principles, but it will none the less be far more useful to know the methods employed, whether wisely or the reverse, by individual generals under varying circumstances and conditions of time and place. For there are no subjects in which, as a rule, practice is not more valuable than precept.

Is a teacher to declaim to provide a model for his audience, and will not more profit be derived from the reading of Cicero or Demosthenes? Is a pupil to be publicly corrected if he makes a mistake in declaiming, and will it not be more useful, and more agreeable too, to correct some actual speech? For everyone has a preference for hearing the faults of others censured rather than his own. I might say more on the subject.

But every one can see the advantages of this method. Would that the reluctance to put it into practice were not as great as the pleasure that would undoubtedly be derived from so doing!

This method once adopted, we are faced by the comparatively easy question as to what authors should be selected for our reading. Some have recommended authors of inferior merit on the ground that they were easier to understand. Others on the contrary would select the more florid school of writers on the ground that they are likely to provide the nourishment best suited to the minds of the young.

For my part I would have them read the best authors from the very beginning and never leave them, choosing those, however, who are simplest and most intelligible. For instance, when prescribing for boys, I should give Livy the preference over Sallust; for, although the latter is the greater historian, one requires to be well-advanced in one's studies to appreciate him properly.

Cicero, in my opinion, provides pleasant reading for beginners and is sufficiently easy to understand: it is possible not only to learn much from him, but to come to love him. After Cicero I should, following the advice of Livy, place such authors as most nearly resemble him.

There are two faults of taste against which boys should be guarded with the utmost care. Firstly no teacher suffering from an excessive admiration of antiquity, should be allowed to cramp their minds by the study of Cato and the Gracchi and other similar authors. For such reading will give them a harsh and bloodless style, since they will as yet be unable to understand the force and vigour of these authors, and contenting themselves with a style which doubtless was admirable in its day, but is quite unsuitable to ours, will come to think (and nothing could be more fatal) that they really resemble great men.

Secondly the opposite extreme must be equally avoided: they must not be permitted to fall victims to the pernicious allurements of the precious blooms produced by our modern euphuists, thus acquiring a passion for the luscious sweetness of such authors, whose charm is all the more attractive to boyish intellects because it is so easy of achievement.

Once, however, the judgment is formed and out of danger of perversion, I should strongly recommend the reading of ancient authors, since if, after clearing away all the uncouthness of those rude ages, we succeed in absorbing the robust vigour and virility of their native genius, our more finished style will shine with an added grace: I also approve the study of the moderns at this stage, since even they have many merits.

For nature has not doomed us to be dullards, but we have altered our style of oratory and indulged our caprices over much. It is in their ideals rather than their talents that the ancients show themselves our superiors. It will therefore be possible to select much that is valuable from modern writers, but we must take care that the precious metal is not debased by the dross with which it is so closely intermingled.