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cannot understand the eighteenth century so long as we suppose that rhetoric is artificial because it is artistic. We do not fall into this folly about any of the other arts. We talk of a man picking out notes arranged in ivory on a wooden piano "with much feeling," or of his pouring out his soul by scraping on cat-gut after a training as careful as an acrobat's. But we are still haunted with a prejudice that verbal form and verbal effect must somehow be hypocritical when they are the link between things so living as a man and a mob. We doubt the feeling of the old-fashioned orator, because his periods are so rounded and pointed as to convey his feeling. Now before any criticism of the eighteenth-century worthies must be put the proviso of their perfect artistic sincerity. Their oratory was unrhymed poetry and it had the humanity of poetry. It was not even unmetrical poetry; that century is full of great phrases, often spoken on the spur of great moments, which have in them the throb and of song, as of a man thinking to a recurrence 195