invoking all nature. But in the majority of cases there are some after-scenes designed to bring the audience down from the excitement of the play to the calm of common life. The taste of the present day, however, seems opposed to this; for in stage representations of Shakespeare's plays his final scenes are generally omitted, and the piece ends abruptly with the catastrophe.

In comedy the conclusion often consists of a little tableau, with by-play and reference to the audience. This, however, is a modern device, and the action of such pieces generally terminates in the attainment of the wishes of the principal char

acters.

§ 405. IN ORATORY.

In oratory the conclusion is called the peroration. Its importance here is greater than in any other department of literature.

The following are the leading characteristics:

Ist. A brief summing up of the heads of arguments.

2d. The speaker enlarges upon some topic that has already been brought forward; or some general proposition; or the status itself.

3d. An appeal, exhortation, or other expression of emotion. 4th. Description.

Ist. The first of these is not often made use of in oratory. 2d. The conclusion is often an enforcement of some prominent topic.

Chatham concludes his speech on the Removal of Troops from Boston in this way :

"To conclude, my lords, if the ministers thus persevere in misadvising and misleading the king, I will not say that they can alienate the affections of his subjects from the crown, but I will affirm that they will make the crown not worth his wearing; I will not say that the king is betrayed, but I will pronounce that the kingdom is undone."

Burke concludes his speech on Conciliation with America in a well-known passage, of which the following are the opening

sentences:

"For that service, for all services, my trust is in her interest in the British Constitution, my hold of the colonies is in the close affection which grows from common names, from kindred blood, from similar privileges, and from equal protection. These are the ties which, though light as air, are as strong as links of iron."

The peroration of the same orator's speech against Warren Hastings ends with a series of sentences containing reiterated charges of impeachment.

In the speech on the Nabob of Arcot's Debts the peroration affirms that India, though a distasteful subject to some, is closely connected with the public interest and national reputation.

The peroration of Fox's speech on the East India Bill begins as follows:

"I shall now, sir, conclude my speech with a few words upon the opinion of the right honorable gentleman (Pitt). He says 'he will stake his character upon the danger of this bill.' I meet him in his own phrase, and oppose him character to character. I risk my all upon the excellence of this bill. I risk upon it whatever is most dear to me, whatever men most value -the character of integrity, of talents, of honor, of present reputation and future fame," etc.

Pitt closes his speech on Napoleon's Overtures by showing the reasons that exist to hope for success in the war.

Sir James Mackintosh, in his speech on Peltier, concludes by showing that as English juries had formerly done their duty in spite of the wishes of Cromwell, so now the jury should do justice, even if they should arouse the wrath of Napoleon.

3d. The peroration is sometimes directly expressive of emotion. Among the more striking characteristics of this class are the following:

A personal reference.

Erskine, in his speech on Gordon, takes it for granted that his cause is gained, makes a reference to himself, and accounts for his zeal on the ground of his sincerity.

An appeal.

Demosthenes concludes his speech on the Crown with a prayer to the gods to dispose the enemies of their country to better things, or, if they are incurable, to pursue them with destruction over sea and land.

Brougham concludes his speech on Parliamentary Reform in the same way. He warns the lords of the danger of delay, and implores them on bended knee not to reject the bill. His speech in behalf of Queen Caroline also concludes in this

way.

A warning.

Fox, in his speech on the Westminster Scrutiny, concludes with a warning to his enemies.

Defiance.

Cicero's second Philippic concludes with a strain of defiance which is summed up in the words

Sheridan on Warren Hastings terminates his speech with an expression of reliance upon the court and its justice.

Eulogy.

Burke concludes his speech on the East India Bill with a eulogy on Fox, which is strengthened by these words :

"An honorable friend of mine, speaking of his merits, was charged with having made a studied panegyric. I don't know what his was. Mine, I'm sure, is a studied panegyric, the fruit of much meditation, the result of the observation of nearly twenty years."

Exhortation.

This is common in sermons and in addresses to the jury. 4th. Description. The peroration frequently consists of some kind of description.

Fox concludes his speech on Napoleon's Overtures by a vivid description of the horrors of war.

Webster concludes his speech against Hayne by a descriptive passage anticipative of the horrors of civil war.

§ 406. THE DIFFERENT KINDS OF CONCLUSION.

In the next place, the conclusion is to be considered with reference to its own character, and may be analyzed into the following classes:

1. Those which refer to success or failure.

This is found in very many works of fiction, whether in prose, poetry, or the drama. It includes all those which end at the moment when success has been achieved in the accomplishment of desire, or ruin has fallen in the inevitable catastrophe.

2. Where emphasis is laid upon important propositions. This is found in many orations, and has been fully illustrated. It may also include abrupt or startling dénouements in works of fiction.

3. Retrospective. This is chiefly found in history. It includes all which consist of a summing up—as in oratory; and also those conclusions in fiction where the characters are all recalled for a final appearance or final mention.

4. Emotional. Under this class are comprehended many perorations, such as those above mentioned. It is also found not unfrequently in works of fiction, as when a novel, written to further some cause, terminates with an appeal in favor of such cause.

5. Descriptive. This is found in narrative writing of all kinds, and sometimes in oratory, as above illustrated.

R

PART V.

THE EMOTION S.

CHAPTER I.

THE BEAUTIFUL.

$407. THE INFLUENCE OF THE EMOTIONS IN LITERATURE.

THE influence of the emotions is as powerful in literature as in life. Men are guided not so much by reason as by passions, desires, or prejudices, and it is to these that the writer makes his most frequent and effective appeals. From these we may deduce the very origin of literature, which is supposed to appear at first as poetry in the form of religious hymns, inspired by such feelings as fear, veneration, or affection. Then follows narrative poetry, which displays the emotions in full force, as affecting the character and acts of men. Thus the intention of the Iliad is stated at the outset to be the wrath of Achilles; and that of the Odyssey is the return of Ulysses. In these poems there is the perpetual representation of human passion suited to every variety of character; the poet himself is subject to the power of the very feelings which he portrays; the hearer owns their sway; and both are swept onward by one common sympathy. Oratory arises at an early period, and in its origin and all its course is largely connected with the emotions. The speaker who should content himself with mere reasoning would find his argument as ineffective over a general audience as a mathematical proposition; it is only when he comes to his hearers with a glowing heart that he can properly affect them. Narrative in prose has the same connection with