We 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 recurrence of song, as of a man thinking to a tune. Nelson's "In honour I gained them, in honour I will die with them," has more rhythm than much that is called _vers libres_. Patrick Henry's "Give me liberty or give me death" might be a great line in Walt Whitman. It is one of the many quaint perversities of the English to pretend to be bad speakers; but in fact the most English eighteenth-century epoch blazed with brilliant speakers. There may have been finer writing in France; there was no such fine speaking as in England. The Parliament had faults enough, but it was sincere enough to be rhetorical. The Parliament was corrupt, as it is now; though the examples of corruption were then often really made examples, in the sense of warnings, where they are now examples only in the sense of patterns. The Parliament was indifferent to the constituencies, as it is now; though perhaps the constituencies were less indifferent to the Parliament. The Parliament was snobbish, as it is now, though perhaps more respectful to mere rank and less to mere wealth. But the Parliament was a Parliament; it did fulfil its name and duty by talking, and trying to talk well. It did not merely do things because they do not bear talking about--as it does now. It was then, to the eternal glory of our country, a great "talking-shop," not a mere buying and selling shop for financial tips and official places. And as with any other artist, the care the eighteenth-century man expended on oratory is a proof of his sincerity, not a disproof of it. An enthusiastic eulogium by Burke is as rich and elaborate as a lover's sonnet; but it is because Burke is really enthusiastic, like the lover. An angry sentence by Junius is as carefully compounded as a Renascence poison; but it is because Junius is really angry--like the poisoner. Now, nobody who has realized this psychological truth can doubt for a moment that many of the English