II and III; also Dr. Wm. Smith's
New Testament
History, pp. 634-643.
_II. St. Paul, the Apostle of the Gentiles._ Acts VIII-XXVIII. The
1. Birth and Roman Citizenship of. Pauline Epistles. All
2. His conversion to Christianity. Bible Helps and Dictionaries
3. His Conception of the Christian Art. "Paul," Life
4. His Controversies with the Judaizing and Epistles of St. Paul,
Party. Coneybeare and Howson's
5. His Death and Influence on Christianity. Life of St. Paul.
_NOTES._
1. _Suggestions in the Construction of a Lecture:_ Referring again to
the construction of a lecture, and holding in mind the framework given
in Lesson 1; namely: 1. The Introduction; 2. The Discussion; 3. The
Conclusion. I am reminded of the only lesson in speech forming ever
given to me in College days, and that lesson was by a very inferior
public speaker, but a very prince among teachers, the late lamented
Dr. John R. Park, whose name will forever be associated with our State
University. He said: "Be sure that your lecture has a beginning,
an ending, and something between." Another form of introduction,
discussion and conclusion.
As an illustration of this indispensable framework, Pittenger, whom I
before quoted, gives the following illustrations from Shakespeare:
"Among the many speeches found in Shakespeare, the existence of these
three essential parts may easily be noted. The funeral speeches over
the dead body of Julius Caesar afford an excellent example. The merit
of the orations of Brutus and Antony are very unequal, but both are
instructive. We will analyze them in turn. Brutus speaks first. He
shows his want of appreciation of the true nature of persuasive
eloquence by declaring that this will be an advantage. His introduction
is also too long and elaborate for the work he has in hand. The central
thought with which he opens is in substance, "I am worthy of your
closest attention." This cannot be considered a fortunate beginning,
and it would have been fatal for any one less highly esteemed by the
people than "the well-beloved Brutus." He says:
BRUTUS' SPEECH--INTRODUCTION.
'Romans, countrymen, and lovers! hear me for my cause, and be silent
that you may hear; believe me for mine honor, and have respect to mine
honor that you may believe; censure me in your wisdom, and awake your
senses that you may the better judge.'
"This introduction is a master-piece of Shakespeare's art, because
it pictures so well the character of Brutus in his dignity and blind
self-confidence; but for Brutus it is unfortunate, because it puts him
on the defensive and makes the people his judges. He must now plead
well, or they will condemn him. In the discussion (following) the
thought simply is, 'I was Caesar's friend, and therefore you may well
believe that I would not have killed him if he had not deserved death
because of his ambition.' This is the whole argument, and it is weak
because it does not prove the ambition of Caesar, or show that ambition
on Caesar's part was a crime which Brutus had a right to punish with
death. The antithetic sentences lack both logic and passion. As they
touch neither head nor heart, they can have but slight and momentary
effect. Notice the discussion as an example of fine words which do not
serve their purpose.
THE DISCUSSION.
"'If there be any in this assembly, any dear friend of Caesar's, to
him I say that Brutus' love to Caesar was no less than his. If, then,
that friend demand why Brutus rose against Caesar, this is my answer:
Not that I loved Caesar less, but that I loved Rome more. Had you
rather Caesar were living, and die all slaves, than that Caesar were
dead, to live all freemen? As Caesar loved me, I weep for him; as he
was fortunate, I rejoice at it; as he was valiant, I honor him; but
as he was ambitious, I slew him. There are tears for his love, joy
for his fortune, honor for his valor, and death for his ambition. Who
is here so base that would be a bondman? If any, speak; for him have
I offended. Who is here so rude, that would not be a Roman? If any,
speak; for him have I offended. Who is here so vile that will not love
his country? If any, speak; for him have I offended. I pause for a
reply.'
"As several citizens cry out, 'None, Brutus, none,' he passes to the
conclusion, which is as weak as the discussion.
CONCLUSION.
"'Then none have I offended. I have done no more to Caesar, than you
shall do to Brutus. As I slew my best lover for the good of Rome, I
have the same dagger for myself, when it, shall please my country to
need my death.'
"He has gained nothing by the whole speech, save the knowledge that
none of the citizens present care at that time to impeach him for his
crime; but their minds were open to other influences. Shakespeare thus
shows how an able man might use all his powers in the perfection of
oratorical and rhetorical forms, without producing a great or effective
speech. Antony now comes forward. Behold the contrast!
ANTONY'S SPEECH.
"The introduction is like and unlike that of Brutus. The same three
titles are used; the same call for attention. But there is no
repetition, no egotism, no elaboration. The introduction is short,
calling attention to his ostensible purpose, and prepares for a
beautiful transition to the discussion.
INTRODUCTION.
"'Friends, Romans, countrymen, lend me your ears. I come to bury
Caesar, not to praise him.'
"There is not a superfluous word. But how can Antony glide into those
praises of Caesar, which he has disclaimed, but which are necessary to
his purpose? The next sentence solves the question:
"'The evil that men do lives after them;
The good is oft interred with their bones;
So let it be with Caesar.'
"This leads most naturally to the thought of the discussion, which
is, 'No event of Caesar's life shows guilty ambition; but many do
reveal love to the people and care for the general welfare. He should,
therefore, be mourned, and--the next word is not supplied by the
orator, but forced from the hearts of the people--avenged! We quote a
few only of the well-known words:
THE DISCUSSION.
"'The noble Brutus
Hath told you Caesar was ambitious;
If it were so, it were a grievous fault,
And grievously hath Caesar answered it.
Here, under leave of Brutus and the rest,
(For Brutus is an honorable man,
So are they all, all honorable men)
Come I to speak in Caesar's funeral.
He was my friend, faithful and just to me;
But Brutus says he was ambitious,
And Brutus is an honorable man.
He hath brought many captives home to Rome,
Whose ransom did the general coffers fill.
Did this in Caesar seem ambitious?
When that the poor hath cried Caesar hath wept.
Ambition should be made of sterner stuff.
Yet Brutus says he was ambitious,
And Brutus is an honorable man.
You all did see, that, on the Lupercal,
I thrice presented him a kingly crown,
Which he did thrice refuse. Was this ambition?'
"The strongest argument against belief in guilty ambition on the part
of Caesar and in favor of punishing his murderers is reserved by the
subtle Antony for the last, and then he manages to have the people
demand it of him. He proceeds very naturally and effectively from the
rent robe and the bleeding body to the will of Caesar. This instrument
gave the Romans each a large donation in money, and bestowed upon
them collectively 'his walks, his private arbors, and 'new planted
orchards' as a public park. The argument was irresistible, and needed
no elaboration. If his death was avenged as a murder, the will would be
valid; otherwise, it would be set aside, and his estate confiscated by
the conspirators. The people, thus fired by the strongest motives of
gratitude and interest themselves supply the conclusion, and Brutus had
to fly for his life. The whole speech is worth study as an exhibition
of almost perfect eloquence. Shakespeare meant to draw in Brutus the
picture of a scholar coming before the people with fine words, and
producing little more than a literary effect. In Antony he pictures
the true orator in the plentitude of his power, to whom words are
but servants in accomplishing his purpose of [I suggest convincing]
persuading and inflaming the people. The one speech reads as if it
might have been written out in the closet and memorized; the other
gushes from the heart of the speaker as he watches the sea of upturned
faces, adapting his words with exquisite skill to suit and swell the
passions written there." (Extempore Speech, pp. 54-59.)