bridle, and starts at every casual object it meets in the way as a bug-bear. The genius of Irish oratory stands forth in the naked majesty of untutored nature, its eye glancing wildly round on all objects, its tongue darting forked fire: the genius of Scottish eloquence is armed in all the panoply of the schools; its drawling, ambiguous dialect seconds its circumspect dialectics; from behind the vizor that guards its mouth and shadows its pent-up brows, it sees no visions but its own set purpose, its own data, and its own dogmas. It "has no figures, nor no fantasies," but "those which busy care draws in the brains of men," or which set off its own superior acquirements and wisdom. It scorns to "tread the primrose path of dalliance"—it shrinks back from it as from a precipice, and keeps in the iron rail-way of the understanding. Irish oratory, on the contrary, is a sort of æronaut: it is always going up in a balloon, and breaking its neck, or coming down in the parachute. It is filled full with gaseous matter, with whim and fancy, with alliteration and antithesis, with heated passion and bloated metaphors, that burst the slender, silken covering of sense; and the airy pageant, that glittered in empty space and rose in all the bliss of ignorance, flutters and sinks
