fometimes obfcure. And the Paris-Edition, (the Standard of the other,) is fo faulty, not only in thofe Places that are mark't among the unaccurate ERRATA, but throughout the Dialogues, that either they never had the Author's finishing Hand, or they must have been publifh't from a very defective Copy. În order therefore to do him juftice, I found it neceffary to cloath his Thoughts in an English Drefs, without confining my-felf always to a strict Translation of the French. Accordingly I have paraphras'd feveral Paffages; tranfpos'd a few; and added whatever feem'd proper to fet his true Sentiments in the fulleft Light. I wou'd not have taken fo much Freedom with any Piece that the Author publish't in his Life-time. But as he ought not to be charg❜d with the Faults of a posthumous Edition; fo I did not think myfelf oblig'd to fhow the fame Deference to the French Publisher that might be justly due to the judicious Author himfelf. The LETTER to the French ACADEMY, that was publish't fome Years before his Death, is far more correct. In tranflating it I have kept as clofe to his Stile as our Language wou'd permit. I have not indeed always exprefs't my-felf fo fuccinctly as He: nor did I endeavour it. Tho? I admire Concife

nefs,

nefs, I prefer Perfpicuity, when I cannot be both fhort and clear.

To illustrate and confirm our Author's Notions I have adorn'd this Translation with many inftructive, beautiful Paffages, collected from fome of the finelt Writers both Antient, and Modern; which are not in the French Edition, I have likewife added fome few Paffages of another kind. The Quotations themselves, and the placing of the Marks of Reference, clearly point-out the View with which each Paffage is quoted. If, for this Purpose, I had every-where added introductory Notes of my own, the Reader wou'd have had reafon to complain of my distrusting his Judgment.

SOME Criticks will think I have too often neglected fuch connecting Particles as For, But, Seeing, &c. There's a peculiar Beauty in this Omiffion: and I fhou'd have left-out many more, if I had clofely follow'd our Author's Example, or my own Judgment. But too much must not be attempted at once,

THROUGHOUT the following Sheets perhaps there are ftill too many Marks of Inaccuracy. I wish they may pafs for Inftances of that affected Negligence our Author

A 4

Author recommends. His LETTER plainly fhews that he wou'd not always avoid every little Defect: nor ought it to be expected of his Tranflator, if he cou'd. An elaborate Stile, and a fcrupu lous Exactness, are inconfiftent with the familiar Strain of a DIALOGUE, It were easy to prove that the free, and feemingly careless Manner which might be blameable in other Pieces, is really beautiful here; as being a juft Imitation of Nature But I will not lengthen this Advertisement into a Preface,

THE

PREFA CE.

B

OTH the Antients and the Moderns have treated of Eloquence, with different Views, and in different Ways; as Logicians, as Grammarians, and as Criticks: but we ftill wanted an Author who fhou'd handle this delicate Subject as a Philofopher, and a Chriftian: and this the late Archbishop of CAMBRAY has done in the following Dialogues.

In the antient Writers we find many folid Precepts of Rhetorick, and very juft Rules laid down with great Exactness: but they are oftimes too numerous, too dry; and in fine, rather

curious

ix

curious than useful. Our judicious Author reduces the essential Rules of this wonderful Art, to these three Points; proving, painting, and moving the Paffions.

To qualify his Orator for proving, or eftablishing any Truth, He wou'd have him a Philofopher; who knows how to enlighten the Understanding, while he moves the Paffions; and to act at once upon all the Powers of the Mind; not only by placing the Truth in fo clear a Light as to gain Attention and Affent; but likewife by moving all the fecret Springs of the Soul, to make it love that Truth it is convinc'd of. In one word, Our Author wou'd have his Orator's Mind fill'd with bright, useful Truths, and the moft noble exalted Views.

That he may be able to paint, or defcribe well, he shou'd have a Poetick kind of Enthufiafm; and know how to employ beautiful Figures, lively Images, and bold Touches, when the Subject requires them. But this Art ought to be entirely conceal'd: or, if it must appear; it shou'd seem to be a just Copy of Nature. Wherefore our ingenious Author reject's all fuch falfe Ornaments