sometimes need to be prepared for the specific view of it which the preacher intends to present. The rule, then, is that ordinarily a sermon should begin with a train of thought fitted and designed to secure the hearer's continued interest in the theme; and this exordium may be more or less abridged, according to the degree in which the audience may require a stimulus to their attention. The services which precede the sermon may sometimes be a sufficient introduction to it. They may suggest its theme, and predispose the auditory to regard it with favor. Even the hymn sung immediately before the discourse may be a proper exordium, to which the discussion may be attached. Dräseke has a sermon on Night viewed as proclaiming the Divine character. The last stanza of the hymn sung immediately before the sermon is: As with the morning's glimmering ray Then the preacher breaks out in the first sentence of his discourse "That with such feelings toward the love of God we should once more come forth from the night which has covered us with its wings -what a gift is this, thou Dearest One!-what a rich enjoyment!" 3. Subject-matter of the Introduction. The preceding remarks on the general design of the exordium suggest at once its subject-matter. First, it may detail such particular experiences and facts as are involved in, and thus suggest the general truth to be discussed. The mind is aroused by the process from the concrete to the abstract, from the near to the remote, from the premise to the consequence. Especial interest is imparted to the subject, when certain passing events which illustrate it are described in the exordium. Secondly, it may state the reasons which induce the preacher to select his particular theme, or to treat it in the particular manner which he intends. Cicero's oration for Archias has an exordium which illustrates this, and also the following remark. Thirdly, the introduction may contain personal references to the speaker, the hearers, the relation of the former to the latter, or to his theme. In adopting this locus ex personis there is indeed a danger of exhibiting the Ciceronian vanity, but if the preacher is a good man, he will accustom himself to separate his own personality from that of his hearers as little as possible, and to hold out his subject and not himself foremost to their view. He may therefore be trusted to make an 1848.] General Rules for the Introduction, 735 allusion to his own circumstances, whenever his good judgment decides that such an allusion is required by the necessities or expectations of his audience. In the first sermon which he preaches after his ordination, or after the confinement of a protracted sickness, or in his valedictory discourse, he may prudently introduce such allu, sions. Fourthly, the exordium may contain those general principles under which the particular doctrine of the discourse may be reduced, on which it is founded, or to which it has a near relation or resemblance. A view of the connections of a subject gives it additional distinctness and prominence, and thus elicits new regard. Fifthly, interest is not only excited by a comparison of the subject with similar themes, but also by a contrast of it with subjects dissimilar and opposed. A clear view of the opposition between one doctrine and others, removes many doubts and misconceptions with regard to it, and imparts that vividness of idea which is essential to an excitement of feeling. Sixthly, the exordium may be devoted to an exhibition of the meaning of the text, and of its relations to the theme of the discourse. This is especially proper when the text is read before the introduction. If the reading of the text be deferred to the close of the exordium, (as is customary in the German pulpit), then the development of the subject from the text constitutes a subordinate but distinct part of the sermon, and is called the Transitus. When the Transitus and the exordium both follow the text, they may be considered as forming a single part of the discourse, as uniting in a compound exordium. When these two parts are separated by the intervening text, they may still have the same influence on the sermon, but they have each a distinct designation. The preacher's own judgment must determine on the relative position of these different parts of the discourse. On festival-days, the exordium may be devoted to a description of the object of the solemnity. 4. General Rules for the Introduction. Its style may be either enlivening, as when the preacher aims directly to awaken an interest in his theme; or didactic, as when he aims to secure attention by a distinct and accurate statement of the nature and relations of his subject. Often in order to enlist the feelings of an audience in favor of a doctrine, it is simply requisite to give them clear ideas of it. It is an important rule, that the introduction should be studiously and precisely accommodated to the mental state in which a congregation may be supposed to be at the commencement of the discourse. Hence it should be written in an interesting style; should be free from common, trite remarks; it should contain such pithy, racy sayings, such questions or antitheses as will fasten the hearers' attention upon the main theme, and excite an earnest desire to investigate it. Hence the preacher should avoid, in his exordium, any train of remark which would be as appropriate to other subjects as to that which he is to discuss. Thoughts which may be perfectly fitting for the body of the discourse, may be too lifeless for the exordium, not sufficiently original or uncommon. Vague, undiscriminating and monotonous introductions, the loci communes of the ancients, deaden rather than enliven the mind of the audience. This striking character of the exordium, however, should be carefully distinguished from an affected, paradoxical, strained, pompous style. The expressions, though original, should be natural, suggested spontaneously by an earnest meditation on the theme, and approved by a calm judgment. The preacher should remember that his own interest in his subject was not sudden and instantaneous, but rose by degrees; therefore he should not expect that his hearers will enter into the consideration of his subject with the same zeal which he has acquired by having passed through a prolonged study of it. They must observe the same law of gradation which he followed; and when he produces his discourse anew before them, it should be a fac-simile of the discourse as he produced it originally in his study. He should not attempt to make them leap up at once to the very summit of his excitement. Neque est dubium, says Cicero, de Orat., quin exordium dicendi vehemens et pugnax non saepe esse debeat. There are exceptions, however. Sometimes the occasion itself may have so animated the auditory, that the orator may break the silence by an impassioned appeal. Thus did Tully introduce his first oration against Catiline. Thus too may preachers, though less frequently than secular orators, begin their discourses with expressions of excited feelings. Particularly on festival days and other special occasions, may the preacher burst forth in a highly animated exordium; for then the audience are more ready to sympathise with him, their own religious feelings being more actively aroused, than on the ordinary services of the Sabbath. But these vivid exordia must not be protracted, and especial heed should be given to the easy and timely descent from their lofty sentiment to the calm spirit of the discussion. They cannot be long sustained by an audience; much less can they admit that law of gradation which should in general pervade the sermon, that regular increase of vivacity from the beginning to the end, which constitutes the climax of a discourse. From the very nature of the exordium, we see at once that its con 1848.] The Proposition. 737 nection with the subject of the sermon should be plain and easy, not obscure or forced (exordium a causa separatum); that it should never suggest the question, how did the preacher find a passage from his first to his following remarks; that it should not anticipate the suc ceeding portions of the discourse, so as to diminish at length the feeling of progress and to require a repulsive repetition; that it should point so decidedly toward the real theme to be discussed as to raise no apprehension of a different one, and thus stimulate the audience on a false chase; that it should not always begin or end in the same style, but should be made attractive by its variety; that it should not be too long, and thus repress the zeal of the hearer to hasten toward the discussion. There is a just proportion to be exhibited between the dif ferent parts of a sermon; and the undue length of any part mars its beauty. If the lengthened exordium be interesting, it operates upon the hearer's mind as a counter force, diverting it from the discussion. It is like shedding a bright light on the back ground of a picture, and bringing the wrong objects into relief. Besides, a frequent result of a too long introduction is, too long a sermon. The shorter the exordium the better, if it omit nothing important for enlisting the feelings of the audience in favor of what is to follow. For the observance of the above named rules it is requisite, that the introduction be not written until the whole discourse be minutely plan. ned and its contents thoroughly understood. It is peculiarly important to begin the discourse correctly, because the hearers, not being then occupied with its main subject, are uncommonly sensitive to the faults which they then easily discover, and will be prejudiced by these foibles against the ensuing parts of the sermon. 5. The Proposition. [In the German pulpit, the preacher frequently announces his text after he has closed his exordium, and then offers a short prayer, which constitutes part of the discourse itself. This prayer is occasionally offered in some other part of the sermon, and sometimes precedes the exordium.] After the prayer, the preacher should proceed as directly as possible to the proposition. This may be defined, the announcement of the subject of the discourse; or the sentence which defi nitely expresses the subject of the sermon. (Propositio, ngóεσI, πρότασις, προκατασκευή. The same technical term is also some times used to denote the expression of the leading idea of some subordinate part of the sermon.) In secular oratory, the formal proposition may be occasionally dispensed with, Quinctilian recom mends this omission. Demosthenes sanctions it in his first Phillipic. So in "occasional" sermons, and in homilies, the preacher may omit the regular proposition, and may indicate his main theme by his modes of transition to it. But in his ordinary discourses, he should retain the formal proposition. The use of it gives definiteness and precision to the ideas of the audience; it excites their curiosity and stimulates them to attention. It is, moreover, so uniformly expected, that the want of it is thought to proceed from an immethodical spirit in the preacher, and thus prejudices the audience against his whole discourse. The rules for the proposition are, that it present the theme of the sermon in its requisite unity; that it be precise, perspicuous, and brief. It should be so expressed as to give no needless offence, but on the contrary to be as attractive as possible. Some pulpit orators possess the happy faculty of presenting condensed, sententious, suggestive propositions, which surprise the hearer and rivet his attention to the theme. Several of Dräseke's propositions are: "beware of a dry heart," from Ps. 32: 4; "the art of accomplishing much in life," from Mark 1: 32-39; "every church-day is a family-day of God," from Eph. 2:19. Sometimes a stanza in a hymn is used for the proposition of the discourse. It suggests a definite idea to the mind, is associated with pleasant reminiscences, and is withal easily remembered. If, however, the stanza present the subject of the discourse in a figura-' tive style, or if it present an outline of the whole sermon, it is not suitable for a proposition. In the latter case, it is better fitted for the partition. There is great danger that the search for striking expresssions of a theme will lead to the selection of paradoxical statements, having the appearance without the reality of depth and compressed wisdom. In the use, too, of figurative propositions, there is danger of extending the figure too far. It may be judicious, for example, to draw a parallel between Christ and a shepherd, in a sermon from John 10: 1-12; but care must be taken not to run the parallel into the regions of the fanciful. Not every biblical comparison can be extended into an allegory in a modern sermon. The taste of the present age forbids it. The original comparison was not designed to be, and cannot with propriety be applied to more than one or two points; and the attempt to multiply the resemblances leads to visionary and perhaps disgusting remarks. Even Dräseke has a sermon on Matt. 23: 37, in which he dilates on the similitude between the Saviour and a brooding hen! It is easy to see that a minute comparison between the last day and a thief in the night, would introduce many irrelevant, puerile remarks. Allegorical discourses are apt to be finical, undignified, unintelligible, even revolting. |