lightened the mind is, the more
concise is the speech that proceeds from it. Let us assume, then, that
this conciseness keeps pace with the elevation of the mind, and that
when the mind arrives at the perception of the true light, finding no
words that can portray the glories open to its view, it keeps silent and
admires. It is through silence that the mind rises to perfection, for
_silence is the speech of God_.

Apart from this consideration, silence recommends itself as a powerful
agent in oratorical effects. By silence the orator arouses the attention
of his audience, and often deeply moves their hearts. When Peter
Chrysologue, in his famous homily upon the gospel miracle of the healing
of the issue of blood, overcome by emotion, paused suddenly and remained
silent, all present immediately burst into sobs.

Furthermore, silence gives the orator time and liberty to judge of his
position. An orator should never speak without having thought, reflected
and arranged his ideas. Before speaking he should decide upon his
stand-point, and see clearly what he proposes to do. Even a fable may be
related from many points of view; from that of expression as well as
gesture, from that of inflection as well as articulate speech. All must
be brought back to a scene in real life, to one stand-point, and the
orator must create for himself, in some sort, the role of spectator.

Silence gives gesture time to concentrate, and do good execution.

One single rule applies to silence: Wherever there is ellipsis, there
is silence. Hence the interjection and conjunction, which are
essentially elliptic, must always be followed by a silence.

_Respiration._--For the act of respiration, three movements are
necessary: inspiration, suspension and expiration.

_Its importance._--Respiration is a faithful rendering of emotion. For
example: _He who reigns in the skies_. Here is a proposition which the
composed orator will state in a breath. But should he wish to prove his
emotion, he inspires after every word. _He--who--reigns--in--the--skies_.
Multiplied inspirations can be tolerated on the strength of emotion, but
they should be made as effective as possible.

Inspiration is allowable:--

1. After all words preceded or followed by an ellipse;
2. After words used in apostrophe, as Monsieur, Madame;
3. After conjunctions and interjections when there is silence;
4. After all transpositions; for example: _To live, one must work_. Here