Preoccupied with the spectacle of sincerity, the quest for a natural language led paradoxically to a greater theatricalization of public speaking as well as to a new social dramaturgy and a deeply self-conscious performative understanding of selfhood. Concerned with recovering what was assumed but not spoken in the realm of eighteenth-century speech and action, the book treats Jefferson (whose fascination with Homer, Ossian, Patrick Henry, and music theory all relate to the new oratorical ideal) as a conflicted participant in the new rhetoric and a witness to its social costs and benefits