The Atlantic Monthly, Volume 02, No. 11, September, 1858 - Various

Various

The Atlantic Monthly, Volume 02, No. 11, September, 1858 / A Magazine of Literature, Art, and Politics

ELOQUENCE

It is the doctrine of the popular music-masters, that whoever can speak can sing. So, probably, every man is eloquent once in his life. Our temperaments differ in capacity of heat, or we boil at different degrees. One man is brought to the boiling point by the excitement of conversation in the parlor. The waters, of course, are not very deep. He has a two-inch enthusiasm, a pattypan ebullition. Another requires the additional caloric of a multitude, and a public debate; a third needs an antagonist, or a hot indignation; a fourth needs a revolution; and a fifth, nothing less than the grandeur of absolute ideas, the splendors and shades of Heaven and Hell.

But because every man is an orator, how long soever he may have been a mute, an assembly of men is so much more susceptible. The eloquence of one stimulates all the rest, some up to the speaking point, and all others to a degree that makes them good receivers and conductors, and they avenge themselves for their enforced silence by increased loquacity on their return to the fireside.

The plight of these phlegmatic brains is better than that of those who prematurely boil, and who impatiently break the silence before their time. Our county conventions often exhibit a small-pot-soon-hot style of eloquence. We are too much reminded of a medical experiment, where a series of patients are taking nitrous-oxide gas. Each patient, in turn, exhibits similar symptoms,redness in the face, volubility, violent gesticulation, delirious attitudes, occasional stamping, an alarming loss of perception of the passage of time, a selfish enjoyment of his sensations, and loss of perception of the sufferings of the audience.

Plato says, that the punishment which the wise suffer, who refuse to take part in the government, is, to live under the government of worse men; and the like regret is suggested to all the auditors, as the penalty of abstaining to speak, that they shall hear worse orators than themselves.

But this lust to speak marks the universal feeling of the energy of the engine, and the curiosity men feel to touch the springs. Of all the musical instruments on which men play, a popular assembly is that which has the largest compass and variety, and out of which, by genius and study, the most wonderful effects can be drawn. An audience is not a simple addition of the individuals that compose it. Their sympathy gives them a certain social organism, which fills each member, in his own degree, and most of all the orator, as a jar in a battery is charged with the whole electricity of the battery. No one can survey the face of an excited assembly, without being apprised of new opportunity for painting in fire human thought, and being agitated to agitate. How many orators sit mute there below! They come to get justice done to that ear and intuition which no Chatham and no Demosthenes has begun to satisfy.

The Welsh Triads say, "Many are the friends of the golden tongue." Who can wonder at the attractiveness of Parliament, or of Congress, or the bar, for our ambitious young men, when the highest bribes of society are at the feet of the successful orator? He has his audience at his devotion. All other fames must hush before his. He is the true potentate; for they are not kings who sit on thrones, but they who know how to govern. The definitions of eloquence describe its attraction for young men. Antiphon the Rhamnusian, one of Plutarch's ten orators, advertised in Athens, "that he would cure distempers of the mind with words." No man has a prosperity so high or firm, but two or three words can dishearten it. There is no calamity which right words will not begin to redress. Isocrates described his art, as "the power of magnifying what was small and diminishing what was great";an acute, but partial definition. Among the Spartans, the art assumed a Spartan shape, namely, of the sharpest weapon. Socrates says, "If any one wishes to converse with the meanest of the Lacedaemonians, he will at first find him despicable in conversation; but, when a proper opportunity offers, this same person, like a skilful jaculator, will hurl a sentence worthy of attention, short and contorted, so that he who converses with him will appear to be in no respect superior to a boy." Plato's definition of rhetoric is, "the art of ruling the minds of men." The Koran says, "A mountain may change its place, but a man will not change his disposition";yet the end of eloquence is,is it not?to alter in a pair of hours, perhaps in a half-hour's discourse, the convictions and habits of years. Young men, too, are eager to enjoy this sense of added power and enlarged sympathetic existence. The orator sees himself the organ of a multitude, and concentrating their valors and powers:

That which he wishes, that which eloquence ought to reach, is, not a particular skill in telling a story, or neatly summing up evidence, or arguing logically, or dexterously addressing the prejudice of the company; no, but a taking sovereign possession of the audience. Him we call an artist, who shall play on an assembly of men as a master on the keys of the piano,who, seeing the people furious, shall soften and compose them, shall draw them, when he will, to laughter and to tears. Bring him to his audience, and, be they who they may, coarse or refined, pleased or displeased, sulky or savage, with their opinions in the keeping of a confessor, or with their opinions in their bank-safes,he will have them pleased and humored as he chooses; and they shall carry and execute that which he bids them.

This is that despotism which poets have celebrated in the "Pied Piper of Hamelin," whose music drew like the power of gravitation,drew soldiers and priests, traders and feasters, women and boys, rats and mice; or that of the minstrel of Meudon, who made the pallbearers dance around the bier. This is a power of many degrees, and requiring in the orator a great range of faculty and experience, requiring a large composite man, such as Nature rarely organizes, so that, in our experience, we are forced to gather up the figure in fragments, here one talent, and there another.

The audience is a constant metre of the orator. There are many audiences in every public assembly, each one of which rules in turn. If anything comic and coarse is spoken, you shall see the emergence of the boys and rowdies, so loud and vivacious, that you might think the house was filled with them. If new topics are started, graver and higher, these roisters recede; a more chaste and wise attention takes place. You would think the boys slept, and that the men have any degree of profoundness. If the speaker utter a noble sentiment, the attention deepens, a new and highest audience now listens, and the audiences of the fun and of facts and of the understanding are all silenced and awed. There is also something excellent in every audience,the capacity of virtue. They are ready to be beatified. They know so much more than the orator,and are so just! There is a tablet there for every line he can inscribe, though he should mount to the highest levels. Humble persons are conscious of new illumination; narrow brows expand with enlarged affections: delicate spirits, long unknown to themselves, masked and muffled in coarsest fortunes, who now hear their own native language for the first time, and leap to hear it. But all these several audiences, each above each, which successively appear to greet the variety of style and topic, are really composed out of the same persons; nay, sometimes the same individual will take active part in them all, in turn.

This range of many powers in the consummate speaker and of many audiences in one assembly leads us to consider the successive stages of oratory.

Perhaps it is the lowest of the qualities of an orator, but it is, on so many occasions, of chief importance,a certain robust and radiant physical health,or, shall I say? great volumes of animal heat. When each auditor feels himself to make too large a part of the assembly, and shudders with cold at the thinness of the morning audience, and with fear lest all will heavily fail through one bad speech, mere energy and mellowness are then inestimable. Wisdom and learning would be harsh and unwelcome, compared with a substantial cordial man, made of milk, as we say, who is a house-warmer, with his obvious honesty and good meaning, and a hue-and-cry style of harangue, which inundates the assembly with a flood of animal spirits, and makes all safe and secure, so that any and every sort of good speaking becomes at once practicable. I do not rate this animal eloquence very highly, and yet, as we must be fed and warmed before we can do any work well, even the best, so is this semi-animal exuberance, like a good stove, of the first necessity in a cold house.

Climate has much to do with it,climate and race. Set a New Englander to describe any accident which happened in his presence. What hesitation and reserve in his narrative! He tells with difficulty some particulars, and gets as fast as he can to the result, and, though he cannot describe, hopes to suggest the whole scene. Now listen to a poor Irish-woman recounting some experience of hers. Her speech flows like a river,so unconsidered, so humorous, so pathetic, such justice done to all the parts! It is a true transubstantiation,the fact converted into speech, all warm and colored and alive, as it fell out. Our Southern people are almost all speakers, and have every advantage over the New England people, whose climate is so cold, that, 'tis said, we do not like to open our mouths very wide. But neither can the Southerner in the United States, nor the Irish, compare with the lively inhabitant of the South of Europe. The traveller in Sicily needs no gayer melodramatic exhibition than the table d'hôte of his inn will afford him, in the conversation of the joyous guests. They mimic the voice and manner of the person they describe; they crow, squeal, hiss, cackle, bark, and scream like mad, and, were it only by the physical strength exerted in telling the story, keep the table in unbounded excitement. But in every constitution some large degree of animal vigor is necessary as material foundation for the higher qualities of the art.

But eloquence must be attractive, or it is none. The virtue of books is to be readable, and of orators to be interesting, and this is a gift of Nature; as Demosthenes, the most laborious student in that kind, signified his sense of this necessity when he wrote, "Good Fortune," as his motto on his shield. As we know, the power of discourse of certain individuals amounts to fascination, though it may have no lasting effect. Some portion of this sugar must intermingle. The right eloquence needs no bell to call the people together, and no constable to keep them. It draws the children from their play, the old from their arm-chairs, and the invalid from his warm chamber; it holds the hearer fast, steals away his feet, that he shall not depart,his memory, that he shall not remember the most pressing affairs,his belief, that he shall not admit any opposing considerations. The pictures we have of it in semi-barbarous ages, when it has some advantages in the simpler habit of the people, show what it aims at. It is said that the Khans, or story-tellers in Ispahan and other cities of the East, attain a controlling power over their audience, keeping them for many hours attentive to the most fanciful and extravagant adventures. The whole world knows pretty well the style of these improvisators, and how fascinating they are, in our translations of the "Arabian Nights." Scheherzarade tells these stories to save her life, and the delight of young Europe and young America in them proves that she fairly earned it. And who does not remember in childhood some white or black or yellow Scheherzarade, who, by that talent of telling endless feats of fairies and magicians, and kings and queens, was more dear and wonderful to a circle of children than any orator of England or America is now? The more indolent and imaginative complexion of the Eastern nations makes them much more impressible by these appeals to the fancy.

These legends are only exaggerations of real occurrences, and every literature contains these high compliments to the art of the orator and the bard, from the Hebrew and the Greek down to the Scottish Glenkindie, who

Homer specially delighted in drawing the same figure. For what is the "Odyssey," but a history of the orator, in the largest style, carried through a series of adventures furnishing brilliant opportunities to his talent? See with what care and pleasure the poet brings him on the stage. Helen is pointing out to Antenor, from a tower, the different Grecian chiefs. "Antenor said: 'Tell me, dear child, who is that man, shorter by a head than Agamemnon, yet he looks broader in his shoulders and breast. His arms lie on the ground, but he, like a leader, walks about the bands of the men. He seems to me like a stately ram, who goes as a master of the flock.' Him answered Helen, daughter of Jove: 'This is the wise Ulysses, son of Laertes, who was reared in the state of craggy Ithaca, knowing all wiles and wise counsels.' To her the prudent Antenor replied again: 'O woman, you have spoken truly. For once the wise Ulysses came hither on an embassy, with Menelaus, beloved by Mars. I received them, and entertained them at my house. I became acquainted with the genius and the prudent judgments of both. When they mixed with the assembled Trojans and stood, the broad shoulders of Menelaus rose above the other; but, both sitting, Ulysses was more majestic. When they conversed, and interweaved stories and opinions with all; Menelaus spoke succinctly, few but very sweet words, since he was not talkative, nor superfluous in speech, and was the younger. But when the wise Ulysses arose, and stood, and looked down, fixing his eyes on the ground, and neither moved his sceptre backward nor forward, but held it still, like an awkward person, you would say it was some angry or foolish man; but when he sent his great voice forth out of his breast, and his words fell like the winter snows, not then would any mortal contend with Ulysses; and we, beholding, wondered not afterwards so much at his aspect." [Iliad, III. 192.]

Thus he does not fail to arm Ulysses at first with this power of overcoming all opposition by the blandishments of speech. Plutarch tells us that Thucydides, when Archidamus, king of Sparta, asked him, Which was the best wrestler, Pericles or he? replied, "When I throw him, he says he was never down, and he persuades the very spectators to believe him." Philip of Macedon said of Demosthenes, on hearing the report of one of his orations, "Had I been there, he would have persuaded me to take up arms against myself"; and Warren Hastings said of Burke's speech on his impeachment, "As I listened to the orator, I felt for more than half an hour as if I were the most culpable being on earth."

In these examples, higher qualities have already entered; but the power of detaining the ear by pleasing speech, and addressing the fancy and imagination, often exists without higher merits. Thus separated, as this fascination of discourse aims only at amusement, though it be decisive in its momentary effect, it is yet a juggle, and of no lasting power. It is heard like a band of music passing through the streets, which converts all the passengers into poets, but is forgotten as soon as it has turned the next corner; and unless this oiled tongue could, in Oriental phrase, lick the sun and moon away, it must take its place with opium and brandy. I know no remedy against it but cotton-wool, or the wax which Ulysses stuffed into the ears of his sailors to pass the Sirens safely.