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

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.