To the last verge of that vast audience sent,
It played with each wild passion as it went;
Now stirred the uproar, now the murmur stilled:
And sobs or laughter answered as it willed:"[43]
It is painful to descend too abruptly from such a height as that: but one would be giving a false notion of Gladstone's speaking if one suggested that it was always equally effective. Masterly in his appeal to a popular audience, supernaturally dexterous in explaining a complicated subject to the House of Commons, supremely solemn and pathetic in a Memorial Oration, he was heard to least advantage on a social or festive occasion. He would use a Club-dinner or a wedding-breakfast, a flower-show or an Exhibition, for the utterance of grave thoughts which had perhaps been long fermenting in his mind; and then his intensity, his absorption in his theme, and his terrible gravity, disconcerted hearers who had expected a lighter touch. An illustration of this piquant maladroitness recurs to my memory as I write. In 1882 I was concerned with a few Radical friends in founding the National Liberal Club.[44] We certainly never foresaw the palatial pile of terra-cotta and glazed tiles which now bears that name.[45] Our modest object was to provide a central meeting-place for Metropolitan and provincial Liberals, where all the comforts of life should be attainable at what are called "popular prices." Two years later, Gladstone laid the foundation-stone of the present Club-house, and, in one of his most austere orations, drew a sharp contrast between our poor handiwork and those "Temples of Luxury and Ease" which gaze in haughty grandeur on Pall Mall. We had hoped to provide what might seem like "luxury" to the unsophisticated citizen of Little Pedlington; and, at the least, we meant our Club to be a place of "ease" to the Radical toiler. But Gladstone insisted that it was to be a workshop dedicated to strenuous labour; and all the fair promises of our Prospectus were trodden under foot.[46]
I have often heard Gladstone say that, in the nature of things, a speech cannot be adequately reported. You may get the words with literal precision, but the loss of gesture, voice, and intonation, will inevitably obscure the meaning and impede the effect. Of no one's speaking is this more true than of his own. Here and there, in the enormous mass of his reported eloquence, you will come upon a fine peroration, a poetic image, a verse aptly cited, or a phrase which can be remembered. But they are few and far between—oases in a wilderness of what reads like verbiage. Quite certainly, his speeches, in the mass, are not literature, as those found to their cost who endeavoured to publish them in ten volumes.
For speeches which are literature we must go to John Bright; but then Bright's speaking was not spontaneous, and therefore, according to the definition suggested above, could not be reckoned as Oratory. Yet, when delivered in that penetrating voice, with its varied emphasis of scorn and sympathy and passion; enforced by the dignity of that noble head, and punctuated by the aptest gesture, they sounded uncommonly like oratory. The fact is that Bright's consummate art concealed the elaborate preparation which went to make the performance. When he was going to make a speech, he was encompassed by safeguards against disturbance and distraction, which suggested the rites of Lucina. He was invisible and inaccessible. No bell might ring, no door might bang, no foot tread too heavily. There was a crisis, and everyone in the house knew it; and when at length the speech had been safely uttered, there was the joy of a great reaction.
My Father, unlike most of the Whigs, had a warm admiration for Bright; and Bright showed his appreciation of this feeling by being extremely kind to me. Early in my Parliamentary career, he gave me some hints on the art of speech-making, which are interesting because they describe his own practice. "You cannot," he said, "over-prepare the substance of a speech. The more completely you have mastered it, the better your speech will be. But it is very easy to over-prepare your words. Arrange your subject, according to its natural divisions, under three or four heads—not more. Supply each division with an 'island'; by which I mean a carefully-prepared sentence to clinch and enforce it. You must trust yourself to swim from one 'island' to another, without artificial aids. Keep your best 'island'—your most effective passage—for your peroration; and, when once you have uttered it, sit down at once. Let no power induce you to go on."
Anyone who studies Bright's speeches will see that he exactly followed his own rule. The order and symmetry are perfect. The English is simple and unadorned. Each department of the speech has its notable phrase; and the peroration is a masterpiece of solemn rhetoric. And yet after all what Demosthenes said is true of these two great men—the Twin Stars of Victorian Oratory. Each had all the graces of voice and language, and yet each failed conspicuously in practical effect whenever he ran counter to the predilections and passions of his countrymen. Gladstone succeeded when he attacked the Irish Church, and denounced the abominations of Turkish misrule: he failed when he tried to palliate his blunders in Egypt, and to force Home Rule down the throat of the "Predominant Partner." Bright succeeded when he pleaded for the Repeal of the Corn Laws and the extension of the Suffrage: he failed when he opposed the Crimean War, and lost his seat when he protested against our aggression on China. It must often fall to the lot of the patriotic orator thus to set himself against the drift of national sentiment, and to pay the penalty. No such perils beset the Demagogue.