This is in the highest style of ancient oratory. Whoever has had the good fortune to hear this noble speech repeated by the lips, and with the impressive manner of Kemble, will have no difficulty in conceiving how it was that eloquence in Greece and Rome acquired so mighty an ascendency. Shakspeare has shown, however, in the speech of Antony, which follows, that he is not less master of that important part of oratory which consists in moving the feelings, and conciliating by pathos an adverse audience. Antiquity never conceived anything more skilful, or evincing a more thorough knowledge of the human heart, than thus turning aside the lofty patriotic and republican ideas awakened by Brutus' speech, first by the exhibition of Cæsar's garments, rent by the daggers of his murderers, and yet wet with his blood, and then unveiling the mangled corpse itself!
The eloquence of Alfieri and Schiller, perhaps, of all modern writers, is that which approaches most closely to the brief and condensed style of ancient oratory. The speech of Icilius, in the noble drama of Virginia, by the first of these writers, affords a fair specimen of its power:—
"Listen to my words, O people of Rome! I who heretofore have never been deceitful, who have never either betrayed or sold my honour; who boast an ignoble origin, but a noble heart! hear me. This innocent free maid is daughter of Virginius. At such a name, I see your eyes flash with resplendent fire. Virginius is fighting for you in the field: think on the depravity of the times; meanwhile, exposed to shame, the victim of outrage, his daughter remains in Rome. And who outrages her? Come forward, O Marcus! show yourself. Why tremble you? He is well known to you: the last slave of the tyrant Appius and his first minister—of Appius, the mortal enemy of every virtue—of Appius, the haughty, stern, ferocious oppressor, who his ravished from you your freedom, and, to embitter the robbery, has left you your lives. Virginia is my promised bride: I love her. Who I am, I need not say: some one may perhaps remind you. I was your tribune, your defender; but in vain. You trusted rather the deceitful words of another than my free speech. We now suffer, in common slavery, the pain of your delusion. Why do I say more? The heart, the arm, the boldness of Icilius is known to you not less than the name. From you I demand my free bride. This man does not ask her: he styles her slave—he drags her, he forces her. Icilius or Marcus is a liar: say, Romans, which it is."[8]
That Schiller was a great dramatic and lyric poet, need be told to none who have the slightest acquaintance with European literature; but his great oratorical powers are not so generally appreciated, for they have been lost in the blaze of his poetic genius. They were, however, of the very highest order, as will at once appear from the following translation (imperfect as it, of course, is) in prose, which we have attempted of the celebrated speeches of Shrewsbury and Burleigh, who discussed before Queen Elizabeth the great question of Queen Mary's execution, in his noble tragedy of Maria Stuart:—
SHREWSBURY.
"God, whose wondrous hand has four times protected you, and who to-day gave the feeble arm of gray hairs strength to turn aside the stroke of a madman, should inspire confidence. I will not now speak in the name of justice; this is not the time. In such a tumult you cannot hear her still small voice. Consider this only: you are fearful now of the living Mary; but I say it is not the living you have to fear. Tremble at the dead—the beheaded. She will rise from the grave a fiend of dissension. She will awaken the spirit of revenge in your kingdom, and wean the hearts of your subjects from you. At present she is an object of dread to the British; but when she is no more, they will revenge her. No longer will she then be regarded as the enemy of their faith; her mournful fate will cause her to appear only as the granddaughter of their king, the victim of man's hatred and woman's jealousy. Soon will you see the change appear! Drive through London after the bloody deed has been done; show yourself to the people, who now surround you with joyful acclamations: then will you see another England, another people! No longer will you then walk forth encircled by the radiance of heavenly justice which now binds every heart to you. Dread the frightful name of tyrant which will precede you through shuddering hearts, and resound through every street where you pass. You have done the last irrevocable deed. What head stands fast when this sacred one has fallen?"
BURLEIGH.
"Thou sayest, my Queen, thou lovest thy people more than thyself—show it now! Choose not peace for yourself, and leave discord to your people. Think on the Church! Shall the ancient faith be restored with this Stuart? Shall the monk of new lord it here—the legate of Rome return to shut up our churches, dethrone our queen? I demand the souls of all your subjects from you. As you now decide, you are saved or lost. This is no time for womanish pity: the salvation of your people is your highest duty. Has Shrewsbury saved your life to-day? I will deliver England, and that is more."—Maria Stuart, Act iv. s. 7.
Demosthenes could have written nothing more powerful—Cicero imagined nothing more persuasive.
We shall now, to justify our assertion that it is in the dramatic poets of modern Europe that a parallel can alone be found to the condensed power of ancient eloquence, proceed to give a few quotations from the most celebrated speeches of antiquity. We have selected, in general, those from the historians, as they are shorter than the orations delivered in the forum, and can be given entire. A fragment from a speech of Demosthenes or Cicero gives no sort of idea of the original, because what goes before is withheld. To scholars we need not plead indulgence for the inadequacy of our translations: they will not expect what they know to be impossible.
Tacitus, in his Life of Agricola, puts into the mouth of Galgacus the following oration, when he was animating the Caledonians to their last battle with the Romans under Agricola.