His mother had designed him for the church. When he came out of college, his tastes took another turn. But his mother never got over her disappointment at his not being a preacher. Not even his brilliant reputation at the bar and in parliament, could satisfy her maternal heart. She lived to see the nation hanging on the lips of this almost inspired orator. Yet even then she would lament over him, "O Jacky, Jacky, what a preacher was lost in you!" Her friends reminded her that she had lived to see her son one of the judges of the land. "Don't speak to me of judges," she would reply, "John was fit for any thing; and had he but followed our advice, it might hereafter be written upon my tomb that I had died the mother of a bishop."
But no one as yet knew that he had extraordinary talent for eloquence. Indeed he did not suspect it himself. In his boyhood he had a confusion in his utterance, from which he was called by his school-fellows "stuttering Jack Curran." It was not until many years after, while studying law at the Temple, that he found out that he could speak. After his fame was established, a friend dining with him one day, could not repress his admiration of Curran's eloquence, and remarked that it must have been born with him. "Indeed, my dear sir," replied Curran, "it was not, it was born twenty-three years and some months after me." But when he had made the important discovery of this concealed power, he employed every means to render his elocution perfect. He accustomed himself to speak very slowly to correct his precipitate utterance. He practiced before a glass to make his gestures graceful. He spoke aloud the most celebrated orations. One piece he was never weary of repeating, the speech of Antony over the body of Cæsar. This he recommended to his young friends at the bar as a model of eloquence.
And while he thus used art to smooth a channel for his thoughts to flow in, no man's eloquence ever issued more freshly and spontaneously from the heart. It was always the heart of the man that spoke. It was because his own emotions were so intense, that he possessed such power over the feelings of others.
His natural sympathies were strong. Like every truly great man, he was simple as a child. He had all those tastes which mark a genuine man. He loved nature. He loved children. He sympathized with the poor. It was perhaps from these popular sympathies that he preferred Rousseau among the French writers, and that his friendship was so strong with Mr. Godwin.
His nature was all sensibility. He was most keenly alive to gay, or to mournful scenes. He had a boyish love of fun and frolic. He entered into sports with infinite glee. In these things he remained a child to the end of his days; while in sensibility to tears he had the heart of a woman. Thus to the last hour of life he kept his affections fresh and flowing.
He had the delicate organization of genius. His frame vibrated to music like an Eolian harp. He had the most exquisite relish for the beauties of poetry. He was extravagantly fond of works of imagination. He devoured romances. And when in his reading he met with a passage which gratified his taste, he was never weary of repeating it to himself, or reading it to the friends who came to see him.
In conversation, perhaps the most prominent faculty of his mind was fancy—sportive, playful, tender, and pathetic. His conversation was a stream which never ceased to flow. His brilliant imagination, and the warmth with which he entered into every thing, gave it a peculiar fascination. Byron said that Curran had spoken more poetry than any man had ever written. In a circle of genial friends, after dinner, his genius was in its first action. His countenance lighted up, and his conversation, beginning to flow, now sparkled, now ran like wine. Flashes of wit played round him. Mirth gleamed from his eye and shot from his tongue. He had an endless store of anecdote, to which his extraordinary dramatic talent enabled him to give the happiest effect. He told stories, and hitting off the point of Irish character by the most exquisite mimicry; he "set the table on a roar," following perhaps with some touching tale which instantly brought tears into every eye. "You wept," says Phillips, "and you laughed, and you wondered; and the wonderful creature, who made you do all at will, never let it appear that he was more than your equal, and was quite willing, if you chose, to become your auditor."
The wit of Curran was spontaneous. It was the creation of the moment, the electric sparks shot from a mind overcharged with imagery and feeling. In this it differed from the wit of another great Irishman. Sheridan had more of the actor about him. His brilliant sayings were prepared beforehand. He aimed at display in the receptions at Holland House as much as when writing a comedy for Drury-lane.
Perhaps no foreigner, who has visited England, has had a better opportunity of seeing its distinguished men than Madame De Stael. She was constantly surrounded by the most brilliant society of London. Yet even in that blaze of genius, she was most struck, as she often told her friends, with the conversational powers of Curran. This too, was in 1813, when his health had sunk, and his spirits were so depressed, as to make it an effort to support his part at all in society.