The Bobbin Boy; or, How Nat Got His learning

by William Makepeace Thayer

Nat kept his eyes fixed, and did not even bestow a nod of the head upon Frank's inquiry, and the moment the question was given to the audience for general debate,—according to the custom,—Nat started to his feet.

"Mr. President," said he, and every head was up, and every eye fixed, at the sound of his voice. All were astonished that he should presume to speak on that floor; they would scarcely have been more surprised if a strange debater had dropped down through the plastering into the audience. But Nat went on to say, in substance,

"I have listened to the discussion of the question before us with mingled feelings of interest and surprise. Much that has been said I can most cordially respond to, while some of the arguments upon the affirmative do not appear to me legitimate or just. Every subject should be treated fairly, and especially one like this, which is so apt to encounter superstition and prejudice. It is no objection, in my mind, to an enterprise, that it had a lowly origin, any more than it is for an honest and noble man to have descended from ignoble parents. If a man will work his way up from poverty and obscurity by his indomitable energy and perseverance, until he carves his name with scholars and statesmen on the temple of fame, it is the climax of meanness in any one to twit him of his humble origin, and hold him up to ridicule because his parents are poor and unhonored. And so when the gentleman tells us that the theatre was born in a cart, and was originated by those who had neither learning nor character, it is no argument against it, in my view, when I see the rank to which it has attained. The cart has given place to the marble edifice, decorated in the highest style of art, and the place of the untutored street-singer and clown is filled by the queen of song and the prince of orators. The play is no longer devoid of literary character, but is invested with a classic elegance which only the gifted intellect of Shakspeare could impart. What is it that has elevated dramatic entertainments from the cart to the costly temple? Human meanness could not do it, nor human policy alone. It has been accomplished by the intrinsic value to be found in such dramas as those composed by Shakspeare, and that justly entitles them to something nobler than a contemptuous sneer.

"I do not presume to defend theatres as they are, with all the vices that attach to the present manner of conducting them. I admit that the actors are no better than they should be, and that intemperance and licentiousness may be countenanced by them. But when it is intimated that all this is necessarily and inevitably so, I repel the insinuation. Do not gentlemen know that the names of certain actors are associated with all that is pure in character and noble in purpose? Were Garrick and Siddons men of corrupt lives, unworthy to hold an honorable place in society? Who can point to the first line or word ever penned to stigmatize these men? So long as we can refer to them as pure and upright actors, it will be true that corruption does not necessarily belong to the stage.

"I would have intoxicating drinks forever excluded from the theatre, and every possible measure adopted to prevent moral corruption of every kind. I would take the play out of the hands of the base and profligate, and give it to those who are virtuous and true. I would expunge every profane and vulgar word and thought from both tragedy and comedy, leaving nothing that is unfit to be said in the ear of the purest men and women, and then I see not why the stage might not become a medium of innocent pleasure, and intellectual culture. It is bad now, because it is in the hands of bad men. When the virtuous control it, we may expect that its character will be changed.

"When it is said, as it has been on this floor to-night, that nothing good can be learned at a theatre, even as it is at the present time, I must beg to dissent from the opinion. I can testify from actual experience, that much can be learned there of human nature, and much that belongs to the art of speaking. I do not say that many people go to the theatre to learn these things, but I do say they might learn them if they would. Even admitting that the baser side of human nature alone is seen on the stage, a man may learn something from that if he will. As in the low groggery, a pure man may behold to what awful degradation the use of strong drink may reduce its victims, and derive therefrom an argument for temperance that is irresistible, so the exhibitions of the stage may show a pure-minded man how revolting he may become by yielding to the power of his lowest appetites and passions. If he visits such a drinking place to minister to a depraved appetite, and carouse with others, he will go to ruin himself; but if he goes there to acquire the knowledge to which I have referred, he will make a valuable accession to his information and principles. In like manner, if a person goes to the theatre simply to be amused, or for a more dishonorable purpose, he may be corrupted by what he sees and hears; but if he goes for the higher object I have named, he will probably escape contamination."

In this strain Nat proceeded for twenty minutes or more, filling the audience with surprise and wonder. He waxed warmer and warmer, as he advanced, and spoke in a flow of eloquence and choice selection of words, that was unusual for one of his age. No one in the hall had ever listened to such a display of oratorical ability on the part of a youth like him. The most strenuous opposers of the theatre almost overlooked the weakness of Nat's argument in their admiration of his eloquence. It was so unexpected that the surprise alone was almost sufficient to bewilder, them. His mother was in the audience, and her heart leaped into her mouth, as she was first startled by the sound of his voice. She was almost indignant that her boy should attempt to speak in that hall, before such an audience. She expected every moment that he would break down, to his own disgrace and others. But he spoke on, never hesitating for choice words, and put an earnestness and power into every sentence that amazed her. She could scarcely believe what she saw and heard. She was well satisfied with her son when he concluded his speech.

"Nat will make a second Daniel Webster," said the agent of the factory to a friend, as he was going out of the hall.

"I am surprised at his eloquence," replied the friend addressed. "I never heard the like in my life by one of his age."

"We must get him to join the lyceum at once, and bring him out before the public," said the agent.