the touch of shoulders. The weary foot springs to the throb of martial music. You are moving on with the great army, on into victory.

Through service you have found your life again, through following the leader your life has found its purpose and regained its birthright, "for all things are yours, whether the world, or life or death or things present or things to come, all are yours, and ye are Christ's and Christ is God's."

Eloquence of Daniel O'Connell
Wendell Phillips

The following extract from Phillips' lecture on O'Connell has been a great favorite in declamation contests. This is due (1) to the wide range of emotions that the speech touches, (2) to the charm of expression (3) to the many changes, allowing great variety in the delivery. For example, the quotation from Webster should be given with exaggerated volume, a deep orotund tone, and simulated force; then the voice drops, in quoting the remark of Lowell, into the purely colloquial, off-hand style. Again, in delivering the quotation from O'Connell in the last paragraph, don't yell, nor try literally to send your voice "across the Atlantic," but it should roll out in chest tones-just as big a voice as you have-in large volume and with all the force you can command. Then again change to the colloquial as you remark on the effect of O'Connell's speech. Now note the quick change from humor to pathos, and "no effort" at the close-simply let the words speak themselves. It is a fine selection for individual coaching or class drill.

I Do not think I exaggerate when I say that never since God made Demosthenes has He made a man better fiitted for a great work than He did Daniel O'Connell.

You may say that I am partial to my hero; but John Randolph of Roanoke, who hated an Irishman almost as much as he did a Yankee, when he got

to London and heard O'Connell, the old slaveholder threw up his hands and exclaimed: "This is the man, those are the lips, the most eloquent that speak English in my day," and I think he was right.

Webster could address a bench of judges; Everett could charm a college; Choate could delude a jury; Clay could magnetize a senate; and Tom Corwin could hold the mob in his right hand, but no one of these men could do more than this one thing. The wonder about O'Connell was that he could out-talk Corwin, he could charm a college better than Everett, and leave Clay himself far behind in magnetizing a senate.

Emerson says, "There is no true eloquence, unless there is a man behind the speech." Daniel O'Connell was listened to because all England and Ireland. knew that there was a man behind the speech,--one who could be neither bought, bullied, nor cheated.

These physical advantages are half the battle. You remember the story James Russell Lowell tells of Webster when, a year or two before his death, the Whig party thought of dissolution. Webster came home from Washington and went down to Faneuil Hall to protest, and 4000 of his fellow Whigs went out to meet him. Drawing himself up to his loftiest proportions, his brow charged with thunder, before that sea of human faces, he said: "Gentlemen, I am a Whig, a Massachusetts Whig, a Faneuil Hall Whig, a revolutionary Whig, a constitutional Whig; and if you break up the Whig party, sir, where am I to go?" "And," says Lowell, "we held our breath thinking where he could go.

If he had been five feet three, we should have said: 'Who cares where you go?'"

So it was with O'Connell. There was something majestic in his presence before he spoke, and he added to it what Webster had not, and what Clay had, the magnetism and grace that melts a million souls into his. When I saw him he was sixty-five,lithe as a boy, his every attitude a picture, his every gesture grace he was still all nature; nothing but nature seemed to be speaking all over him. would have been delicious to have watched him if he had not spoken a word, and all you thought of was a greyhound.

It

Then he had a voice that covered the gamut. I heard him once in Exeter Hall say, "I send my voice across the Atlantic, careering like the thunderstorm against the breeze, to tell the slave-holder of the Carolinas that God's thunderbolts are hot, and to. remind the bondman that the dawn of his redemption is already breaking." You seemed to hear his voice reverberating and re-echoing back to London from the Rocky Mountains. And then, with the slightest possible Irish brogue, he would tell a story that would make all Exeter Hall laugh, and the next moment tears in his voice, like an old song, and five thousand men wept. And all the while no effort-he seemed only breathing.

"As effortless as woodland nooks

Send violets up, and paint them blue."

The Eloquence of Wendell Phillips

George William Curtis

Wendell Phillips was the first noteworthy exponent of the quiet, conversational style in oratory, as distinguished from the pompous, barnstorming style. Try to represent this style as you describe it at the opening of the third paragraph. Then note the play of emotions throughout the remainder of this paragraph, requiring quick tonechanges and offering a fine opportunity for word-coloring. The last paragraph is a very strong appeal, requiring slower rate, lower key, and combined volume and force.

WENDELL PHILLIPS was distinctively the orator, as others were the statesmen, of the anti-slavery cause. The tremendous controversy inspired universal eloquence, but supreme over all was the eloquence of Phillips, as over the harmonious tumult of a vast orchestra one clear voice, like a lark high-poised in heaven, steadily carries the melody.

His position was unique. He was not a Whig or a Democrat, nor the graceful panegyrist of an undisputed situation. Both parties denounced him; he must recruit a new party. Public opinion condemned him; he must win public opinion to achieve his purpose. Yet he did not pander to the passion of the mob. The crowd did not follow him with huzzas. If it tried to drown his voice, he turned to the reporters, and over the raging multitude calmly said: "Howl on; I speak to thirty millions here."

He faced his audience with a tranquil mien, and a beaming aspect that was never dimmed. He spoke, and in the measured cadence of his quiet

voice there was intense feeling, but no declamation, no passionate appeal, no superficial or feigned emotion. It was simply colloquy-a gentleman conversing. And this wonderful power,-it was not a thunderstorm; yet somehow and surely the ear and heart were charmed. How was it done? Ah! how did Mozart do it, how Raphael? The secret of the rose's sweetness, of the bird's ecstasy, of the sunset's glory, that is the secret of genius and eloquence. What was heard, what was seen, was the form of noble manhood, the courteous and self-possessed tone, the flow of modulated speech, sparkling with richness of illustration with apt illusion, and happy anecdote and historic parallel, with wit and pitiless invective, with melodious pathos, with stinging satire with crackling epigram and limpid humor, like the bright ripples that play around the sure and steady prow of the resistless ship. The divine energy of his conviction utterly possessed him, and his

"Pure and eloquent blood

Spoke in his cheek, and so distinctly wrought
That one might almost say his body thought."

Was it Pericles swaying the Athenian multitude? Was it Apollo breathing the music of the morning from his lips? It was an American patriot, a modern son of liberty, with a soul as firm and as true as was ever consecrated to unselfish duty, pleading with the American conscience for the chained and speechless victims of American inhumanity.