His manner in speaking was singularly attractive. His manly form, his intellectual countenance and musical voice, set off by a rare gracefulness of gesture, won, in advance, the favor of his auditory. He was calm, deliberate, and distinct in his enunciation, not often rising into any high exhibition of passion, and never sinking into tameness. His key was that of earnest and animated argument, frequently alternated with that of a playful and sprightly humor. His language was neat, well chosen, and uttered without impediment or slovenly repetition. The tones of his voice played, with a natural skill, through the various cadences most appropriate to express the flitting emotions of his mind, and the changes of his thought. To these external properties of his elocution, we may ascribe the pleasure which persons of all conditions found in listening to him. Women often crowded the court-rooms to hear him, and as often astonished him, not only by the patience, but the visible enjoyment with which they were wont to sit out his argument to the end,—even when the topic was too dry to interest them, or too abstruse for them to understand his discourse.... His oratory was not of that strong, bold, and impetuous nature which is often the chief characteristic of the highest eloquence, and which is said to sway the Senate with absolute dominion, and to imprison or set free the storm of human passion, in the multitude, according to the speaker’s will. It was smooth, polished, scholar-like, sparkling with pleasant fancies, and beguiling the listener by its varied graces, out of all note or consciousness of time.
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=_William Ware, 1797-1852._= (Manual, p. 510.)
From “Aurelian, or Rome in the Third Century.”