The true Yankee is suspicious of eloquence, and “stops a metaphor like a suspected person in an enemy’s country.”  A stranger, who looked in for a few minutes upon one of Mr. Choate’s jury-arguments, and saw a lawyer with a lithe and elastic figure of about five feet and eleven inches, with a face not merely of a scholarly paleness, but wrinkled all over, and, as it were, scathed with thought and with past nervous and intellectual struggles, yet still beautiful, with black hair curling as if from heat and dewy from heightened action and intensity of thought and feeling, and heard a clear, sympathetic, and varying voice uttering rapidly and unhesitatingly, sometimes with sweet caesural and almost monotonous cadences, and again with startling and electric shocks, language now exquisitely delicate and poetic, now vehement in its direct force, and again decorated and wild with Eastern extravagance and fervor of fancy, would have thought him the last man to have been born on New England soil, or to convince the judgments of twelve Yankee jurors.  But those twelve men, if he had opened the case himself, had been quietly, simply, and sympathetically led into a knowledge of its facts in connection with its actors and their motives; they had seen how calmly and with what tact he had examined his witnesses, how ready, graceful, and unheated had been his arguments to the court, and how complete throughout had been his self-possession and self-control; they had, moreover, learned and become interested in the case, and were no longer the same hard and dispassionate men with whom he had begun, and they knew, as the casual spectator could not know, how systematically he was arguing while he was also vehemently enforcing his case. He, meanwhile, knew his twelve men, and what arguments, appeals, and illustrations were needed to reach the minds of one or all.  He did not care how certain extravagances of style struck the critical spectator, if they stamped and riveted certain points of his case in the minds of his jury.  With the keenest perception of the ridiculous himself, he did not hesitate to say things which, disconnected from his purpose, might seem ridiculous.  One consequence of these audacities of expression was, that, when it became necessary for him to be iterative, he was never tedious.  They gave full play to his imaginative humor and irony, and to his poetic unexpectedness and surprises.  A wise observer, hearing him try a case from first to last, while recognizing those higher qualities of genius which we have before described, saw, that, for all the purposes of persuasion and argumentation, for conveying his meaning in its full force and in its most delicate distinctions and shadings, for analytic reasoning or for the “clothing upon” of the imagination, for all the essential objects and vital uses of language, his style was perfect for his purpose and for his audience.  His excesses came from surplus power and dramatic intensity, and were pardoned by all imaginative minds to the real genius with which they were informed.