The Greatest Works of Russell Conwell. Russell Herman Conwell

was that music? Was it worship? Why, if I had stood in that sacred place and positively sworn at the people it would not have been greater sacrilege than that exhibition up on that shelf! Do you think the living God is to be worshiped by a high-flying, pyrotechnic, trapeze performance in acoustics? Neither worship nor music was there. Music does not consist of a high-flying circus trapeze performance in acoustics.

      What is music? Music is such a combination of sound as moves the heart to holier emotions, quickens the brain to brighter thoughts, and moves the whole man on to nobler deeds. That is music. Nothing else is music. You can only find out whether you are a musician or not by taking notice, while you sing, whether you hold the attention of the people, and whether you influence their memory and their after character.

      Chapter V. Need of Orators

       Table of Contents

      We need great orators. The need is something alarming. I am often called to lecture at the Chautauquas and the lyceums, and the committees often urge me to recommend some man or woman who will fill a place on the public platform. They offer marvelous rewards for those who will do that well. There are no men or women alive, not one known in our land to-day, who could be called a great orator. When I began to lecture, fifty-eight years ago, there were Henry Ward Beecher, Wendell Phillips, George William Curtis, Edward Everett, the greatest orator of his day—and John B. Gough. I esteem it a great honor to have been induced by Mr. Gough to go on the lecture platform. They are all gone, and no successors have appeared.

      Liberty and oratory have ever gone together, and always will, hence the need of oratory is especially pressing now.

      Why don't we have orators? The editors say "because the newspaper has come in and goes into every home, and a man on Sunday will read a better sermon in his newspaper than ever was delivered, and will save paying the minister and having trouble with the choir." Now, that time will never come. You will never get along without real orators, no matter how many newspapers you may have. I respect the press. I have had something to do with its work in my lifetime. I have worked upon and owned a daily newspaper. But I must say that there is something, after all, in the shake of a living man's finger, something in the flash of his eye, something in the stamp of his foot, but vastly more in his mesmeric power, which no cold type will ever express! You never can fully express the living man in cold lead.

      Why don't we have great orators? I don't think the newspapers are in the way. But other people say to me. "It is the injurious effect of the modern school of elocution, which is now called 'the school of oratory.'" It has only been a few years since all these elocutionary schools changed their names to "schools of oratory" and consequently damaged the prospect of our country. The school of elocution may not be a school of oratory at all. It may be a hindrance to oratory; it depends on what the teaching is. There is a wide difference between elocution and real oratory. Elocution is an art of expression, which every teacher has, and he teaches his own art. But oratory is the great science of successful speech. The man who gets what he pleads for is an orator, no matter how he calls. If you call a dog and he comes, that is oratory. If he runs away, that is elocution!

      Why don't we have greater orators? These schools of elocution remind me of an incident which occurred about seventeen years ago. I don't believe I will hurt any one's feelings now by mentioning it. The professor of elocution was sick one day, and the boys came after me. They wanted me to come because the teacher was away, and I resolved to go and entertain that class and let it pass for a recitation. Professors often do that. When I came into the class-room, I said to the boy on the front seat: "What was the last lesson you had in elocution?" One of the boys said:

      "Peter Piper, pickle-picker, picked six pecks of pickled peppers;

       If Peter Piper, pickle-picker, picked six pecks of pickled peppers,

       Where are the six pecks of pickled peppers which Peter Piper picked?"

      That is "lip exercise" in elocution. I said to that young man, "I will not teach elocution. But I wish you would come up and deliver that to this class just as you would to an audience." The boy came up and put his toes together, and his hands by his side, for he had not reached the study of gesture. He yelled very rapidly and loudly:

      "Peter Piper, pickle-picker, picked six pecks of pickled peppers;

       If Peter Piper, piping, picked six pecks of pickled peppers,

       Where are the pecks of pickled peppers which Peter Piper picked?"

      It was elocution, but it was not oratory. I had trouble in getting up another boy, but I finally did. He thought that oratory consisted entirely in elocutionary "inflections," so he delivered it:

      "Peter Piper picked six pecks of pickled peppers;

       If Peter piping picked a peck of pickled peppers,

       Where's the peck of pickled peppers Peter Piper picked?"

      (With marked raising and lowering of the voice.)

      It sounded like an old rooster in the barn in the morning. But being elocution, it was not oratory.

      But the most illustrative and most absurd speech I ever heard was by a visitor in that class that day. He was sitting over near the aisle, and one of the students came and whispered to me: "That young man has graduated from an Eastern school of elocution, and he is going to act the heavy parts in tragedy upon the stage. He is a great elocutionist, and won't you get him to recite something to the class?" I fell into the trap, and went down to the young man, and said: "I understand you are an elocutionist. Will you come up and recite something for the class?"

      As soon as he looked up at me I saw by his eyes there was something the matter with his head. I do not know just what, but things have happened since that make it no unkindness to refer to him the way I do. I said: "Please come up and recite something," and he replied: "Shall I recite the same thing the young men have been reciting?" I said, "You don't need to do that; take anything." He left his gold-headed cane—the best part of him—on the floor, and then he came up to the platform and leaned on the table and said to me: "Shall I recite the same thing the young men have been reciting?" I said: "You can if you wish. You are perfectly free to take anything you choose. The professor is away, anyhow. When the cat is away the mice will play."

      Then he began to prepare himself for that recitation. I never saw such behavior in my life. He pulled up his sleeves, brushed back his hair, shook himself, moved the table away forward, and I slid far back by the door and left the platform open, for I didn't know what he was going to do next. Then he gave the selection:

      "Peter Piper picked a peck of pickled pepper-r-rs;

       If Peter Piper, piping piper, picked a peck of pickled pepper-r-r-rs,

       Where's the peck of pickled pepper-r-r-rs Peter Piper pickle-picker-r-r picked?"

      He rolled in a flutter the letter "r" in each line. That class looked up with awe, and applauded until he repeated it. It was still elocution, but it was not oratory. He thought that oratory consisted of rolling the "r's" and rolling himself. That is not oratory.

      Where do they learn oratory? They learn it in the old-fashioned school-house, from that old hen at the kitchen door, in some back office, in some hall, or some church where young men or women get together and debate, saying naturally the things they mean, and then take notice of the effects of what they debate upon, the conviction or after action of those who listen. That is the place to observe. You must take notice if you are to be a great orator.

      The greatest orator of the future will be a woman. It has not been two months since the management of a women's Chautauqua said, "We could give $40,000 a year to any woman who will be a natural woman on the platform." They would make money at $40,000 a year if they hired a woman who would be a real woman. The trouble is that when women get on the platform they try to sing bass or try to speak as a man speaks. And there is such a need for women orators now! I get provoked about it when I think. Why isn't there a great woman orator like Mrs. Livermore now when she is needed so much?