The sun. [volume] (New York [N.Y.]) 1833-1916, 1892-04-10
ohApsrosE AND BAEroun
As They Are Seen and Heard In the Aesss
ofCon1cns.
From the Lonlos Sunday S,m.


From the Lo,pios Sunday Sun.
Sometimes when one looks at Mr.. Gladstone.
especially when he comes down to night sit
ting and he falls into a slumber on the front
Opposition bench. the truth comes home that
he Is an old man. Repose brings out the lines
that severe thoughtseager. high. and restless
purpose have carved deep and strong. Tho
extraordinary pallor OF Mr. Gladstone's COM
plexion. with its refinement Of coloring. which
has so much to do with the extraordinary i'm
preston he gives Of masculine and graceful
beauty. adds under the evening light to tho i'm
preston OF advanced years. II ono were to wish
to find two portraits OF old age representing In
their every line tho contrast between noble
and ignoble life. 1t would be well to look first
at Mr.. Gladstone at an evening sitting as he
lies back on the front Opposition bench. and
then to SEQ that strange and terrible picture
OF Talleyrand In Ms old age. which has been
given to us by MaclIse. In tho depth and fro
quency Of tho lines. In the pallor. the two
M al s Sss
the massive strength of thu one. and all tho
records 81 time.serying and .cynicism that
but look at Mr.. Glad stone. in f' earlier
hours Of the evening. and sec. how he gesticu-
readily he laughs. what freshness sI as we'll las as
seriousness there H. in the face as he leans
stand n Ge 5 S M oSs sn eSs gnS %So
optimist 81 extraordinary youth. fulness Of
wi wish had ever been so youne! And
then comes an even greater surprise when q, NJ
universal that meyer sh is, his whos
f1.d Ss ana t than n fSS sv he has
M & 6 Se Heass
stranger In the back part OF the gallery might
70 hs s r M oeasSas ss1ns ySs ssa a
ass tssS xfS SiS 6
vast aud ences but he g who was able to st
sisrves that we're S, err roveaIed The House Of
ss sSou e Il IL hs
see. If you have no imaeinatio and no readi-
shabby green benches. covered with scattered
iormiey Of English olethins But Il you you look
closer and alphabetically on such an occa-
so9 Gan faR, look On all these faces
lts depths. 50, carefully hidden in ordinary
nudity. without shame. without resistance.
No% tSs he benefit o, Mr. Bal
four. / am one Of his intellectual admirers.
though for his personal character. with Its
hysteric tendency to violence and it's feminine
possibilities OF cruelty. have nothing but dis
like, / am, say, one Of tho admirers Of his
sentiul distinction Of mind: and, i would
strongly advise him to avoid speaking after
Mr.. Gladstone ms often as he can. Certainly
let him avoid doing SO when Mr.. q ladst one Is
IN one OF his moments OF sublime inspiration.
For there e Is nothing that brings out the con.
oratory than to listen to a speech Of Mr. Bal
four following on a speech Of Mr.. Gladstone.
Why was it that WI hon you heard Mr.. Balfour
on Thursday evening you saw faults that had
certain tones; gestures. modes. Of expression.
and. above all things. modes OF del livery which
had left your emotions undsturbed before2
1t was the force OF contrast. that was thrust
unoD you In spite OF yourself.
ke before hoy faults r.a,S
harsh: his gesticulation consists OF the reit-
Grated slapping OF ono hand against another
with most graceless movements OF his arms to
dose. He has the defect from the oratorical
method Of going from point to point is abrupt;
inartistic. and exasperating. How shall
describe the contrast between the two men
without resortng to flgures that may appear
rancorous and disrespectiul. Let me try. Mr..
Gladstone giides from, point to point with
though on tho full bosom Of TRANQUIL river
under breezeless sky and at full tide: Mr..
Balfour carries you with the jolting movement
OF q primitive and superannuated four-wheel-
difference between the movements. Of the two
men as between the easy soaring Of the eagle
sparrow: I. r. 0'CoNxoi.