The sun. [volume] (New York [N.Y.]) 1833-1916, 1899-08-13
II I

In a chapter written for this book by the
Rev w. Tuckwell there are some com
ments on Gladstones style as prose writ
r. 1t is pointed out that his writing, unlike
Macaulay's, lacked the instinct or the lei
ture for the revising. correcting. reshaping
perfecting toll on which inspiration waits
Macaulay was never satisfied with his copy
until every paragraph concluded with tell
ing sentence, and until every sentence flowed
like running water. With Gladstone, on the
other hand, the thought was everything,
and its framework less than secondary He
wanted the fastidiousness requisite for per
feet prose. Robert IIussey used to say Of
his two brilliant contemporary pupils that
Gladstone's compositions were full OF gran
dcur in rough half fashioned dress while
Charles Wordsworths were exquisite In
workmanship with not much substance. TO
the last, Gladstone ignored in his estimate
II others the magic OF literary elegance
when the writer or the subject fretted him:
he thought Remains Vie de Jesus" dull, and
could not read George Eliot. His own sen
fences are sometimes ungainly, and some
times 80 obscure that many perusals OF
them hardly clear them. He overlooks the
warning of Horace that It is difficult TO In
troduce vulgar sayings appropriately. An
extensive list might be framed OF strange
words used by him not defensible on the
ground OF their peculiar appositeness He
sometimes airs quotations which are neither
gpt nor new. His phrases are not inevitable.
his tonic resources not flexible, his prose
not melodious or rhythmic. his style IN no
sense classical. Nobody would dream OF
CHASING him with the great masters OF
English prose in this century. With the pen
re is never eloquent
Gladstones speeches owed their transcen-
lent force to other than literary merit Dis-
ISOLATED from their speakers personality. the
meaning eye bell-like voice. enforcing ges-
lures, and torrential evidence of sefcon
yiction, they flash forth no bursts Of rhap
sody, celestial at once in imagination. pic
turesqueness, and melody. such as In Burkes
arragnment OF Hyder ALL or In the Chsero
nea fight OF Demosthenes, made the hearers
gasp and hold their breath as In the presence
Of supernatural inspiration. AS an orator,
however. MIR. Gladstone had the advantage
Ct an admirable voice. the range OF which
was marvellous. In the Market Hall at
Edinburgh he addressed a crowd equal to
the population OF hamlet; yet every word
vas audible. In the House Of Commons,
indeed 1t was not needful. on ordinary occa-
suns. for him to raise his voice above con.
yersational pitch, But he knew how, at the
proper moment to All tho chamber with the
music OF uplfted tones, full and strong as the
peal OF an organ. We are told by Mr.. H. W.
Lucy that even to look at him when in the
full food OF oratory was an inspiring sight.
His eyes cleaned with marvellous light
Every muscle OF his mobile face was In &C
ton. each turn Of successive sentences, and
his sentences were exceedingly sinuous, had
its appropriate gesture. His gestures, in
truth. were not the least remarkable nor
the least effective element OF his great
speeches. They had the charm and variety
Of naturalness. Curran. who, In the fervor OF
his utterance, used occasionally to bend
down till he scratched the floor with his
finger nails, once publicly thanked God that
he had no gestures. Gladstone. doubtless,