The most hard-fisted, disagreeably restless, thought-paralyzing companion sometimes turns out in a public assembly to be a fluent, various, and effective orator. Now you find what all that excess of power which so chafed and fretted you in a _tête-à-tête_ with him was for. What is peculiar in it is a certain creative heat, which, a man attains to perhaps only once in his life. Those whom we admire--the great orators--have some _habit_ of heat, and, moreover, a certain control of it, an art of husbanding it,--as if their hand was on the organ-stop, and could now use it temperately, and now let out all the length and breadth of the power. I remember that Jenny Lind, when in this country, complained of concert-rooms and town-halls, that they did not give her room enough to unroll her voice, and exulted in the opportunity given her in the great halls she found sometimes built over a railroad depot. And this is quite as true of the action of the mind itself, that a man of this talent sometimes finds himself cold and slow in private company, and perhaps a heavy companion; but give him a commanding occasion, and the inspiration of a great multitude, and he surprises by new and unlooked-for powers. Before, he was out of place, and unfitted as a cannon in a parlor. To be sure there are physical advantages,--some eminently leading to this art. I mentioned Jenny Lind's voice. A good voice has a charm in speech as in song; sometimes of itself enchains attention, and indicates a rare sensibility, especially when trained to wield all its powers. The voice, like the face, betrays the nature and disposition, and soon indicates what is the range of the speaker's mind. Many people have no ear for music, but every one has an ear for skilful reading. Every one of us has at some time been the victim of a well-toned and cunning voice, and perhaps been repelled once for all by a harsh, mechanical speaker. The voice, indeed, is a delicate index of the state of mind. I have heard an eminent preacher say, that he learns from the first tones of his voice on a Sunday morning whether he is to have a successful day. A singer cares little for the words of the song; he will make any words glorious. I think the like rule holds of the good reader. In the church I call him only a good reader who can read sense and poetry into any hymn in the hymn-book. Plutarch, in his enumeration of the ten Greek orators, is careful to mention their excellent voices, and the pains bestowed by some of them in training these. What character, what infinite variety, belong to the voice! sometimes it is a flute, sometimes a trip-hammer; what range of force! In moments of clearer thought or deeper sympathy, the voice will attain a music and penetration which surprises the speaker as much as the auditor; he also is a sharer of the higher wind that blows over his strings. I believe that some orators go to the assembly as to a closet where to find their best thoughts. The Persian