Sketches in the House: The Story of a Memorable Session (1893)O'Connor, T. P. (Thomas Power)
History
Sketches in the House: The Story of a Memorable Session (1893)
O'Connor, T. P. (Thomas Power)
Great Britain -- Politics and government -- 1837-1901; Great Britain. Parliament. House of Commons; Home rule -- Ireland
On Friday night, September 8th, Lord Salisbury had his opportunity of
undoing this great effect--of reasserting that intellectual as well as
mere voting dictatorship which he holds in the House of Lords; and he
signally failed to rise to the occasion. I do not like the policy of
Lord Salisbury, but there is a lucidity, a point, and sometimes a vigour
in his speeches which make them usually charming reading. It was,
therefore, with the full expectation of being interested that I listened
to him, but he drove me out of the House by the impossibility of my
keeping awake under the influence of his dull, shallow, and
disappointing speech. He began with a little touch of nature that
certainly was prepossessing. He had brought in with him a dark-brown
bottle, like the bottle one associates with seltzer water. The fluid was
perfectly clear; it was evidently not like the strong wine which Prince
Bismarck used to require in the days when he used to make great
speeches. And Lord Salisbury, as he poured out a draught--it looked very
like Johannis water--lifted up the bottle to the Ministers opposite with
a pleasant smile, as though to prove to them that he was not offending
against even the sternest teetotal code.
It was the first and the last bit of real human naturalness in the whole
speech, for Lord Salisbury's manner and delivery are wooden, stiff,
awkward and lumbering. He stands upright--except, of course, for that
heavy stoop of the shoulders which is one of his characteristics--and
rarely moves himself one-hundredth part of an inch. The voice--even,
clear, and strong, and yet not penetrating, and still less
inspiring--rarely has a change of note; it is delivered with the
strange, curious air of a man who is thinking aloud, and has forgotten
the presence of any listeners. The eyes--hidden almost amid the shaggy
and black-grey hair which covers nearly the whole face--are never
directed to any person around. They seem to gaze into vacancy;
altogether there is something curious, weird, almost uncanny, in this
great, big whale of a man, intoning his monologue with that curious
detachment of eye and manner in the midst of a crowded, brilliant, and
intensely nervous and restless assembly of men and women.
[Sidenote: The pessimism of a recluse.]
Public-domain text, read in full here on John Shaqi.
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