Chapter 11

It is perhaps fitting, before we take leave of Douglass, to give some estimate of the remarkable oratory which gave him his hold upon the past generation. For, while his labors as editor and in other directions were of great value to the cause of freedom, it is upon his genius as an orator that his fame must ultimately rest.

While Douglass's color put him in a class by himself among great orators, and although his slave past threw around him an element of romance that added charm to his eloquence, these were mere incidental elements of distinction. The North was full of fugitive slaves, and more than one had passionately proclaimed his wrongs. There were several colored orators who stood high in the councils of the abolitionists and did good service for the cause of humanity.

Douglass possessed, in large measure, the physical equipment most impressive in an orator. He was a man of magnificent figure, tall, strong, his head crowned with a mass of hair which made a striking element of his appearance. He had deep-set and flashing eyes, a firm, well-moulded chin, a countenance somewhat severe in repose, but capable of a wide range of expression. His voice was rich and melodious, and of great carrying power. One writer, who knew him in the early days of his connection with the abolitionists, says of him, in Johnson's _Sketches of Lynn_:

"He was not then the polished orator he has since become, but even at that early date he gave promise of the grand part he was to play in the conflict which was to end in the destruction of the system that had so long cursed his race.... He was more than six feet in height; and his majestic form, as he rose to speak, straight as an arrow, muscular yet lithe and graceful, his flashing eye, and more than all his voice, that rivalled Webster's in its richness and in the depth and sonorousness of its cadences, made up such an ideal of an orator as the listeners never forgot. And they never forgot his burning words, his pathos, nor the rich play of his humor."

The poet William Howitt said of him on his departure from England in 1847, "He has appeared in this country before the most accomplished audiences, who were surprised, not only at his talent, but at his extraordinary information."

In Ireland he was introduced as "the black O'Connell,"--a high compliment; for O'Connell was at that time the idol of the Irish people. In Scotland they called him the "black Douglass [Douglas]," after his prototype in _The Lady of the Lake_, because of his fìre and vigor. In Rochester he was called the "swarthy Ajax," from his indignant denunciation and defiance of the Fugitive Slave Law of 1850, which came like a flash of lightning to blast the hopes of the anti-slavery people.

Douglass possessed in unusual degree the faculty of swaying his audience, sometimes against their maturer judgment. There is something in the