Little Journeys to the Homes of the Great, Volume 7 Little Journeys to the Homes of Eminent Orators — Themes and Context

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Hubbard, Elbert, 1856-1915 Project Gutenberg 2007 Not confirmed
Orators Readers of public-domain and historical texts
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Words 92,450
Reading time 402 min
Text sections 10

Little Journeys to the Homes of the Great, Volume 7 Little Journeys to the Homes of Eminent Orators — Themes and Context can be approached with a clearer sense of reading commitment from its source measurements: 92,450 words, 6 hr 42 min estimated reading time, and 10 detected text sections.

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Elbert Hubbard profiles ten orators from Pericles to Wendell Phillips, blending biographical sketches with invented letters and dramatic scenes. The volume moves between ancient Athens, Reformation Europe, and 19th-century America, using recurring motifs of the speaker's physical presence and the crowd's reaction.
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Schliemann was thirty-eight years old he was worth half a million dollars; and instead of making his big business still bigger, he was studying Greek. It was a woman and Eros taught Schliemann Greek, and this was so letters could be written--dictated by Eros, who they do say is an awful dictator--that would not be easily construed by Hoosier "hoi polloi." Together the woman and Schliemann studied the history of Hellas.

About the year Eighteen Hundred Sixty-eight Schliemann turned all of his Indiana property into cash; and in April, Eighteen Hundred Seventy, he was digging in the hill of Hissarlik, Troad. The same faculty of thoroughness, and the ability to captain a large business--managing men to his own advantage, and theirs--made his work in Greece a success. Schliemann's discoveries at Mount Athos, Mycenae, Ithaca and Tiryns turned a searchlight upon prehistoric Hellas and revolutionized prevailing ideas concerning the rise and the development of Greek Art.

His Trojan treasures were presented to the city of Berlin. Had Schliemann given his priceless findings to Indianapolis, it would have made that city a Sacred Mecca for all the Western World--set it apart, and caused James Whitcomb Riley to be a mere side-show, inept, inconsequent, immaterial and insignificant. But alas! Indianapolis never knew Schliemann when he lived there--they thought he was a Dutch Grocer! And all the honors went to Benjamin Harrison, Governor Morton and Thomas A. Hendricks.

If the Indiana Novelists would cease their dalliance with Dame Fiction and turn to Truth, writing a simple record of the life of Schliemann, it would eclipse in strangeness all the Knighthoods that ever were in Flower, and Ben Hur would get the flag in his Crawfordsville chariot-race for fame.

Berlin gave the freedom of the city to Schliemann; the Emperor of Germany bestowed on him a Knighthood; the University voted him a Ph. D.; Heidelberg made him a D. C. L.; and Saint Petersburg followed with an LL. D.

The value of the treasure, now in the Berlin Museum, found by Schliemann exceeds by far the value of the Elgin Marbles in the British Museum.

We know, and have always known, who built the Parthenon and crowned the Acropolis; but not until Schliemann had by faith and good works removed the mountain of Hissarlik, did we know that the Troy, of which blind Homer sang, was not a figment of the poet's brain.

Schliemann showed us that a thousand years before the age of Pericles there was a civilization almost as great. Aye! more than this--he showed us that the ancient city of Troy was built upon the ruins of a city that throve and pulsed with life and pride, a thousand years or more before Thetis, the mother of Achilles, held her baby by the heel and dipped him in the River Styx.

Schliemann passed to the Realm of Shade in Eighteen Hundred Ninety, and is buried at Athens, in the Ceramicus, in a grave excavated by his own hands in a search for the grave of Pericles.

Pericles lived nearly twenty-five centuries ago. The years of his life were sixty-six--during the last thirty-one of which, by popular acclaim, he was the "First Citizen of Athens." The age in which he lived is called the Age of Pericles.

Shakespeare died less than three hundred years ago, and although he lived in a writing age, and every decade since has seen a plethora of writing men, yet writing men are now bandying words as to whether he lived at all.

Between us and Pericles lie a thousand years of night, when styli were stilled, pens forgotten, chisels thrown aside, brushes were useless, and oratory was silent, dumb. Yet we know the man Pericles quite as well as the popular mind knows George Washington, who lived but yesterday, and with whom myth and fable have already played their part.

Thucydides, a contemporary of Pericles, who outlived him by nearly half a century, wrote his life. Fortunately, Thucydides was big enough himself to take the measure of a great man. At least seven other contemporaries, whose works we have in part, wrote also of the First Citizen.

To Plutarch are we indebted for much of our knowledge of Pericles, and fortunately we are in position to verify most of Plutarch's gossipy chronicles.

Hubbard opens the volume not with a definition of oratory but with a fictional letter from Pericles to Aspasia, casting the statesman in a private, reflective voice. This invented document sets the pattern for the book: each chapter mixes biographical narrative, imagined correspondence, and editorial commentary. The structure is consistent—a brief, often aphoristic heading, then a leap into a vivid scene or anecdote. In the Pericles chapter, Hubbard abruptly shifts from ancient Athens to a grocer in Indianapolis, using Heinrich Schliemann as a foil to introduce the Greek leader. This juxtaposition of the mundane and the monumental is a recurring device.

From Grocer to Orator: Hubbard’s Framing Device

The Pericles chapter begins with a lengthy digression about a prosperous Indianapolis grocer named Schliemann, who grows rich selling groceries and feed. Hubbard uses this American success story to contrast with the Athenian statesman, but the connection is not immediately clear. The reader expects Schliemann to become a local politician, but instead Hubbard pivots: “But this time the reader” is interrupted. The device serves to ground the ancient figure in a recognizable, commercial context. Hubbard repeats this technique in other chapters, often opening with a contemporary or historical anecdote that seems unrelated before revealing its relevance. The effect is to make the orators accessible, but it also risks confusing the reader who expects a straightforward biography.

The Physical Presence of the Speaker

Hubbard repeatedly emphasizes the orator’s body and voice. Of Marat, he writes that the “terrible dwarf” stood on a barrel haranguing crowds, his “insignificant size” making him conspicuous. The detail of the dagger at Marat’s belt, “within easy reach, and in open sight,” becomes a symbol of his dangerous charisma. Similarly, the description of Schliemann as “weighed on his own hay-scales” and tipping “the beam at part of a ton” reduces the man to his physical bulk. These images recur across chapters: the orator is not just a voice but a body in space, commanding or repelling attention through stature, gesture, or props. Hubbard’s prose dwells on these physical details, making them central to the portrait.

Movement Between Public and Private Spheres

The volume constantly shifts between the orator’s public performance and private life. The Pericles chapter opens with a letter that is intimate, even sorrowful: “We never can meet again: the laws forbid it, and love itself enforces them.” This private voice contrasts with the public figure who later speaks of Athens’ glory. In the Marat section, Hubbard moves from the physician’s dispensary and lectures on hygiene to the revolutionary’s street-corner harangues. The private man—the inventor, the doctor—is shown alongside the public agitator. Hubbard uses these transitions to suggest that the orator’s power springs from personal conviction or obsession, but he does not fully reconcile the two spheres. The reader is left to infer how the private self fuels the public performance.

Recurring Motifs: The Crowd and the Reaction

Hubbard frequently describes the effect of oratory on its audience. Of Marat, he writes that “the crowds that hung upon his words were swayed to rank unreason by his impassioned eloquence.” The crowd is not a passive recipient but an active force that reacts upon the speaker: “Marat fell a victim to his own eloquence, and the madness of the mob reacted upon him.” This reciprocal dynamic appears in other chapters, though the excerpts only show it explicitly here. Hubbard also uses the motif of the speaker’s isolation: Pericles speaks at the close of his day, “when every light is dim and every guest departed.” The orator is both surrounded and alone, a tension that Hubbard returns to across the volume.

Readers should approach this volume as a series of impressionistic portraits rather than systematic biographies. Hubbard’s method is associative: he leaps from a grocer in Indianapolis to Pericles, from a physician’s dispensary to the French Revolution. The recurring images—the speaker’s body, the crowd’s reaction, the private letter—provide threads that connect the chapters. Pay attention to how Hubbard uses physical details and invented scenes to animate his subjects, and note where he leaves gaps or contradictions. The book rewards those who read for pattern and voice rather than for factual completeness.

I finished the orators volume and kept thinking about how much silence surrounds a truly powerful voice—the way a speaker’s presence lingers after the words fade. It reminded me of something quieter, the dignity in service work that goes unspoken. There’s a gentleness in Letters to Persons Who Are Engaged in Domestic Service — Background and Themes that stayed with me, like noticing the hush before applause. We don’t always say it, but that matters.

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