The cause of the classic self-restraint in Webster was partly due to the
artistic sense which made him so devoted to simplicity of diction, and
partly to the cast of his mind. He had a powerful historic imagination, but
not in the least the imagination of the poet, which

"Bodies forth the forms of things unknown."

He could describe with great vividness, brevity, and force what had
happened in the past, what actually existed, or what the future promised.
But his fancy never ran away with him or carried him captive into the
regions of poetry. Imagination of this sort is readily curbed and
controlled, and, if less brilliant, is safer than that defined by
Shakespeare. For this reason, Mr. Webster rarely indulged in long,
descriptive passages, and, while he showed the highest power in treating
anything with a touch of humanity about it, he was sparing of images drawn
wholly from nature, and was not peculiarly successful in depicting in words
natural scenery or phenomena. The result is, that in his highest flights,
while he is often grand and affecting, full of life and power, he never
shows the creative imagination. But if he falls short on the poetic side,
there is the counterbalancing advantage that there is never a false note
nor an overwrought description which offends our taste and jars upon our
sensibilities.

Mr. Webster showed his love of direct simplicity in his style even more
than in his thought or the general arrangement and composition of his
speeches. His sentences are, as a rule, short, and therefore pointed and
intelligible, but they never become monotonous and harsh, the fault to
which brevity is always liable. On the contrary, they are smooth and
flowing, and there is always a sufficient variety of form. The choice of