He had nothing of the actor in him; he could not command the deep voice, the solemn tones, the imposing gestures, the Olympian mien by which men like Waldeck and Radowitz and Gagern dominated and controlled their audience.

His own mind was essentially critical; he appealed more to the intellect than the emotions.

His speeches were always controversial, but he was an admirable debater.

It is curious to see how quickly he adopts the natural Parliamentary tone.
His speeches are all subdued in tone and conversational in manner.

Many of them were very carefully prepared, for though he did not generally write them out, he said them over and over again to himself or to Kleist, with whom he lived in Berlin.