A gentleman related the following anecdote, which just answers the purpose I have in view, so I will pass it on to you. He said: “When I was a boy, I used to hear the story of a tailor who lived to a great age, and became very wealthy, so that he was an object of envy to all who knew him. His life, as all lives will, drew to a close; but before he passed away, feeling some desire to benefit the members of his craft, he gave out word that, on a certain day, he would be happy to communicate to all the tailors of the neighborhood the secret by which they might become wealthy. A great number of knights of the thimble came, and while they waited in anxious silence to hear the important revelation, he was raised up in his bed, and with his expiring breath uttered this short sentence, ‘Always put a knot in your thread.’ ” That is why I recommend you, brethren, to use anecdotes and illustrations, because they put knots in the thread of your discourse. What is the use of pulling the end of your thread through the material on which you are working? Yet, has it not been the case with very many of the sermons to which we have listened, or the discourses we have ourselves delivered? The bulk of what we have heard has just gone through our minds without leaving any lasting impression, and all we recollect is some anecdote that was told by the preacher.
There is an authenticated case of a man being converted by a sermon eighty-five years after he had heard it preached. Mr. Flavel, at the close of a discourse, instead of pronouncing the usual benediction, stood up, and said, “How can I dismiss you with a blessing, for many of you are ‘Anathema Maranatha,’ because you love not the Lord Jesus Christ?” A lad of fifteen heard that remarkable utterance; and eighty-five years afterward, sitting under a hedge, the whole scene came vividly before him as if it had been but the day before; and it pleased God to bless Mr. Flavel’s words to his conversion, and he lived three years longer to bear good testimony that he had felt the power of the truth in his heart.
Sixthly, anecdotes and illustrations are useful because they frequently arouse the feelings. They will not do this, however, if you tell the same stories over and over again ever so many times. I recollect, when I first heard that wonderful story about “There is another man,” I cried a good deal over it. Poor soul, just rescued, half-dead, with only a few rags on him, and yet he said, “There is another man,” needing to be saved. The second time I heard the story, I liked it, but I did not think it was quite so new as at first; and the third time I heard it, I thought that I never wanted to hear it again. I do not know how many times I have heard it since; but I can always tell when it is coming out. The brother draws himself up, and looks wonderfully solemn, and in a sepulchral tone says, “There is another man,” and I think to myself, “Yes, and I wish there had not been,” for I have heard that story till I am sick and tired of it. Even a good anecdote may get so hackneyed that there is no force in it, and no use in retailing it any longer.
Still, a live illustration is better for appealing to the feelings of an audience than any amount of description could possibly be. What we want in these times is not to listen to long prelections upon some dry subject, but to hear something practical, something matter-of-fact, that comes home to our everyday reasoning; and when we get this then our hearts are soon stirred.
I have no doubt that the sight of a deathbed would move men much more than that admirable work called Drelincourt on Death, a book which, I should think, nobody has ever been able to read through. There may have been instances of persons who have attempted it; but I believe that, long before they have reached the latter end, they have been in a state of asphyxia or coma, and have been obliged to be rubbed with hot flannels; and the book has had to be removed to a distance before they could recover. If you have not read Drelincourt on Death, I believe I know what you have read—that is, the ghost story that is stitched in at the end of the book. The work would not sell, the whole impression was upon the shelves of the bookseller, when Defoe wrote the fiction entitled, A True Relation of the Apparition of Mrs. Veal, after her Death, to
