Toye has a theory on why people were -- and in some cases, still are -- so eager to believe this urban myth. “As a piece of psychological speculation one might hazard that they feel that the account of the almost mystical power of Churchill’s oratory, as it is usually presented, is in some sense too good to be true,” he writes in his book. Clearly, the mystique surrounding Churchill’s speeches is too good to be true. He did not have people cheering in the streets, shouting his name, and diving headfirst into the war effort after a single speech. They were certainly not responding to his “husky, rather stuttering” voice, which was not widely heard that day.
An introduction by the president of the United States would afford Churchill a world stage—whatever the venue. Though the date of the address, March 5, 1946, was half a year away, the opportunity fueled his imagination. He may have been out of office, but he was still the world’s foremost political figure, a man whose words could still command attention in the world’s leading nation. The thought buoyed his spirit, as he resumed his role of Leader of the Opposition.
When this Liberal program necessitated high taxation, which in turn provoked the House of Lords to the revolutionary step of rejecting the budget of 1909, Churchill was Lloyd George’s closest ally in developing the provocative strategy designed to clip the wings of the upper chamber. Churchill became president of the Budget League, and his oratorical broadsides at the House of Lords were as lively and devastating as Lloyd George’s own. Indeed Churchill, as an alleged traitor to his class, earned the lion’s share of Tory animosity. His campaigning in the two general elections of 1910 and in the House of Commons during the passage of the Parliament Act of 1911, which curbed the House of Lords’ powers, won him wide popular acclaim. In the cabinet his reward was promotion to the office of home secretary. Here, despite substantial achievements in prison reform, he had to devote himself principally to coping with a sweeping wave of industrial unrest and violent strikes. Upon occasion his relish for dramatic action led him beyond the limits of his proper role as the guarantor of public order. For this he paid a heavy price in incurring the long-standing suspicion of organized labour.
For the purposes of his study, Toye also disregards public opinion surveys because most were ‘not directed to the reception of speeches per se but to approval/disapproval of Churchill as Prime Minister’ (p. 227). The fault, though, is with his premise, that Churchill’s oratory, and its impact, can be assessed in isolation. Toye admits as much when, at the end of his book, he quotes a December 1942 MO report. According to this assessment, Churchill’s personal popularity along with reaction to his speeches, rose or fell in ‘very close association with the general feelings of cheerfulness or depression about the war situation’ (p. 227). Which is rather stating the obvious.
This speech is one of the most important speeches of Churchill’s life though it is often over looked. Churchill had been speaking on trade unions in the House for a better part of an hour, when he suddenly lost his train of thought. He stalled for time, but could not finish his speech. Churchill thanked the House for listening to him and sat down and put his head in his hands. He had been in the habit of totally memorising his speeches. But from this point forward, Churchill decided to forge a system of speech writing that employed copious notes and several revisions. It was this system which helped create the powerful and awe inspiring oratory which Churchill had envisioned as a 23 year old in 'The Scaffolding of Rhetoric’ and for which Churchill has become famous. So in many ways, it was from this small failure that day in the House of Commons that Churchill’s amazing oratory was born.
On June 4, 1940, Winston Churchill gave one of the most rousing and iconic addresses of World War II: his “We shall fight on the beaches” speech. Though history reveres this speech, it was actually quite depressing for the Brits — though it has been argued that the speech was not for them, but for the Americans who were still sitting on the sidelines, writes Smithsonian Magazine. 
Once the decision had been made, Churchill was Overlord’s fierce advocate. He reveled in the tactics and gadgets that characterized the greatest amphibious operation yet attempted—he was especially taken with the Mulberry portable harbors. He also informed Eisenhower of his intention to observe the landings from a British cruiser. The supreme commander replied that Churchill was far too valuable to risk and prohibited it. Churchill calmly replied that as a British citizen he would sign on aboard one of His Majesty’s ships, whereupon Eisenhower’s headquarters contacted Buckingham Palace. King George thereupon called Churchill, declaring that if the prime minister went to Normandy, the monarch could do no less. Churchill relented.
During the first four years of the last war the Allies experienced nothing but disaster and disappointment. That was our constant fear: one blow after another, terrible losses, frightful dangers. Everything miscarried. And yet at the end of those four years the morale of the Allies was higher than that of the Germans, who had moved from one aggressive triumph to another, and who stood everywhere triumphant invaders of the lands into which they had broken. During that war we repeatedly asked ourselves the question: 'How are we going to win?' And no one was able ever to answer it with much precision, until at the end, quite suddenly, quite unexpectedly, our terrible foe collapsed before us, and we were so glutted with victory that in our folly we threw it away.
78 rpm: HMV (JOX.33), Gramophone (C3198) [issued as part of Gramophone Album The Progress of the War, No. 348], BBC, World Record Club EZ.1026, World Record Club ME-2121-2123; 33 rpm: EMI/Odeon 1-2, Capitol, Caedmon TC 2065, Decca 5, London XL.10, Caedmon TC 2018; Tape: BBC Radio Collection, Argo 1118; CD: BBC Audiobooks, This England, EMI, Enlightenment, SpeechWorks, ProArte