but it is so strong in most persons who wish to write for publication that it often suppresses individuality inasmuch as it begets in the writer's mind an exaggerated idea of what prospective readers may expect, for most of us have an ideal which we wish to attain or an idol whom we desire to imitate. There are few persons who, when they begin to write, do not set about it without having some model in mind-one they wish to imitate or one after whom they desire to pattern their work. The novice should not try to cast his thoughts in some master's mold, chiefly because he will find the task beyond his powers, but in addition because if he could succeed he would be compelled to produce an artificial individuality at the expense of the suppression of his own. Ellis tells us that as a writer slowly finds his own center of gravity, the influence of the rhythm of other writers ceases to be perceptible except in so far as it coincides with his own natural movement and tempo. That is a familiar fact. We less easily realize, perhaps, that not only the tunes, but the notes that they are formed of, in every great writer are his own. In other words, he creates even his vocabulary. That is so not only in the more obvious sense that out of the mass of words that make up a language every writer uses only a limited number, and even among these has his words of predilection. It is in the meanings he gives to words, to names, that a writer creates his vocabulary.

Writing for the press is one of the best exercises for those who have decided to follow a literary career. Journalism is an exacting profession, but he who has been fortunate enough to graduate from the editorial rooms of some great daily has a liberal education in the art of 5 "The Atlantic Monthly," November, 1908.

writing. Some of the shining lights in English literature served their apprenticeship in writing for the press. Joseph Addison, poet and essayist, wrote for a tri-weekly sheet called "The Tatler," which was started by his old schoolfellow, Richard Steele, and also for a much more famous publication, "The Spectator"-the first English periodical worthy of the name. It was in the latter that Addison's finest work appeared.

Richard Steele, playwright and essayist, not only founded "The Tatler," "The Spectator," and "The Guardian," but contributed to them. Dr. Samuel Johnson, teacher, lexicographer, author, was inseparably associated with "The Rambler," a bi-weekly periodical and "The Idler," a publication in lighter vein, of which 103 numbers appeared. Lord Macaulay wrote his inimitable essays for "The Edinburgh Review." Emerson edited "The Dial.” Holmes contributed to the "Atlantic Monthly." Whittier edited "The Haverhill Gazette," and later "The New England Weekly Review" and "The Pennsylvania Freeman.". Lowell, Dickens, Thackeray,—all had experience in newspaperdom before they attained the lasting fame which they enjoyed. Horace Greeley and Charles Anderson Dana were famous editors, and many others have followed them, but few of these have reached to their high plane. Journalism has been defined as literature in a hurry. Viscount Morley, who was taxed with having framed the definition, denied it. He said that to define journalism accurately one must go a great deal deeper than that. The journalist has to take the moods and occasions of the hour and make the best he can of them. He is a man of action and is concerned with the real. The qualities of a good journalist, says Lord Morley, are candor, courtesy, inde

pendence and responsibility, but even this definition the noble Lord declared inadequate. The journalist works in a hurry, and tries to tell what he has to tell in as few words as it is possible to tell it. He has learned how to concentrate thought, and thus can present facts concisely. That is one of the great advantages to be obtained from journalistic training.

The journalist aims to suit his style to the intelligence and taste of the greater number of the readers of the journal to which he contributes, and the better class of journal seeks to elevate and to refine the public taste rather than to deprave it. When the founders of "The Evening Post" (New York), of which William Cullen Bryant was chief editor in 1828, issued the first number of this journal they announced its purpose in the following terms: "The design of this paper is to diffuse among the people correct information on all interesting subjects, to inculcate just principles in religion, morals, and politics; and to cultivate a taste for sound literature." The progress of intelligence has developed human thought and that development is due largely to the intellectual influence which the newspaper press brings to bear upon the people.

Prospectus of the "Evening Post," No. 1, November 16, 1801.

ΧΙ

Individuality in Writing

To tell the reader how he can infuse his individuality into what he writes is not an easy task, and therefore it is one to approach with timidity. It is not the purpose here to instruct him how he can become eminent in literature. Practise, talent, opportunity and time only may help him to the enviable position of a successful author. To Orson Squire Fowler, an eminent phrenologist of the last century, we owe the thought that individuality is one of the first developed and most active intellectual organs of the young. For this reason Fowler claimed that the power of observation in children should be the principal power employed in their education. It is on the individuality of the citizen that the strength of the State depends, and this individuality is the result of the development of character.

Individuality in writing depends upon personal character more than upon anything else. Men and women of strong character, if they write at all, are usually persons who write forcefully, earnestly, and convincingly. A writer's style depends also upon his opinions, and no writer who does not think for himself and act for himself can be said to possess individuality.

Medical men have told us that in man physical changes take place every seven years. Similarly changes may be said to take place in character and individuality. Sometimes the point of view is changed by travel or by wide range of contact with one's fellow men. Sometimes opin

ions firmly and doggedly held for years are modified and often ultimately completely reversed. William Ewart Gladstone began his career as a Conservative (Tory) and ended it as a Liberal; and his great contemporary, Benjamin Disraeli, entered the House of Commons as a Liberal and left it a Conservative, which he remained throughout his career in the House of Lords as Earl of Beaconsfield.

Individuality is subject, in great measure, to one's surroundings, the influences of home, the experiences of childhood-for these often leave on the mind indelible impressions which influence the molding of character to some degree.

"Every writer," says Havelock Ellis, "is called afresh to reveal new strata of life. By digging in his own soul he becomes the discoverer of the soul of his family, of his nation, of the race, of the heart of humanity. For the greater writer finds style as the mystic finds God, in his own soul. It is the final utterance of a sigh, which none could utter before him, which all could utter after." If you have something to say put your thought and feeling, your heart and soul into the manner in which you say it. That is the way to stamp your individuality upon it.

A short time ago Viscount Morley, addressing a meeting of representatives of the British Imperial Press, said: "I remember once, when I was in charge of a newspaper, there came to me a youngster who sought employment, and I said, 'Have you any special quality?' 'Yes,' he thought he had. 'What is it?' He said, 'Invective.' 'Any particular form?' 'No; general invective.' And in this quality the young man was not by any means alone. Unfortunately, the too free use of the language of personal vituperation, coarse epithet and innuendo has sometimes