his. And because these qualifications of the writer are moral qualifications they can never be completely fulfilled so long as we live and write. We may continually approximate them more nearly, but there will still always be possible an alluring refinement of exercise beyond. The world of the literary artist and the moral man is interesting through its inexhaustibility; and he who serves his fellows by writing or by speech is artist and moral man in one. Writing a letter is a simple matter, but it is a moral matter and an artistic; for it may be done either with imagination or with raw self-centredness. What things will my correspondent wish to know? How can I transport him out of his properly alien surroundings into the vivid impressions which now are mine? How can I tell all I long to tell and still be sure the telling will be for him as lucid and delightful as for me? Remember the other person, I say. Do not become absorbed in yourself. Your interests cover only the half of any piece of writing; the other man's less visible half is necessary to complete yours. And if I have here discussed writing more than speech, that is merely because when we speak we utter our first thoughts, but when we write, our second, — or better still, our fourth; and in the greater deliberation which writing affords I have felt that the demands of morality and art, which are universally imbedded in language, could be more distinctly perceived. Yet none the less truly do we need to talk for the other person than to write for him. But there remains a fourth weighty precept, and one not altogether detachable from the third. It is this: "Lean upon the subject." We have seen how the user of language, whether in writing or in speaking, works for himself; how he works for another individual too; but there is one more for whom his work is performed, one of greater consequence than any person, and that is his subject. From this comes his primary call. Those who in their utterance fix their thoughts on themselves, or on other selves, never reach power. That resides in the subject. There we must dwell with it and be content to have no other strength than its. When the frightened schoolboy sits down to write about Spring, he cannot imagine where the thoughts which are to make up his piece are to come from. He cudgels his brain for ideas. He examines his pen-point, the curtains, his inkstand, to see if perhaps ideas may not be had from these. He wonders what his teacher will wish him to say and he tries to recall how the passage sounded in the Third Reader. In every direction but one he turns, and that is the direction where lies the prime mover of his toil, his subject. Of that he is afraid. Now, what I want to make evident is that this subject is not in reality the foe, but the friend. It is his only helper. His composition is not to be, his. And because these qualifications of the writer are moral qualifications they can never be completely fulfilled so long as we live and write. We may continually approximate them more nearly, but there will still always be possible an alluring refinement of exercise beyond. The world of the literary artist and the moral man is interesting through its inexhaustibility; and he who serves his fellows by writing or by speech is artist and moral man in one. Writing a letter is a simple matter, but it is a moral matter and an artistic; for it may be done either with imagination or with raw self-centredness. What things will my correspondent wish to know? How can I transport him out of his properly alien surroundings into the vivid impressions which now are mine? How can I tell all I long to tell and still be sure the telling will be for him as lucid and delightful as for me? Remember the other person, I say. Do not become absorbed in yourself. Your interests cover only the half of any piece of writing; the other man's less visible half is necessary to complete yours. And if I have here discussed writing more than speech, that is merely because when we speak we utter our first thoughts, but when we write, our second, — or better still, our fourth; and in the greater deliberation which writing affords I have felt that the demands of morality and art, which are universally imbedded in language, could be more distinctly perceived. Yet none the less truly do we need to talk for the other person than to write for him. But there remains a fourth weighty precept, and one not altogether detachable from the third. It is this: "Lean upon the subject." We have seen how the user of language, whether in writing or in speaking, works for himself; how he works for another individual too; but there is one more for whom his work is performed, one of greater consequence than any person, and that is his subject. From this comes his primary call. Those who in their utterance fix their thoughts on themselves, or on other selves, never reach power. That resides in the subject. There we must dwell with it and be content to have no other strength than its. When the frightened schoolboy sits down to write about Spring, he cannot imagine where the thoughts which are to make up his piece are to come from. He cudgels his brain for ideas. He examines his pen-point, the curtains, his inkstand, to see if perhaps ideas may not be had from these. He wonders what his teacher will wish him to say and he tries to recall how the passage sounded in the Third Reader. In every direction but one he turns, and that is the direction where lies the prime mover of his toil, his subject. Of that he is afraid. Now, what I want to make evident is that this subject is not in reality the foe, but the friend. It is his only helper. His composition is not to be, as he seems to suppose, a mass of his laborious inventions, but it is to be made up exclusively of what the subject dictates. He has only to attend. At present he stands in his own way, making such a din with his private anxieties that he cannot hear the rich suggestions of the subject. He is bothered with considering how he feels, or what he or somebody else will like to see on his paper. This is debilitating business. He must lean on his subject, if he would have his writing strong, and busy himself with what it says rather than with what he would say. Matthew Arnold, in the important preface to his poems of 1853, contrasting the artistic methods of Greek poetry and modern poetry, sums up the teaching of the Greeks in these words: "All depends upon the subject; choose a fitting action, penetrate yourself with the feeling of its situations; this done, everything else will follow." And he calls attention to the self-assertive and scatter-brained habits of our time. "How different a way of thinking from this is ours! We can hardly at the present day understand what Menander meant when he told a man who inquired as to the progress of his comedy that he had finished it, not having yet written a single line, because he had constructed the action of it in his mind. A modern critic would have assured him that the merit of his piece depended on the brilliant things which arose under his pen as he went along. I verily think that |