unpretentious lodging-house in Pennsylvania avenue, near the Capitol, the man who as much, if not more than any other agitator, is said to have blazed the way to the Civil War, the writer who stirred this nation to its core by his anti-slavery philippics, and the promoter with the most gigantic railroad enterprise projected in the history of the world, was found gript in the icy hand of death. The brain which gave birth to his historic writings had willed the stilling of the heart which for three-quarters of a century had palpitated quick and high with roseate hopes.

That passage, taken at hazard from a newspaper, is intended, I think, to be fine writing of an imposing and dramatic kind. Why could not the writer have written it, a little more carefully perhaps, but still in just the language which he would have used naturally in describing the event to his wife or friend? Simply stated, it would have been far more solemn and impressive than this turgid, insincere account with its large words, its forced note of tragedy and its split infinitive. Let me put beneath it another description of a death-bed:

This famous passage is neither unintentional sentiment nor unaffected pathos. The art is apparent even in the punctuation. The writer meant to be touching and pathetic and to awaken emotions of tenderness and pity and he succeeded. The description is all he meant it to be. The extract from the newspaper arouses no emotion, unless it be resentment at its form and leaves us cold and unmoved. The other is touching and pitiful. Observe the manner in which Sterne obtains his effect, the perfect simplicity and good taste of every word, the reserve, the gentleness, the utter absence of any straining for effect. The one description died the day it appeared. The other has held its place for a century and a half. Are not the qualities which produced such a result worth striving for?

Let me take another haphazard selection from a description of a young girl entitled as such to every one's kindness, courtesy and respect. In it occurs this sentence: "The college girl is grammatical in speech, but she has the jolliest, chummiest jargon of slang that ever rolled from under a pink tongue." That articulate sounds come from beneath the tongue is at least novel and few persons are fortunate enough to be able to talk with that portion of their mouths. But I have no desire to dwell either upon the anatomical peculiarities of the sentence or upon its abysmal vulgarity. It is supposed to be effective, it is what is appropriately called "breezy," it is a form of words which can be heard nowhere in the speech of men and women. Why should it be consigned to print? It is possible to describe a young girl attractively and effectively in much simpler fashion. Let me give an example, not a famous passage at all, from another writer:

Contrast this with the newspaper sentence and the sensation is one of pain. Again I say, observe the method by which Hawthorne gets his effect, the simplicity of the language, the balance of the sentences, the reserve, the refinement, and the final imaginative touch in the charming comparison with which the passage ends.

To blame the hard working men who write for the day which is passing over them because they do not write like Sterne and Hawthorne would be as absurd as it would be unjust. But they ought to recognize the qualities of fine English prose, they ought to remember that they can improve their readers by giving them good, simple English, pure and undefiled, and they ought not to debauch the public taste by vulgar fine writing and even more vulgar light writing. In short, they ought to write for the public as they would talk to their wives and children and friends; a little more formally and carefully perhaps, but in the same simple and direct fashion.

For the prolific authors of the flood of stories, which every month bears on its broad bosom many tons of advertisements, no such allowance need be made. They are not compelled to furnish copy between daylight and dark. They need a course of study in English prose more than anyone else, and they would profit by the effort. As a class they seem to be like the young man in Du Maurier's picture, who, being asked if he had read Thackeray, replies, "No. I nevah read novels; I write them."

In this age of quickening movement and restless haste it is, above all things, important to struggle against the well-nigh universal inclination to abandon all efforts for form and style. They are the great preservers of what is best in literature, the salt which ought never to lose its savor. Those who use English in public speech and public writing have a serious responsibility too generally forgotten and disregarded. I would fain call attention to it altho no single man can hope to effect much by any plea he can make in behalf of the use of good English, whether written or spoken. Yet no one, I think, can read the great masterpieces of English prose and not have both lesson and responsibility brought home to him. He would be insensible, indeed, if he did not feel after such reading that he was a sharer in a noble heritage which it behooved him to guard and cherish. If this series serves no other purpose, it will exhibit to those who read it some of the splendors and the beauties of English prose. It will at least open the gates of literature and perhaps lead its readers to authors they have not known before, or recall the words of writers who have entered into their lives and thoughts and thus make them more mindful of the ineffable value to them and their children of the great language which is at once their birthright and their inheritance.

HENRY CABOT LODGE.

Washington, D. C., July 15, 1909.

CONTENTS

Vol. I—Greece