Such of our readers as have dined with the late Queen or the present King of England will recall how much it eased the yoke of ceremony to say to the sovereign, "Yes, ma'am," or "Yes, sir," as the use is, instead of your Majesty. But to others you cannot say "Yes, ma'am," or "Yes, sir," unless you are in that station of life to which you would be very sorry it had pleased God to call you. Yet these forms seem undeniably fit when used by the young to their elders, if the difference of years is great enough.

The difficulty remains, however. You cannot as yet write on an envelope, Smythe Johnes, Sir, or Mary Johnes, Lady; and, in view of this fact, we find ourselves no nearer the solution of our constant reader's difficulty than we were at first. The Socialists, who wish to simplify themselves and others, would address Mr. Johnes as Comrade Smythe Johnes, but could they address Mrs. Johnes as Comradess? We fancy not; besides, Comrade suggests arms and bloodshed, which is hardly the meaning of the red flag of brotherhood, and at the best Comrade looks affected and sounds even more so. Friend would be better, but orally, on the lips of non-Quakers, it has an effect of patronage, though no one could rightly feel slight in a letter addressed to him as Friend Smythe Johnes.

It is wonderful to consider how the ancients apparently got on without the use of any sort of prefix or affix to their names on the roll of parchment or fold of papyrus addressed to them. For all we know, Caesar was simply C. Julius Caesar to his correspondents, and Pericles was yet more simply Pericles to the least of his fellow-citizens. These historical personages may have had the number of their houses inscribed on their letters; or Pericles might have had Son of Xanthippus added to his name for purposes of identification; but apparently he managed quite as well as our Presidents, without anything equivalent to Excellency or Hon. or Mr. or Esq. To be sure, with the decline of

"The glory that was Greece And the grandeur that was Rome,"

name-honors crept in more and more. It was then not only politer but much safer to address your petition To the Divine Domitian, or To the Divine Nero, than to greet those emperors by the mere given names which were not yet Christian; probably it would not have been enough to add Caesar to the last name, though Caesar seems to have finally served the turn of Esq., for all the right that the emperors had to bear it. In the Eastern Empire, we are not ready to say what was the correct style for imperial dignitaries; but among the sovereigns who divided the Roman state and inherited its splendor, some rulers came to be sacred majesties, though this is still a sensible remove from divine.

However, our present difficulty is with that vast average who in common parlance are Mr. and Mrs. Smythe Johnes. How shall they be styled on the backs of their letters? How shall Mrs. Smythe Johnes especially, in signing herself Mary Johnes, indicate that she is not Miss Mary but Mrs. Smythe Johnes? When she is left a widow, how soon does she cease to be Mrs. Smythe Johnes and become Mrs. Mary? Is it requisite to write in the case of any literary doctorate, Smythe Johnes, LL.D., or Litt.D., or Ph.D., or is it sufficient to write Dr. before his name? In the case of a divine, do you put Rev. Dr. before the name, or Rev. before it and D.D. after it? These are important questions, or, if they are not important, they are at least interesting. Among the vast mass of unceremonied, or call it unmannered, Americans the receiver of a letter probably knows no better than the sender how it should be addressed; but in the rarer case in which he does know, his self-respect or his self-love is wounded if it is misaddressed. It is something like having your name misspelled, though of course not so bad as that, quite; and every one would be glad to avoid the chance of it.

The matter is very delicate and can hardly be managed by legislation, as it was on the point of our pen to suggest it should be. The first French Republic, one and indivisible, decreed a really charming form of address, which could be used without offence to the self-love or the self-respect of any one. Citoyen for all men and Citoyenne for all women was absolutely tasteful, modest, and dignified; but some things, though they are such kindred things, cannot be done as well as others. The same imaginative commonwealth invented a decimal chronology, and a new era, very handy and very clear; but the old week of seven days came back and replaced the week of ten days, and the Year of our Lord resumed the place of the Year of the Republic, as Monsieur and Madame returned victorious over Citoyen and Citoyenne. Yet the reform of weights and measures, when once established, continued, and spread from France to most other countries—to nearly all, indeed, less stupid than Great Britain and the United States—so that the whole civilized world now counts in grammes and metres. What can be the fine difference? Here is a pretty inquiry for the psychologist, who has an opportunity to prove himself practically useful. Is it that grammes and metres are less personal than week-days and addresses? That can hardly be, or else the Society of Friends could not have so absolutely substituted First Day and Second Day, etc., for the old heathen names of our week-days, and could not have successfully refused all name-honor whatsoever in addressing their fellow-mortals.

But titles have come back full-tide in the third French Republic, one and indivisible, so that anybody may wear them, though the oldest nobility are officially and legally known only by their Christian and family names, without any prefix. This is practically returning to Citoyen and Citoyenne, and it almost gives us the courage to suggest the experiment of Citizen and Citizenne as a proper address on the letters of American republicans. The matter might be referred to a Board, something like that of the Simplified Spelling Board, though we should not like to be included in a committee whose members must be prepared to take their lives in their hands, or, short of death, to suffer every manner of shame at the hands of our journalists and their correspondents. Short of the adoption of Citizen and Citizenne, we have no choice but to address one another by our given names and surnames merely, unless we prefer to remain in our present confusion of Mr. and Esq. In a very little while, we dare say, no lady or gentleman would mind being so addressed on his or her letters; but perhaps some men and women might. Now that we no longer use pets names so much, except among the very highest of our noblesse, where there are still Jimmies and Mamies, we believe, plain Gladys Smythe or Reginald Johnes would be the usual superscription. Such an address could bring no discomfort to the recipient (a beautiful word, very proper in this connection), and if it could once be generally adopted it would save a great deal of anxiety. The lady's condition could be indicated by the suffix Spinster, in the case of her being single; if married, the initials of her husband's given names could be added.



III

DRESSING FOR HOTEL DINNER

Among the high excitements of a recent winter in New York was one of such convulsive intensity that in the nature of things it could not last very long. It affected the feminine temperament of our public with hysterical violence, but left the community the calmer for its throes, and gently, if somewhat pensively, smiling in a permanent ignorance of the event. No outside observer would now be able to say, offhand, whether a certain eminent innkeeper had or had not had his way with his customers in the matter not only of what they should eat or drink, but what they should wear when dining in a place which has been described as "supplying exclusiveness to the lower classes." It is not even certain just how a crucial case was brought to the notice of this authority; what is certain is that his instant judgment was that no white male citizen frequenting his proud tavern should sit at dinner there unless clothed in a dress-coat, or at least in the smoking-jacket known to us as a Tuxedo; at breakfast or at luncheon, probably, the guest, the paying guest, could sufficiently shine in the reflected glory of the lustrous evening wear of the waiters. No sooner was the innkeeper's judgment rendered than a keen thrill of resentment, or at least amusement, ran through the general breast. From every quarter the reporters hastened to verify the fact at first-hand, and then to submit it to the keeper of every other eminent inn or eating-house in the city and learn his usage and opinion. These to a man disavowed any such hard-and-fast rule. Though their paying guests were ordinarily gentlemen of such polite habits as to be incapable of dining in anything but a dress-coat or a Tuxedo, yet their inns and eating-houses were not barred against those who chose to dine in a frock or cutaway or even a sacque. It is possible that the managers imagined themselves acquiring merit with that large body of our vulgar who demand exclusiveness by their avowal of a fine indifference or an enlightened tolerance in the matter. But at this distance of time no one can confidently say how the incident was closed with respect to the pre-eminent innkeeper and his proud tavern. Whether the wayfarer, forced by the conditions of travel upon the company of the exclusive vulgar, may now dine there in the public banqueting-hall in his daytime raiment, or must take his evening meal in his room, with a penalty in the form of an extra charge for service, nowise appears.

What is apparent from the whole affair is that the old ideal of one's inn, as a place where one shall take one's ease, has perished in the evolution of the magnificent American hotel which we have been maliciously seeking to minify in the image of its Old World germ. One may take one's ease in one's hotel only if one is dressed to the mind of the hotel-keeper, or perhaps finally the head waiter. But what is more important still is that probably the vast multitude of the moneyed vulgar whose exclusiveness is supplied to them in such a place dictate, tacitly at least, the Draconian policy of the management. No innkeeper or head waiter, no matter of how patrician an experience or prejudice, would imagine a measure of such hardship to wayfarers willing to pay for the simple comfort of their ancestors at the same rate as their commensals stiffly shining in the clothes of convention. The management might have its conception of what a hotel dining-room should look like, with an unbroken array of gentlemen in black dress-coats and ladies in white shoulders all feeding as superbly as if they were not paying for their dinners, or as if they had been severally asked for the pleasure of their company two weeks before; and the picture would doubtless be marred by figures of people in cutaways and high necks, to a degree intolerable to the artistic sense. But it is altogether impossible that the management would exact a conformity to the general effect which was not desired by the vast majority of its paying guests. What might well have seemed a break on the part of the pre-eminent innkeeper when he cited as a precedent for his decision the practice of the highest hotels in London was really no break, but a stroke of the finest juridical acumen. Nothing could have gone further with the vast majority of his paying guests than some such authority, for they could wish nothing so much, in the exclusiveness supplied them, as the example of the real characters in the social drama which they were impersonating. They had the stage and the scenery; they had spared no expense in their costuming; they had anxiously studied their parts, and for the space of their dinner-hour they had the right to the effect of aristocratic society, which they were seeking, unmarred by one discordant note. After that hour, let it be a cramped stall in the orchestra of another theatre, or let it be an early bed in a cell of their colossal columbary, yet they would have had their dinner-hour when they shone primarily just like the paying guests in the finest English hotel, and secondarily just like the non-paying guests at the innumerable dinners of the nobility and gentry in a thousand private houses in London.

Our aim is always high, and they would be right to aim at nothing lower than this in their amateur dramatics. But here we have a question which we have been holding back by main force from the beginning, and which now persists in precipitating itself in our peaceful page. It is a question which merits wider and closer study than we can give it, and it will, we hope, find an answer such as we cannot supply in the wisdom of the reader. It presented itself to the mind of Eugenio in a recent experience of his at a famous seaside resort which does not remit its charm even in the heart of winter, and which with the first tremor of the opening spring allures the dweller among the sky-scrapers and the subways with an irresistible appeal. We need not further specify the place, but it is necessary to add that it draws not only the jaded or sated New-Yorker, but the more eager and animated average of well-to-do people from every part of their country who have got bored out with their happy homes and want a few days' or a few weeks' change. One may not perhaps meet a single distinguished figure on its famous promenade, or at least more distinguished than one's own; with the best will in the world to find such figures, Eugenio could count but three or four: a tall, alert, correct man or two; an electly fashioned, perfectly set-up, dominant woman or so, whose bearing expressed the supremacy of a set in some unquestionable world. But there was obvious riches aplenty, and aplenty of the kind wholesomeness of the good, true, intelligent, and heaven-bound virtue of what we must begin to call our middle class, offensive as the necessity may be. Here and there the effect of champagne in the hair, which deceived no one but the wearer, was to be noted; here and there, high-rolling, a presence with the effect of something more than champagne in the face loomed in the perspective through the haze of a costly cigar. But by far, immensely far, the greater number of his fellow-frequenters of the charming promenade were simple, domestic, well-meaning Americans like Eugenio himself, of a varying simplicity indeed, but always of a simplicity. They were the stuff with which his fancy (he never presumed to call it his imagination) had hitherto delighted to play, fondly shaping out of the collective material those lineaments and expressions which he hoped contained a composite likeness of his American day and generation. The whole situation was most propitious, and yet he found himself moving through it without one of the impulses which had been almost lifelong with him. As if in some strange paralysis, some obsession by a demon of indifference unknown before, he was bereft of the will to realize these familiar protagonists of his plain dramas. He knew them, of course; he knew them all too well; but he had not the wish to fit the likest of them with phrases, to costume them for their several parts, to fit them into the places in the unambitious action where they had so often contributed to the modest but inevitable catastrophe.

The experience repeated itself till he began to take himself by the collar and shake himself in the dismay of a wild conjecture. What had befallen him? Had he gone along, young, eager, interested, delighted with his kind for half a century of aesthetic consciousness, and now had he suddenly lapsed into the weariness and apathy of old age? It is always, short of ninety, too soon for that, and Eugenio was not yet quite ninety. Was his mind, then, prematurely affected? But was not this question itself proof that his mind was still importunately active? If that was so, why did not he still wish to make his phrases about his like, to reproduce their effect in composite portraiture? Eugenio fell into a state so low that nothing but the confession of his perplexity could help him out; and the friend to whom he owned his mystifying, his all but appalling, experience did not fail him in his extremity. "No," he wrote back, "it is not that you have seen all these people, and that they offer no novel types for observation, but even more that they illustrate the great fact that, in the course of the last twenty years, society in America has reached its goal, has 'arrived,' and is creating no new types. On the contrary, it is obliterating some of the best which were clearly marked, and is becoming more and more one rich, dead level of mediocrity, broken here and there by solitary eminences, some of which are genuine, some only false peaks without solid rock foundations."

Such a view of his case must be immediately and immensely consoling, but it was even more precious to Eugenio for the suggestion from which his fancy—never imagination—began to play forward with the vivacity of that of a youth of sixty, instead of a middle-aged man of eighty-five. If all this were true—and its truth shone the more distinctly from a ground of potential dissent—was not there the stuff in the actual conditions from which a finer artist than he could ever hope to be, now that the first glow of his prime was past, might fashion an image of our decadence, or our arrest, so grandly, so perfectly dull and uninteresting, that it would fix all the after-ages with the sovereign authority of a masterpiece? Here, he tremblingly glowed to realize, was opportunity, not for him, indeed, but for some more modern, more divinely inspired lover of the mediocre, to eternize our typelessness and establish himself among the many-millioned heirs of fame. It had been easy—how easy it had been!—to catch the likeness of those formative times in which he had lived and wrought; but the triumph and the reward of the new artist would be in proportion to the difficulty of seizing the rich, self-satisfied, ambitionless, sordid commonplace of a society wishing to be shut up in a steam-heated, electric-lighted palace and fed fat in its exclusiveness with the inexhaustible inventions of an overpaid chef. True, the strong, simple days of the young republic, when men forgot themselves in the struggle with the wild continent, were past; true, the years were gone when the tremendous adventure of tearing from her heart the iron and the gold which were to bind her in lasting subjection gave to fiction industrial heroes fierce and bold as those of classic fable or mediaeval romance. But there remained the days of the years which shall apparently have no end, but shall abound forever in an inexhaustible wealth of the sort wishing not so much to rise itself as to keep down and out all suggestion of the life from which it sprang.

The sort of type which would represent this condition would be vainly sought in any exceptionally opulent citizen of that world. He would have, if nothing else, the distinction of his unmeasured millions, which would form a poetry, however sordid; the note of the world we mean is indistinction, and the protagonist of the fiction seeking to portray its fads and characters must not have more than two or three millions at the most. He, or better she, were better perhaps with only a million, or a million and a half, or enough to live handsomely in eminent inns, either at home or abroad, with that sort of insolent half-knowledge to which culture is contemptible; which can feel the theatre, but not literature; which has passed from the horse to the automobile; which has its moral and material yacht, cruising all social coasts and making port in none where there is not a hotel or cottage life as empty and exclusive as its own. Even in trying to understate the sort, one overstates it. Nothing could be more untrue to its reality than the accentuation of traits which in the arrivals of society elsewhere and elsewhen have marked the ultimation of the bourgeois spirit. Say that the Puritan, the Pilgrim, the Cavalier, and the Merchant Adventurer have come and gone; say that the Revolutionist Patriot, the Pioneer and the Backwoodsman and the Noble Savage have come and gone; say that the Slaveholder and the Slave and the Abolitionist and the Civil Warrior have come and gone; say that the Miner, the Rancher, the Cowboy, and the sardonically humorous Frontiersman have come and gone; say that the simple-hearted, hard-working, modest, genial Homemakers have come and gone; say that the Captain of Industry has come and gone, and the world-wide Financier is going: what remains for actuality-loving art to mould into shapes of perdurable beauty? Obviously, only the immeasurable mass of a prosperity sunken in a self-satisfaction unstirred by conscience and unmoved by desire. But is that a reason why art should despair? Rather it is a reason why it should rejoice in an opportunity occurring not more than once in the ages to seize the likeness and express the significance of Arrival, the arrival of a whole civilization. To do this, art must refine and re-refine upon itself; it must use methods of unapproached delicacy, of unimagined subtlety and celerity. It is easy enough to catch the look of the patrician in the upper air, of the plebeian underfoot, but to render the image of a world-bourgeoisie, compacted in characters of undeniable verisimilitude, that will be difficult, but it will be possible, and the success will be of an effulgence such as has never yet taken the eyes of wonder.

We should not be disposed to deny the artist, dedicated to this high achievement by his love of the material not less than by his peculiar gift, the range of a liberal idealism. We would not have him bound by any precedent or any self-imposed law of literality. If he should see his work as a mighty historical picture, or series of such pictures, we should not gainsay him his conception or bind him rather to any genre result. We ourselves have been evolving here the notion of some large allegory which should bear the relation to all other allegories that Bartholdi's colossus of Liberty bears to all other statues, and which should carry forward the story and the hero, or the heroine, to some such supreme moment as that when, amid the approving emotion of an immense hotel dining-room, all in decolletee and frac pare, the old, simple-lived American, wearing a sack-coat and a colored shirt, shall be led out between the eminent innkeeper and the head waiter and delivered over to the police to be conducted in ignominy to the nearest Italian table d'hote. The national character, on the broad level of equality which fiction once delighted to paint, no longer exists, but if a deeper, a richer, a more enduring monotony replaces it, we have no fear but some genius will arrive and impart the effect of the society which has arrived.



IV

THE COUNSEL OF LITERARY AGE TO LITERARY YOUTH

As Eugenio—we will call him Eugenio: a fine impersonal name—grew older, and became, rightfully or wrongfully, more and more widely known for his writings, he found himself increasingly the subject of appeal from young writers who wished in their turn to become, rightfully or wrongfully, more and more widely known. This is not, indeed, stating the case with the precision which we like. His correspondents were young enough already, but they were sometimes not yet writers; they had only the ambition to be writers. Our loose formulation of the fact, however, will cover all its meaning, and we will let it go that they were young writers, for, whether they were or not, they all wished to know one thing: namely, how he did it.

What, they asked in varying turns, was his secret, his recipe for making the kind of literature which had made him famous: they did stint their phrase, and they said famous. That always caused Eugenio to blush, at first with shame and then with pleasure; whatever one's modesty, one likes to be called famous, and Eugenio's pleasure in their flatteries was so much greater than his shame that he thought only how to return them the pleasure unmixed with the shame. His heart went out to those generous youths, who sometimes confessed themselves still in their teens, and often of the sex which is commonly most effective with the fancy while still in its teens. It seemed such a very little thing to show them the way to do what he had done, and, while disclaiming any merit for it, to say why it was the best possible way. If they had grouped him with other widely known writers in their admiration, he never imagined directing his correspondents to those others' methods; he said to himself that he did not understand them, and at bottom he felt that it would have been better taste in the generous youths to have left them out of the question.

In the end he never answered his correspondents in the handsome way he had fancied. Generally he did not answer them at all, or, if he did, he put them off with some such cheap excuse as advising them to be sure they had something to say, and then to say it as simply and clearly as they could. He knew very well that this was begging the question; that the question was how to be artistic, graceful, charming, and whatever else they said he himself was. If he was aware of not being all that, he was aware also of having tried to be it; of having sought from the beginning to captivate the reader's fancy as well as convince his reason. He had never been satisfied with being plain and direct; he had constantly wished to amuse as well as edify, and following the line of beauty, as that of the least resistance, had been his practice if not his precept. If he counselled his correspondents otherwise, he would be uncandid, and when he had imagined putting them off in that fashion he was more ashamed than he had been with their praise.

Yet, upon reflection, he perceived that what they asked was impossible. If ever he had a formula he had lost it; he was no longer in his own secret, if ever he had been. All that he could have said with perfect honesty would have been that he had never found any royal road to literature; that to his experience there was not even a common highway; that there were only byways; private paths over other people's grounds; easements beaten out by feet that had passed before, and giving by a subsequent overgrowth of turf or brambles a deceitful sense of discovery to the latest-comer.

His correspondents would not have liked that. He knew that what they wanted was his measure of the old success in some new way, which they could feel their own after it had been shown them. But the only secret that he was still in was the very open one of working hard at whatever he had in hand, and this he suspected they would have scorned sharing with him. He could have said that if you want to keep three or five balls in the air at once you must learn how by practising; but they knew that as well as he; what they asked was being enabled to do it themselves from his having practised.

The perception of this fact made Eugenio very sad, and he asked himself if the willingness to arrive only after you had got there had gone out of the world and left nothing but the ambition to be at this point or that without the trouble of having reached it. He smiled as he recalled the stock criticism of the connoisseur in The Vicar of Wakefield, that the picture would have been better if the painter had taken more pains; but he did not smile gayly: there seemed to him a sum of pathetic wisdom in the saying which might well weigh down the blithest spirit. It had occurred to him in connection with an old essay of Hazlitt's, which he had been reading, on the comparative methods of English and French painters in their work. The essayist held, almost literally, that the French pictures were better because the French painters had taken more pains, and taken especial pains in the least interesting parts of their pictures. He was dealing more specifically with copying, but his words applied to the respective schools in their highest work, and he could only save his patriotic pride, so far as he might, by saying: "Courage is pure will without regard to consequences, and this the English have in perfection. Poetry is our element, for the essence of poetry is will and passion. The English fail as a people in the fine arts, namely, because the end with them absorbs the means."

Eugenio knew nothing practically and very little theoretically of painting; but it appeared to him that what Hazlitt said was of equal force with respect to the fine art of literature; and that in his own American field the English race failed, as far as it had failed, for the same reason as that given by Hazlitt for its failure in painting. In his mind he went further than Hazlitt, or came short of him, in refusing the consolation of our race's superiority in poetry because it was will and passion. As far as they had excelled in that, it was because they had tried hard and not neglected the means for the end. Where they had excelled most, it was quite imaginable that the poem would still have been better if the poet had taken more pains. In the case of prose, he thought we failed of the end because we were impatient of the means, and as elderly men will, he accused the present of being more hasty and indifferent to form than the past. He recalled the time when he was apprentice in the art in which he could not yet call himself a master workman, and thought how he tried to make what he did beautiful, and fashioned his work with tireless pains after some high model. Perhaps the young writers of this time were striving as earnestly; but he could not see it, or thought he could not. He fancied their eyes dazzled by the images of easy success, instead of taken with the glory of a thing beautifully done. He remembered, with fond emotion, how once his soul had glowed over some "cunning'st pattern of excelling nature," and had been filled with longing to learn from it the art of surprising some other mood or aspect of nature and making that loveliness or grandeur his own. He had talked with other youths who were trying at the same time to do good work, and he remembered that they too were trying in the same way; and now, long after, he fancied that their difference from the youth of the present day was in their willingness to strive for perfection in the means and to let the end take care of itself. The end could no more justify bad means in aesthetics than in ethics; in fact, without the carefully studied means there could be no artistic result. If it was true that the young writers of the present expected a high result from hurried or neglected processes, they could have only the results that Eugenio saw around him. If they admired these, and were coming to him for the secret of achieving them, they were coming to the wrong shop.

Yet he did not harshly blame them. He remembered how he, too, when he had been impatient of the means, had once fancied postponing them to the end. That was in the days which were mainly filled for him with the business of writing fiction, and when the climax of his story seemed always threatening to hide itself from him or to elude his grasp. There were times when it changed to some other end or took a different significance from that it had primarily had. Then he had said to himself that if he could only write the end first, or boldly block it out as it first presented itself, and afterward go back and write in the events and characters leading up to it, he would have an effect glorified by all the fervor of his primal inspiration. But he never did that, or even tried to do it. Perhaps, when he came to consider it more carefully, it appeared impossible; perhaps it approved itself ridiculous without experiment. His work of art, such as it was, was a growth from all his thinking and feeling about it; and without that it could no more eventuate in a climax than a tree could ripen fruit without the preliminaries of striking its roots into the ground, coming of the age to bear, and then some springtime budding, putting out leaves, breaking into blossom, and setting its young apples, or whatever else it was going to bear. The fruit it bore would be according to its kind, and he might have been mistakenly expecting to grow peaches from an apple stock when he was surprised to find apples on it, or the end of his novel turning out other than he had forecast it.

In literature the reader's affair is with results, but the author's with processes. Eugenio had realized this more and more distinctly, and, as he now reflected on the appeals of those fond young correspondents of his, it occurred to him that their confusion as to literary methods and manners lay in their being still readers so largely and so little authors as yet. They were dealing with the end, in their mistaken minds, and not with the means, as they supposed. The successes which dazzled them might very well have been written backward in some such fashion as he had once imagined, for the end was the main thing with them, and was the end of the story as well as the end of the book. But the true story never ends. The close of the book is simply the point at which the author has stopped, and, if he has stopped wisely, the reader takes up the tale and goes on with it in his own mind.

As for the variance of the close from the forecast of it, Eugenio was less and less dismayed by that, when in the course of time he looked more closely at his own life and the lives of other men. Only on some spiritual terms was there the fulfilment of forecast in them, and the more art resembled life the less responsive it was to any hard-and-fast design. He perceived that to find the result changing from the purpose might very well be a proof of vitality in it, an evidence of unconscious insight, the sort of inspiration that comes to crown faithful work with unimagined beauty. He looked round at the great works of literary art, and he believed that he saw in them the escape from implicit obedience to a first intention. Only in the inferior things, the mechanical things, could he discern obedience. In something supreme, like Hamlet, say, there was everything to make him think that the processes had educated Shakespeare as to the true nature of his sublime endeavor and had fixed the terms of its close. Probably the playwright started with the notion of making Hamlet promptly kill his stepfather, rescue Ophelia from the attempt to climb out over the stream on a willow branch, forgive his erring mother as more sinned against than sinning, welcome Laertes back to Denmark, and with the Ghost of his father blessing the whole group, and Polonius with his arm in a sling, severely but not fatally wounded, form the sort of stage picture, as the curtain went down, that has sent audiences home, dissolved in happy tears, from so many theatres. But Shakespeare, being a dramatist as well as a playwright, learned from Hamlet himself that Hamlet could not end as he had meant him to end. Hamlet, in fact, could not really end at all, and, in the sort of anticlimax in which the tragedy closes, he must rise from death, another and a truer ghost than the buried majesty of Denmark, and walk the world forever.

Could Eugenio, however, advise his youthful correspondents to work so reckless of their original conceptions as Shakespeare had probably done? The question was serious; it put him upon his conscience, and he decided that at the most he could not do more than urge them, with all the earnestness of his nature, to write their Hamlets from the beginning forward, and never from the ending backward, even in their own minds. He saw that if he were to answer them collectively (and he certainly did not intend to answer them severally) he must say that their only hope of producing an effective whole was through indefatigable work upon every part. Make each smallest detail beautiful, and despise none because it seemed to perform a poor and lowly office in the assemblage of the parts. Let these youths be sure that they could not know the meaning of any design from imagining it, but only from expressing it, and that the true result could come only from the process. They could not hope to outdo Shakespeare and foreknow their respective Hamlets; they must slowly make their Hamlets' acquaintance by living with them.

If Eugenio's correspondents were dashed by this hard saying, he thought he might raise their spirits by adding that they would find compensation for their slow, arduous toil in particulars from a fact which he had noted in his own case. A thing well done looks always very much better in the retrospect than could have been hoped. A good piece of work would smile radiantly upon them when it was accomplished. Besides, after a certain experience in doing, they would learn that the greatest happiness which could come to them from their work would be through the perfecting of details. This would make their performance a succession of little victories which alone could constitute the great ultimate triumph.

"But style, but style!" they might return. "What about style? That was one of the miracles we asked you the sleight of, and are you going to say nothing about that? Or did you mean style, in your talk about perfecting details? Do you want us to take infinite pains in acquiring a style?"

"By no means," Eugenio was prepared to declare in the event of this come-back. "Do not think about style. If you do your work well, patiently, faithfully, truly, style will infallibly be added unto you. That is the one thing you must not try for. If you try for style, you will be like a man thinking about his clothes or his manners. You will be self-conscious, which is the fatal opposite of being yourself. You will be yourself when you are lost in your work, and then you will come into the only style that is proper to you: the beauty and the grace that any sort of workman has in the exercise of his craft. You will then have, without seeking it, your own swing of phrase, your own turn of expression, your own diction, and these will be your style by which every reader will know you. But if you have a manner which you have borrowed or imitated, people will see that it is second-hand and no better than something shop-worn or cast off. Besides, style is a thing that has been grossly overvalued in the general appraisal of literary qualities. The stylists are not the greatest artists, the supreme artists. Who would think of Shakespeare as a stylist, or Tolstoy, or Dante?"

Eugenio thought he could count upon a vanity in his correspondents so dense as not to be pierced by any irony. In fact, it could not be said that, though he felt the pathos of their appeals, he greatly respected the motives which actuated them in writing to him. They themselves respected their motives because they did not know them as he did, but probably they did not pity themselves so much as he pitied them. He realized that they turned to him from a literary remoteness which they did not realize, and it was very natural that they should turn for help outside their circumstance; but Eugenio had not lived to his age without learning that many natural impulses are mistaken if not wrong. He reflected sadly that those far-off solitaries could alone burst their circumstance and find their way out of it. He perceived that they could do this only by their own devout and constant toil in the line of their aspiration. But would it avail to tell them so?

One of the knowledges of a period of life which we will call the riper maturity is that we need all the accumulated vigilance of the past to secure us from the ever-besetting dangers of the present: the dangers of indolence, of slovenly performance, of indistinct vision, of weakening conscience in our work. We need every atom of force, every particle of the stored electricity of youth, to keep us going in later years. While we are still young we are aware of an environing and pervading censure, coming from the rivalry, the envy, the generous emulation, the approval, the disapproval, the love, the hate of all those who witness our endeavor. No smallest slip, no slightest defect will be lost upon this censure, equally useful whether sympathetic or antipathetic. But as we grow old we are sensible of a relaxing, a lifting, a withdrawal of the environing and pervading censure. We have become the objects of a compassionate toleration or a contemptuous indifference; it no longer matters greatly to the world whether we do our work well or ill. But if we love our work as we ought till we die, it should matter more than ever to us whether we do it well or ill. We have come to the most perilous days of our years when we are tempted not so much to slight our work as to spare our nerves, in which the stored electricity is lower and scanter than it was, and to let a present feeble performance blight the fame of strenuous achievements in the past. We may then make our choice of two things—stop working; stop going, cease to move, to exist—or gather at each successive effort whatever remains of habit, of conscience, of native force, and put it into effect till our work, which we have not dropped, drops us.

Should Eugenio address these hard sayings to his appealing, his palpitating correspondents? He found himself on the point of telling them that of all the accumulated energies which could avail them when they came of his age, or were coming of it, there was none that would count for so much as the force of habit; and what could be more banal than that? It would not save it from banality if he explained that he meant the habit of loving the very best one can do, and doing that and not something less. It would still be banal to say that now in their youth was the only time they would have to form the habit of tirelessly doing their best at every point, and that they could not buy or beg or borrow such a habit for the simple reason that nobody who had it could sell or give or lend it.

Besides, as Eugenio very well perceived, his correspondents were not only young now, but were always intending to be so. He remembered how it used to be with himself, and that was how it used to be. He saw abundance of old, or older, people about him, but he himself instinctively expected to live on and on, without getting older, and to hive up honey from experience without the beeswax which alone they seemed to have stored from the opening flowers of the past. Yet, in due course of time, he found himself an old or older man simply through living on and on and not dying earlier. Upon the whole, he liked it and would not have gone back and died earlier if he could. But he felt that it would be useless trying to convince his youthful correspondents that, whether they liked it or not, they too would grow old, or older, if they lived. How, then, teach them by precept, if they would not learn by universal example, that unless they were to be very miserable old men, and even miserable old women, they must have the habit of work? How instruct them further that unless they had the habit of good work, patient, faithful, fine work, the habit which no one can buy, beg, or borrow, because no one can sell, give, or lend it, they were worse than idle, cumberers of the earth, with no excuse for being above it?

If he had set out to do that, they might have retorted upon him that he was making a petty personal matter of art, which was not only so much longer than life, but so much wider, deeper, and higher. In this event he saw that he would have nothing for it but to confirm his correspondents in their disappointment with him by declaring that art was a personal matter, and that though longer, it was not wider, deeper, or higher than life, and could not be. It might be mysterious in being personal, but it was not necessarily petty. It would be great if the artist was so, but not otherwise; it could be fine on no other terms. There was a theory and an appearance that it existed somehow apart from the artist and that it made him. But the fact was he made it, partly wittingly, partly unwittingly; and it had no being except in his achievement. The power of imagining a work of art was the gift of nature, as being long or short, dark or fair was. The concern of him it was given to was how, after he found it out, to make the most of his gift. It had no power to make much or little of him. If he cherished it and served it, when he had made sure of it, by fulfilling the law that its possession imposed, then it would rise up in something he had done and call him master.

But how could Eugenio make such things—so true and yet so self-contradictory, so mutually repellent—clear to these simple-hearted young correspondents of his? The more he thought of the matter, the more he resolved to do nothing about it.



V

THE UNSATISFACTORINESS OF UNFRIENDLY CRITICISM

It was the experience of Eugenio that the criticisms of his books, when they were unfriendly, presented a varying offence, rather than a cumulative offence, as the years wore on. The criticisms of one's books are always hard to bear if they are unfavorable, but he thought that displeasure for displeasure the earlier refusal to allow him certain merits was less displeasing than the later consent to take these merits for granted. To be taken for granted in any wise is to be limited. It is tantamount to having it said of one that, yes, one has those virtues, but one has no others. It comes also to saying that one has, of course, the defects of one's virtues; though Eugenio noted that, when certain defects of his were taken for granted, it did not so distinctly and immediately follow that he was supposed to have the virtues of these.

Now, Eugenio's theory of himself was that he was not limited, and that, if he modestly stopped short of infinity, it was because he chose. He had a feeling of always breaking new ground; and he did not like being told that he was tilling the old glebe and harvesting the same crops, or that in the little garden-ground where he let his fancy play he was culling flowers of such familiar tint and scent that they seemed to be the very flowers he had picked thirty or forty years before. What made it harder to endure suggestion of this sort was that in his feeling of always breaking new ground there was an inner sense, or fear, or doubt, that perhaps it was not really virgin soil he was turning up, but merely the sod of fields which had lain fallow a year or two or had possibly been cropped the season before.

The misgiving was forced upon him by certain appearances in the work of other veteran authors. When he took up the last book of some lifelong favorite, no matter how great a master he knew him still to be, he could not help seeing that the poor old master was repeating himself, though he would not have phrased the case in such brutal terms. Then the chill wonder how long he could hope to escape the like fate pierced him, and for a moment he could not silence the question whether it might not have already befallen him. In another moment he knew better, and was justly aggrieved with the next reviewer who took things in him for granted, quite as offensively if they were merits as if they were defects. It was vital to him to be always breaking new ground, and, if at times it seemed to him that he had turned this or that furrow before, he said to himself that it was merely one of those intimations of pre-existence which are always teasing us here with the sense of experience in circumstances absolutely novel; and he hoped that no one else would notice the coincidence.

He was, indeed, tolerably safe from the chance, for it is one of the conditions of literary criticism that the reviewers shall be nearly always young persons. They, if they alone are capable of the cruelties they sometimes practise, are alone capable of the enthusiasms which supply publishers with quotable passages for their advertisements, and which lift authors' hearts in pride and joy. It is to their advantage that they generally bring to the present work of a veteran author an ignorance of all that he has done before, and have the zest for it which the performance of a novice inspires. They know he is not a novice, of course, and they recognize his book as that of a veteran, but they necessarily treat it as representative of his authorship. Of course, if it is his twentieth or thirtieth book, or his fortieth or fiftieth, it is merely one of a long series which fully represents him. Even these collectively represent him inadequately as long as he is adding to them, if he has the habit, like Eugenio, of always breaking new ground. The reviewer, however, is probably much newer than the ground which the established author breaks in his last book, and, coming to it in his generous ignorance, which he has to conceal under a mask of smiling omniscience, he condemns or praises it without reference to the work which has gone before it and which it is merely part of, though of course it has entirety enough of a sort to stand alone. If the author has broken ground in the direction of a new type of heroine, the reviewer, by the conditions of his calling, is all but obliged to say that here is one of those enchanting girls whom the author in question has endeared to generations of readers; or one of those tedious prudes for whom his name is a synonyme. If, after many psychological romances, the author has stepped down to the level of actual life, he is praised or blamed for the vital or servile naturalism of his work; or if the contrary is the case, he has to read of himself as doing something habitual and entirely characteristic of him. In vain, so far as that acute young critic is concerned, has he broken new ground. But if he has with much compunction consciously turned his furrows in a field tilled before, he stands a fair chance of being hailed at the outset of a new career.

He cannot openly complain, and if he could the critic cannot help being what he is. If the critic were older and more versed in the veteran author, he might not like him so well, and he could not, at any rate, bring the fresh interest to his work which the young reviewer brings. What Eugenio would really wish would be to have each successive book of his given for review to some lifelong admirer, some dear and faithful friend, all the better for not being an acquaintance, who had liked him from the beginning and was intimately versed in all his work. Such a critic would know that Eugenio was always breaking new ground, and that he was never more true to this inherent tendency than when he seemed to be ploughing the same old furrows in the same old fields. Such a critic would be alert to detect those fine differences of situation which distinguish a later from an earlier predicament. He would note with unfailing perspicacity the shades of variance which constitute Florindo an essentially novel character when presented under the name of Lindoro, or Floribella a fresh delight when she reappears as Doralinda. Even when he could not deny that these persons were in themselves one and the same, he would be able to make the reader observe that the new light thrown upon them by the author's ever-renascent art revealed in familiar creations traits of mind and charms of spirit unimagined before. He would insist that, if not new, they were newer, because being more fully ascertained they were truer. He would boldly recur to the personages in Eugenio's former books whom they reminded one of, and, studying them in contrast, would convince the reader that the increasing purpose of the author in the treatment of the well-known types had been to reveal the infinite variety of character which lay hid in each and every human type.

Some such reviewer, Eugenio thought, all journals pretending to literary authority ought to keep on their staff for the comfort of veteran authors and for the dispensation of that more delicate and sympathetic justice which their case required. It might be well enough to use a pair of ordinary steelyards, or even hay-scales, in weighing out the rewards and punishments of younger authors, but some such sensitive balance as only the sympathetic nerves of equal years, and, if possible, equal intelligence, could adjust ought to be used in ascertaining the merits of a veteran author.

In his frankest self-consciousness, Eugenio did not say a veteran author like himself, and he did not insist exclusively upon a veteran critic for his behoof. There were times when he thought that a young critic, coming in the glow of adolescence and the freshness of knowledge won from the recent study of all his works, might be better fitted to appreciate the qualities of the latest. He quite rejected the notion, when it came to business, with which he had sometimes played, of an author reviewing his own books, and this apart from his sense of its immodesty. In the course of his experience he had known of but one really great author who had done this, and then had done it upon the invitation of an editor of rare if somewhat wilful perspicacity, who invited the author to do it on the ground that no one else could do it so well. But though he would not have liked to be his own reviewer, because it was not seemly, he chiefly feared that if put upon his honor, as he would be in such a case, he must deal with his work so damagingly as to leave little or nothing of it. He might make the reputation of a great critic, but in doing execution upon his own shortcomings he might be the means of destroying himself as a great author.

After all, authors are not the self-satisfied generation they must often seem to the public which has tried to spoil them with praise. There is much in doing a thing which makes a man modest in regard to the way he has done it. Even if he knows that he has done it well, if the testimony of all his faculties is to that effect, there is somehow the lurking sense that it was not he who really did it, but that there is a power, to turn Matthew Arnold's phrase to our use, "not ourselves, that works for" beauty as well as righteousness, and that it was this mystical force which wrought through him to the exquisite result. If you come to the second-best results, to the gold so alloyed that you may confidently stamp it your own, do you wish to proclaim it the precious metal without alloy? Do you wish to declare that it is to all intents and purposes quite as good as pure gold, or even better? Do you hold yourself quit of the duty of saying that it is second-best, that it is something mixed with copper or nickel, and of the value of oroide, say? You cannot bring yourself to this extreme of candor, and what right, then, have you to recognize that something else is fine gold when it is really so? Ought not you to feign that it is only about thirteen carats when it is actually eighteen?

Considerations like these always stayed Eugenio when it came to the point of deciding whether he would care to be his own reviewer, but the desire to be adequately reviewed still remained with him, a fond longing amid repeated disappointments. An author often feels that he has got too much praise, though he never has got all he wants. "Why don't they clap?" Doctor Holmes once whimsically demanded, speaking of his audiences in those simple early days when he went about lecturing like Emerson and Alcott and other saints and sages of New England. "Do they think I can't stand it? Why don't they give me three times three? I can stand it very well." An author may sometimes think he is fulsomely praised and may even feel a sort of disgust for the slab adulation trowelled upon him, but his admirer need not fear being accused of insincerity. He may confidently count upon being regarded as a fine fellow who has at worst gone wrong in the right direction. It ought, therefore, to be a very simple matter to content a veteran author in the article of criticism, but somehow it is not.

Perhaps the trouble is in the nature of criticism, which, unwillingly enough, no doubt, assumes to be and to do more than it can. Its convention is that it is an examination of a book and a report upon its qualities. But it is not such a report, and it cannot be in the limits assigned it, which are the only tolerable limits with the reader. The author would not mind if the critic's report were physically commensurate with his book; but, of course, the reader could not stand that; and, generous as they are, other authors might complain. Sometimes, as it is, they think that any one of their number who gets something like a good report from a critic is getting more than his deserts. Yet authors, though a difficult, are not an impossible generation. Few of them would allow that they are even unreasonable with regard to criticism, and they would probably hail any improvement in its theories and methods with gratitude.

As criticism cannot be an adequate report upon the qualities of a book, even a book which has not been examined, why should it assume to do more than talk about it and talk all the better for being merely tentative and altogether unfinal? Nobody can really be authoritative concerning anything, for there is no one whose wisdom will not be disputed by others of the wise. The best way, then, might be for a reviewer to go round collecting sentiment and opinion about the book he means to talk of, and then to give as many qualifying varieties of impression as the general unhandsomeness of human nature will allow him to give when they differ from his own impression. On the terms of the old and still accepted convention of criticism, Eugenio had himself done a vast deal of reviewing, an amount of it, in fact, that he could not consider without amaze, and in all this reviewing he had not once satisfied himself with his work. Never once had he written a criticism which seemed to him adequate, or more than an approximation to justice, even when he had most carefully, almost prayerfully, examined the work he reported upon. He was aware of writing from this mood or that, of feeling hampered by editorial conditions, of becoming impatient or jaded, and finally employing the hay-scales when he ought to have used the delicate balances with which one weighs out life-giving elixirs or deadly poisons. But he used to imagine that if he could have put himself in the attitude of easy discussion or light comment, instead of the judicial pose he felt obliged to take, he could have administered a far finer and more generous measure of justice. In these moments he used to wonder whether something stated and organized in the way of intelligent talk about books might not be substituted for the conventional verdicts and sentences of the courts of criticism.

In this notion he proceeded upon a principle evolved from his own experience in fields far from the flinty and sterile ranges of criticism. He had not only done much reviewing in those days, but he had already written much in the kinds which he could not, in his modesty, bring himself to call "creative," though he did not mind others calling it so. Whatever had been the shortcomings of the conventional reports upon his work, it was his glad experience that nothing he said or meant, not the slightest intention or airiest intimation in his books, was ever wholly lost. Somewhere, some one, somehow had caught it, liked it, remembered it, and had by a happy inspiration written him of it, it might be diffident, it might be confident, of his pleasure in the recognition.

Such recognition was always more precious than the reports of the conventional critics, though if these were favorable the author was glad of them, as of any good that the gods gave. But what struck Eugenio was that such recognition was the real, the very, the vital criticism, and that if it could be evoked in behalf of others, in its sincerity, it might be helpful to the cause of literature far beyond anything that the courts of criticism could do or effect in its behalf. After all, as he said to himself, an author wrote for his readers and not for his critics, for pleasure and not for judgment; and if he could be assured publicly, as he sometimes was assured privately, that nothing he did was lost, he might be encouraged to keep on doing his best. Why, indeed, should not there be a critical journal embodying in a species of fragrant bouquet the flowers of thought and emotion springing up in the brains and bosoms of readers responsive to the influence of a new book? Such readers would have only to suppose themselves addressing the author direct, and the thing could be done. It might be done in another way by the authors contributing the praises privately sent him. In a time when personal letters to authors are constantly quoted in advertisements, this might not seem so immodest as in some earlier literary condition.

In the mean time the question of what shall be done for veteran authors who are always breaking new ground still remains, and it is complicated by a fact of psychological import for the reader as well as the author. What first gives an author his hold upon the reader is not the novelty of his theme, but a pleasing, it may be a painfully pleasing, quality which in its peculiar variation must be called his personal quality. It is the sense of this in each of his successive books which deepens his hold upon the reader, and not the style, or the characters, or the intrigue. As long as this personal quality delights, he is new whether he breaks new ground or not, or he is newly welcome. With his own generation, with the readers who began young with him and have grown old with him, he is always safe. But there is danger for him with the readers who begin young with him after he has grown old. It is they who find his tales twice told and himself hackneyed, unless they have been trained to like his personal quality by their elders. This might be difficult, but it is not impossible, and ought not it to be the glad, the grateful care of such elders?



VI

THE FICKLENESS OF AGE

All forms of literature probably hold a great deal more meaning than people commonly get out of them; but prose may be likened to a cup which one can easily see to the bottom of, though it is often deeper and fuller than it looks; while verse is the fount through which thought and feeling continually bubble from the heart of things. The sources that underlie all life may be finding vent in a rhyme where the poet imagined he was breathing some little, superficial vein of his own; but in the reader he may unawares have reached the wells of inmost passion and given them release. The reader may himself live with a certain verse and be aware of it now and then merely as a teasing iterance that

"From some odd corner of the mind Beats time to nothing in the brain."

But suddenly some experience, or perhaps the exfoliation of the outer self through the falling away of the withered years, shall open to him its vital and cosmical significance. He shall know then that it is not an idle whisper of song, but a message to his soul from the senate where the immortals gather in secular counsel and muse the wisdom of all the centuries since humanity came to its earliest consciousness. The bearer of the message may not have known it in the translation which it wears to the receiver; each must read it in his own tongue and read meaning into it; perhaps it always takes two to make a poet, and singer and listener are the twin spheres that form one star.

A valued correspondent of ours, one of those whose letters are oftener than we should like to own fraught with the suggestion of our most fortunate inspirations, believes himself to have been recently the confidant of the inner sense of certain lines in a familiar poem of Longfellow's. Its refrain had, from the first reading, chanted in the outer chamber of his ear, but suddenly, the other day, it sang to his soul with a newly realized purport in the words,

"A boy's will is the wind's will, And the thoughts of youth are long, long thoughts."

The words are, as the poet promptly declares, the burden of a Lapland song, which "is haunting his memory still," which "murmurs and whispers still," which "is singing and saying still," which "is mournful" and "sweet" and "fitful" and "fatal" and "strange" and "beautiful." Yet he seems not to have known, as our friend now thinks he himself knows, that they express a difference, unrecognized hitherto, between youth and age, and rightfully attribute to the young a steadfastness and persistence in objects and ideals formerly supposed the distinguishing qualities of the old. In other words, they have precipitated into his consciousness a truth unwittingly held in solution by both the poets in their verse. Or, if it was conveyed to him by their sensible connivance, he is the first who has been made its repository. Or, if he cannot claim an exclusive property in the revelation, it is now his, in his turn, by that sad right of seniority whose advantages are not ours till there are few or none left to contest them with us. One has not been promoted to them because of any merit or achievement; one has simply lived into them; and how much of one has died in the process of survival! The lines speak to our friend's age a language which his youth could not have understood, and it is because he is no longer young that he perceives how long the thoughts of youth were and how brief the thoughts of age.

He had always fancied that his later years should be a time of repose in the faiths, loves, and joys through which he realized himself. But nothing apparently was farther from the fact. Such length of thoughts as he had, such abiding pleasures, such persistent hopes, were from his youth; and the later sort were as the leaves of the tree to the tree itself. He put them forth at the beginning of an epoch, a season, and they dropped from him at the close. In as great bitterness as is consonant with his temperament he has asked us why youth should ever have been deemed fickle and age constant when so precisely the contrary is true. Youth, he owns, is indeed full of vain endeavors and of enterprises that come to nothing, but it is far more fixed than age in its aspirations. His aspirations change now with such rapidity that they seem different not only from year to year, but from month to month, from day to day. He has not merely discarded his old ideals, he loathes them. He used to like going out to dinner, above all things; and he was fond of lunches, even of afternoon teas; but in a day, in an hour, such delights became wearinesses and vexations of spirit. Formerly he enjoyed travel with all its necessary concomitants. It amused him to check his baggage and depart from stations, to arrive at hotels and settle himself in new rooms; the very domiciliation in sleeping-cars or the domestication in diners had a charm which was apparently perennial; a trip in a river-boat was rapture; an ocean voyage was ecstasy. The succession of strange faces, new minds, was an unfailing interest, and there was no occurrence, in or out of the ordinary, which did not give him release from self and form a true recreation. The theatre does not amuse him now, though the time has been, and lately, for the curtain, when it rose on a play, new or old, to lift his spirit with it and to hold him entranced till its fall. As for the circus, he once rejoiced in all its feats; performing elephants could not bore him, nor acts of horsemanship stale its infinite variety. But the time has come abruptly when the smell of the sawdust, or the odor of the trodden weed, mixed with the aroma of ice-cold lemonade, is a stench in his nostrils.

These changes of ideal have occurred, not through the failure of any powers that he can note in himself, but as part of the great change from youth to age, which he thinks is far greater morally than physically. He is still fairly strong; he has not lost his appetite or the teeth to gratify it; he can walk his miles, always rather two than ten, and rest refreshed from them; except that he does not like to kill things, he could trudge the whole day through fields and woods with his gun on his shoulder; though he does not golf, and cannot know whether or no it would bore him, he likes to wield the axe and the scythe in the groves and meadows of his summer place. When he stretches himself on the breast of the mother alike of flesh and grass, it is with a delicious sense of her restorative powers and no fear of rheumatism. If he rests a little longer than he once used, he is much more rested when he rises from his repose.

His body rejoices still in its experiences, but not his soul: it is not interested; it does not care to have known its experiences or wish to repeat them. For this reason he thinks that it is his spirit which is superannuated, while its "muddy vesture of decay" is in very tolerable repair. His natural man is still comparatively young, and lives on in the long, long thoughts of youth; but his supernatural man has aged, with certain moral effects which alarm his doubts of the pleasures he once predicated of eternity. "If it is going to be like this with me!" he says to himself, and shrinks from supplying the responsive clause of his conditional.

But mainly his mind turns upon itself in contemplation of its earthly metamorphoses, in which it hardly knows itself for the mind of the same man. Its apprehensions are for the time when, having exhausted all the differences, it shall care for none; but meanwhile it is interested in noting the absurdity of that conventional view of age as the period of fixed ideals. It may be the period of fixed habits, of those helpless iterances which imply no intentions or purposes; but it is not the period in which the mind continues in this or that desire and strives for its fulfilment. The same poet who sang at second hand those words of the Lapland song,

"The thoughts of youth are long, long thoughts,"

erred, to our friend's sense, in singing of

"The young heart hot and restless, And the old subdued and slow."

He believes the reverse would rightly characterize the heart of youth and the heart of age. Age is not slow in its mental motions; it is hurried and anxious, with that awful mystical apprehension of the swift-coming moment when time shall be no more and nothing but eternity shall be left. It is not subdued; its heart is hot with rebellion against the inevitable. But for youth there is no inevitable; there is no conclusion, no catastrophe, which it may not hope to escape; and, so it is patient of chances, it is glad of them. Its heart is not restless; it is quite at peace in the bosom which is secure of all the time there is.

Our friend believes that a variety of popular superstitions will fall at the recognition of the truth in this matter, and none more finally than that which attributes to the junior partner the unhappiness of those marriages in which youth and crabbed age try to live together. In such hazardous unions the junior partner is, for some unexplained reason, of the sex which has the repute of a generic fickleness as well as the supposed volatility of its fewer years. Probably repute wrongs it as much in one respect as in the other, but our friend contends only for greater justice to it in the last. In the light that he has come into, he holds that where such unions are unhappy, though they may have been formed with a fair appearance of affection, it is the senior partner who is to blame if blame may ever be attached to involuntary change. It is the senior partner who has wearied first of the companionship and wished for release with the impatience natural to age. This is intolerant of the annoyances which seem inherent in every union of the kind, and impatient of those differences of temperament which tell far more than any disparities of age, and which exist even where there are no such disparities. The intolerance, the impatience, is not more characteristic of the husband where he is the elder than of the wife in the much fewer instances of her seniority. In the unions where two old people join their faltering destinies, the risks of unhappiness are, logically, doubled; and our friend holds it a grotesque folly to expect anything else of marriages in which two lovers, disappointed of each other in their youth, attempt to repair the loss in their age. Where any such survive into later life, with the passion of earlier life still rife in their hearts, he argues that they had much better remain as they are, for in such a belated union as they aspire to the chances are overwhelmingly against them.

Very probably, like other discoverers, he is too much impressed with the value of his divination. It is something that, at any rate, can appeal for recognition only to the aged or the aging. With these we could imagine it bringing a certain consolation, a relief from vain regret, an acquittal from self-accusation. If one has suddenly changed for no apparent reason, one must be glad to find a reason in the constitution of things, and to attribute one's fickleness to one's time of life. Youth's errors have possibly been too much condoned upon grounds where age could more justly base its defence. It may be more reckless than age, but it is not nearly so rash. It keeps thinking its long, long thoughts and questioning the conclusions to which age eagerly hobbles or hurls itself from its crutches. Youth is deliberate, for it has plenty of time, while, as our friend notes, age has little but eternity before it. Not youth, but age, leaps from life's trolley while it is still in motion, or, after mismeasuring the time and space, limps impatiently before it and is rolled under its fender. You may see physical proof of this difference, our friend insists, in the behavior of two people, one young and one old, at any street-crossing; and why should so many old ladies fall on the stairs, but that they are apt to precipitate themselves wildly from landings where young girls linger to dream yet one dream more before they glide slowly down to greet the young men who would willingly wait years for them?

The distrust of eternity at which our friend hints is perhaps the painfulest of his newly discovered differences between youth and age. Resting so serenely as it does in practically unlimited time, with ideals and desires which scarcely vary from year to year, youth has no fears of infinity. It is not afraid but it shall have abundant occupation in the aeons before it, or that its emotions or volitions shall first be exhausted. Its blithe notion of immortality is that it is immortal youth. It has no conception of age, and could not imagine an eternity of accomplished facts. It is, perhaps, for this reason that doubt of immortality never really comes to youth. One of the few things which our friend still believes is that every sceptic who deals honestly with his only history must be aware of an hour, almost a moment, of waning youth, when the vague potentiality of disbelief became a living doubt, thence-forward to abide with him till death resolve it. Endless not-being is unthinkable before that time, as after it endless being is unthinkable. Yet this unthinkable endless being is all that is left to age, and it is in the notion of it alone that age can get back to the long, long thoughts in which is surcease from unrest. Our old friend may accuse us of proposing the most impossible of paradoxes when we invite him to take refuge from his whirling ideals, not in an unavailing endeavor to renew the conditions of youth in time, but in the forecast of youth in eternity. We think that the error of his impatience, his despair with the state he has come to here, is largely if not wholly through his failure to realize that he is not going to wake up old in some other being, but young, and that the capacity of long, long thoughts will be renewed in him with the renewal of his life. The restlessness of age, its fickleness, its volatility, is the expression of immense fatigue. It tosses from side to side and tries for this and that like a sick man from sheer weakness; or, rather, if the reader prefers another image, it is like some hapless wild thing caught by rising floods on a height of land which they must soon submerge, and running incessantly hither and thither as the water more narrowly hems it in.

Undoubtedly the mutability of age in its ideals has been increased of late by the restriction of human hope to the years which remain, few and brief to the longest earthly life, by the sciences which provisionally darken counsel. When these shall have penetrated to a point where they can discern the light, they will "pour the day" on the dim orbs of age and illumine the future with new hope. Then doubting age can enter into the rest now forbidden it and take its repose between illimitable horizons in the long, long thoughts of eternal youth. We speak here in behalf of the sceptic, the agnostic few. For the many who have not lost their hope because they have never lost their faith, doubtless all the trouble of change which disquiets our friend will seem something temperamental merely, and not something essential or inseparable from human nature. Their thoughts have remained long, their ideals steadfast, because they have not lost the most precious jewel of their youth—the star of trust and hope which

"Flames in the forehead of the morning sky."

These are the most enviable of their kind, and there are signs that their turn may be coming once more in the primacy to which their numbers have always entitled them. Only the other day we were reading a paper by a man of that science which deals with life on strictly physical lines, and drawing from it an immense consolation because it reaffirmed that the soul has not only its old excuse for being in the unthinkability of an automatic universe and the necessity of an intentional first cause, but with Evolution, in the regard of some scientists, tottering on its throne, and Natural Selection entering the twilight into which the elder pagan deities have vanished, is newly warranted in claiming existence as that indestructible life-property or organizing power which characterizes kind through kind from everlasting to everlasting. In this consolation we seemed well on our way back to the encounter of a human spirit such as used to be rapt to heaven or cast into hell for very disproportionate merits or demerits; but we were supported for the meeting by the probability that in the fortunate event the spirit would be found issuing from all the clouds of superstition, and when it was reconstituted in the universal belief, that the time, with eternity in its train, would have returned for fitly hailing it in the apostrophe of the Addisonian Cato:

"But thou shalt flourish in immortal youth, Unhurt amidst the war of elements, The wreck of matter, and the crush of worlds."



VII

THE RENEWAL OF INSPIRATION

There comes a time in the experience of perhaps every stated purveyor of intellectual food when the stock he has long been drawing upon seems finally exhausted. There is not a grain left in the barns where he had garnered up the harvests of the past; there is not a head of wheat to be found in the fields where he had always been able to glean something; if he shakes the tree of knowledge in the hope of a nut to crack or a frozen-thaw to munch, nothing comes down but a shower of withered leaves. His condition is what, in the parlance of his vocation, he calls being out of a subject, and it is what may happen to him equally whether he is preaching twice a Sunday from the pulpit, or writing leaders every day for a prominent journal, or merely contributing a monthly essay to a magazine. As the day or hour or moment approaches when he must give forth something from his destitution, he envies the hungriest of his auditors or readers who do not yet know that there is nothing in him to appease their famine. There is only the barren will to give which only a miracle can transform into a vitalizing bounty.

Yet is not this miracle always wrought? When did a pulpit ever fail of a sermon, or a journal of a leading article, or a magazine of its stated essay? The fact might argue the very contrary of the appearance and convince the desperate purveyor that what he mistook for hopeless need was choice which mocked him with a myriad alternatives. From cover to cover the Scripture is full of texts; every day brings forth its increase of incident; the moral and social and aesthetical world is open on every side to polite inquiry and teems with inspiring suggestion. If ever the preacher or editor or essayist fancies he has exhausted these resources, he may well pause and ask whether it is not himself that he has exhausted. There may be wanting the eye to see the riches which lie near or far, rather than the riches which are always inviting the eye.

A curious trait of the psychology of this matter is that it is oftener the young eye than the old which lacks the visual force. When Eugenio was beginning author and used to talk with other adolescent immortals of the joyful and sorrowful mysteries of their high calling, the dearth of subjects was the cause of much misgiving and even despair among them. Upon a certain occasion one of that divine company, so much diviner than any of the sort now, made bold to affirm: "I feel that I have got my technique perfect. I believe that my poetic art will stand the test of any experiment in the handling of verse, and now all that I want is a subject." It seemed a great hardship to the others, and they felt it the more keenly because every one of them was more or less in the same case. They might have none of them so frankly owned their fitness for their work as the one who had spoken, but they were all as deeply aware of it; and if any subject had appeared above the horizon there could have been no question among them except as to which should first mount his winged steed and ride it down. It did not occur to any of them that the want of a subject was the defect of their art, and that until they were equipped with the eye that never fails to see occasion for song all round the heavens they were not yet the champions of poetry which they fancied themselves. He who had uttered their common belief sufficiently proved afterward, in the range of things he did, that he had ultimately come into possession of the highest of the poetic gifts, the poetic vision of life, and that he had completed his art at a point where it had been most imperfect before, when he supposed it so perfect. As soon as he ceased looking for subjects, which were mainly the conventional themes of verse, the real and vital subjects began looking for him.