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treatise after treatise on English style by pedagogues whose own style is atrocious. A Huxley or a Macaulay might have written one of high merit and utility—but Huxley and Macaulay had other fish to fry, and so the business was left to Prof. Balderdash. Consider the standard texts on prosody—vast piles of meaningless words—hollow babble about spondees, iambics, trochees and so on—idiotic borrowings from dead languages. Two poets, Poe and Lanier, blew blasts of fresh air through the fog, but they had no successors, and it has apparently closed in again. In the department of prose it lies wholly unbroken; no first-rate writer of English prose has ever written a text-book upon the art of writing it.

2. Spoken American As It Is

But here I wander afield. The art of prose has little to do with the stiff and pedantic English taught in grammar-schools and a great deal less to do with the loose and lively English spoken by the average American in his daily traffic. The thing of importance is that the two differ from each other even more than they differ from the English of a Huxley or a Stevenson. The school-marm, directed by grammarians, labors heroically, but all her effort goes for naught. The young American, like the youngster of any other race, inclines irresistibly toward the dialect that he hears at home, and that dialect, with its piquant neologisms, its high disdain of precedent, its complete lack of self-consciousness, is almost the antithesis of the hard and stiff speech that is expounded out of books. It derives its principles, not from the subtle logic of learned and stupid men, but from the rough-and-ready logic of every day. It has a vocabulary of its own, a syntax of its own, even a grammar of its own. Its verbs are conjugated in a way that defies all the injunctions of the grammar books; it has its contumacious rules of tense, number and case; it has boldly re-established the double negative, once sound in English; it admits double comparatives,

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