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and dress, is nowhere more marked, in truth, than in their speech habits. The incessant neologisms of the national dialect sweep the whole country almost instantly, and the iconoclastic changes which its popular spoken form is constantly undergoing show themselves from coast to coast. “He hurt hisself,” cited by Dr. Charters, is surely anything but a Missouri localism; one hears it everywhere. And so, too, one hears “she invited him and I,” and “it hurt terrible,” and “I set there,” and “this here man,” and “no, I never, neither,” and “he ain’t here,” and “where is he at?” and “it seems like I remember,” and “if I was you,” and “us fellows,” and “he give her hell.” And “he taken and kissed her,” and “he loaned me a dollar,” and “the man was found two dollars,” and “the bee stang him,” and “I wouldda thought,” and “can I have one?” and “he got hisn,” and “the boss left him off,” and “the baby et the soap,” and “them are the kind I like,” and “he don’t care,” and “no one has their ticket,” and “how is the folks?” and “if you would of gotten in the car you could of rode down.”

Curiously enough, this widely dispersed and highly savory dialect—already, as I shall show, come to a certain grammatical regularity—has attracted the professional writers of the country almost as little as it has attracted the philologists. There are foreshadowings of it in “Huckleberry Finn,” in “The Biglow Papers” and even in the rough humor of the period that began with J. C. Neal and company and ended with Artemus Ward and Josh Billings, but in those early days it had not yet come to full flower; it wanted the influence of the later immigrations to take on its present character. The enormous dialect literature of twenty years ago left it almost untouched. Localisms were explored diligently, but the general dialect went virtually unobserved. It is not in “Chimmie Fadden”; it is not in “David Harum”; it is not even in the pre-fable stories of George Ade, perhaps the most acute observer of average, undistinguished American types, urban and rustic, that American literature has yet produced. The business of reducing it to print had to wait for Ring W. Lardner, a Chicago newspaper reporter. In his grotesque tales of base-ball players, so immediately and so

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