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968 form 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 over-valued 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