Ellsworth American. [volume] (Ellsworth, Me.) 1855-current, 1904-12-28

CoiOT- EiSeNueTe ttHlpeTdineUIS are
more evenly balanced One finds pre-
clsion, the word exactly fitted to the
thing But farther on-effect of the
sun, the air, the wine perhaps-hot
blood courses in the veins, tempers are
excitable, language is extravagant, and
strongest terms.
If the type of speech varies with eli
mate, 1t differs also with epochs. Com
pare the language, written or spoken,
of our own times with that of certain
other periods of our history. Under
the old regime people spoke differently
than Mt the time of the Revolution, and
we have not the same language as the
men of 1880, 1913 or the second empire.
In general, language is now charac-
terized by greater simplicity. We no
longer wear perukes, we no longer
write in lace frills, but there is one
significant difference between us and
almost all of our ancestors, and it is
the source of our exaggerations-our
nervousness. Upon overexcited nerv-
Gus systems-and heaven knows that
to have nerves is no longer an aristo
cratic privilege--wordsd do not produce
the same impression as under normal
conditions; and quite as truly simple
language does not suffice the man of
overweight sensibilities when he tries
to express what he feels. In private
life, In public, in books, on the stage,
calm and temperate speech has given
place to excess. The means that novel;
lists and playwrights employ to galva-
nize the public mind and compel its at
tention are to be found again in their
rudiments, in our most commonplace
conversations, In our letter writing
and, above all, in public speaking. Our
performances in language compared to
those of q man well balanced and Sc
rene are what our handwriting is COM
pared to that of our fathers. The fault
is laid to steel pens. If only the truth
were acknowledged! Geese then, could
save us. But the evil goes deeper; 1t
Is in ourselves. We write like men
possessed The pen of our ancestors
was more restful, more sure. Here we
face one of the results of our modern
life, so complicated and so terribly ex-
haustive Of energy. 1t leaves us impa-
tlent, breathless, in perpetual trepida-
ton. Our handwriting, like our speech,
suffers thereby and betrays us. Let US
90 back from the effect to the cause
and understand well the warning 1t
brings us.
What good can come from this habit
Of exaggerated speech? False inter
prefers of our own impressions, we
cannot but warp the minds Of our fell
low men as we'll as our own. Between
people who exaggerate, good under
standing ceases. Ruffied tempers, vio-
lent and useless disputes, hasty judg
,ments devoid of all moderation, the
utmost extravaganza In education and
social lfe-these things are the result
of intemperance of speech.
May l be permitted in this appeal for
simplicity of speech to frame wish
whose fulfillment would have the hap
piest results? l ask for simplicity in
literature, not only as one of the best
remedies for the detection of our souls
-blases, jaded, weary of eccentricities
but also as pledge and source OF
social union. l ask also for simplicity
in art Our art and our literature are
reserved for the privileged few of ed
ucation and fortune. But do not mis-
understand me. l do not ask poets,
inf 70 from
the heights and walk along the noun
tain sides, finding their satisfaction in
mediocrity, but on the contrary, to
mount higher The truly popular is not
that which appeals to certain class of
society ordinarily called the common
people; the truly popular Is what is
common to all classes and unites them.
The sources of inspiration from when
perfect art springs are in the depths OF
the human heart, in the eternal reali-
ties of life, before which all men are
equal And the sources of popular
language must be found in the small
number of simple and vigorous forms
which express elementary sensations
and draw the master lines of human
destiny. In them are truth, power,
grandeur, Immortality. Is there not
enough in such an ideal to kindle the
enthusiasm of youth, which, sensible
that the sacred flame of the beautiful
is burning within, feels pity, and to the
disdainful adage, lodi profanum vul-
gus" prefers this more humane saying.
"Iisereor super urban" AS for me,
have no artistic authority, but from
out the multitude where 1 live l have
the right to raise my cry to those who
have been given talents, and say to
them: Labor for men whom the world
forgets, make yourselves Ineligible to
the humble, so shall you accomplish
a work of emancipation and peace; so
shall you open again the springs
whence those masters drew, whose
works have defied the ages because
they knew how to clothe genius in sim
plicity.