The Hood River glacier. (Hood River, Or.) 1889-1933, 1905-02-16

conditions; and quite as truly siInpa;
language does not suffice the man Of
overweight scnsibilities when he tries
to express what lie 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.
nlze the public mind and compel its at.
tention are to be found again in their
1 rudiments, In our most commonplace
conversations, IN our letter writing
I and, above all, IN public speaking. Our
I performances In language compared to
those Of man well balanced and Sc
rene are what our handwriting Is com
pared to that Of or fathers. The fault
is laid to steel pens. If only the truth
were acknowledged! Geese, then. could
save u.s. But the evil goes deeper; 1t
Is I'm ourselves. We write like men
possessed. The pen of our ancestors
was more restfu, more sure. Here we
face one Of the results of our modern
life, SO complicated and SO terribly ex-
haustiYe Of energy 1t leaves us impa-
tient, breathless, In perpetual trepida-
tlon. Our handwriting, like our speech,
suffers thereby and betrays us. Let us
go back from the effect to the cause
and understand well the warning II
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 well as our own. Between
people who eXaggerate, good under
ceases Rulled tempers, vio-
lent and useless disputes, hasty judg-
ments devoid Of all moderation, the
utmost extravaganza in education and
social life these things are the result
Of intemperance of speech.
May | be permitted in this appeal for
of speech TO frame wish
whose fuldllment would have the hap
lest results? | ask for simplicity in
literature, not only as one Of the best
for the detection of our souls
-blases, iaded, weary Of eccentricitles
but also as pledge and source of |
ocial union. | ask also for simplicity |
Il art. Our art ana our literature are |
for the privileged few of ed |
icati0n and fortune. But do not mis- |
nGn n IA I a
lovellsts and painters to descend from
he heights and walk along the noun
ain sides, finding their satisfaction In
but, on the contrary, to
Mount higher. The truly popular is not
hat which appeals to a certain class of
oclety ordinarily called the common
'eoDle; the truly popular Is what Is
ommon to all classes and unites them.
he sources Of inspiration from whicn
erfect art springs are in the depths Of
he human heart, in the eternal reali-
les Of life, before which all men are
qual. And the sources of popular
lnguage must be found in the small
umber of simple and vigorous forms
'hich express elementary sensations
nd draw the master lines of human
estiny. In them are truth, power,
immortality. Is there not
nough in such anNB cal to klndle the
nthusiasm Of youth, which, sensible
nat the sacred flame Of the beautiful
burning within, feels pity and to the
Isdalnful adage, "Odi profanum vul-
us" prefers this more humane saying,
super turbam." AS for me, |
ave no artistic authority, but from
1t the multitude where | live | have
le right to raise my cry to those who
ave been given talents, aud say to
lem. Labor for men whom the world
rgets, make yourselves ineligible to
g humble, so shall you accomplish
work Of emancipation and peace; so
all you open again the springs ,
hence those masters drew, whose +,
orks have delled the ages because :
ey knew how to elothe genius In sim :
lefty. =