Year: 1877

There is no work Of art like good
book, and if the binding be choice,
the illustrations rich, the margin broad,
the paper serenely tinted and the
type strong and perfect, these adorn-
ments are only the pretty dress and
gay attentions which we love to see
as the external garniture of those we
love. Men dress their books as they
wonld clothe petted child and deck
them with gliding and color as the
just need of the infusing soul within.
And there are very good reasons why
these luxuries should be INDUCED by
all who can in any way afford them.


Given a good book, the reader has
a pleasant comrade and full society.
1t is only rarely that there is any
snarl or pettishness. In books which
are books there may be storm and
passion, strong delineation of intrigue
or crime, high expressions of the no
blest elements of human nature, but
the book itself makes no gestures,
strikes no attitudes, and if it scolds or
rants, as some books do, it can be con-
temptuously cast aside and apologies
demanded. We read a novel, follow
the dialogue, picture to the mind the
mimic world it represents, follow its
comedy or tragedy, often study its
social and political lessons, or fill up
with most attractive form of history,
and yet all the time beneath the lamp
light or the Sunday sun we have the
most quiet, amiable and entertaining,
decorous, womanly or gentlemanly,
talking away as conversation rarely
runs. For there are few good CONVEX
sationalists, and good takers rarely
write we'll. The man who "talks
blank verse in the bosom of his fami-
ly' is apt to be sluggard with the
pen. Good writers are usually slow of
speech and silent of manner.


A good book walks into our life
with utmost politeness. 1t has its
story to tell, but you may listen Or
not, just as you please. If you ne
elect it, it. manifests no resentment,
and when your attachment returns it
has the same old smile Of welcome.
To all sentient things we owe duty.
They shall not be cold, hungry, or in
any way neglected without penalty
to ourselves. But book, with all its
beauty, its chatty ways and happy
address, can be left out in the cold for
years and then come back to your
friendship as warmly and without re-
proach as if there had been no sepa-
ration. 1t is the emblem of fidelity,
for it opens its address to an inoonsis-
tent lover. A man may virtually be
libertine in books, yet retain fast
attachment. He who owns Knights
edition of Shakespeare may rarely look
at it, but the volumes never insist
upon regard and attention and there
is no complaint. But at the same
time, he never has any sin ncere liking
for any other edition of Shakespeare.
It is the one most worthy setting of
the great dramatist, it is out of print,
and nobody who owns it will sell it.


The underlying charm in books that
are books is their impersonality. They
may be written in advocacy or in op-
position of an idea. They may carry
in them much of stormy passion, of
eloquent hate or of tender sentiment,
but they are rarely y written at any
body. Personal abuse, the vile argu-
mentelm ad honslmena, is rarely bornd
in boards or Russian leather. 1t has
It's appropriate habitat IN the lower
ranks ofjournalism, among the under
lings of the press, whose envious souls
assail personal character and mis-
take attack for argument. One can
hardly read daily newspaper with
out seeing that the editor hates man
more than he loves cause, and that
he is striving to build himself on the
ruins of another character. From
this contemplate evil nearly all books
are exempt. Even the most contro-
versial of them, as, for instance, Thos.
Paine's age of Reason there is
no personal insult. and the whole force
of the attack is directed against the
idea and not the opponent. In the
society of book we find honest and
gracious treatment, true politeness
and the charm of intelligent CONVEX
sation.


FT1rr, G. &C o1ry