for the metaphor that is mixed
in all our speech, though a rapid use may involve no cognition of it.
Currently recognising the incident, the colour, the physical elements
or particles in words like absorb, consider, extract, to take the first
that occur, he will avail himself of them, as further adding to the
resources of expression. The elementary particles of language will be
realised as colour and light and shade through his scholarly living in
the full sense of them. Still opposing the constant degradation of
language by those who use it carelessly, he will not treat coloured
glass as if it were clear; and while half the world is using figure
unconsciously, will be fully aware not only of all that latent
figurative texture in speech, but of the vague, lazy, half-formed
personification--a rhetoric, depressing, and worse than nothing, [21]
because it has no really rhetorical motive--which plays so large a part
there, and, as in the case of more ostentatious ornament, scrupulously
exact of it, from syllable to syllable, its precise value.

So far I have been speaking of certain conditions of the literary art
arising out of the medium or material in or upon which it works, the
essential qualities of language and its aptitudes for contingent
ornamentation, matters which define scholarship as science and good
taste respectively. They are both subservient to a more intimate
quality of good style: more intimate, as coming nearer to the artist
himself. The otiose, the facile, surplusage: why are these abhorrent
to the true literary artist, except because, in literary as in all
other art, structure is all-important, felt, or painfully missed,
everywhere?--that architectural conception of work, which foresees the
end in the beginning and never loses sight of it, and in every part is
conscious of all the rest, till the last sentence does but, with
undiminished vigour, unfold and justify the first--a condition of
literary art, which, in contradistinction to another quality of the
artist himself, to be spoken of later, I shall call the necessity of
mind in style.

An acute philosophical writer, the late Dean Mansel (a writer whose
works illustrate the literary beauty there may be in closeness, and
with obvious repression or economy of a fine [22] rhetorical gift)
wrote a book, of fascinating precision in a very obscure subject, to
show that all the technical laws of logic are but means of securing, in
each and all of its a