century, it would seem impossible that any production could be permanent;
that any song or story could live to give delight in future ages. But
literature is like a river in flood, which gradually purifies itself in two
ways,--the mud settles to the bottom, and the scum rises to the top. When
we examine the writings that by common consent constitute our literature,
the clear stream purified of its dross, we find at least two more
qualities, which we call the tests of literature, and which determine its
permanence.

TESTS OF LITERATURE. The first of these is universality, that is, the
appeal to the widest human interests and the simplest human emotions.
Though we speak of national and race literatures, like the Greek or
Teutonic, and though each has certain superficial marks arising out of the
peculiarities of its own people, it is nevertheless true that good
literature knows no nationality, nor any bounds save those of humanity. It
is occupied chiefly with elementary passions and emotions,--love and hate,
joy and sorrow, fear and faith,--which are an essential part of our human
nature; and the more it reflects these emotions the more surely does it
awaken a response in men of every race. Every father must respond to the
parable of the prodigal son; wherever men are heroic, they will acknowledge
the mastery of Homer; wherever a man thinks on the strange phenomenon of
evil in the world, he will find his own thoughts in the Book of Job; in
whatever place men love their children, their hearts must be stirred by the
tragic sorrow of _Oedipus_ and _King Lear_. All these are but shining
examples of the law that only as a book or a little song appeals to
universal human interest does it become permanent.

The second test is a purely personal one, and may be expressed in the
indefinite word "style." It is only in a mechanical sense that style is
"the adequate expression of thought," or "the peculiar manner of expressing