obliged; a glance at Coaches is then given, next a study of Montezuma's
gardens, presently a brief account of the Spanish cruelties in Mexico and
Peru, last--_retombons a nos coches_--he tells a tale of the Inca, and
the devotion of his Guard: _Another for Hector_!

The allusive style has its proper place, like another, if it is used by
the right man, and the concentrated and structural style has also its
higher province. It would not do to employ either style in the wrong
place. In a rambling discursive essay, for example, a mere straying
after the bird in the branches, or the thorn in the way, he might not
take the safest road who imitated Mr. Pater's style in what follows:

"In this way, according to the well-known saying, 'The style is the man,'
complex or simple, in his individuality, his plenary sense of what he
really has to say, his sense of the world: all cautions regarding style
arising out of so many natural scruples as to the medium through which
alone he can expose that inward sense of things, the purity of this
medium, its laws or tricks of refraction: nothing is to be left there
which might give conveyance to any matter save that." Clearly the author
who has to write so that the man may read who runs will fail if he wrests
this manner from its proper place, and uses it for casual articles: he
will fail to hold the vagrom attention!

Thus a great deal may be done by studying inappropriateness of style, by
adopting a style alien to our matter and to our audience. If we "haver"
discursively about serious, and difficult, and intricate topics, we fail;
and we fail if we write on happy, pleasant, and popular topics in an
abstruse and intent, and analytic style. We fail, too, if in style we go
outside our natural selves. "The style is the man," and the man will be
nothing, and nobody, if he tries for an incongruous manner, not naturally