natural and simple; there should be no straining after effect, but simply
a spontaneous out-pouring of thoughts and ideas as they naturally occur
to the writer. We are repelled by a person who is stiff and labored in
his conversation and in the same way the stiff and labored letter bores
the reader. Whereas if it is light and in a conversational vein it
immediately engages his attention.

The letter which is written with the greatest facility is the best kind
of letter because it naturally expresses what is in the writer, he has
not to search for his words, they flow in a perfect unison with the ideas
he desires to communicate. When you write to your friend John Browne to
tell him how you spent Sunday you have not to look around for the words,
or study set phrases with a view to please or impress Browne, you just
tell him the same as if he were present before you, how you spent the
day, where you were, with whom you associated and the chief incidents
that occurred during the time. Thus, you write natural and it is such
writing that is adapted to epistolary correspondence.

There are different kinds of letters, each calling for a different style
of address and composition, nevertheless the natural key should be
maintained in all, that is to say, the writer should never attempt to
convey an impression that he is other than what he is. It would be silly
as well as vain for the common street laborer of a limited education to
try to put on literary airs and emulate a college professor; he may have
as good a brain, but it is not as well developed by education, and he
lacks the polish which society confers. When writing a letter the street
laborer should bear in mind that only the letter of a street-laborer is
expected from him, no matter to whom his communication may be addressed
and that neither the grammar nor the diction of a Chesterfield or
Gladstone is looked for in his language. Still the writer should keep in