and of less that is finely graded or delicately conceived. Ordinary conversation appears to consist mainly of "ands," "buts," and "thes," with an occasional "well" to give a flavor of nationality, a "yes" or "no" to stand for individual sentiment, and a few widely exaggerated terms to destroy value and perspective.
Is this, one wonders, the "treasure of dexterous felicities" which Mr. Bagehot contemplated with such delight, and which a critical society is destined to preserve flawless and uncontaminated? Is this the "heroic utterance," the great "mother tongue," possessing which, we all become—or so Mr. Sydney Dobell assures us—
"Lords of an empire wide as Shakespeare's soul,
Sublime as Milton's immemorial theme,
And rich as Chaucer's speech and fair as Spenser's dream"?
Is this the element whose beauty excites Mr. Oscar Wilde to such rapturous and finely worded praise,—praise which awakens in us a noble emulation to prove what we can accomplish with a medium at once so sumptuous and so flexible? "For the material that painter or sculptor uses is meagre in comparison with language," says Mr. Wilde. "Words
