THE TECHNIQUE OF FORM
the general effect is more saddening than ludicrous. And the reason for this, of course, is that there is nothing especially discreditable to the average man or woman to be unable to draw a pig with their eyes blindfolded, while for the literary craftsman to be careless and slovenly in his technique of form is not only discreditable but without excuse.
Now, having introduced this metaphor of the pig, let us go a step further and find out clearly to what extent it applies to the literary craftsman. There is no hard and fast rule regarding form, whether we are speaking of drawing a pig or writing a short story; in either process there is ample latitude for individual expression—there is no such absolute uniformity required as in minting a gold eagle or moulding a Rogers group. Your literary or artistic pig may be fat or lean, contented or disgruntled, small, round and pink, or ra-
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