Emerson held firmly to the doctrine of the brotherhood of man, yet with no touch of the unctuous fraternizer. He had the rebuffs that all must encounter who try to break down the partition wall between classes. In an attempt to solve, according to the Golden Rule, the problem of a servant’s status in the household, he was thoroughly beaten and laughingly acknowledged it. He did his share, but the servant refused to fraternize. He was a good citizen, an excellent neighbor, prompt in the acknowledgment of all homely duties. His was a large-souled, benignant, and gracious nature. There was something healing in his mere presence, though no word was spoken. III THE WRITER Emerson gave sound advice on the art of writing, like a professor of rhetoric. He commended the sentences that would stand the test of the voice. This is applying physiology to literature. He laughed at the habit of exaggeration, though he also said, ‘The superlative is as good as the positive if it be alive.’ His rules are excellent, and if followed must give distinction to whatever page of writing they are applied. But while they go no deeper than other suggestions, they point out the obvious characteristics of his style. For example, Emerson thought clarity all-important. He aimed at it, and attained it. He believed in the use of the right word, and was dissatisfied unless it could be found. The right word is always illuminating, and as a result Emerson’s English is full of surprises. Even when the term employed shocks by its unexpectedness, we presently feel that after all the choice was not grotesque. In practice Emerson was no spendthrift of words, that currency which loses weight and value in the ratio of one’s prodigality, but delighted in economy. No doubt his style is aphoristic--that is a natural result of writing aphorisms. But if no less aphoristic, it is far more logical than is commonly reported. The want of sequence in Emerson’s work has been exaggerated, often to the point of absurdity. There are writers who have two distinct literary styles, as they have two faces, one to be photographed in, and one for natural wear. Emerson had one style, which was dual-toned, each tone taking the color of his prevailing thought, and each shading imperceptibly into the other. A dozen pages picked at random from his best essays will hardly fail to show how sublimated his diction could be at times. Then does it come near to the line dividing poetry from prose, from which it presently falls away to the level of everyday need. Poetic as Emerson’s diction frequently is, it is always controlled. On the other hand, when it sinks to plain prose it never loses the air of distinction and breeding. IV _NATURE, ADDRESSES, AND LECTURES_