“Exhilaration can be infinite, like sorrow; a joke can be so big that it breaks the roof of the stars. By simply going on being absurd, a thing can become godlike; there is but one step from the ridiculous to the sublime.” GILBERT K. CHESTERTON: Charles Dickens. THE HUMORIST Not without wide significance in its bearing upon the general outlines of contemporary literature is the circumstance that Mark Twain served his apprenticeship to letters in the high school of journalism. Like his contemporaries, Artemus Ward and Bret Harte, he first found free play for his comic intransigeance in the broad freedom of the journal for the masses. Brilliant as he was, Artemus Ward seemed most effective only when he spoke in weird vernacular through the grotesque mouthpiece of his own invention. Bret Harte sacrificed more and more of the native flavour of his genius in his progressive preoccupation with the more sophisticated refinements of the purely literary. Mark Twain never lost the ruddy glow of his first inspiration, and his style, to the very end, remained as it began--journalistic, untamed, primitive. Both Rudyard Kipling and Bernard Shaw, who like Mark Twain have achieved comprehensive international reputations, have succeeded in preserving the early vigour and telling directness acquired in journalistic apprenticeship. It was by the crude, almost barbaric, cry of his journalese that Rudyard Kipling awoke the world with a start. That trenchant and forthright style which imparts such an air of heightened verisimilitude to his plays, Bernard Shaw acquired in the ranks of the new journalism. “The writer who aims at producing the platitudes which are 'not for an age, but for all time,'” says Bernard Shaw, “has his reward in being unreadable in all ages; whilst Plato and Aristophanes trying to knock some sense into the Athens of their day, Shakespeare peopling that same Athens with Elizabethan mechanics and Warwickshire hunts, Ibsen photographing the local doctors and vestrymen of a Norwegian parish, Carpaccio painting the life of St. Ursula exactly as if she were a lady living in the next street to him, are still alive and at home everywhere among the dust and ashes of many thousands of academic, punctilious, most archaeologically correct men of letters and art who spent their lives haughtily avoiding the journalists' vulgar obsession with the ephemeral.” Mark Twain began his career by studying the people and period he knew in relation to his own life. Jamestown, Hannibal, and Virginia City, the stately Mississippi, and the orgiastic, uproarious life of Western prairie, mountain, and gulch start to life and live again in the pages of his books. Colonel Sellers, in the main correct but “stretched a little” here and there; Tom Sawyer, the “magerful” hero of boyhood; the shrewd and kindly Aunt Polly, drawn from