Consummate literature, we have admitted, must be interesting. It would be truer to say that the possessor of the supreme literary gift will _make_ his matter interest us, however light or serious, however literal or imaginative, it may be. But, when once of interest, the matter may be anything you will. The supreme literary gift, for example, does not imply profundity or originality of thought. Homer and Chaucer are not deep thinkers, nor is Herodotus or Virgil, Burns, Keats, or Tennyson. There need be nothing philosophically epoch-making about a literary creation which is destined to be immortal. Nor yet does the supreme literary gift necessarily imply extraordinary depth of emotion. Of the writers just named Burns and Keats perhaps have this capacity, but the rest--including Tennyson--reveal little of it. We do not find burning passion to be a distinct feature in Plato, in Milton, in Goethe, or in Matthew Arnold, while it is emphatic in Sappho, in Byron, and in Shelley. Again, the supreme literary gift does not imply any special expression of truth or instruction, moral, religious or other. Homer and Dante cannot both be right. If Homer is right, then Dante is lamentably wrong; and if Dante is right, Goethe is unforgivably wrong. Wordsworth cannot be harmonized with Shelley. Milton was a Puritan, Keats a neo-pagan. In the domain of literal and historical truth what becomes of _Gulliver's Travels_, or Scott's novels, or, for the matter of that, _Paradise Lost_? All this is self-evident. Yet, if we do not ask our superlative writers to be heaven-sent teachers, to be prophets, to be discoverers, what do we ask of them? Is it to write in a particular style, in a given lucid style, a given figurative style, or a given dignified style? Nay, it is only very mediocre writers who could obey such precepts. Every supreme writer has his own style, inalienable and inimitable, which is as much a part of him as his own soul, the look in his eyes, or his tones of voice. Bethink yourselves of Carlyle, how his abrupt, crabbed, but withal sinewy and picturesque, prose compares with the pure crystalline sentences of Cardinal Newman, and how these again compare with the quaintly and pathetically humorous chat, the idealized talk of Charles Lamb. Think how easy it is to recognize a line of Shakespeare, of Milton, or of Wordsworth, almost by the ear; how audibly they are stamped with the character of their creator. There are, in fact, exactly as many styles as there are superlative writers. Indeed this individuality of style is the outward and visible sign of their inward and spiritual literary gift, which is the gift to express--_oneself_. * * * * *