examination will make it plain that the pleasure to be got from Huxley's style is not due in any large measure to his choice and handling of words. There is no evidence that he deliberately and fastidiously preferred one word to another, that he took delight in the savour of individual words, in the placing of plain words in a context to make them sparkle, in the avoidance of some, in the deliberate preference of other words,--in fact, in all the conscious tricks and graces that distinguish the lover of words from their mere user. A close examination discovers a similar absence from Huxley's work of the second contributory to the total effect produced by written words. Anything that may be said about absence of artistry in the use of words, may be said as to absence of artistry in building of the words into sentences, of the sentences into paragraphs and pages. In the first place, actual infelicities of sentence-building are frequent. Clause is piled on clause, qualifying phrases are interpolated, the easy devices of dashes and repetitions are employed wherever convenience suggests them. It is striking to find how infrequent is the occurrence of passages marked in any way by sonorous rhythm or by the charm of a measured proportion. The purple passages themselves, those which linger in the memory and to which the reader turns back, linger by their sense and not by their sound. For indeed the truth of the matter is that Huxley's style was a style of ideas and not of words and sentences. The more closely you analyse his pages the more certainly you find that the secret of the effect produced on you lies in the gradual development of the precise and logical ideas he wished to convey, in the brilliant accumulation of argument upon argument, in the logical subordination of details to the whole, in fact, in the arts of the convinced, positive, and logical thinker, who knew exactly what he meant you to know and who set about telling you it with the least possible concern for the words he used or for the sentences into which he formed his words. The ideas and their ordering are the root and the branches, the beginning and the end of his style. To put it in another way: it would be extremely easy to translate any of Huxley's writings into French or German, and they would lose extremely little of the personal flavour of their author. The present writer has just been reading French translations of Huxley's _Physiography_ and _Crayfish_, made at different times by different translators. At first reading it seems almost miraculous how identically the effect produced by the original is reproduced by the French rendering, but the secret is really no secret at all. Huxley produced his effects by the ordering of his ideas and not by the ordering of his words. From the technical point of view of literary craftsmanship, he cannot be assigned a high place; he is one of our great English writers, but he is not a great writer of English. CHAPTER XIII