for instruction in them exist. An artistic atmosphere does
not create artists a literary atmosphere does not create literators;
poets and painters spring up where there was never a verse made or a
picture seen.

This suggests that God is no more idle now than He was at the beginning,
but that He is still and forever shaping the human chaos into the
instruments and means of beauty. It may also suggest to that scholar-
pride, that vanity of technique, which is so apt to vaunt itself in the
teacher, that the best he can do, after all, is to let the pupil teach
himself. If he comes with divine authority to the thing he attempts, he
will know how to use the appliances, of which the teacher is only the
first.

The editor, if he does not consciously perceive the truth, will
instinctively feel it, and will expect the acceptable young contributor
from the country, the village, the small town, and he will look eagerly
at anything that promises literature from Montana or Texas, for he will
know that it also promises novelty.

If he is a wise editor, he will wish to hold his hand as much as
possible; he will think twice before he asks the contributor to change
this or correct that; he will leave him as much to himself as he can.
The young contributor; on his part, will do well to realize this, and to
receive all the editorial suggestions, which are veiled commands in most
cases, as meekly and as imaginatively as possible.

The editor cannot always give his reasons; however strongly he may feel
them, but the contributor, if sufficiently docile, can always divine
them. It behooves him to be docile at all times, for this is merely the
willingness to learn; and whether he learns that he is wrong, or that the
editor is wrong, still he gains knowledge.

A great deal of knowledge comes simply from doing, and a great deal more
from doing over, and this is what the editor generally means.

I think that every author who is honest with himself must own that his
work would be twice as good if it were done twice. I was once so
fortunately circumstanced that I was able entirely to rewrite one of my
novels, and I have always thought it the best written, or at least
indefinitely better than it would have been with a single writing. As a
matter of fact, nearly all of them have been rewritten in a certain way.
They have not actually been rewritten throughout, as in the case I speak
of, but they have been gone over so often in manuscript and in