But these tedious attempts at comedy should stop,--they're
too serious,--besides the illustration may be a little hard on a few,
the minority (the non-people) though not on the many, the majority (the
people)! But even an assumed parody may help to show what a power
manner is for reaction unless it is counterbalanced and then saturated
by the other part of the duality. Thus it appears that all there is to
this great discovery is that one good politician has discovered another
good politician. For manner has brought forth its usual talent;--for
manner cannot discover the genius who has discarded platitudes--the
genius who has devised a new and surpassing order for mankind, simple
and intricate enough, abstract and definite enough, locally impractical
and universally practical enough, to wipe out the need for further
discoveries of "talent" and incidentally the discoverer's own fortune
and political "manner." Furthermore, he (this genius) never will be
discovered until the majority-spirit, the common-heart, the
human-oversoul, the source of all great values, converts all talent
into genius, all manner into substance--until the direct expression of
the mind and soul of the majority, the divine right of all
consciousness, social, moral, and spiritual, discloses the one true art
and thus finally discovers the one true leader--even itself:--then no
leaders, no politicians, no manner, will hold sway--and no more
speeches will be heard.

The intensity today, with which techniques and media are organized and
used, tends to throw the mind away from a "common sense" and towards
"manner" and thus to resultant weak and mental states--for example, the
Byronic fallacy--that one who is full of turbid feeling about himself
is qualified to be some sort of an artist. In this relation "manner"
also leads some to think that emotional sympathy for self is as true a
part of art as sympathy for others; and a prejudice in favor of the
good and bad of one personality against the virtue of many
personalities. It may be that when a poet or a whistler becomes
conscious that he is in the easy path of any particular idiom,--that he
is helplessly prejudiced in favor of any particular means of
expression,--that his manner can be catalogued as modern or
classic,--that he favors a contrapuntal groove, a sound-coloring one, a
sensuous one, a successful one, or a melodious one (whatever that
means),--that his interests lie in the French school or the Germa