and again, and one ought to make the reflection that it
is not the first business of a periodical to print contributions of this
one or of that, but that its first business is to amuse and instruct its
readers.

To do this it is necessary to print contributions, but whose they are, or
how the writer will feel if they are not printed, cannot be considered.
The editor can consider only what they are, and the young contributor
will do well to consider that, although the editor may not be an
infallible judge, or quite a good judge, it is his business to judge, and
to judge without mercy. Mercy ought no more to qualify judgment in an
artistic result than in a mathematical result.

IV.

I suppose, since I used to have it myself, that there is a superstition
with most young contributors concerning their geographical position. I
used to think that it was a disadvantage to send a thing from a small or
unknown place, and that it doubled my insignificance to do so. I
believed that if my envelope had borne the postmark of New York, or
Boston, or some other city of literary distinction, it would have arrived
on the editor's table with a great deal more authority. But I am sure
this was a mistake from the first, and when I came to be an editor myself
I constantly verified the fact from my own dealings with contributors.
A contribution from a remote and obscure place at once piqued my
curiosity, and I soon learned that the fresh things, the original things,
were apt to come from such places, and not from the literary centres.
One of the most interesting facts concerning the arts of all kinds is
that those who wish to give their lives to them do not appear where the
appliances 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 perceiv