udged. The
association of persons having this common aim cannot but stimulate
effort, soften unworthy rivalry into generous competition, and promote
enthusiasm and good fellowship in their work. The mere coming together to
compare views and discuss interests and tendencies and problems which
concern both the workers and the great public, cannot fail to be of
benefit to both.

In no other way so well as by association of this sort can be created the
feeling of solidarity in our literature, and the recognition of its
power. It is not expected to raise any standard of perfection, or in any
way to hamper individual development, but a body of concentrated opinion
may raise the standard by promoting healthful and helpful criticism, by
discouraging mediocrity and meretricious smartness, by keeping alive the
traditions of good literature, while it is hospitable to all discoverers
of new worlds. A safe motto for any such society would be Tradition and
Freedom--'Traditio et Libertas'.

It is generally conceded that what literature in America needs at this
moment is honest, competent, sound criticism. This is not likely to be
attained by sporadic efforts, especially in a democracy of letters where
the critics are not always superior to the criticised, where the man in
front of the book is not always a better marksman than the man behind the
book. It may not be attained even by an organization of men united upon
certain standards of excellence. I do not like to use the word authority,
but it is not unreasonable to suppose that the public will be influenced
by a body devoted to the advancement of art and literature, whose
sincerity and discernment it has learned to respect, and admission into
whose ranks will, I hope, be considered a distinction to be sought for by
good work. The fashion of the day is rarely the judgment of posterity.
You will recall what Byron wrote to Coleridge: "I trust you do not permit
yourself to be depressed by the temporary partiality of what is called
'the public' for the favorites of the moment; all experience is against
the permanency of such impressions. You must have lived to see many of
these pass away, and will survive many more."

The chief concern of the National Institute is with the production of
works of art and of literature, and with their distribution. In the
remarks following I shall confine myself to the production and
distribution of literature. In the limits of this brief address I can