THE QUESTION OF STYLE
ter of practice and partly also a matter of natural aptitude.
If you examine in succession a series of definitions of style, taken at random from various authorities, you will find the divergence between them rather confusing. The more you read, the more confused you are likely to become. The trouble, of course, is a lack of agreement on the part of the authorities regarding the nature and extent of the quality which they are trying to define. One writer, for instance, assumes that style is a combination of clearness, force and elegance; another looks upon style as a blending of a certain abstract perfection of writing with the personal element, which at best is manner and at worst is mannerism, while still a third considers style as something apart from the personal equation,—a sort of ideal goal towards which we press, but which we never attain. The same discrepancy is
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