gree to his beautiful English "style"—an abominable word. But Machen is no mere word-juggler. His vocabulary, while astonishing and extensive, is not affectedly so. Yet his sentences move to sonorous, half-submerged rhythms, swooning with pagan color and redolent of sacerdotal incense. What is the secret of this graceful English method? It is this: he achieves his striking results and effects through his noteworthy gift of selection and arrangement. I had reached this conclusion, I think, before I encountered a passage from "The Hill of Dreams," which clinched it:
"Language, he understood, was chiefly important for the beauty of its sounds, by its possession of words resonant, glorious to the ear, by its capacity, when exquisitely arranged, of suggesting wonderful and indefinable impressions, perhaps more ravishing and further removed from the domain of strict thought than the impressions excited by music itself. Here lay hidden the secret of suggestion, the art of causing sensation by the use of words."
Was it ever better expressed? He defines his method and exhibits its results at the same time.
