of

highflooricalprose,excellentintheirvirtuosity;

therearealsonysalesofpoeticprose,heirceofvowelsare

elysingable.infact,theregularheratschoolsorin

private.thereisreallynoappropriatehistypeofreading

inenglish;thesocalled”singing”istoreadthelinesaloudhakindulated

andexaggeratedintonation,ntoanyparticulartufolloore

orlessthetonalvaluesofthevoeilartothe

readingofthe”lesson”bythedeanofanepispalianh,buththesyllablesa

greatdealredra.

thistypeofpoeticproseisespeciallybadintheeuphuisticpositionsofthefifth

andsixthturies,lyoutofthefu,hflownprose,used

inierialeulogies,asunnaturalasanyurtpoetryandasawkwardasarussian

ballet.sucheuphuisticprose,runninginparallelnstrusofalteatesentences

offourandsixsyllableshenalledthessulinor”foursixstyle,”alsocalledpieni

or”parallelstyle”梬aspossibleonlyinadeadandhighlyartificiallanguage,entirely

cutapartfroheliviiesoftheage.buthereuphuisticprose,norpoetic

prose,nhfloaybecalledgoodprose

onlybyaeanprosehesweep

andrhythfagoodchatbythefireside,suchasusedbythegreatstorytellerslikedefoeorsorbosisclearthatsuchproseispossibleonlyinaliving,

andnotinanartificial,language.extrelygoodprosethereisinthenonal

literatureofeninthespokenlanguage,butlassical

ings.

theuseoftheliterarylanguage,akesthisalst

iossible.first,goodprosestbeabletoreflecttheprosaitsoflife,andfor

thistasktheoldliterarylanguageusthavethe

shofvasforfulldisplayofitspohealtradition

aleenoofbelievediratioion,

sublitionandreanization.goodprosestnotbedainty,andtheaif

ovealonghnaturalbig

strides,andovedaboutonbou,epwasan

artisticgesture.goodproserequiresperhapstentothirtythousandwordsfora

fulllengthportraitofaaliel

bradfordsportraits,andselvesto

betustnothavetoo

rus,andtheeuphuistitlytoo

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