scripts may receive a minute or even five minutes of his attention; very few receive a longer consideration. Out of sixteen thousand, we may suppose that sixteen are finally selected for judgment. He reads these from beginning to end. Having read them, he decides that only eight can be further considered. The eight are read a second time, much more carefully. At the close of the second examination the number is perhaps reduced to seven. These seven are destined for a third reading; but the professional reader knows better than to read them immediately. He leaves them locked up in a drawer, and passes a whole week without looking at them. At the end of the week he tries to see whether he can remember distinctly each of these seven manuscripts and their qualities. Very distinctly he remembers three; the remaining four he cannot at once recall. With a little more effort, he is able to remember two more. But two he has utterly forgotten. This is a fatal defect; the work that leaves no impression upon the mind after two readings cannot have real value. He then takes the manuscripts out of the drawer, condemns two (those he could not remember), and re-reads the five. At the third reading everything is judged—subject, execution, thought, literary quality. Three are discovered to be first class; two are accepted by the publishers only as second class. And so the matter ends.
Something like this goes on in all great publishing houses; but unfortunately not all literary work is now judged in the same severe way. It is now judged rather by what the public likes; and the public does not like the best. But you may be sure that in a house such as that of the Cambridge or the Oxford University publishers, the test of a manuscript is very severe indeed; it is there read much more thoroughly than it is likely ever to be read again. Now this professional reader whom we speak of, with all his knowledge and scholarship and experience, reads the book very much in the
