hour." The talker took him to the window and asked him to look out and tell what he saw.
"Nothing but a very dusty street," he said, "and a man driving a sprinkling-machine through it."
"Why don't you tell the man he is wasting that water? What would be the state of the highways of life, if we did not drive our thought-sprinklers through them with the valves open, sometimes?
"Besides, there is another thing about this talking, which you forget. It shapes our thoughts for us;—the waves of conversation roll them as the surf rolls the pebbles on the shore. Let me modify the image a little. I rough out my thoughts in talk as an artist models in clay. Spoken language is so plastic,—you can pat and coax, and spread and shave, and rub out, and fill up, and stick on so easily, when you work that soft material, that there is nothing like it for modelling. Out of it come the shapes which you turn into marble or bronze in your immortal books, if you happen to write such. Or, to use another illustration, writing or printing is like shooting with a rifle; you may hit your reader's mind, or miss it;—but talking is like playing at a mark with the pipe of an engine; if it is within reach, and you have time enough, you can't help hitting it."
The company agreed that this last illustration was of superior excellence, or, in the phrase used by them, "Fust-rate." I acknowledged the compliment, but
