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The end of language is not display, but expression. To that end he studied words; but before that, and better than that, he had an instinct for them. He liked such as are “well naturalized or rooted.” Some men, he says, have a peculiar relish for bad words. “They will pick you out of a thousand the still-born, the falsettos, the wing-clipt and lame.” Not so did Thoreau. His English is of the soundest, caught, as Lowell said, “at its living source.” Yet the word, carefully as he might choose it, was never for itself, but for the end he had in view. When he describes a man or an act, you see the man himself, not the description, and the thing is done on the spot. Read, for instance, in “Walden,” the story of the hounds, the hunter, and the fox. The excellences of his writing are fundamental excellences, classical excellences, good always and everywhere,—strength, vitality, simplicity; and, with the rest, a comfortable, companionab
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