So far, so good. But, if some one were to ask me in what way, and by attention to what principles, literary structure can be made beautiful, I should reply: In no other way, believe me, and by no other means, than those by which it is made charming, since the same elements contribute to both, namely noble melody, stately rhythm, imposing variety, and the appropriateness which all these need. For as there is a charming diction, so there is another that is noble; as there is a polished rhythm, so also is there another that is dignified; as variety in one passage adds grace, so in another it adds mellowness; and as for appropriateness, it will prove the chief source of beauty, or else the source of nothing at all. I repeat, the study of beauty in composition should follow the same lines throughout as the study of charm. The prime cause, here as before, is to be found in the nature of the letters and the phonetic effect of the syllables, which are the raw material out of which the fabric of words is woven. The time may perhaps now have come for redeeming my promise to discuss these.