7.—Some Startling Side Effects of the War
"There is no doubt," said Mr. Taft recently, "that the war is destined to effect the most profound uplift and changes, not only in our political outlook, but upon our culture, our thought and, most of all, upon our literature."
I am not absolutely certain that Mr. Taft really said this. He may not have said "uplift." But I seem to have heard something about uplift, somewhere. At any rate, there is no doubt of the fact that our literature has moved—up or down. Yes, the war is not only destined to affect our literature, but it has already done so. The change in outlook, in literary style, in mode of expression, even in the words themselves is already here.
Anybody can see it for himself by turning over the pages of our fashionable novels or by looking at the columns of our great American and English newspapers and periodicals.
But stop,—let me show what I mean by examples. I have them here in front of me. Take, for example, the London Spectator. Everybody recognised in it a model of literary dignity and decorum. Even those who read it least, admitted this most willingly; in fact, perhaps all the more so. In its pages to-day one finds an equal dignity of thought, yet, somehow, the wording seems to have undergone an alteration. One cannot say just where the change comes in. It is what the French call a je ne sais quoi, a something insaisissable, a sort of nuance, not amounting of course to a lueur, but still,—how shall one put it,—SOMETHING.
The example that is given below was taken almost word for word (indeed some of the words actually were so) from the very latest copy of The Spectator.