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AIRS AND GRACES

name for prefacing fallacies and for begging questions; it lacks the delicious candour of its feminine equivalent–'Kindly allow me to know best'–, but appeals perhaps not less irresistibly to the generosity of an opponent. Apart from this, there is a correct and an incorrect use of the words. It is of course the conclusion drawn from certain premisses that stands to reason; the premisses do not stand to reason; they are assumed to be a matter of common knowledge, and ought to be distinguished from the conclusion by if or a causal participle, not co-ordinated with it by and.

My dear fellow, it stands to reason that if the square of a is a squared, and the square of b is b squared, then the square of a minus b is a squared minus b squared. You may argue till we are both tired, you will never alter that.

It stands to reason that a thick tumbler, having a larger body of cold matter for the heat to distribute itself over, is less liable to crack when boiling water is poured into it than a thin one would be.

It stands to reason that my men have their own work to attend to, and cannot be running about London all day rectifying other people's mistakes.

It stands to reason that Russia, though vast, is a poor country, that the war must cost immense sums, and that there must come a time..–Spectator.

Just as 'stands to reason' is not an argument, but an invitation to believe, 'the worthy Major' not amusing, but an invitation to smile, so the sentimental or sensational novelist has his special vocabulary of the impressive, the tender, the tragic, and the horrible. One or two of the more obvious catch-phrases may be quoted. In the 'strong man' of fiction the reader may have observed a growing tendency to 'sob like a child'; the right-minded hero to whom temptation comes decides, with archaic rectitude, that he 'will not do this thing'; the villain, taught by incessant ridicule to abstain from 'muffled curses', finds a vent in 'discordant laughs, that somehow jarred unpleasantly upon my nerves'; this laugh, mutatis mutandis ('cruel little laugh, that somehow...'), he shares with the heroine, who for her exclusive