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 men more likely to be swayed by passions of approbation or protest than by reason. It was the tone of the Times that especially distinguished it from its contemporaries. In his first issue Raymond announced his purpose to write in temperate and measured language and to get into a passion as rarely as possible. ‘There are few things in this world which it is worth while to get angry about; and they are just the things anger will not improve.’ In controversy he meant to avoid abusive language. His style was gentle, candid, and decisive, and achieved its purpose by facility, clearness, and moderation rather than by powerful fervor and invective. His editorials were generally cautious, impersonal, and finished in form. With abundant self-respect and courtesy, he avoided, as one of his coadjutors said, vulgar abuse of individuals, unjust criticism, or narrow and personal ideas. He had that degree and kind of intelligence which enabled him to appreciate two principles of modem journalism —the application of social ethics to editorial conduct and the maintenance of a comprehensive spirit. As he used them, these were positive, not negative virtues. Raymond's contribution to journalism, then, was not the introduction of revolutionizing innovations in any department of the profession but a general improving and refining of its tone, a balancing of its parts, sensitizing it to discreet and cultivated popular taste. Taking the London Times as his model, he tried to combine in his paper the English standard of trustworthiness, stability, inclusiveness, and exclusiveness, with the energy and news initiative of the best American journalism; to preserve in it an integrity of motive and a decorum of conduct such as he possessed as a gentleman. To his success American journalism is deeply indebted.
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