The ghastly amusement which came to me out of the young lady in this volume, who amputates a man's leg, made me reflect a little about the mode in which writers of fiction have dealt with sick people and doctors. I lay half awake, and thought over this in no unkindly critical mood, "With now and then a merry thought, And now and then a sad one," until I built myself a great literary hospital, such as would delight Miss Nightingale. For in it I had a Scott ward, and a Dickens ward, and a Bulwer ward, and a Thackeray ward, with a very jolly lot of doctors, such as Drs. Goodenough and Firmin, with the Little Sister (out of Philip) and Miss Evangeline to take care of the patients, besides cells for Charles Reade's heroes and heroines, and the apothecary (out of Romeo and Juliet) to mix more honest doses than he gave to luckless Romeo. Should you wander with a critical doctor through those ghostly wards, you would see some queerer results of battle and fray than ever the doctors observe nowadays,--cases I should like to report, it might be: poisonings that would have bewildered Orfila, heart-diseases that would have astounded Corvisart, and those wonderful instances of consumption which render that most painful of diseases so delightful to die of--in novels. I have no present intention to weary my readers with a clinic in those crowded wards, but it will ease my soul a little if I may say my say in a general fashion about the utter absurdities of most of these pictures of disease and death-beds. In older times the sickness of a novel was merely a feint to gain time in the story or account for a non-appearance, and the doctor made very brief show upon the stage. Since, however, the growth of realism in literary art, the temptation to delineate exactly the absolute facts of disease has led authors to dwell too freely on the details of sickness. So long as they dealt in generalities their way was clear enough. Of old a man was poisoned and done for. Today we deal in symptoms, and follow science closely in our use of poisons. Mr. Trollope's "Gemma" is an instance in point, where every one will feel that the spectacle of the heroine going seasick to death, owing to the administration of tartar emetic, is as disgusting and inartistic a method as fiction presents. Why not have made it croton oil? More and worse of this hideous realism is to be found in About's books, such, for instance, as "Germaine"; but from which censure I like to exclude the rollicking fun of "Le Nez d'un Notaire." As to the recent realistic atrocities of Zola, and even of Tolstoi, a more rare sinner, if we exclude his disgusting drama of peasant life, I prefer to say little.