Yet, when we sum up the whole question, we have to confess that we know very little about the causes which lead to the distribution of public praise. The wind of fame bloweth where it listeth, and we hear the sound of it without knowing whence it cometh. This, however, appears to be certain, that, except in the case of those rare authors of exceptionally sublime genius who conquer attention by their force of originality, a great deal more than mere cleverness in writing is needful to make a reputation. Sagacity in selection, tact in dealing with other people, suppleness of character, rapidity in appreciation, and adroitness in action--all these are qualities which go to the formation of a broad literary reputation. In these days an author must be wide awake, and he must take a vast deal of trouble. The age is gone by when he could sit against the wall and let the gooseberries fall into his mouth. The increased pressure of competition tells upon the literary career as much as upon any other branch of professional life, and the author who wishes to continue to succeed must keep his loins girded. _1889._ THE LIMITS OF REALISM IN FICTION The Limits of Realism in Fiction In the last new Parisian farce, by M. Sarcey's clever young son-in-law, there is a conscientious painter of the realistic school who is preparing for the Salon a very serious and abstruse production. The young lady of his heart says, at length: "It's rather a melancholy subject; I wonder you don't paint a sportsman, crossing a rustic bridge, and meeting a pretty girl." This is the climax, and the artist breaks off his relations with Young Lady No. 1. Toward the end of the play, while he is still at work on his picture, Young Lady No. 2 says: "If I were you, I should take another subject. Now, for instance, why don't you paint a pretty girl, crossing a rustic bridge, and met by a sportsman?"