“Furthermore, the work of a man of genius is necessarily different from that of all others; by that difference, indeed, it is credentialed—to posterity—as a work of genius. But the editor, or the publisher’s reader—will he feel sure of his ground when dealing with that to which he is unaccustomed?—of whose acceptability to the public he is without the _criteria_ to judge? With an abiding though secret sense of his own fallibility, will he not think it expedient to take the safe side and reject the work? That will at least entail no possible ‘difference of opinion’ with his employer. Dead manuscripts tell no tales. Sir, in the noble profession of letters it is the rule, attested by a thousand familiar instances, that the man of genius is starved by those whose successors in the seats of authority pay enormous prices for any scrap of his work that may survive him. Consider the case of Poe, of Lafcadio Hearn—who confessed that in the last dozen years of his life his average annual earnings by his pen did not exceed five hundred dollars. And I am no millionaire myself.” As the Melancholy Author paused to celebrate his poverty at the sideboard his auditor cautiously advanced the view that several living writers of indubitable genius were pretty prosperous. “Despite their genius,” said the great man, drying his lips with his coat-sleeve, “and because of something else. One of them may have the good fortune to take the attention of some distinguished person having the world’s ear at his tongue’s end, and the habit of loquacity—a person like Colonel Roosevelt, or the late Mr. Gladstone. Did not the latter, by a few words of commendation, provide for life for Mrs. Humphry Ward and for eternity for Marie Bashkirtseff? True, the one is impenitently dull and the other was a shrilling lunatic; but by accident he _might_ have praised an author of consummate ability. Another really great writer may be prosperous—that is to say, popular—because of some engaging mannerism or artifice; as Mr. Kipling bends from his Olympian omniscience to flatter his readers with colloquial familiarity. Another, like Dickens, may have the good luck to be an amusing vulgarian, or, like Mr. Riley, be willing to write lyrics of the pumpkin-field in the ‘dialect’ of those who eat pumpkins. It may happen, too, although in point of fact it never does happen, that a man of genius is at the little end of a long, brass trumpet—I mean, is editor of Our Leading Magazine. Even conceding your entire claim for these fortunate persons (which I do not) it is clear that their genius has had nothing to do with their success. You are a hebetudinous futilitarian!” The Timorous Reporter “shrank to his second cause and was no more.” On reviving, he humbly submitted that he had affirmed nothing of the authors named, nor even mentioned them.