“Genius has been a thousand times defined,” resumed the oracle, regardless; “nevertheless we know fairly well what, partly, it is. _Inter alia_, it is the faculty of knowing things without having to learn them. When Hugo wrote his immortal narrative of Waterloo he had never seen a battle; nor was Dickens ever in solitary confinement in the Pennsylvania penitentiary. But will the possessor of this miraculous faculty profit by it, or even be able rightly to use it in the service of another’s gain? No; in his dealings with his fellow men, editors and publishers included, he will find them unaware, and unable to perceive, that he knows any more than they do. He will encounter, indeed, the most insuperable distrust, even from those who concede his genius; for genius is almost universally held to be a particular kind of brilliant disability. The story of Homer instructing the sandal-maker how to make foot-gear is, of course, apocryphal, but no more credence is given to the authentic instance of Lord Brougham showing the brewer how to make beer. Even those who assent to the best definition of genius ever made—‘great general ability directed into a particular channel’—will unconsciously assume that it is confined to that channel, and will assist in keeping it there. Its most distinguishing feature—versatility—the power to do many kinds of work equally well—will get no contemporary recognition. Having a reputation for writing great stories (for example) you will write equally great essays, satires and what not, all in vain. It is only to mediocrity that ‘great general ability’ is conceded. That is why the late William Sharp, turning to another kind of work than that in which he had distinguished himself, took a feminine name, and, secure from disparaging comparison with himself, was accessible to commendation. As the work of William Sharp, that of ‘Fiona McLeod’ would have evoked a chorus of deprecation as evidence of failing power. In literature, a single specialty is all that contemporary criticism is willing to allow to genius. Posterity tells a juster tale, albeit disposed to go to the other extreme, seeing something of the fire divine in even the paste jewels wherewith the great lapidary pelted the wolf from his door.” “Then you would advise the writer of distinction to stick to his—latest?” “That will not save him. The criticism that will not concede versatility will deny stability. After a few years, the man of genius, however he may confine himself to the kind of work in which, despite its excellence, he has been successful, must face the inevitable and solemn judgment that he has ‘exhausted the vein,’ ‘fallen down,’ ‘gone stale.’ It matters not if practice and years have ripened his imagination, broadened his knowledge and refined his taste—for great minds do not decay with age; his contemporaries will have it that he is ‘written out,’ for he is no longer a new thing under the sun.”