Instead of manipulating an adventure and working it out in such a way as to make it interesting to the last, he will take his actor or actors at a certain period of their lives, and lead them by natural stages to the next. In this way he will show either how men's minds are modified by the influence of their environment, or how their passions and sentiments are evolved; how they love or hate, how they struggle in every sphere of society, and how their interests clash--social interests, pecuniary interests, family interests, political interests. The skill of his plan will not consist in emotional power or charm, in an attractive opening or a stirring catastrophe, but in the happy grouping of small but constant facts from which the final purpose of the work may be discerned. If within three hundred pages he depicts ten years of a life so as to show what its individual and characteristic significance may have been in the midst of all the other human beings which surrounded it, he ought to know how to eliminate from among the numberless trivial incidents of daily life all which do not serve his end, and how to set in a special light all those which might have remained invisible to less clear-sighted observers, and which give his book caliber and value as a whole. It is intelligible that this method of construction, so unlike the old manner which was patent to all, must often mislead the critics, and that they will not all detect the subtle and secret wires--almost invisibly fine--which certain modern artists use instead of the one string formerly known as the "plot." In a word, while the novelist of yesterday preferred to relate the crises of life, the acute phases of the mind and heart, the novelist of to-day writes the history of the heart, soul, and intellect in their normal condition. To achieve the effects he aims at--that is to say, the sense of simple reality, and to point the artistic lesson he endeavors to draw from it--that is to say, a revelation of what his contemporary man is before his very eyes, he must bring forward no facts that are not irrefragible and invariable. But even when we place ourselves at the same point of view as these realistic artists, we may discuss and dispute their theory, which seems to be comprehensively stated in these words: "The whole Truth and nothing but the Truth." Since the end they have in view is to bring out the philosophy of certain constant and current facts, they must often correct events in favor of probability and to the detriment of truth; for "Le vrai peut quelquefois, n'etre pas le vraisemblable." (Truth may sometimes not seem probable.)