Neither the writers nor the artists have a due sense of the responsibilities of their creations. The trouble appears to arise from the imitativeness of the race. Nature herself seems readily to fall into imitation. It was noticed by the friends of nature that when the peculiar coal-tar colors were discovered, the same faded, aesthetic, and sometimes sickly colors began to appear in the ornamental flower-beds and masses of foliage plants. It was hardly fancy that the flowers took the colors of the ribbons and stuffs of the looms, and that the same instant nature and art were sicklied o'er with the same pale hues of fashion. If this relation of nature and art is too subtle for comprehension, there is nothing fanciful in the influence of the characters in fiction upon social manners and morals. To convince ourselves of this, we do not need to recall the effect of Werther, of Childe Harold, and of Don Juan, and the imitation of their sentimentality, misanthropy, and adventure, down to the copying of the rakishness of the loosely-knotted necktie and the broad turn-over collar. In our own generation the heroes and heroines of fiction begin to appear in real life, in dress and manner, while they are still warm from the press. The popular heroine appears on the street in a hundred imitations as soon as the popular mind apprehends her traits in the story. We did not know the type of woman in the poems of the aesthetic school and on the canvas of Rossetti--the red-haired, wide-eyed child of passion and emotion, in lank clothes, enmeshed in spider-webs --but so quickly was she multiplied in real life that she seemed to have stepped from the book and the frame, ready-made, into the street and the drawing-room. And there is nothing wonderful about this. It is a truism to say that the genuine creations in fiction take their places in general apprehension with historical characters, and sometimes they live more vividly on the printed page and on canvas than the others in their pale,