responsibilities may be full of complexity; the subject of literary art may be exceedingly complex; but we do not set complexity over against simplicity. For simplicity is a quality essential to true life as it is to literature of the first class; it is opposed to parade, to artificiality, to obscurity.
The quality of truthfulness is not so easily defined. It also is a matter of spirit and intuition. We have no difficulty in applying the rules of common morality to certain functions of writers for the public, for instance, the duties of the newspaper reporter, or the newspaper correspondent, or the narrator of any event in life the relation of which owes its value to its being absolutely true. The same may be said of hoaxes, literary or scientific, however clear they may be. The person indulging in them not only discredits his office in the eyes of the public, but he injures his own moral fibre, and he contracts such a habit of unveracity that he never can hope for genuine literary success. For there never was yet any genuine success in letters without integrity. The clever hoax is no better than the trick of imitation, that is, conscious imitation of another, which has unveracity to one's self at the bottom of it. Burlesque is not the highest order of intellectual performance, but it is legitimate, and if cleverly done it may be both useful and amusing, but it is not to be confounded with forgery, that is, with a composition which the author attempts to pass off as the production of somebody else. The forgery may be amazingly smart, and be even popular, and get the author, when he is discovered, notoriety, but it is pretty certain that with his ingrained lack of integrity he will never accomplish any original work of value, and he will be always personally suspected. There is nothing so dangerous to a young writer as to begin with hoaxing; or to begin with the invention, either as reporter or correspondent, of statements put forward