'And are you to do all? and am I to do nothing? It is selfish to keep all the generosity to yourself.'

He laughed as if he found this female paradox a pleasant fancy, but she was not to be put off so.

'If the subject pains you, as I know it does, dear, please understand why I speak of it I don't want you to think I take your sacrifice as you pretend to take it. It isn't a matter of course, as you pretend it is; and you may say what you like, Phil, but it isn't a thing that everybody would have done. Don't grudge me my gratitude; you did it for the love of me.'

'I didn't do it for the love of you,' said Phil, laughing tenderly; 'how often am I to tell you that, you little mountain of obstinacy? I did it because it was the right thing. I don't say, mind you, that it wasn't easier to do it for you than it might have been for somebody I didn't know or care for; but that—as you will see quite clearly if you'll bring your naturally logical mind to bear upon it—makes the thing so much the less creditable, provided there was any credit due to it at all.'

The loving feminine scorn of this masculine process of reasoning was expressed in a single glance, and was delightful to see.

'It only means waiting a little longer before I claim you.'

The girl would fain have asked, 'Why should you wait when I have enough for both by your gift? What does it matter which of us it is who has the money—you or I?' But this question went unspoken, for obvious reasons. A woman is tongue-tied by the countless conventionalities of education. She must often let her thoughts lie silent in her heart, though she burns to express them, and find what answer she can to questions she dare not offer. Philip had repaired her loss by beggaring himself. That was noble. But now he persisted in deferring their marriage, and had buried himself in that lofty sarcophagus in Gable Inn, resolved only to claim her, though she was all his own already, when he had reinstated his fortunes by his labour. That was noble also, perhaps, but in her own heart she thought it a trifle foolish—say Quixotic, not to be too severe. She would rather have seen his ardour find a more commonplace expression. She had a general sort of belief that whatever Philip did was bound to be right, and yet this actual experience rather jarred with that assumption.

They found other themes in a while, and talked of the future and the happiness it would bring. That Philip was going to be rich and famous was a prime article in Patty's creed, and he himself, though he had soberer hopes, was not likely to miss any chance of success which labour might bring him. He was more than modest enough in his conception of his own powers, and was often doubtful as to the fulfilment of the higher ambitions which are the necessary fuel of all artistic fires. Without those fires the chill of modesty will fall to the frost of cowardice, and in Art cowardice means indolence. In his moments of exultation—and these came generally at their strongest when he was in his sweetheart's society—success looked easy enough. The memory of her undoubted belief in him came upon him often with a glow reflected from those magnificently hopeful moments. But then at times of depression it grew to look no more than a foolish unattainable dream. All young artists have times when they are going to be great—when the glory proper to white hairs makes a halo round un-wrinkled fronts and curls, brown or golden. They have times when the smartest turn of verse, the most delightful inventions of narrative, the most exquisite contrast of colour or mould of form their genius can compass are stricken through and through with the horror of commonplace. But when a man of the artistic genus has once so far learned his own nature he has made a great advance towards the fulfilment of his ambitions. He has to learn that just as the hot fit is followed by the cold the cold fit is succeeded by the hot. He knows how intermittent he is. He learns to mistrust his own mistrust of himself. The periods of depression grow less frequent, and the depression grows less lasting. And then, just as the cold fit becomes less chilling to the one, the fit of exultation grows less intoxicating. The halo beams less bright—loss near.

Yet Philip, with the girl's eyes worshipping him, and her sweet voice cooing hope and praise, and her hands knitted on his shoulder, and her warm breath fanning his cheek, gave himself up to the vision, and felt his heart warm with a world's welcome as yet far away from him.

The prose of life will assert itself, even to visionary eight-and-twenty and sweet eighteen in love with one another. On this occasion it came as a summons to supper. The summoner was a stout and jovial elderly gentleman, about whose somewhat commonplace British exterior there was, to Philip's mind, a reflection of the nimbus which glorified Patty to his mind, for he was Patty's father. He had been called Old Brown at school when he was young—he had been called Old Brown in the country, and the prefix had found him out in town without the need for anybody to breathe a whisper of it. He was Old Brown to his new acquaintances in London before a month had gone by. The name suggests a beverage which is not unlike Old Brown himself—being mild and nutty to the taste as he to the mental palate—ripe and genial. He had a moist twinkle of the eye,—the look which bespeaks the kindly humorist,—and his slightly protruding under lip seemed covertly to taste the flavour of unspoken jokes. Old Brown's jokes were mainly left unspoken, but he spent a good part of his life in laughing without any very apparent reason for laughter, and may have been internally the way he looked to be.

He shook hands with Philip, and chucked Patty under the chin with a waggish aspect, which called an appealing blush into the girl's face. Perhaps the blush stayed the intended quip, but any way the old gentleman contented himself with a beaming laugh, and led the way to the supper table, rubbing his hands and chuckling.

The meal was quietly jovial, and if, after it, Old Brown was not quite so fast asleep as he pretended to be, at least his patience gave the lovers the shelter they needed. He snored in mellow murmurs from behind his bandanna, and they sat and talked together in low tones lest they might awaken him, until the time came for parting.

Outside the mist had given place to a dull persistent rain, and a peevish wind was complaining in area and chimney cowl. Philip turned to the street with a pleasantly haunting vision of Patty's vivacious face outlined against the warmth and brightness of the hall. The touch of her good-night kiss lingered on his lips like live velvet, and he carried warmth and brightness enough within him to defy all the rain that ever rained, and all the wind that ever blew on smoky London.

The rain had cleared the streets, and the occasional gleam of a policeman's cape or a furtive figure seeking the shelter of a doorway against the drifting showers was all he saw as he bored his way against the rising wind to the corner of Holborn. He was so absorbed by that fancy of music to which his own quick tread kept time that a shuffling step behind him rapidly drawing nearer failed to reach his sense. But as he came to the corner, a hand clutched his arm.

He turned, with the quick defensive gesture natural to a man so accosted at such a time, and faced the unexpected figure. An old man, clad in filthy fluttering rags, stood staring at him, with both hands stretched out. The rags shook as much with the horrible cough that tore him as with the cruel wind. He was a dreadful creature, with watery eyes, and a head and moustache of dirty gray. His long and unvenerable hairs strayed loose beneath the dunghill relic which crowned them. The rain was in his hair and beard, and had so soaked his tattered dress that it clung to him like the feathers of a drenched fowl. He shook and wheezed and panted, and gripped the air with tremulous fingers, and through the rents in his clothing his white