who will carry on his mother's work, or will he not?

If you think you are excited over a serial story because you can't guess if "Lady Eleanor" really stole the diamonds or not, it is only because you have no idea of what excitement is. You are in a condition of stagnant lethargy compared to that of Hillsboro over the question whether Nelse will marry Ellen Brownell, "our Ellen," or Flossie Merton, the ex-factory girl, who came up from Albany to wait at the tavern, and who is said to have a taste for drink herself.

Old Mrs. Perkins, whom everybody had thought sunk in embittered discontent about the poverty and isolation of her last days, roused herself not long ago and gave Ellen her cherished tortoise-shell back-comb, and her pretty white silk shawl to wear to village parties; and racked with rheumatism, as the old woman is, she says she sits up at night to watch the young people go back from choir rehearsal so that she can see which girl Nelse is "beauing home." Could the most artfully contrived piece of fiction more blessedly sweep the self-centered complainings of old age into generous and vitalizing interest in the lives of others?

As for the "pity and terror," the purifying effects of which are so vaunted in Greek tragedies, could Aeschylus himself have plunged us into a more awful desolation of pity than the day we saw old Squire Marvin being taken along the street on his way to the insane asylum? All the self-made miseries of his long life were in our minds, the wife he had loved and killed with the harsh violence of a nature he had never learned to control, the children he had adored unreasonably and spoiled and turned against, and they on him with a violence like his own, the people he had tried to benefit with so much egotistic pride mixed in his kindness that his favors made him hated, his vanity, his generosity, his despairing outcries against the hostility he had so well earned … at the sight of the end of all this there was no heart in Hillsboro that was not wrung with a pity and terror more penetrating and purifying even than Shakespeare has made the centuries feel for Lear.

Ah, at the foot of Hemlock Mountain we do not need books to help us feel the meaning of life!

Nor do we need them to help us feel the meaning of death. You, in the cities, living with a feverish haste in the present only, and clutching at it as a starving man does at his last crust, you cannot understand the comforting sense we have of belonging almost as much to the past and future as to the present. Our own youth is not dead to us as yours is, from the lack of anything to recall it to you, and people we love do not slip quickly into that bitter oblivion to which the dead are consigned by those too hurried to remember. They are not remembered perfunctorily for their "good qualities" which are carved on their tombstones, but all the quaint and dear absurdities which make up personality are embalmed in the leisurely, peaceable talk of the village, still enriched by all that they brought to it. We are not afraid of the event which men call death, because we know that, in so far as we have deserved it, the same homely immortality awaits us.

Every spring, at the sight of the first cowslip, our old people laugh and say to each other, "Will you ever forget how Aunt Dorcas used to take us children out cowslipping, and how she never thought it 'proper' to lift her skirt to cross the log by the mill, and always fell in the brook?" The log has moldered away a generation ago, the mill is only a heap of blackened timbers, but as they speak, they are not only children again, but Aunt Dorcas lives again for them and for us who never saw her … dear, silly, kind old Aunt Dorcas, past-mistress in the lovely art of spoiling children. Just so the children we have spoiled, the people we have lived with, will continue to keep us living with them. We shall have time to grow quite used to whatever awaits us after the tangled rosebushes of Hillsboro burying-ground bloom over our heads, before we shall have gradually faded painlessly away from the life of men and women. We sometimes feel that, almost alone in the harassed and weary modern world, we love that life, and yet we are the least afraid to leave it.

It is usually dark when the shabby little narrow-gauge train brings us home to Hillsboro from wanderings in the great world, and the big pond by the station is full of stars. Up on the hill the lights of the village twinkle against the blurred mass of Hemlock Mountain, and above them the stars again. It is very quiet, the station is black and deserted, the road winding up to the village glimmers uncertainly in the starlight, and dark forms hover vaguely about. Strangers say that it is a very depressing station at which to arrive, but we know better. There is no feeling in the world like that with which one starts up the white road, stars below him in the quiet pool, stars above him in the quiet sky, friendly lights showing the end of his journey is at hand, and the soft twilight full of voices all familiar, all welcoming.

Poor old Uncle Abner Rhodes, returning from an attempt to do business in the city, where he had lost his money, his health, and his hopes, said he didn't see how going up to Heaven could be so very different from walking up the hill from the station with Hemlock Mountain in front of you. He said it didn't seem to him as though even in heaven you could feel more than then that you had got back where there are some folks, that you had got back home.

Sometimes when the stars hang very bright over Hemlock Mountain and the Necronsett River sings loud in the dusk, we remember the old man's speech, and, though we smile at his simplicity, we think, too, that the best which awaits us can only be very much better but not so very different from what we have known here.

PETUNIAS—THAT'S FOR REMEMBRANCE

It was a place to which, as a dreamy, fanciful child escaping from nursemaid and governess, Virginia had liked to climb on hot summer afternoons. She had spent many hours, lying on the grass in the shade of the dismantled house, looking through the gaunt, uncovered rafters of the barn at the white clouds, like stepping-stones in the broad blue river of sky flowing between the mountain walls.

Older people of the summer colony called it forlorn and desolate—the deserted farm, lying high on the slope of Hemlock Mountain—but to the child there was a charm about the unbroken silence which brooded over the little clearing. The sun shone down warmly on the house's battered shell and through the stark skeleton of the barn. The white birches, strange sylvan denizens of door and barnyard, stood shaking their delicate leaves as if announcing sweetly that the kind forest would cover all the wounds of human neglect, and soon everything would be as though man had not lived. And everywhere grew the thick, strong, glistening grass, covering even the threshold with a cushion on which the child's foot fell as noiselessly as a shadow. It used to seem to her that nothing could ever have happened in this breathless spot.

Now she was a grown woman, she told herself, twenty-three years old and had had, she often thought, as full a life as any one of her age could have. Her college course had been varied with vacations in Europe; she had had one season in society; she was just back from a trip around the world. Her busy, absorbing life had given her no time to revisit the narrow green Valley where she had spent so many of her childhood's holidays But now a whim for self-analysis, a desire to learn if the old glamour about the lovely enchanted region still existed for her weary, sophisticated maturity, had made her break exacting social engagements and sent her back alone, from the city, to see how the old valley looked in the spring.

Her