thoughts, for I am come from them. But the north, whither I go, is cold and cruel, full of snow and darkness and gloom. Along the lands where I will pass I shall see men and women dying in the frost, and little children, too, poor and hungry, and shivering out the last breathings of a wretched life; and some of them I will take with me this night, to my journey's end among the ice-floes and the brown, driving mists of the uttermost north. Dost thou wonder that I am sad?

"That is thy life. Thou art come from the sweet-scented gardens of thy youth, thou must go to the ice desert of thine old age; and now thou art full of strength and boastfulness, and thinkest thou shalt perchance be the first mortal who shall cheat death. Go to! Thou shalt die like the rest, the more miserably that thou lovest life more than the others."

The wind is in an ill humor to-night; I should not have thought he could say such hard things. But he is a hopeless old cynic, even when he blows warm from the south; he has seen so much and done so much, and has furnished so many metaphors to threadbare poets, that he believes in nothing good, or young, or in any way fresh. He is bad company, and I have shut the window again. You asked me for a story, and you are beginning to wonder why I do not tell you one. Do you like long stories or short stories? Sad or gay? True or fanciful? What shall it be? My true stories are all sad, but the ones I imagine are often merry. Could I not think of one true, and gay as well? There was once a bad old man who said that when the truth ceased to be solemn it became dull. Between solemnity and dullness you would not find what you want, which, I take it, is a little laughter, a little sadness, and, when it is done, the comfortable assurance of your own senses that you have been amused, and not bored. The bad old gentleman was right. When our lives are not filled with great emotions they are crammed with insignificant details, and one may tell them ever so well, they will be insignificant to the end. But the fancy is a great store-house, filled with all the beautiful things that we do not find in our lives. My dear friend, if true love were an every-day phenomenon, experienced by everybody, it would cease to be in any way interesting; people would be so familiar with it that it would bore them to extinction; they would have it for breakfast, dinner, and supper as a matter of course, and would be as fastidious of its niceties as an Anglo-Indian about the quality of the pepper. It is because only one man or woman in a hundred thousand is personally acquainted with the sufferings of true-love fever that the other ninety-nine thousand nine hundred and ninety-nine take delight in observing the contortions and convulsions of the patient. It is a great satisfaction to them to compare the slight touch of ague they once had when they were young with the raging sickness of a breaking heart; to see a resemblance between the tiny scratch upon themselves, which they delight in irritating, and the ghastly wound by which the tortured soul has sped from its prison.

To tell the truth, they are not so very much to blame. Even the momentary reflection of love is a good thing; at least, it is better than to know nothing of it. One can fancy that a violin upon which no one had ever played would yet be glad to vibrate faintly in unison with the music of a more favored neighbor; it would bring a sensation of the possibility of music. The stronger harmony is caught up and carried on forever in endless sound waves, but the slight responsive murmur of the passive strings is lost and forgotten.

And now you will tell me that I am making phrases. That is my profession: I am a twister of words; I torture language by trade. You know it, for you have known me a long time, and, if you will pardon my vanity, or rudeness, I observe that my mode of putting the dictionary on the rack amuses you. The fact that you ask for a story shows that well enough. I am a plain man, and there never was any poetry in me, but I have seen it in other people, and I understand why some persons like it. As for stories, I have plenty of them. I, Paul Griggs, have seen a variety of sights, and I have a good memory. There is the south-east wind again. I was speaking of love, a moment ago,—there is a story of the wind falling in love. There is a garden of roses far away to the east, where a maiden lies asleep; the roses have no thorns in that garden, and they grow softly about her and make a pillow for her fair head. A blustering wind came once and nearly waked her, but she was so beautiful that he fell deep in love; and he turned into the softest breeze that ever fanned a woman's cheek in summer, for fear lest he should trouble her sleep. There was a poor woman in rags, in the streets of London, on that March night, but she could not soften the heart of the cruel blast for all her shivering and praying; for she was very poor and wretched, and never was beautiful, even when she was young.

That is a short tale, and it has no moral application, for it is too common a truth. If people would only act directly on things instead of expecting the morality of their cant phrases to act for them, to feed the hungry, to clothe the naked, to pay their bills, and to save their souls into the bargain, what a vast deal of good would be done, and what an incalculable amount of foolish talk would be spared! But there is a diplomatic spirit abroad in our day, and it is necessary to enter into polite relations with a drowning man before it is possible to pull him out of the water.

But the story, you say,—where is it? Forgive me. I am rusty and ponderous at the start, like an old dredger that has stuck too long in the mud. Let me move a little and swing out with the tide till I am in clearer waters, and I will promise to bring up something pretty from the bottom of the sea for you to look at. I would not have you see any of the blackness that lies in the stagnant harbor.

I will tell you the story of Paul Patoff. I played a small part in it myself last summer, and so, in a certain way, it is a tale of my own experience. I say a tale, because it is emphatically a tale, and nothing else. I might almost call it a yarn, though the word would look strangely on a printed title-page. We are vain in our generation; we fancy we have discovered something new under the sun, and we give the name "novel" to the things we write. I will not insult literature by honoring this story with any such high-sounding designation. A great many of the things I am going to tell you were told to me, so that I shall have some difficulty in putting the whole together in a connected shape, and I must begin by asking your indulgence if I transgress all sorts of rules, and if I do not succeed in getting the interesting points into the places assigned to them by the traditional laws of art. I tell what happened, and I do not pretend to tell any more.

I.

If places could speak, they would describe people far better than people can describe places. No two men agree together in giving an account of a country, of natural scenery, or of a city; and though we may read the most accurate descriptions of a place, and vividly picture to ourselves what we have never seen, yet, when we are at last upon the spot, we realize that we have known nothing about it, and we loudly blame the author, whose word-painting is so palpably false. People will always think of places as being full of poetry if they are in love, as being beautiful if they are well, hideous if they are ill, wearisome if they are bored, and gay if they are making money.

Constantinople and the Bosphorus are no exceptions to this general rule. People who live there are sometimes well and sometimes ill, sometimes rich and sometimes poor, sometimes in love with themselves and sometimes in love with each other. A grave Persian carpet merchant sits smoking on the quay of Buyukdere. He sees them all go by, from the gay French secretary of embassy, puffing at a cigarette as he hurries from one