Chapter II: Part 2

He tried it first in one place and then in another; but in each position the picture predominated and asserted itself so markedly, that Stuart gave up the idea of keeping it inconspicuous, and placed it prominently over the fire-place, where it reigned supreme above every other object in the room. It was not only the most conspicuous object there, but the living quality which it possessed in so marked a degree, and which was due to its naturalness of pose and the excellence of the likeness, made it permeate the place like a presence and with the individuality of a real person. Stuart observed this effect with amused interest, and noted also that the photographs of other women had become commonplace in comparison like lithographs in a shop window, and that the more masculine accessories of a bachelor's apartment had grown suddenly aggressive and out of keeping. The liquor case and the racks of arms and of barbarous weapons which he had collected with such pride seemed to have lost their former value and meaning, and he instinctively began to gather up the mass of books and maps and photographs and pipes and gloves which lay scattered upon the table, and to put them in their proper place, or to shove them out of sight altogether. "If I'm to live up to that picture," he thought, "I must see that George keeps this room in better order--and I must stop wandering round here in my bath-robe."

His mind continued on the picture while he was dressing, and he was so absorbed in it and in analyzing the effect it had had upon him, that his servant spoke twice before he heard him.

"No," he answered, "I shall not dine here to-night." Dining at home was with him a very simple affair, and a somewhat lonely one, and he avoided it almost nightly by indulging himself in a more expensive fashion.

But even as he spoke an idea came to Stuart which made him reconsider his determination, and which struck him as so amusing, that he stopped pulling at his tie and smiled delightedly at himself in the glass before him.

"Yes," he said, still smiling, "I will dine here to-night. Get me anything in a hurry. You need not wait now; go get the dinner up as soon as possible."

The effect which the photograph of Miss Delamar had upon him, and the transformation it had accomplished in his room, had been as great as would have marked the presence there of the girl herself. While considering this it had come to Stuart, like a flash of inspiration, that here was a way by which he could test the responsibilities and conditions of married life without compromising either himself, or the girl to whom he would suppose himself to be married.

"I will put that picture at the head of the table," he said, "and I will play that it is she herself, her own, beautiful, lovely self, and I will talk to her and exchange views with her, and make her answer me just as she would were we actually married and settled." He looked at his watch and found it was just seven o'clock. "I will begin now," he said, "and I will keep up the delusion until midnight. To-night is the best time to try the experiment because the picture is new now, and its influence will be all the more real. In a few weeks it may have lost some of its freshness and reality and will have become one of the fixtures in the room."

Stuart decided that under these new conditions it would be more pleasant to dine at Delmonico's, and he was on the point of asking the Picture what she thought of it, when he remembered that while it had been possible for him to make a practice of dining at that place as a bachelor, he could not now afford so expensive a luxury, and he decided that he had better economize in that particular and go instead to one of the table d'hôte restaurants in the neighborhood. He regretted not having thought of this sooner, for he did not care to dine at a table d'hôte in evening dress, as in some places it rendered him conspicuous. So, sooner than have this happen he decided to dine at home, as he had originally intended when he first thought of attempting this experiment, and then conducted the picture into dinner and placed her in an armchair facing him, with the candles full upon the face.

"Now this is something like," he exclaimed, joyously. "I can't imagine anything better than this. Here we are all to ourselves with no one to bother us, with no chaperone, or chaperone's husband either, which is generally worse. Why is it, my dear," he asked gayly, in a tone that he considered affectionate and husbandly, "that the attractive chaperones are always handicapped by such stupid husbands, and vice versa?"

"If that is true," replied the Picture, or replied Stuart, rather, for the picture, "I cannot be a very attractive chaperone." Stuart bowed politely at this, and then considered the point it had raised as to whether he had, in assuming both characters, the right to pay himself compliments. He decided against himself in this particular instance, but agreed that he was not responsible for anything the Picture might say, so long as he sincerely and fairly tried to make it answer him as he thought the original would do under like circumstances. From what he knew of the original under other conditions, he decided that he could give a very close imitation of her point of view.

Stuart's interest in his dinner was so real that he found himself neglecting his wife, and he had to pull himself up to his duty with a sharp reproof. After smiling back at her for a moment or two until his servant had again left them alone, he asked her to tell him what she had been doing during the day.

"Oh, nothing very important," said the Picture. "I went shopping in the morning and--"

Stuart stopped himself and considered this last remark doubtfully. "Now, how do I know she would go shopping?" he asked himself. "People from Harlem and women who like bargain counters, and who eat chocolate meringue for lunch, and then stop in at a continuous performance, go shopping. It must be the comic paper sort of wives who go about matching shades and buying hooks and eyes. Yes, I must have made Miss Delamar's understudy misrepresent her. I beg your pardon, my dear," he said aloud to the Picture. "You did _not_ go shopping this morning. You probably went to a woman's luncheon somewhere. Tell me about that."

"Oh, yes, I went to lunch with the Antwerps," said the Picture, "and they had that Russian woman there who is getting up subscriptions for the Siberian prisoners. It's rather fine of her because it exiles her from Russia. And she is a princess."

"That's nothing," Stuart interrupted, "they're all princesses when you see them on Broadway."

"I beg your pardon," said the Picture.

"It's of no consequence," said Stuart, apologetically, "it's a comic song. I forgot you didn't like comic songs. Well--go on."

"Oh, then I went to a tea, and then I stopped in to hear Madame Ruvier read a paper on the Ethics of Ibsen, and she--"

Stuart's voice had died away gradually, and he caught himself wondering whether he had told George to lay in a fresh supply of cigars. "I beg your pardon," he said, briskly, "I was listening, but I was just wondering whether I had any cigars left. You were saying that you had been at Madame Ruvier's, and--"

"I am afraid that you were not interested," said the Picture. "Never mind, it's my fault. Sometimes I think I ought to do things of more interest, so that I should have something to talk to you about when you come home."

Stuart wondered at what hour he would come home now that he was married. As a bachelor he had been in the habit of stopping on his way up town from the law office at the club, or to take tea at the houses of the different girls he liked. Of course he could not do that now as a married man. He would instead have to limit his calls to married women, as all the other married men of his acquaintance did. But at the moment he could not think of any attractive married women who would like his dropping in on them in such a familiar manner, and the other sort did not as yet appeal to him.

He seated himself in front of the coal-fire in the library, with the Picture in a chair close beside him, and as he puffed pleasantly on his cigar he thought how well this suited him, and how delightful it was to find content in so simple and continuing a pleasure. He could almost feel the pressure of his wife's hand as it lay in his own, as they sat in silent sympathy looking into the friendly glow of the fire.

There was a long pleasant pause.

"They're giving Sloane a dinner to-night at the 'Travellers'," Stuart said at last, "in honor of his going to Abyssinia."

Stuart pondered for some short time as to what sort of a reply Miss Delamar's understudy ought to make to this innocent remark. He recalled the fact that on numerous occasions the original had shown not only a lack of knowledge in far-away places, but what was more trying, a lack of interest as well. For the moment he could not see her robbed of her pretty environment and tramping through undiscovered countries at his side. So the Picture's reply, when it came, was strictly in keeping with several remarks which Miss Delamar herself had made to him in the past.

"Yes," said the Picture, politely, "and where is Abyssinia--in India, isn't it?"

"No, not exactly," corrected Stuart, mildly; "you pass it on your way to India, though, as you go through the Red Sea. Sloane is taking Winchesters with him and a double express and a 'five fifty.' He wants to test their penetration. I think myself that the express is the best, but he says Selous and Chanler think very highly of the Winchester. I don't know, I never shot a rhinoceros. The time I killed that elephant," he went on, pointing at two tusks that stood with some assegais in a corner, "I used an express, and I had to let go with both barrels. I suppose, though, if I'd needed a third shot I'd have wished it was a Winchester. He was charging the smoke, you see, and I couldn't get away because I'd caught my foot--but I told you about that, didn't I?" Stuart interrupted himself to ask politely.

"Yes," said the Picture, cheerfully, "I remember it very well; it was very foolish of you."

Stuart straightened himself with a slightly injured air and avoided the Picture's eye. He had been stopped midway in what was one of his favorite stories, and it took a brief space of time for him to recover himself, and to sink back again into the pleasant lethargy in which he had been basking.

"Still," he said, "I think the express is the better gun."

"Oh, is an 'express' a gun?" exclaimed the Picture, with sudden interest. "Of course, I might have known."

Stuart turned in his chair and surveyed the Picture in some surprise. "But, my dear girl," he remonstrated kindly, "why didn't you ask, if you didn't know what I was talking about. What did you suppose it was?"

"I didn't know," said the Picture, "I thought it was something to do with his luggage. Abyssinia sounds so far away," she explained, smiling sweetly. "You can't expect one to be interested in such queer places, can you?"

"No," Stuart answered, reluctantly, and looking steadily at the fire, "I suppose not. But you see, my dear," he said, "I'd have gone with him, if I hadn't married you, and so I am naturally interested in his outfit. They wanted me to make a comparative study of the little semi-independent states down there, and of how far the Italian government allows them to rule themselves. That's what I was to have done."

But the Picture hastened to reassure him. "Oh, you mustn't think," she exclaimed, quickly, "that I mean to keep you at home. I love to travel, too. I want you to go on exploring places just as you've always done, only now I will go with you. We might do the Cathedral towns, for instance."

"The what!" gasped Stuart, raising his head. "Oh, yes, of course," he added, hurriedly, sinking back into his chair with a slightly bewildered expression. "That would be very nice. Perhaps your mother would like to go too; it's not a dangerous expedition, is it? I _was_ thinking of taking you on a trip through the South Seas--but I suppose the Cathedral towns are just as exciting. Or we might even penetrate as far into the interior as the English lakes and read Wordsworth and Coleridge as we go."

Miss Delamar's understudy observed him closely for a moment, but he made no sign, and so she turned her eyes again to the fire with a slightly troubled look. She had not a strong sense of humor, but she was very beautiful.

Stuart's conscience troubled him for the next few moments, and he endeavored to make up for his impatience of the moment before, by telling the Picture how particularly well she was looking.

"It seems almost selfish to keep it all to myself," he mused.

"You don't mean," inquired the Picture, with tender anxiety, "that you want any one else here, do you? I'm sure I could be content to spend every evening like this. I've had enough of going out and talking to people I don't care about. Two seasons," she added, with the superior air of one who has put away childish things, "was quite enough of it for me."

"Well, I never took it as seriously as that," said Stuart, "but, of course, I don't want any one else here to spoil our evening. It is perfect."

He assured himself that it _was_ perfect, but he wondered what was the loyal thing for a married couple to do when the conversation came to a dead stop. And did the conversation come to a stop because they preferred to sit in silent sympathy and communion, or because they had nothing interesting to talk about? Stuart doubted if silence was the truest expression of the most perfect confidence and sympathy. He generally found when he was interested, that either he or his companion talked all the time. It was when he was bored that he sat silent. But it was probably different with married people. Possibly they thought of each other during these pauses, and of their own affairs and interests, and then he asked himself how many interests could one fairly retain with which the other had nothing to do?

"I suppose," thought Stuart, "that I had better compromise and read aloud. Should you like me to read aloud?" he asked, doubtfully.

The Picture brightened perceptibly at this, and said that she thought that would be charming. "We might make it quite instructive," she suggested, entering eagerly into the idea. "We ought to agree to read so many pages every night. Suppose we begin with Guizot's 'History of France.' I have always meant to read that, the illustrations look so interesting."

"Yes, we might do that," assented Stuart, doubtfully. "It is in six volumes, isn't it? Suppose now, instead," he suggested, with an impartial air, "we begin that to-morrow night, and go this evening to see Seldon's new play, 'The Fool and His Money.' It's not too late, and he has saved a box for us, and Weimer and Rives and Sloane will be there, and--"

The Picture's beautiful face settled for just an instant in an expression of disappointment. "Of course," she replied slowly, "if you wish it. But I thought you said," she went on with a sweet smile, "that this was perfect. Now you want to go out again. Isn't this better than a hot theatre? You might put up with it for one evening, don't you think?"

"Put up with it!" exclaimed Stuart, enthusiastically; "I could spend every evening so. It was only a suggestion. It wasn't that I wanted to go so much as that I thought Seldon might be a little hurt if I didn't. But I can tell him you were not feeling very well, and that we will come some other evening. He generally likes to have us there on the first night, that's all. But he'll understand."

"Oh," said the Picture, "if you put it in the light of a duty to your friend, of course we will go."

"Not at all," replied Stuart, heartily; "I will read something. I should really prefer it. How would you like something of Browning's?"

"Oh, I read all of Browning once," said the Picture, "I think I should like something new."

Stuart gasped at this, but said nothing, and began turning over the books on the centre table. He selected one of the monthly magazines, and choosing a story which neither of them had read, sat down comfortably in front of the fire, and finished it without interruption and to the satisfaction of the Picture and himself. The story had made the half hour pass very pleasantly, and they both commented on it with interest.

"I had an experience once myself something like that," said Stuart, with a pleased smile of recollection; "it happened in Paris"--he began with the deliberation of a man who is sure of his story--"and it turned out in much the same way. It didn't begin in Paris; it really began while we were crossing the English Channel to--"

"Oh, you mean about the Russian who took you for some one else and had you followed," said the Picture. "Yes, that was like it, except that in your case nothing happened."

Stuart took his cigar from between his lips and frowned severely at the lighted end for some little time before he spoke.

"My dear," he remonstrated, gently, "you mustn't tell me I've told you all my old stories before. It isn't fair. Now that I'm married, you see, I can't go about and have new experiences, and I've got to make use of the old ones."

"Oh, I'm so sorry," exclaimed the Picture, remorsefully. "I didn't mean to be rude. Please tell me about it. I should like to hear it again, ever so much. I _should_ like to hear it again, really."

"Nonsense," said Stuart, laughing and shaking his head. "I was only joking; personally I hate people who tell long stories. That doesn't matter. I was thinking of something else."

He continued thinking of something else, which was, that though he had been in jest when he spoke of having given up the chance of meeting fresh experiences, he had nevertheless described a condition, and a painfully true one. His real life seemed to have stopped, and he saw himself in the future looking back and referring to it, as though it were the career of an entirely different person, of a young man, with quick sympathies which required satisfying, as any appetite requires food. And he had an uncomfortable doubt that these many ever-ready sympathies would rebel if fed on only one diet.

The Picture did not interrupt him in his thoughts, and he let his mind follow his eyes as they wandered over the objects above him on the mantle-shelf. They all meant something from the past,--a busy, wholesome past which had formed habits of thought and action, habits he could no longer enjoy alone, and which, on the other hand, it was quite impossible for him to share with any one else. He was no longer to be alone.

Stuart stirred uneasily in his chair and poked at the fire before him.

"Do you remember the day you came to see me," said the Picture, sentimentally, "and built the fire yourself and lighted some girl's letters to make it burn?"

"Yes," said Stuart, "that is, I _said_ that they were some girl's letters. It made it more picturesque. I am afraid they were bills. I should say I did remember it," he continued, enthusiastically. "You wore a black dress and little red slippers with big black rosettes, and you looked as beautiful as--as night--as a moonlight night."

The Picture frowned slightly.

"You are always telling me about how I looked," she complained; "can't you remember any time when we were together without remembering what I had on and how I appeared?"

"I cannot," said Stuart, promptly. "I can recall lots of other things besides, but I can't forget how you looked. You have a fashion of emphasizing episodes in that way which is entirely your own. But, as I say, I can remember something else. Do you remember, for instance, when we went up to West Point on that yacht? Wasn't it a grand day, with the autumn leaves on both sides of the Hudson, and the dress parade, and the dance afterward at the hotel?"

"Yes, I should think I did," said the Picture, smiling. "You spent all your time examining cannon, and talking to the men about 'firing in open order,' and left me all alone."

"Left you all alone! I like that," laughed Stuart; "all alone with about eighteen officers."

"Well, but that was natural," returned the Picture. "They were men. It's natural for a girl to talk to men, but why should a man want to talk to men?"

"Well, I know better than that now," said Stuart.

He proceeded to show that he knew better by remaining silent for the next half hour, during which time he continued to wonder whether this effort to keep up a conversation was not radically wrong. He thought of several things he might say, but he argued that it was an impossible situation where a man had to make conversation with his own wife.

The clock struck ten as he sat waiting, and he moved uneasily in his chair.

"What is it?" asked the Picture; "what makes you so restless?"

Stuart regarded the Picture timidly for a moment before he spoke. "I was just thinking," he said, doubtfully, "that we might run down after all, and take a look in at the last act; it's not too late even now. They're sure to run behind on the first night. And then," he urged, "we can go around and see Seldon. You have never been behind the scenes, have you? It's very interesting."

"No, I have not, but if we do," remonstrated the Picture, pathetically, "you _know_ all those men will come trooping home with us. You know they will."

"But that's very complimentary," said Stuart. "Why, I like my friends to like my wife."

"Yes, but you know how they stay when they get here," she answered; "I don't believe they ever sleep. Don't you remember the last supper you gave me before we were married, when Mrs. Starr and you all were discussing Mr. Seldon's play? She didn't make a move to go until half past two, and I was _that_ sleepy, I couldn't keep my eyes open."

"Yes," said Stuart, "I remember. I'm sorry. I thought it was very interesting. Seldon changed the whole second act on account of what she said. Well, after this," he laughed with cheerful desperation, "I think I shall make up for the part of a married man in a pair of slippers and a dressing-gown, and then perhaps I won't be tempted to roam abroad at night."

"You must wear the gown they are going to give you at Oxford," said the Picture, smiling placidly. "The one Aunt Lucy was telling me about. Why do they give you a gown?" she asked. "It seems such an odd thing to do."

"The gown comes with the degree, I believe," said Stuart.

"But why do they give _you_ a degree?" persisted the Picture; "you never studied at Oxford, did you?"

Stuart moved slightly in his chair and shook his head. "I thought I told you," he said, gently. "No, I never studied there. I wrote some books on--things, and they liked them."

"Oh, yes, I remember now, you did tell me," said the Picture; "and I told Aunt Lucy about it, and said we would be in England during the season, when you got your degree, and she said you must be awfully clever to get it. You see--she does appreciate you, and you always treat her so distantly."

"Do I?" said Stuart; quietly; "I'm sorry."

"Will you have your portrait painted in it?" asked the Picture.

"In what?"

"In the gown. You are not listening," said the Picture, reproachfully. "You ought to. Aunt Lucy says it's a beautiful shade of red silk, and very long. Is it?"

"I don't know," said Stuart, he shook his head, and dropping his chin into his hands, stared coldly down into the fire. He tried to persuade himself that he had been vainglorious, and that he had given too much weight to the honor which the University of Oxford would bestow upon him; that he had taken the degree too seriously, and that the Picture's view of it was the view of the rest of the world. But he could not convince himself that he was entirely at fault.

"Is it too late to begin on Guizot?" suggested his Picture, as an alternative to his plan. "It sounds so improving."

"Yes, it is much too late," answered Stuart, decidedly. "Besides, I don't want to be improved. I want to be amused, or inspired, or scolded. The chief good of friends is that they do one of these three things, and a wife should do all three."

"Which shall I do?" asked the Picture, smiling good-humoredly.

Stuart looked at the beautiful face and at the reclining figure of the woman to whom he was to turn for sympathy for the rest of his life, and felt a cold shiver of terror, that passed as quickly as it came. He reached out his hand and placed it on the arm of the chair where his wife's hand should have been, and patted the place kindly. He would shut his eyes to everything but that she was good and sweet and his wife. Whatever else she lacked that her beauty had covered up and hidden, and the want of which had lain unsuspected in their previous formal intercourse, could not be mended now. He would settle his step to hers, and eliminate all those interests from his life which were not hers as well. He had chosen a beautiful idol, and not a companion, for a wife. He had tried to warm his hands at the fire of a diamond.

Stuart's eyes closed wearily as though to shut out the memories of the past, or the foreknowledge of what the future was sure to be. His head sank forward on his breast, and with his hand shading his eyes, he looked beyond, through the dying fire, into the succeeding years.

* * * * *

The gay little French clock on the table sounded the hour of midnight briskly, with a pert insistent clamor, and at the same instant a boisterous and unruly knocking answered it from outside the library door.

Stuart rose uncertainly from his chair and surveyed the tiny clock face with a startled expression of bewilderment and relief.

"Stuart!" his friends called impatiently from the hall. "Stuart, let us in!" and without waiting further for recognition a merry company of gentlemen pushed their way noisily into the room.

"Where the devil have you been?" demanded Weimer. "You don't deserve to be spoken to at all after quitting us like that. But Seldon is so good-natured," he went on, "that he sent us after you. It was a great success, and he made a rattling good speech, and you missed the whole thing; and you ought to be ashamed of yourself. We've asked half the people in front to supper--two stray Englishmen, all the Wilton girls and their governor, and the chap that wrote the play. And Seldon and his brother Sam are coming as soon as they get their make-up off. Don't stand there like that, but hurry. What have you been doing?"

Stuart gave a nervous, anxious laugh. "Oh, don't ask me," he cried. "It was awful. I've been trying an experiment, and I had to keep it up until midnight, and--I'm so glad you fellows have come," he continued, halting midway in his explanation. "I _was_ blue."

"You've been asleep in front of the fire," said young Sloane, "and you've been dreaming."

"Perhaps," laughed Stuart, gayly, "perhaps. But I'm awake now in any event. Sloane, old man," he cried, dropping both hands on the youngster's shoulders. "How much money have you? Enough to take me to Gibraltar? They can cable me the rest."

"Hoorah!" shouted Sloane, waltzing from one end of the room to the other. "And we're off to Ab-yss-in-ia in the morn-ing," he sang. "There's plenty in my money belt," he cried, slapping his sides, "you can hear the ten-pound notes crackle whenever I breathe, and it's all yours, my dear boy, and welcome. And I'll prove to you that the Winchester is the better gun."

"All right," returned Stuart, gayly, "and I'll try to prove that the Italians don't know how to govern a native state. But who is giving this supper, anyway?" he demanded. "That is the main thing--that's what I want to know."

"You've got to pack, haven't you?" suggested Rives.

"I'll pack when I get back," said Stuart, struggling into his greatcoat, and searching in his pockets for his gloves. "Besides, my things are always ready and there's plenty of time, the boat doesn't leave for six hours yet."

"We'll all come back and help," said Weimer.

"Then I'll never get away," laughed Stuart. He was radiant, happy, and excited, like a boy back from school for the holidays. But when they had reached the pavement, he halted and ran his hand down into his pocket, as though feeling for his latch-key, and stood looking doubtfully at his friends.

"What is it now?" asked Rives, impatiently. "Have you forgotten something?"

Stuart looked back at the front door in momentary indecision.

"Y-es," he answered. "I did forget something. But it doesn't matter," he added, cheerfully, taking Sloane's arm.

"Come on," he said, "and so Seldon made a hit, did he? I am glad--and tell me, old man, how long will we have to wait at Gib for the P. & O.?"

Stuart's servant had heard the men trooping down the stairs, laughing and calling to one another as they went, and judging from this that they had departed for the night, he put out all the lights in the library and closed the piano, and lifted the windows to clear the room of the tobacco-smoke. He did not notice the beautiful photograph sitting upright in the armchair before the fireplace, and so left it alone in the deserted library.

The cold night-air swept in through the open window and chilled the silent room, and the dead coals in the grate dropped one by one into the fender with a dismal echoing clatter; but the Picture still sat in the armchair with the same graceful pose and the same lovely expression, and smiled sweetly at the encircling darkness.

THE EDITOR'S STORY

It was a warm afternoon in the early spring, and the air in the office was close and heavy. The letters of the morning had been answered and the proofs corrected, and the gentlemen who had come with ideas worth one column at space rates, and which they thought worth three, had compromised with the editor on a basis of two, and departed. The editor's desk was covered with manuscripts in a heap, a heap that never seemed to grow less, and each manuscript bore a character of its own, as marked or as unobtrusive as the character of the man or of the woman who had written it, which disclosed itself in the care with which some were presented for consideration, in the vain little ribbons of others, or the selfish manner in which still others were tightly rolled or vilely scribbled.

The editor held the first page of a poem in his hand, and was reading it mechanically, for its length had already declared against it, unless it might chance to be the precious gem out of a thousand, which must be chosen in spite of its twenty stanzas. But as the editor read, his interest awakened, and he scanned the verses again, as one would turn to look a second time at a face which seemed familiar. At the fourth stanza his memory was still in doubt, at the sixth it was warming to the chase, and at the end of the page was in full cry. He caught up the second page and looked for the final verse, and then at the name below, and then back again quickly to the title of the poem, and pushed aside the papers on his desk in search of any note which might have accompanied it.

The name signed at the bottom of the second page was Edwin Aram, the title of the poem was "Bohemia," and there was no accompanying note, only the name Berkeley written at the top of the first page. The envelope in which it had come gave no further clew. It was addressed in the same handwriting as that in which the poem had been written, and it bore the post-mark of New York city. There was no request for the return of the poem, no direction to which either the poem itself or the check for its payment in the event of its acceptance might be sent. Berkeley might be the name of an apartment-house or of a country place or of a suburban town.

The editor stepped out of his office into the larger room beyond and said: "I've a poem here that appeared in an American magazine about seven years ago. I remember the date because I read it when I was at college. Some one is either trying to play a trick on us, or to get money by stealing some other man's brains."

It was in this way that Edwin Aram first introduced himself to our office, and while his poem was not accepted, it was not returned. On the contrary, Mr. Aram became to us one of the most interesting of our would-be contributors, and there was no author, no matter of what popularity, for whose work we waited with greater impatience. But Mr. Aram's personality still remained as completely hidden from us as were the productions which he offered from the sight of our subscribers. For each of the poems he sent had been stolen outright and signed with his name.

It was through no fault of ours that he continued to blush unseen, or that his pretty taste in poems was unappreciated by the general reader. We followed up every clew and every hint he chose to give us with an enthusiasm worthy of a search after a lost explorer, and with an animus worthy of better game. Yet there was some reason for our interest. The man who steals the work of another and who passes it off as his own is the special foe of every editor, but this particular editor had a personal distrust of Mr. Aram. He imagined that these poems might possibly be a trap which some one had laid for him with the purpose of drawing him into printing them, and then of pointing out by this fact how little read he was, and how unfit to occupy the swivel-chair into which he had so lately dropped. Or if this were not the case, the man was in any event the enemy of all honest people, who look unkindly on those who try to obtain money by false pretences.

The evasions of Edwin Aram were many, and his methods to avoid detection not without skill. His second poem was written on a sheet of note-paper bearing the legend "The Shakespeare Debating Club. Edwin Aram, President."

This was intended to reassure us as to his literary taste and standard, and to meet any suspicion we might feel had there been no address of any sort accompanying the poem. No one we knew had ever heard of a Shakespeare Debating Club in New York city. But we gave him the benefit of the doubt until we found that this poem, like the first, was also stolen. His third poem bore his name and an address, which on instant inquiry turned out to be that of a vacant lot on Seventh Avenue near Central Park.

Edwin Aram had by this time become an exasperating and picturesque individual, and the editorial staff was divided in its opinion concerning him. It was argued on one hand that as the man had never sent us a real address, his object must be to gain a literary reputation at the expense of certain poets, and not to make money at ours. Others answered this by saying that fear of detection alone kept Edwin Aram from sending his real address, but that as soon as his poem was printed, and he ascertained by that fact that he had not been discovered, he would put in an application for payment, and let us know quickly enough to what portion of New York city his check should be forwarded.

This, however, presupposed the fact that he was writing to us over his real name, which we did not believe he would dare to do. No one in our little circle of journalists and literary men had ever heard of such a man, and his name did not appear in the directory. This fact, however, was not convincing in itself, as the residents of New York move from flat to hotel, and from apartments to boarding-houses as frequently as the Arab changes his camping-ground. We tried to draw him out at last by publishing a personal paragraph which stated that several contributions received from Edwin Aram would be returned to him if he would send stamps and his present address. The editor did not add that he would return the poems in person, but such was his warlike intention.

This had the desired result, and brought us a fourth poem and a fourth address, the name of a tall building which towers above Union Square. We seemed to be getting very warm now, and the editor gathered up the four poems, and called to his aid his friend Bronson, the ablest reporter on the New York ----, who was to act as chronicler. They took with them letters from the authors of two of the poems and from the editor of the magazine in which the first one had originally appeared, testifying to the fact that Edwin Aram had made an exact copy of the original, and wishing the brother editor good luck in catching the plagiarist.

The reporter looked these over with a critical eye. "The City Editor told me if we caught him," he said, "that I could let it run for all it was worth. I can use these names, I suppose, and I guess they have pictures of the poets at the office. If he turns out to be anybody in particular, it ought to be worth a full three columns. Sunday paper, too."

The amateur detectives stood in the lower hall in the tall building, between swinging doors, and jostled by hurrying hundreds, while they read the names on a marble directory.

"There he is!" said the editor, excitedly. "'American Literary Bureau.' One room on the fourteenth floor. That's just the sort of a place in which we would be likely to find him." But the reporter was gazing open-eyed at a name in large letters on an office door. "Edward K. Aram," it read, "Commissioner of ----, and City ----."

"What do you think of _that_?" he gasped, triumphantly.

"Nonsense," said the editor. "He wouldn't dare; besides, the initials are different. You're expecting too good a story."

"That's the way to get them," answered the reporter, as he hurried towards the office of the City ----. "If a man falls dead, believe it's a suicide until you prove it's not; if you find a suicide, believe it's a murder until you are convinced to the contrary. Otherwise you'll get beaten. We don't want the proprietor of a little literary bureau, we want a big city official and I'll believe we have one until he proves we haven't."

"Which are you going to ask for?" whispered the editor, "Edward K. or Edwin?"

"Edwin, I should say," answered the reporter. "He has probably given notice that mail addressed that way should go to him."

"Is Mr. Edwin Aram in?" he asked.

A clerk raised his head and looked behind him. "No," he said; "his desk is closed. I guess he's gone home for the day."

The reporter nudged the editor savagely with his elbow, but his face gave no sign. "That's a pity," he said; "we have an appointment with him. He still lives at Sixty-first Street and Madison Avenue, I believe, does he not?"

"No," said the clerk; "that's his father, the Commissioner, Edward K. The son lives at ----. Take the Sixth Avenue elevated and get off at 116th Street."

"Thank you," said the reporter. He turned a triumphant smile upon the editor. "We've got him!" he said, excitedly. "And the son of old Edward K., too! Think of it! Trying to steal a few dollars by cribbing other men's poems; that's the best story there has been in the papers for the past three months,--'Edward K. Aram's son a thief!' Look at the names--politicians, poets, editors, all mixed up in it. It's good for three columns, sure."

"We've got to think of his people, too," urged the editor, as they mounted the steps of the elevated road.

"He didn't think of them," said the reporter.

The house in which Mr. Aram lived was an apartment-house, and the brass latchets in the hallway showed that it contained three suites. There were visiting-cards under the latchets of the first and third stories, and under that of the second a piece of note-paper on which was written the autograph of Edwin Aram. The editor looked at it curiously. He had never believed it to be a real name.

"I am sorry Edwin Aram did not turn out to be a woman," he said, regretfully; "it would have been so much more interesting."

"Now," instructed Bronson, impressively, "whether he is in or not we have him. If he's not in, we wait until he comes, even if he doesn't come until morning; we don't leave this place until we have seen him."

"Very well," said the editor.

The maid left them standing at the top of the stairs while she went to ask if Mr. Aram was in, and whether he would see two gentlemen who did not give their names because they were strangers to him. The two stood silent while they waited, eying each other anxiously, and when the girl reopened the door, nodded pleasantly, and said, "Yes, Mr. Aram is in," they hurried past her as though they feared that he would disappear in midair, or float away through the windows before they could reach him.

And yet, when they stood at last face-to-face him, he bore a most disappointing air of every-day respectability. He was a tall, thin young man, with light hair and mustache and large blue eyes. His back was towards the window, so that his face was in the shadow, and he did not rise as they entered. The room in which he sat was a prettily furnished one, opening into another tiny room, which, from the number of books in it, might have been called a library. The rooms had a well-to-do, even prosperous, air, but they did not show any evidences of a pronounced taste on the part of their owner, either in the way in which they were furnished or in the decorations of the walls. A little girl of about seven or eight years of age, who was standing between her father's knees, with a hand on each, and with her head thrown back on his shoulder, looked up at the two visitors with evident interest, and smiled brightly.

"Mr. Aram?" asked the editor, tentatively.

The young man nodded, and the two visitors seated themselves.

"I wish to talk to you on a matter of private business," the editor began. "Wouldn't it be better to send the little girl away?"

The child shook her head violently at this, and crowded up closely to her father; but he held her away from him gently, and told her to "run and play with Annie."

She passed the two visitors, with her head held scornfully in air, and left the men together. Mr. Aram seemed to have a most passive and incurious disposition. He could have no idea as to who his anonymous visitors might be, nor did he show any desire to know.

"I am the editor of ----," the editor began. "My friend also writes for that periodical. I have received several poems from you lately, Mr. Aram, and one in particular which we all liked very much. It was called 'Bohemia.' But it is so like one that has appeared under the same title in the '---- Magazine' that I thought I would see you about it, and ask you if you could explain the similarity. You see," he went on, "it would be less embarrassing if you would do so now than later, when the poem has been published and when people might possibly accuse you of plagiarism." The editor smiled encouragingly and waited.

Mr. Aram crossed one leg over the other and folded his hands in his lap. He exhibited no interest, and looked drowsily at the editor. When he spoke it was in a tone of unstudied indifference. "I never wrote a poem called 'Bohemia,'" he said, slowly; "at least, if I did I don't remember it."

The editor had not expected a flat denial, and it irritated him, for he recognized it to be the safest course the man could pursue, if he kept to it. "But you don't mean to say," he protested, smiling, "that you can write so excellent a poem as 'Bohemia' and then forget having done so?"

"I might," said Mr. Aram, unresentfully, and with little interest. "I scribble a good deal."

"Perhaps," suggested the reporter, politely, with the air of one who is trying to cover up a difficulty to the satisfaction of all, "Mr. Aram would remember it if he saw it."

The editor nodded his head in assent, and took the first page of the two on which the poem was written, and held it out to Mr. Aram, who accepted the piece of foolscap and eyed it listlessly.

"Yes, I wrote that," he said. "I copied it out of a book called _Gems from American Poets_." There was a lazy pause. "But I never sent it to any paper." The editor and the reporter eyed each other with outward calm but with some inward astonishment. They could not see why he had not adhered to his original denial of the thing _in toto_. It seemed to them so foolish, to admit having copied the poem and then to deny having forwarded it.

"You see," explained Mr. Aram, still with no apparent interest in the matter, "I am very fond of poetry; I like to recite it, and I often write it out in order to make me remember it. I find it impresses the words on my mind. Well, that's what has happened. I have copied this poem out at the office probably, and one of the clerks there has found it, and has supposed that I wrote it, and he has sent it to your paper as a sort of a joke on me. You see, father being so well-known, it would rather amuse the boys if I came out as a poet. That's how it was, I guess. Somebody must have found it and sent it to you, because _I_ never sent it."

There was a moment of thoughtful consideration. "I see," said the editor. "I used to do that same thing myself when I had to recite pieces at school. I found that writing the verses down helped me to remember them. I remember that I once copied out many of Shakespeare's sonnets. But, Mr. Aram, it never occurred to me, after having copied out one of Shakespeare's sonnets, to sign my own name at the bottom of it."

Mr. Aram's eyes dropped to the page of manuscript in his hand and rested there for some little time. Then he said, without raising his head, "I haven't signed this."

"No," replied the editor; "but you signed the second page, which I still have in my hand."

The editor and his companion expected some expression of indignation from Mr. Aram at this, some question of their right to come into his house and cross-examine him and to accuse him, tentatively at least, of literary fraud, but they were disappointed. Mr. Aram's manner was still one of absolute impassibility. Whether this manner was habitual to him they could not know, but it made them doubt their own judgment in having so quickly accused him, as it bore the look of undismayed innocence.

It was the reporter who was the first to break the silence. "Perhaps some one has signed Mr. Aram's name--the clerk who sent it, for instance."

Young Mr. Aram looked up at him curiously, and held out his hand for the second page. "Yes," he drawled, "that's how it happened. That's not my signature. I never signed that."

The editor was growing restless. "I have several other poems here from you," he said; "one written from the rooms of the Shakespeare Debating Club, of which I see you are president. Your clerk could not have access there, could he? He did not write that, too?"

"No," said Mr. Aram, doubtfully, "he could not have written that."

The editor handed him the poem. "It's yours, then?"

"Yes, that's mine," Mr. Aram replied.

"And the signature?"

"Yes, and the signature. I wrote that myself," Mr. Aram explained, "and sent it myself. That other one ('Bohemia') I just copied out to remember, but this is original with me."

"And the envelope in which it was enclosed," asked the editor, "did you address that also?"

Mr. Aram examined it uninterestedly. "Yes, that's my handwriting too." He raised his head. His face wore an expression of patient politeness.

"Oh!" exclaimed the editor, suddenly, in some embarrassment. "I handed you the wrong envelope. I beg your pardon. That envelope is the one in which 'Bohemia' came."

The reporter gave a hardly perceptible start; his eyes were fixed on the pattern of the rug at his feet, and the editor continued to examine the papers in his hand. There was a moment's silence. From outside came the noise of children playing in the street and the rapid rush of a passing wagon.

When the two visitors raised their heads Mr. Aram was looking at them strangely, and the fingers folded in his lap were twisting in and out.

"This Shakespeare Debating Club," said the editor, "where are its rooms, Mr. Aram?"

"It has no rooms, now," answered the poet. "It has disbanded. It never had any regular rooms; we just met about and read."

"I see--exactly," said the editor. "And the house on Seventh Avenue from which your third poem was sent--did you reside there then, or have you always lived here?"

"No, yes--I used to live there--I lived there when I wrote that poem."

The editor looked at the reporter and back at Mr. Aram. "It is a vacant lot, Mr. Aram," he said, gravely.

There was a long pause. The poet rocked slowly up and down in his rocking-chair, and looked at his hands, which he rubbed over one another as though they were cold. Then he raised his head and cleared his throat.

"Well, gentlemen," he said, "you have made out your case."

"Yes," said the editor, regretfully, "we have made out our case." He could not help but wish that the fellow had stuck to his original denial. It was too easy a victory.

"I don't say, mind you," went on Mr. Aram, "that I ever took anybody's verses and sent them to a paper as my own, but I ask you, as one gentleman talking to another, and inquiring for information, what is there wrong in doing it? I say, _if_ I had done it, which I don't admit I ever did, where's the harm?"

"Where's the harm?" cried the two visitors in chorus.