By the firelight and the twilight, the Young Lady is finishing a letter to Herbert,—writing it, literally, on her knees, transforming thus the simple deed into an act of devotion. Mandeville says that it is bad for her eyes, but the sight of it is worse for his eyes. He begins to doubt the wisdom of reliance upon that worn apothegm about absence conquering love.

Memory has the singular characteristic of recalling in a friend absent, as in a journey long past, only that which is agreeable. Mandeville begins to wish he were in New South Wales.

I did intend to insert here a letter of Herbert's to the Young Lady,—obtained, I need not say, honorably, as private letters which get into print always are,—not to gratify a vulgar curiosity, but to show how the most unsentimental and cynical people are affected by the master passion. But I cannot bring myself to do it. Even in the interests of science one has no right to make an autopsy of two loving hearts, especially when they are suffering under a late attack of the one agreeable epidemic.

All the world loves a lover, but it laughs at him none the less in his extravagances. He loses his accustomed reticence; he has something of the martyr's willingness for publicity; he would even like to show the sincerity of his devotion by some piece of open heroism. Why should he conceal a discovery which has transformed the world to him, a secret which explains all the mysteries of nature and humanity? He is in that ecstasy of mind which prompts those who were never orators before to rise in an experience-meeting and pour out a flood of feeling in the tritest language and the most conventional terms. I am not sure that Herbert, while in this glow, would be ashamed of his letter in print, but this is one of the cases where chancery would step in and protect one from himself by his next friend. This is really a delicate matter, and perhaps it is brutal to allude to it at all.

In truth, the letter would hardly be interesting in print. Love has a marvelous power of vivifying language and charging the simplest words with the most tender meaning, of restoring to them the power they had when first coined. They are words of fire to those two who know their secret, but not to others. It is generally admitted that the best love-letters would not make very good literature. “Dearest,” begins Herbert, in a burst of originality, felicitously selecting a word whose exclusiveness shuts out all the world but one, and which is a whole letter, poem, confession, and creed in one breath. What a weight of meaning it has to carry! There may be beauty and wit and grace and naturalness and even the splendor of fortune elsewhere, but there is one woman in the world whose sweet presence would be compensation for the loss of all else. It is not to be reasoned about; he wants that one; it is her plume dancing down the sunny street that sets his heart beating; he knows her form among a thousand, and follows her; he longs to run after her carriage, which the cruel coachman whirls out of his sight. It is marvelous to him that all the world does not want her too, and he is in a panic when he thinks of it. And what exquisite flattery is in that little word addressed to her, and with what sweet and meek triumph she repeats it to herself, with a feeling that is not altogether pity for those who still stand and wait. To be chosen out of all the available world—it is almost as much bliss as it is to choose. “All that long, long stage-ride from Blim's to Portage I thought of you every moment, and wondered what you were doing and how you were looking just that moment, and I found the occupation so charming that I was almost sorry when the journey was ended.” Not much in that! But I have no doubt the Young Lady read it over and over, and dwelt also upon every moment, and found in it new proof of unshaken constancy, and had in that and the like things in the letter a sense of the sweetest communion. There is nothing in this letter that we need dwell on it, but I am convinced that the mail does not carry any other letters so valuable as this sort.

I suppose that the appearance of Herbert in this new light unconsciously gave tone a little to the evening's talk; not that anybody mentioned him, but Mandeville was evidently generalizing from the qualities that make one person admired by another to those that win the love of mankind.

MANDEVILLE. There seems to be something in some persons that wins them liking, special or general, independent almost of what they do or say.

THE MISTRESS. Why, everybody is liked by some one.

MANDEVILLE. I'm not sure of that. There are those who are friendless, and would be if they had endless acquaintances. But, to take the case away from ordinary examples, in which habit and a thousand circumstances influence liking, what is it that determines the world upon a personal regard for authors whom it has never seen?

THE FIRE-TENDER. Probably it is the spirit shown in their writings.

THE MISTRESS. More likely it is a sort of tradition; I don't believe that the world has a feeling of personal regard for any author who was not loved by those who knew him most intimately.

THE FIRE-TENDER. Which comes to the same thing. The qualities, the spirit, that got him the love of his acquaintances he put into his books.

MANDEVILLE. That does n't seem to me sufficient. Shakespeare has put everything into his plays and poems, swept the whole range of human sympathies and passions, and at times is inspired by the sweetest spirit that ever man had.

THE YOUNG LADY. No one has better interpreted love.

MANDEVILLE. Yet I apprehend that no person living has any personal regard for Shakespeare, or that his personality affects many,—except they stand in Stratford church and feel a sort of awe at the thought that the bones of the greatest poet are so near them.

THE PARSON. I don't think the world cares personally for any mere man or woman dead for centuries.

MANDEVILLE. But there is a difference. I think there is still rather a warm feeling for Socrates the man, independent of what he said, which is little known. Homer's works are certainly better known, but no one cares personally for Homer any more than for any other shade.

OUR NEXT DOOR. Why not go back to Moses? We've got the evening before us for digging up people.

MANDEVILLE. Moses is a very good illustration. No name of antiquity is better known, and yet I fancy he does not awaken the same kind of popular liking that Socrates does.

OUR NEXT DOOR. Fudge! You just get up in any lecture assembly and propose three cheers for Socrates, and see where you'll be. Mandeville ought to be a missionary, and read Robert Browning to the Fijis.

THE FIRE-TENDER. How do you account for the alleged personal regard for Socrates?

THE PARSON. Because the world called Christian is still more than half heathen.

MANDEVILLE. He was a plain man; his sympathies were with the people; he had what is roughly known as “horse-sense,” and he was homely. Franklin and Abraham Lincoln belong to his class. They were all philosophers of the shrewd sort, and they all had humor. It was fortunate for Lincoln that, with his other qualities, he was homely. That was the last touching recommendation to the popular heart.

THE MISTRESS. Do you remember that ugly brown-stone statue of St. Antonio by the bridge in Sorrento? He must have been a coarse saint, patron of pigs as he was, but I don't know any one anywhere, or the homely stone image of one, so loved by the people.

OUR NEXT DOOR. Ugliness being trump, I wonder more people don't win. Mandeville, why don't you get up a “centenary” of Socrates, and put up his statue in the Central Park? It would make that one of Lincoln in Union Square look beautiful.

THE PARSON. Oh, you'll see that some day, when they have a museum there illustrating the “Science of Religion.”

THE FIRE-TENDER. Doubtless, to go back to what we were talking of, the world has a fondness for some authors, and thinks of them with an affectionate and half-pitying familiarity; and it may be that this grows out of something in their lives quite as much as anything in their writings. There seems to be more disposition of personal liking to Thackeray than to Dickens, now both are dead,—a result that would hardly have been predicted when the world was crying over Little Nell, or agreeing to hate Becky Sharp.

THE YOUNG LADY. What was that you were telling about Charles Lamb, the other day, Mandeville? Is not the popular liking for him somewhat independent of his writings?

MANDEVILLE. He is a striking example of an author who is loved. Very likely the remembrance of his tribulations has still something to do with the tenderness felt for him. He supported no dignity and permitted a familiarity which indicated no self-appreciation of his real rank in the world of letters. I have heard that his acquaintances familiarly called him “Charley.”

OUR NEXT DOOR. It's a relief to know that! Do you happen to know what Socrates was called?

MANDEVILLE. I have seen people who knew Lamb very well. One of them told me, as illustrating his want of dignity, that as he was going home late one night through the nearly empty streets, he was met by a roystering party who were making a night of it from tavern to tavern. They fell upon Lamb, attracted by his odd figure and hesitating manner, and, hoisting him on their shoulders, carried him off, singing as they went. Lamb enjoyed the lark, and did not tell them who he was. When they were tired of lugging him, they lifted him, with much effort and difficulty, to the top of a high wall, and left him there amid the broken bottles, utterly unable to get down. Lamb remained there philosophically in the enjoyment of his novel adventure, until a passing watchman rescued him from his ridiculous situation.

THE FIRE-TENDER. How did the story get out?

MANDEVILLE. Oh, Lamb told all about it next morning; and when asked afterwards why he did so, he replied that there was no fun in it unless he told it.