Why should not Philip trust the future? He was a free man. He had given no hostages to fortune. Even if he did not succeed, no one else would be involved in his failure. Why not follow his inclination, the dream of his boyhood?

He was at liberty to choose for himself. Everybody in America is; this is the proclamation of its blessed independence. Are we any better off for the privilege of following first one inclination and then another, which is called making a choice? Are they not as well off, and on the whole as likely to find their right place, who inherit their callings in life, whose careers are mapped out from the cradle by circumstance and convention? How much time do we waste in futile experiment? Freedom to try everything, which is before the young man, is commonly freedom to excel in nothing.

There are, of course, exceptions. The blacksmith climbs into a city pulpit. The popular preacher becomes an excellent insurance agent. The saloon-keeper develops into the legislator, and wears the broadcloth and high hat of the politician. The brakeman becomes the railway magnate, and the college graduate a grocer's clerk, and the messenger-boy, picking up by chance one day the pen, and finding it run easier than his legs, becomes a power on a city journal, and advises society how to conduct itself and the government how to make war and peace. All this adds to the excitement and interest of life. On the whole, we say that people get shaken into their right places, and the predetermined vocation is often a mistake. There is the anecdote of a well-known clergyman who, being in a company with his father, an aged and distinguished doctor of divinity, raised his monitory finger and exclaimed, “Ah, you spoiled a first-rate carpenter when you made a poor minister of me.”

Philip thought he was calmly arguing the matter with himself. How often do we deliberately weigh such a choice as we would that of another person, testing our inclination by solid reason? Perhaps no one could have told Philip what he ought to do, but every one who knew him, and the circumstances, knew what he would do. He was, in fact, already doing it while he was paltering with his ostensible profession. But he never would have confessed, probably he would then have been ashamed to confess, how much his decision to break with the pretense of law was influenced by the thought of what a certain dark little maiden, whose image was always in his mind, would wish him to do, and by the very remarkable fact that she was seen going to her room with his well-read story in her hand. Perhaps it was under her pillow at night!

Good-luck seemed to follow his decision—as it often does when a man makes a questionable choice, as if the devil had taken an interest in his downward road to prosperity. But Philip really gained a permanent advantage. The novel had given him a limited reputation and very little money. Yet it was his stepping-stone, and when he applied to his publishers and told them of his decision, they gave him some work as a reader for the house. At first this was fitful and intermittent, but as he showed both literary discrimination and tact in judging of the market, his services were more in request, and slowly he acquired confidential relations with the house. Whatever he knew, his knowledge of languages and his experience abroad, came into play, and he began to have more confidence in himself, as he saw that his somewhat desultory education had, after all, a market value.

The rather long period of his struggle, which is a common struggle, and often disheartening, need not be dwelt on here. We can anticipate by saying that he obtained in the house a permanent and responsible situation, with an income sufficient for a bachelor without habits of self-indulgence. It was not the crowning of a noble ambition, it was not in the least the career he had dreamed of, but it gave him support and a recognized position, and, above all, did not divert him from such creative work as he was competent to do. Nay, he found very soon that the feeling of security, without any sordid worry, gave freedom to his imagination. There was something stimulating in the atmosphere of books and manuscripts and in that world of letters which seems so large to those who live in it. Fortunately, also, having a support, he was not tempted to debase his talent by sensational ventures. What he wrote for this or that magazine he wrote to please himself, and, although he saw no fortune that way, the little he received was an encouragement as well as an appreciable addition to his income.

There are two sorts of success in letters as in life generally. The one is achieved suddenly, by a dash, and it lasts as long as the author can keep the attention of the spectators upon his scintillating novelties. When the sparks fade there is darkness. How many such glittering spectacles this century has witnessed!

There is another sort of success which does not startlingly or at once declare itself. Sometimes it comes with little observation. The reputation is slowly built up, as by a patient process of nature. It is curious, as Philip wrote once in an essay, to see this unfolding in Lowell's life. There was no one moment when he launched into great popularity—nay, in detail, he seemed to himself not to have made the strike that ambition is always expecting. But lo! the time came when, by universal public consent, which was in the nature of a surprise to him, he had a high and permanent place in the world of letters.

In anticipating Philip's career, however, it must not be understood that he had attained any wide public recognition. He was simply enrolled in the great army of readers and was serving his apprenticeship. He was recognized as a capable man by those who purvey in letters to the entertainment of the world. Even this little foothold was not easily gained in a day, as the historian discovered in reading some bundles of old letters which Philip wrote in this time of his novitiate to Celia and to his cousin Alice.

It was against Celia's most strenuous advice that he had trusted himself to a literary career. “I see, my dear friend,” she wrote, in reply to his announcement that he was going that day to Mr. Hunt to resign his position, “that you are not happy, but whatever your disappointment or disillusion, you will not better yourself by surrendering a regular occupation. You live too much in the imagination already.”

Philip fancied, with that fatuity common to his sex, that he had worn an impenetrable mask in regard to his wild passion for Evelyn, and did not dream that, all along, Celia had read him like an open book. She judged Philip quite accurately. It was herself that she did not know, and she would have repelled as nonsense the suggestion that her own restlessness and her own changing experiments in occupation were due to the unsatisfied longings of a woman's heart.

“You must not think,” the letter went on, “that I want to dictate, but I have noticed that men—it may be different with women—only succeed by taking one path and diligently walking in it. And literature is not a career, it is just a toss up, a lottery, and woe to you if you once draw a lucky number—you will always be expecting another... You say that I am a pretty one to give advice, for I am always chopping and changing myself. Well, from the time you were a little boy, did I ever give you but one sort of advice? I have been constant in that. And as to myself, you are unjust. I have always had one distinct object in life, and that I have pursued. I wanted to find out about life, to have experience, and then do what I could do best, and what needed most to be done. Why did I not stick to teaching in that woman's college? Well, I began to have doubts, I began to experiment on my pupils. You will laugh, but I will give you a specimen. One day I put a question to my literature class, and I found out that not one of them knew how to boil potatoes. They were all getting an education, and hardly one of them knew how much the happiness of a home depends upon having the potatoes mealy and not soggy. It was so in everything. How are we going to live when we are all educated, without knowing how to live? Then I found that the masses here in New York did not know any better than the classes how to live. Don't think it is just a matter of cooking. It is knowing how, generally, to make the most of yourself and of your opportunities, and have a nice world to live in, a thrifty, self-helpful, disciplined world. Is education giving us this? And then we think that organization will do it, organization instead of self-development. We think we can organize life, as they are trying to organize art. They have organized art as they have the production of cotton.

“Did I tell you I was in that? No? I used to draw in school, and after I had worked in the Settlement here in New York, and while I was working down on the East Side, it came over me that maybe I had one talent wrapped in a napkin; and I have been taking lessons in Fifty-seventh Street with the thousand or two young women who do not know how to boil potatoes, but are pursuing the higher life of art. I did not tell you this because I knew you would say that I am just as inconsistent as you are. But I am not. I have demonstrated the fact that neither I nor one in a hundred of those charming devotees to art could ever earn a living by art, or do anything except to add to the mediocrity of the amazing art product of this free country.

“And you will ask, what now? I am going on in the same way. I am going to be a doctor. In college I was very well up in physiology and anatomy, and I went quite a way in biology. So you see I have a good start. I am going to attend lectures and go into a hospital, as soon as there is an opening, and then I mean to practice. One essential for a young doctor I have in advance. That is patients. I can get all I want on the East Side, and I have already studied many of them. Law and medicine are what I call real professions.”

However Celia might undervalue the calling that Philip had now entered on, he had about this time evidence of the growing appreciation of literature by practical business men. He was surprised one day by a brief note from Murad Ault, asking him to call at his office as soon as convenient.

Mr. Ault received him in his private office at exactly the hour named. Evidently Mr. Ault's affairs were prospering. His establishment presented every appearance of a high-pressure business perfectly organized. The outer rooms were full of industrious clerks, messengers were constantly entering and departing in a feverish rapidity, servants moved silently about, conducting visitors to this or that waiting-room and answering questions, excited speculators in groups were gesticulating and vociferating, and in the anteroom were impatient clients awaiting their turn. In the inner chamber, however, was perfect calm. There at his table sat the dark, impenetrable operator, whose time was exactly apportioned, serene, saturnine, or genial, as the case might be, listening attentively, speaking deliberately, despatching the affair in hand without haste or the waste of a moment.

Mr. Ault arose and shook hands cordially, and then went on, without delay for any conventional talk.

“I sent for you, Mr. Burnett, because I wanted your help, and because I thought I might do you a good turn. You see” (with a grim smile) “I have not forgotten Rivervale days. My wife has been reading your story. I don't have much time for such things myself, but her constant talk about it has given me an idea. I want to suggest to you the scene of a novel, one that would be bound to be a good seller.

“I could guarantee a big circulation. I have just become interested in one of the great transcontinental lines.” He named the most picturesque of them—one that he, in fact, absolutely controlled. “Well, I want a story, yes, I guess a good love-story—a romance of reality you might call it—strung on that line. You take the idea?”

“Why,” said Philip, half amused at the conceit and yet complimented by the recognition of his talent, “I don't know anything about railroads—how they are run, cost of building, prospect of traffic, engineering difficulties, all that—nothing whatever.”

“So much the better. It is a literary work I want, not a brag about the road or a description of its enterprise. You just take the line as your scene. Let the story run on that. The company, don't you see, must not in any way be suspected with having anything to do with it, no mention of its name as a company, no advertisement of the road on a fly-leaf or cover. Just your own story, pure and simple.”

“But,” said Philip, more and more astonished at this unlooked-for expansion of the literary field, “I could not embark on an enterprise of such magnitude.”

“Oh,” said Mr. Ault, complacently, “that will be all arranged. Just a pleasure trip, as far as that goes. You will have a private car, well stocked, a photographer will go along, and I think—don't you? a water-color artist. You can take your own time, stop when and where you choose—at the more stations the better. It ought to be profusely illustrated with scenes on the line—yes, have colored plates, all that would give life and character to your story. Love on a Special, some such title as that. It would run like oil. I will arrange to have it as a serial in one of the big magazines, and then the book would be bound to go. The company, of course, can have nothing to do with it, but I can tell you privately that it would rather distribute a hundred thousand copies of a book of good literature through the country than to encourage the railway truck that is going now.

“I shouldn't wonder, Mr. Burnett, if the public would be interested in having the Puritan Nun take that kind of a trip.” And Mr. Ault ended his explanation with an interrogatory smile.

Philip hesitated a moment, trying to grasp the conception of this business use of literature. Mr. Ault resumed:

“It isn't anything in the nature of an advertisement. Literature is a power. Why, do you know—of course you did not intend it—your story has encouraged the Peacock Inn to double its accommodations, and half the farmhouses in Rivervale are expecting summer boarders. The landlord of the Peacock came to see me the other day, and he says everything is stirred up there, and he has already to enlarge or refuse application.”

“It is very kind in you, Mr. Ault, to think of me in that connection, but I fear you have over-estimated my capacity. I could name half a dozen men who could do it much better than I could. They know how to do it, they have that kind of touch. I have been surprised at the literary ability engaged by the great corporations.”

Mr. Ault made a gesture of impatience. “I wouldn't give a damn for that sort of thing. It is money thrown away. If I should get one of the popular writers you refer to, the public would know he was hired. If you lay your story out there, nobody will suspect anything of the sort. It will be a clean literary novel. Not travel, you understand, but a story, and the more love in it the better. It will be a novelty. You can run your car sixty miles an hour in exciting passages, everything will work into it. When people travel on the road the pictures will show them the scenes of the story. It is a big thing,” said Mr. Ault in conclusion.

“I see it is,” said Philip, rising at the hint that his time had expired. “I am very much obliged to you, Mr. Ault, for your confidence in me. But it is a new idea. I will have to think it over.”

“Well, think it over. There is money in it. You would not start till about midsummer. Good-day.”

A private car! Travel like a prince! Certainly literature was looking up in the commercial world. Philip walked back to his publishers with a certain elasticity of step, a new sense of power. Yes, the power of the pen. And why not? No doubt it would bring him money and spread his name very widely. There was nothing that a friendly corporation could not do for a favorite. He would then really be a part of the great, active, enterprising world. Was there anything illegitimate in taking advantage of such an opportunity? Surely, he should remain his own master, and write nothing except what his own conscience approved. But would he not feel, even if no one else knew it, that he was the poet-laureate of a corporation?

And suddenly, as he thought how the clear vision of Evelyn would plunge to the bottom of such a temptation, he felt humiliated that such a proposition should have been made to him. Was there nothing, nobody, that commercialism did not think for sale and to be trafficked in?

Nevertheless, he wrote to Alice about it, describing the proposal as it was made to him, without making any comment on it.

Alice replied speedily. “Isn't it funny,” she wrote, “and isn't it preposterous? I wonder what such people think? And that horrid young pirate, Ault, a patron of literature! My dear, I cannot conceive of you as the Pirate's Own. Dear Phil, I want you to succeed. I do want you to make money, a lot of it. I like to think you are wanted and appreciated, and that you can get paid better and better for what you do. Sell your manuscripts for as good a price as you can get. Yes, dear, sell your manuscripts, but don't sell your soul.”