LITMIR.BIZ

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had not the Chairman of the Music Committee broken in jocularly with:

      "Unless he chooses to make it five hundred dollars, eh?" And he grinned maddeningly as he added: "If you'll give five hundred dollars we'll put a brass plate on it and call it 'The Carson Memorial,' eh? Ha—ha—ha."

      Carson rose from his seat, walked into the hall and put on his hat.

      "Mr.—ah—Blank," said he to the financier, "would you and Mr. Hicks mind walking down to the church with me?"

      "Say, he's going to put it in for us!" whispered Hicks, the Chairman of the Music Committee, rubbing his hands gleefully.

      "Don't you want me, Carson?" I asked, rising.

      "No—you stay here!" he replied, shortly.

      And then the three went out, while I lit a cigar and pottered about Carson's library. In half an hour he returned alone. His face was red and his hand trembled slightly, but otherwise he had regained his composure.

      "Well?" said I.

      "Well, I'm going to put it up," said he.

      "Now—see here, Carson," I remonstrated. It seemed so like a rank imposition on his generosity. To give the organ was enough, without putting him to the expense of erecting it.

      "Don't interrupt," said he. "I'm not going to put it up in the organ-loft, as you suppose, but in a place where it is likely to be quite as much appreciated."

      "And that?" I asked.

      "In the hay-loft," he replied.

      "I don't blame you," said I, after a pause.

      "Neither do I," said he.

      "But why did you go down to the church?" I asked.

      "Well," he explained, chuckling in spite of himself. "It was this way. My grandfather, I have been told, used to be able to express himself profanely without using a profane word, but I can't, and there were one or two things I wanted to say to those men that wouldn't go well with the decorations of my house, and which couldn't very well be said to a guest in my house."

      "But, man alive, you didn't go to the church to do your swearing?"

      "No," he answered. "I did it on the way down; and," he added, enthusiastically, "I did it exceeding well."

      "But why the church?" I persisted.

      "I thought after what I had to say to them," said he, "that they might need a little religious consolation."

      And with that the subject was dropped.

      The organ, as Carson threatened, was transferred to the hay-loft and not to the church, and as for the two Chairmen, they have several times expressed themselves to the effect that Carson is a very irritable, not to say profane, person.

      But I am still inclined to think him a philosopher. Under the provocation any man of a less philosophical temperament might have forgotten the laws of hospitality and cursed his offending guests in his own house.

      THE PLOT THAT FAILED

      Among the most promising residents of Dumfries Corners some ten years ago was a certain Mr. Richard Partington Smithers, whose brilliant début and equally sudden extinguishment in the field of literary endeavor have given rise from time to time to no little discussion. He was young, very young, indeed, at the time of his great literary success, and his friends and neighbors prophesied great things for him. Yet nothing has since come from his pen, and many have wondered why.

      Thanks to Mr. Smithers himself I am enabled to make public the story of his sudden withdrawal from the ranks of the immortals when on the very threshold of the temple of fame.

      Ten years have changed his point of view materially, and an experience that once seemed tragedy to him is now in his eyes sufficiently tinged with comedy, and his own position among us is so secure that he is willing that the story of his failure should go forth.

      After trying many professions Smithers had become a man of schemes. He devised plans that should enrich other people. Unfortunately, he sold these to other people on a royalty basis, and so failed to grow rich himself. If he had only sold his plans outright and collected on the spot he might sometime have made something; but this he did not do, and as a consequence he rarely made anything that was at all considerable, and finally, to keep the wolf out of his dining-room, he was forced to take up poetry, that being in his estimation the last as well as the easiest resource of a well-ordered citizen.

      "I always threatened to take up poetry when all else had failed me," he said to himself; "therefore I will now proceed to take up poetry. Writing is purely manual labor, anyhow. Given a pad, a pencil, and perseverance—three very important p's—and I can produce a fourth, a poem, in short order. Sorry I didn't get to the end of my other ropes before, now that I think of it."

      And so he sat down and took up poetry.

      He put it down again, however, very quickly.

      "Dear me!" he ejaculated. "Now, who'd have thought that? Here I have the pencil and the pad and the perseverance, but I'm hanged if the poem is quite as easy as I had supposed. These little conceits aren't so easy to write, after all, even when they contain no ideas. Of course, it isn't hard to say:

      "'Sweet month of May, time of the violet wild,

      The dandelion golden, and the mild

      Ethereal sweetness of the blossoming trees,

      The soft suggested calor of the breeze,

      The ruby-breasted robin on the lawn,

      The thrushes piping sweetly at the dawn,

      The gently splashing waters by the weir,

      The rose- and lilac-laden atmosphere'—

      "because, after all, it's nothing but a catalogue of the specialties of May; but how the dickens to wind the thing up is what puzzles me. It's too beautiful and truly poetic to be spoiled by a completing couplet like:

      "'And in the distant dam the croaking frog

      Completes, O May, thy wondrous catalogue.'

      "Nobody would take a thing like that—and pay for it; but what else can be said? What do the violets wild, the dandelion, the ruby-breasted robin, and the lilac-laden atmosphere and other features all do, I'd like to know? What one of many verbs—oh, tut! Poetry very evidently is not in my line, after all. I'll turn the vials of my vocabulary upon essay-writing."

      Which Partington, as his friends called him, proceeded at once to do. He applied himself closely to his desk for one whole morning, and wrote a very long paper on "The Tendency of the Middle Ages Towards Artificialism." Hardly one of the fifteen thousand words employed by him in the construction of this paper held fewer than five syllables, and one or two of them got up as high as ten, a fact which led Partington to think that the editor of the South American Quarterly Review ought at least to have the refusal of it. Apparently the editor of the South American Quarterly Review was only too eager to have the refusal of it, because he refused it, or so Partington observed in confidence to an acquaintance, in less time than it could possibly have taken him to read it. After that the essay became emulous of men like Stanley and Joe Cook. It became a great traveller, but never failed to get back in safety to its fond parent, Richard Partington Smithers, as our hero now called himself. Finally, Partington did manage to realize something on his essay—that is to say, indirectly—for after "The Tendency of the Middle Ages Towards Artificialism" had gone the rounds of all the reviews, monthlies, dailies, and weeklies in the country, its author pigeon-holed it, and, stringing together the printed slips it had brought back to him upon the various occasions of its return, he sent these under the head of "How Editors Reject" to an evening journal in Boston, whose readers could know nothing of the subject, for reasons that are familiar to those who are acquainted with American letters. For this he not only received the editor's thanks, but a six months' subscription to the journal in question—the latter of which was useful, since every night, excluding Sundays, its columns contained much valuable information on such subjects as "How to Live on Fifty Dollars a Year," "How to Knit an Afghan with One Needle," and "How Not to

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