LITMIR.BIZ

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could be a painter if he liked—up to a certain point,” said Mrs. Saintsbury. “Or he could be any one of half-a-dozen other things—his last craze was journalism; but you know what I mean by the artistic temperament: it's that inability to be explicit; that habit of leaving things vague and undefined, and hoping they'll somehow come out as you want them of themselves; that way of taking the line of beauty to get at what you wish to do or say, and of being very finicking about little things and lag about essentials. That's what I mean by the artistic temperament.”

      “Yes; that's terrible,” sighed Mrs. Pasmer, with the abstractly severe yet personally pitying perception of one whose every word and act was sincere and direct. “I know just what you mean. But how does it apply to Mr. Mavering?”

      “It doesn't, exactly,” returned her friend. “And I'm always ashamed when I say, or even think, anything against Dan Mavering. He's sweetness itself. We've known him ever since he came to Harvard, and I must say that a more constant and lovely follow I never saw. It wasn't merely when he was a Freshman, and he had that home feeling hanging about him still that makes all the Freshmen so appreciative of anything you do for them; but all through the Sophomore and Junior years, when they're so taken up with their athletics and their societies and their college life generally that they haven't a moment for people that have been kind to them, he was just as faithful as ever.”

      “How nice!” cried Mrs. Pasmer.

      “Yes, indeed! And all the allurements of Boston society haven't taken him from us altogether. You can't imagine how much this means till you've been at home a while and seen how the students are petted and spoiled nowadays in the young society.”

      “Oh, I've heard of it,” said Mrs. Pasmer. “And is it his versatility and brilliancy, or his amiability, that makes him such a universal favourite?”

      “Universal favourite? I don't know that he's that.”

      “Well, popular, then.”

      “Oh, he's certainly very much liked. But, Jenny, there are no universal favourites in Harvard now, if there ever were: the classes are altogether too big. And it wouldn't be ability, and it wouldn't be amiability alone, that would give a man any sort of leadership.”

      “What in the world would it be?”

      “That question, more than anything else, shows how long you've been away, Jenny. It would be family—family, with a judicious mixture of the others, and with money.”

      “Is it possible? But of course—I remember! Only at their age one thinks of students as being all hail-fellow-well-met with each other—”

      “Yes; it's hard to realise how conventional they are—how very much worldlier than the world—till one sees it as one does in Cambridge. They pique themselves on it. And Mr. Saintsbury”—she was one of those women whom everything reminds of their husbands “says that it isn't a bad thing altogether. He says that Harvard is just like the world; and even if it's a little more so, these boys have got to live in the world, and they had better know what it is. You may not approve of the Harvard spirit, and Mr. Saintsbury doesn't sympathise with it; he only says it's the world's spirit. Harvard men—the swells—are far more exclusive than Oxford men. A student, 'comme il faut', wouldn't at all like to be supposed to know another student whom we valued for his brilliancy, unless he was popular and well known in college.”

      “Dear me!” cried Mrs. Pasmer. “But of course! It's perfectly natural, with young people. And it's well enough that they should begin to understand how things really are in the world early; it will save them from a great many disappointments.”

      “I assure you we have very little to teach Harvard men in those matters. They could give any of us points. Those who are of good family and station know how to protect themselves by reserves that the others wouldn't dare to transgress. But a merely rich man couldn't rise in their set any more than a merely gifted man. He could get on to a certain point by toadying, and some do; but he would never get to be popular, like Dan Mavering.”

      “And what makes him popular?—to go back to the point we started from,” said Mrs. Pasmer.

      “Ah, that's hard to say. It's—quality, I suppose. I don't mean social quality, exactly; but personal charm. He never had a mean thought; of course we're all full of mean thoughts, and Dan is too; but his first impulse is always generous and sweet, and at his age people act a great deal from impulse. I don't suppose he ever met a human being without wanting to make him like him, and trying to do it.”

      “Yes, he certainly makes you like him,” sighed Mrs. Pasmer. “But I understand that he can't make people like him without family or money; and I don't understand that he's one of those 'nouveaux riches' who are giving Harvard such a reputation for extravagance nowadays.”

      There was an inquiring note in Mrs. Pasmer's voice; and in the syringa-scented obscurity, which protected the ladies from the expression of each other's faces, Mrs. Saintsbury gave a little laugh of intelligence, to which Mrs. Pasmer responded by a murmur of humorous enjoyment at being understood.

      “Oh no! He isn't one of those. But the Maverings have plenty of money,” said Mrs. Saintsbury, “and Dan's been very free with it, though not lavish. And he came here with a reputation for popularity from a very good school, and that always goes a very great way in college.”

      “Yes?” said Mrs. Pasmer, feeling herself getting hopelessly adrift in these unknown waters; but reposing a pious confidence in her pilot.

      “Yes; if a sufficient number of his class said he was the best fellow in the world, he would be pretty sure to be chosen one of the First Ten in the 'Dickey'.”

      “What mysteries!” gasped Mrs. Pasmer, disposed to make fun of them, but a little overawed all the same. “What in the world is the 'Dickey'?”

      “It's the society that the Freshmen are the most eager to get into. They're chosen, ten at a time, by the old members, and to be one of the first ten—the only Freshmen chosen—is something quite ineffable.”

      “I see.” Mrs. Pasmer fanned herself, after taking a long breath. “And when he had got into the———”

      “Then it would depend upon himself, how he spent his money, and all that, and what sort of society success he was in Boston. That has a great deal to do with it from the first. Then another thing is caution—discreetness; not saying anything censorious or critical of other men, no matter what they do. And Dan Mavering is the perfection of prudence, because he's the perfection of good-nature.”

      Mrs. Pasmer had apparently got all of these facts that she could digest. “And who are the Maverings?”

      “Why, it's an old Boston name—”

      “It's too old, isn't it? Like Pasmer. There are no Maverings in Boston that I ever heard of.”

      “No; the name's quite died out just here, I believe: but it's old, and it bids fair to be replated at Ponkwasset Falls.”

      “At Ponk—”

      “That's where they have their mills, or factories, or shops, or whatever institution they make wall-paper in.”

      “Wall-paper!” cried Mrs. Pasmer, austerely. After a moment she asked: “And is wall-paper the 'thing' now? I mean—” She tried to think of some way of modifying the commonness of her phrase, but did not. After all, it expressed her meaning.

      “It isn't the extreme of fashion, of course. But it's manufacturing, and it isn't disgraceful. And the Mavering papers are very pretty, and you can live with them without becoming anaemic, or having your face twitch.”

      “Face twitch?” echoed Mrs. Pasmer.

      “Yes; arsenical poisoning.”

      “Oh! Conscientious as well as aesthetic. I see. And does Mr. Mavering put his artistic temperament into them?”

      “His father does. He's a very interesting man. He has

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