Side by side with this picture from life he had set the ideal woman, pure, and perfect, and true, lovely in face and form, but more lovely in mind and soul. Between these two he had placed his hero, wayward, mistaken, choosing the poison-flower, instead of the sweet thornless rose, led through evil ways to a tragical end, comforted by the angel-woman only as chill death sealed his lips. Bitterness and sorrow were the dominant notes of the verse, but it was a pleasing bitter, and a melodious sadness. There was a run on Mudie’s for ‘A Life Picture, and other Poems,’ by Clifford Hawthorn. The book was widely reviewed, but while some critics hailed the bard as that real poet for whom the age had been waiting, others dissected the pages with a merciless scalpel, and denounced the writer as a profligate and an infidel. The fugitive pieces, brief lyrics some of them, with the delicate finish of a cabinet picture, won almost universal favour. In a word Maurice Clissold’s first venture was a success. He was not unduly elated. He did not believe in himself as the poet for whom the expectant age had been on the look-out. He had measured himself against giants, and was pretty clear in his estimate of his own powers. This pleasant taste of the strong wine of success made him only more intent upon doing better. It stimulated ambition, rather than satisfied it. Perhaps the adverse criticism did him most good, for it created just that spirit of opposition which is the best incentive to effort. Very happy was the bachelor-poet’s life in those days. He had lived just long enough to survive the pain of his first disappointment. It was a bitter memory still, but a memory which but rarely recurred to mar his peace. He had friends who understood him—two or three real friends, who with his publisher alone knew the secret of his authorship. He had an occupation he loved, just enough ambition to give a stimulus to life, and he had not a care. He had visited the Penwyns in Eton Square several times during the course of the season, but he had been careful not to go to that very pleasant house too often. Afternoon tea in Mrs. Penwyn’s drawing-room—the smaller drawing-room, with its wealth of flowers, was a most delightful manner of wasting an hour or so. But Maurice felt somehow that it was an indulgence he must not give himself too often. He had a lurking fear of Viola. She was very fair, and sweet and gentle, like the girl he had loved, and though he had, as yet, regarded her with only the most fraternal feeling—nay, a sentiment approaching indifference,—he had an idea that there might be peril in too much friendliness. Dropping in one afternoon at the usual hour, he was pleased to see his own book on one of the gipsy tables. ‘Have you read this “Life Picture,” which the critics have been abusing so vigorously?’ he asked.