It took Severne a week to get over it. Ten days after that he returned East. He had finished a masterpiece. The flight down the canon was pictured so vividly that you could almost hear the crack of the pistols, and the hero's sentiments were so well described that in reading about them you became excited yourself. Severne read it three times, and he thought it as good the third time as the first. Then he copied it all out on the typewriter. This is the severest test a writer can give his work. The most sparkling tale loses its freshness when run through the machine, especially if the unfortunate author cannot make the thing go very fast. It seemed as good even after this ordeal. "Behold," said he, congratulating himself, "this is the best story I ever wrote! Blamed if it isn't one of the best stories I ever _read_! Your romanticists claim that the realistic story has no charm, nor excitement, nor psychical thrill. This'll show them!" So he hurried to deliver it to Brown. Then he posed industriously to himself, and tried hard to do some more glooming, but it was difficult work. Someway he felt his cause not hopeless. This masterpiece would go far to convince her that he was right after all. Three days later he received a note from Brown asking him to call. He did so. The editor handed him back his story, more in sorrow than in anger, and spoke reprovingly about deserting one's principles. Brown was conscientious. He believed that the past counted nothing in face of the present. Severne pressed for an explanation. Then said Brown: "Severne, I have used much of your stuff, and I have liked it. The sentences have been crisp. The adjectives have been served hot. You have eschewed poetic connotation. And, above all, you have shown men and life as they are. I am sorry to see that you have departed from that noble ideal." "But," cried Severne, in expostulation, "do not these qualities appear in my story?" "At first they do," responded Brown, "but later--ah!" He sighed. "What do you mean?" "The ride down the canon," he explained. "The sentences are crisp and the adjectives hot. But, alas! there is much poetic connotation, and, so far from representing real life, it seems to me only the perperoid lucubrations of a disordered imagination." "Why, that part is the most realistic in the whole thing!" cried the unhappy author, in distress. "No," replied the editor, firmly, "it is not. It is not realism at all. Even if there were nothing objectionable about the incident, the man's feelings are frightfully overdrawn. No man ever was such an everlasting coward as you make out your hero! I should be glad to see something else of yours--but that, no!"