Had he not cried out in his own Hamlet: "O God, I could be bounded in a nutshell and count myself a king of infinite space, were it not that I have bad dreams--which dreams indeed are ambition; for the very substance of the ambitious is merely the shadow of a dream--and I hold ambition of so airy and light a quality that it is but a shadow's shadow." After all, the greatest of men were granted but a lesser oblivion than the least. And in that overpowering thought there was a strange comfort, the comfort of misery finding itself in an infinite company. The night was thick upon Avon. The swans had gone somewhere. The lights in the houses had a sleepy look. It was time to go to bed. Joel yawned with the luxury of having wearied his heart with emotion. He had thought himself out for once. It was good to be tired. He put his oars into the stream and, dipping up reflected stars, sent them swirling in a doomsday chaos after him with the defiant revenge of a proud soul who scorns the universe that grinds him to dust. The old boatman was surly with waiting. He did not thank the foreigner for his liberal largeness, and did not answer his good night. As Wixon left the river and took the road for his hotel, the nightingale (that forever anonymous nightingale, only one among the millions of forgotten or throttled songsters) revolted for a moment or two against the stifling doom and shattered it with a wordless sonnet of fierce and beautiful protest--"The tawny-throated! What triumph! hark!--what pain!" It was as if Luke Mellows had suddenly found expression in something better than words, something that any ear could understand, an ache that rang. Wixon stopped, transfixed as by flaming arrows. He could not understand what the bird meant or what he meant, nor could the bird. But as there is no laughter that eases the heart like unpacking it of its woes in something beyond wording, so there is nothing that brightens the eyes like tears gushing without shame or restraint. Joel Wixon felt that it was a good, sad, mad world, and that he had been very close to Shakespeare--so close that he heard things nobody had ever found the phrases for--things that cannot be said but only felt, and transmitted rather by experience than by expression from one proud worm in the mud to another. FOOTNOTE: [10] Copyright, 1920, by P. F. Collier & Son, Inc. Copyright, 1921, by Rupert Hughes. HIS JOB[11] #By# GRACE SARTWELL MASON From _Scribner's Magazine_