With a few words of thanks Christian left the room. Vaguely and mechanically he wandered upstairs to his own particular den. It was a disappointing little chamber. The chaos one expects to find on the desk of a literary man was lacking here. No papers lay on the table in artistic disorder. The presiding genius of the room was method--clear-headed, practical method. The walls were hidden by shelves of books, from the last half-hysterical production of some vain woman to the single-volume work of a man's lifetime. Many of the former were uncut, the latter bore signs of having been read and studied. The companionship of these silent friends brought peace and contentment to the young man's spirit. He sat wearily down, and, leaning his chin upon his folded arms, he thought. Gradually there came into his mind pictures of the fair open country, of rolling hills and quiet valleys, of quiet lanes and running waters. A sudden yearning to breathe God's pure air took possession of his faculties. Mr. Bodery had gained the day. In the room below Mr. Morgan wrote on in his easy, comfortable manner. The editor was still thoughtfully playing with his pencil. The sharp little boy was standing on his head in the passage. At last Mr. Bodery rose from his chair and began his preparations for leaving. As he brushed his hat he looked towards his companion and said: “That young fellow is worth you and me rolled into one.” “I recognised that fact some years ago,” replied the sub-editor, wiping his pen on his coat. “It is humiliating, but true. Ha, ha!” CHAPTER IV BURDENED Christian Vellacott soon descended the dingy stairs and joined the westward-wending throng in the Strand. In the midst of the crowd he was alone, as townsmen soon learn to be. The passing faces, the roar of traffic, and the thousand human possibilities of interest around him in no way disturbed his thoughts. In his busy brain the traffic of thought, passing and repassing, crossing and recrossing, went on unaffected by outward things. A modern poet has confessed that his muse loves the pavement--a bold confession, but most certainly true. Why does talent gravitate to cities? Because there it works its best--because friction necessarily produces brilliancy. Nature is a great deceiver; she draws us on to admire her insinuating charms, and in the contemplation of them we lose our energy.