Two years later, this proud, poor lady--the last of her line--died, leaving a fortune of three hundred thousand dollars to her maid. Three brothers came like a storm out of Illinois. The will was contested and eventually broken. The faithful maid proved to be a villain who with fiendish cunning had turned her mistress against her entire kin. She ended in the penitentiary. And Josiah Burt bought the Frondham mansion. * * * * * Into the press, then, of Quincy’s summer went these three new ingredients: a feeling of Rhoda’s married life, the tide-like load upon him of all the first year’s happenings at college, and Clarice. The awful inconsequentiality of life, the absoluteness of each moment and the doom of never-more that lurks in each moment’s easy, gliding pace, the state of death to which inexorably each new state of life is born--these are the things of which youth happily is unaware. He plunges on like a swift runner upon a path pied with sweet flowers. He does not really know that these flowers are everything and the goal, a mere place for dropping off. He says: “These flowers are as naught, to the flowers yonder.” So he suffers them to escape past him in a blurred line of recollection. Their intimate detail he sacrifices to a distant vagueness. He refrains from fingering the down on their petals, from breathing their live perfume in order to be possessed by a monster builded of his own energy. If the truth flashed his way, he would stand still and the world would stand still. He would fear to venture and to desire. Or his steps would become the groping of a blind man in a wilderness. He would make a universe out of a single flower at his foot; not make a flower at his foot out of the universe. But the greater truth is doubtless that he should not know the truth; that he should press on unheeding. For courage is an ignorant and fresh-born thing that is wiser and older than wisdom.