to be inhuman—have given the central figure of this story less cursory attention. Now if you had noticed anything about him, it would have been chiefly to notice how little he was noticeable. He wore the black morning coat, the black tie, and the speckled grey nether parts (descending into shadow and mystery below the counter) of his craft. He was of a pallid complexion, hair of a kind of dirty fairness, greyish eyes, and a skimpy, immature moustache under his peaked indeterminate nose. His features were all small, but none ill-shaped. A rosette of pins decorated the lappel of his coat. His remarks, you would observe, were entirely what people used to call _cliché_, formulae not organic to the occasion, but stereotyped ages ago and learnt years since by heart. “This, madam,” he would say, “is selling very well.” “We are doing a very good article at four three a yard.” “We could show you something better, of course.” “No trouble, madam, I assure you.” Such were the simple counters of his intercourse. So, I say, he would have presented himself to your superficial observation. He would have danced about behind the counter, have neatly refolded the goods he had shown you, have put on one side those you selected, extracted a little book with a carbon leaf and a tinfoil sheet from a fixture, made you out a little bill in that weak flourishing hand peculiar to drapers, and have bawled “Sayn!” Then a puffy little shop-walker would have come into view, looked at the bill for a second, very hard (showing you a parting down the middle of his head meanwhile), have scribbled a still more flourishing J. M. all over the document, have asked you if there was nothing more, have stood by you—supposing that you were paying cash—until the central figure of this story reappeared with the change. One glance more at him, and the puffy little shop-walker would have been bowing you out, with fountains of civilities at work all about you. And so the interview would have terminated. But real literature, as distinguished from anecdote, does not concern itself with superficial appearances alone. Literature is revelation. Modern literature is indecorous revelation. It is the duty of the earnest author to tell you what you would not have seen—even at the cost of some blushes. And the thing that you would not have seen about this young man, and the thing of the greatest moment to this story, the thing that must be told if the book is to be written, was—let us face it bravely—the Remarkable Condition of this Young Man’s Legs.