Affairs run briskly prosperous with Andrew, and he finds himself engaged in half the litigation of the Cumberland. There is little money, but the region owns a currency of its own. Some wise man has said that the circulating medium of Europe is gold, of Africa men, of Asia women, of America land. The client's of Andrew reward his labors with land, and many a “six-forty,” by which the slang of the Cumberland identifies a section of land, becomes his. Finally he owns such an array of wilderness square miles, polka-dotted about between the Cumberland and the Mississippi, that the aggregate acreage swells into the thousands. Those acres, however, are hardly more valuable than are the brown leaves wherewith each autumn carpets them. While the ardent Andrew is pushing his way at the bar, and accumulating “six-forties,” he continues to board at the widow Donelson's. The blooming Rachel delights in his society--so polished, so splendidly different from that of the drunkard Robards! Once or twice, too, when Andrew, in his saddlebag excursions from court to court, has a powder-burning brush with Indians and saves his sandy scalp by a narrowish margin, the red cheek of Rachel is seen to whiten. That is to say, the drunkard Robards sees it whiten; the purblind Andrew never once observes that mark of tender concern. The pistol repute of the decisive Andrew serves when he is by to stifle remark on the lip of the recreant Robards. But there come hours when the latter has the blooming Rachel to himself, at which time he raves like one demon-possessed. He avers that the unconscious Andrew is the lover of the blooming Rachel, and in so doing lies like an Ananias. However, the drunken one has the excuse of jealousy; which emotion is not only green-eyed but cross-eyed, and of all things--as history shows--most apt to mislead the accurate vision of folk. [Illustration: 0063] Andrew overflows of sentiment, and often in moments of loneliness turns homesick. This is the more marvelous, since never from his very cradle days has he had a home. Being homesick--one may as well call it that, for want of a better word--he goes out to the orchard fence, a lonely spot, cut off from view by intercepting bushes, and devotes himself to melancholy. This melancholy, as often happens with high-strung, vanity-bitten young gentlemen, is for the greater part nothing more than the fomentations of his egotism and conceit. But Andrew does not know this truth, and wears a fine tragic air as one beset of what poets term “a nameless grief.”