of an anecdote is quite beyond dispute. The original material is really for the most part common property, and usually very poor property—prairie land, in fact. Personal rights come in when one has put capital into the land, has cleared and ploughed and sown it; then it's his own, and he is entitled to fence it, and he cannot be dispossessed except on fair terms.”  

 “Which would be?”  

 “Well, that depends. He might sell to an editor, or he might give the use of it to a friend. Personally, as an artist of now thirty years' standing, I do not part with my work; it may be an old-fashioned prejudice, but I don't like to let it go to the public.”  

 “But to a friend?”  

 “Of course that is different; still, how few can be trusted. Now I once gave Higginbotham a very nice little thing of French extraction, but not too subtle, with just enough body to suit our palate. He beard me tell it three times in exactly the same form, and I pledged him to make no changes, for his hand is heavy. Would you believe me?”—and my friend sat up in his indignation—“he gave it in my presence—but that did not matter—and left out the best point, which I now think he had never seen. Life has various trials in store for us as times go on,” and Bevan leant back again. “Some are greater, some are less, but among our minor vexations I know none like sitting at one end of a table and making talk with your partner, while a rank amateur at the other end mangles one of your pet anecdotes.”  

 “Torture, I should think; but isn't it rather trying when people miss the point altogether or ask stupid questions?”  

 “Artists must take their chance of that, and one is careful; besides, I've distinctly enjoyed such remarks,” and he looked quite genial. “It's like a painter hearing the people criticize the pictures on a free day. Once or twice I've got a very happy addition to a story in that way. After all, the main end of a raconteur must be to give pleasure. Yes”—and he began to glow—“no art is wholesome which lives for itself or for a professional class. Art must be a criticism of life and an aid to better living. No one can tell how much story-telling has contributed to the brightness and elevation of life. How? By correcting foibles, by explaining human nature, by destroying cant, by infusing good humour, by diminishing scandal, by—but I remind myself that a raconteur ought never to be excited or eloquent. He may, however, be a philanthropist, as it would appear. Do you know,” with a tone of great delight, 

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