might spend your life, say, in studying the London street boy, and write never so movingly and humourously about him, yet would he never know your name; and though Whitechapel makes novelists, it does so without knowing it,—makes them to be read in Mayfair,—just as it never wears the dainty hats and gowns its weary little milliners and seamstresses make through the day and night. It is Capital and Labour over again, for in literature also we reap in gladness what others have sown in tears. And now, after these admirable reflections, I am about to make such "art" as I can of another man's tragedy, as will appear in the next chapter. CHAPTER XIII A STRANGE WEDDING My moralisings were cut short by my entering a village, and, it being about the hour of noon, finding myself in the thick of a village wedding. Undoubtedly the nicest way to get married is on the sly, and indeed it is at present becoming quite fashionable. Many young couples of my acquaintance, who have had no other reason for concealing the fact beyond their own whim, have thus slipped off without saying a word to anybody, and returned full-blown housekeepers, with "at home" days of their own, and everything else like real married people,—for, as said an old lady to me, "one can never be sure of married people nowadays unless you have been at the wedding." My friend George Muncaster, who does everything charmingly different from any one else, hit upon one of the quaintest plans for his marriage. It was simple, and some may say prosaic enough. His days being spent at a great office in the city, he got leave of absence for a couple of hours, met his wife, went with her to the registrar's, returned to his office, worked the rest of the day as usual, and then went to his new home to find his wife and dinner awaiting him,—all just as it was going to be every night for so many happy years. Prosaic, you say! Not your idea of poetry, perhaps, but, after a new and growing fashion in poetry, truly poetic. George Muncaster's marriage is a type of the new poetry, the poetry of essentials. The old poetry, as exemplified in the old-fashioned marriage, is a poetry of externals,
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