le and all open; there is invitation in the air and success in
all his wide horizon. He is embarrassed which to choose, and is not
unlikely to waste years in dallying with his chances, before giving
himself to the serious tug and strain of a single object. He has no
traditions to bind him or guide him, and his impulse is to break away
from the occupation his father has followed, and make a new way for
himself.

Philip Sterling used to say that if he should seriously set himself for
ten years to any one of the dozen projects that were in his brain, he
felt that he could be a rich man. He wanted to be rich, he had a sincere
desire for a fortune, but for some unaccountable reason he hesitated
about addressing himself to the narrow work of getting it. He never
walked Broadway, a part of its tide of abundant shifting life, without
feeling something of the flush of wealth, and unconsciously taking the
elastic step of one well-to-do in this prosperous world.

Especially at night in the crowded theatre--Philip was too young to
remember the old Chambers' Street box, where the serious Burton led his
hilarious and pagan crew--in the intervals of the screaming comedy, when
the orchestra scraped and grunted and tooted its dissolute tunes, the
world seemed full of opportunities to Philip, and his heart exulted with
a conscious ability to take any of its prizes he chose to pluck.

Perhaps it was the swimming ease of the acting, on the stage, where
virtue had its reward in three easy acts, perhaps it was the excessive
light of the house, or the music, or the buzz of the excited talk between
acts, perhaps it was youth which believed everything, but for some reason
while Philip was at the theatre he had the utmost confidence in life and
his ready victory in it.

Delightful illusion of paint and tinsel and silk attire, of cheap
sentiment and high and mighty dialogue! Will there not always be rosin
enough for the squeaking fiddle-bow?

Do we not all like the maudlin hero, who is sneaking round the right
entrance, in wait to steal the pretty wife of his rich and tyrannical
neighbor from the paste-board cottage at the left entrance? and when he
advances down to the foot-lights and defiantly informs the audience that,
"he who lays his hand on a woman except in the way of kindness," do we
not all applaud so as to drown the rest of the sentence?

Philip never was fortunate enough to hear what would become of a man who
should lay his