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“Why, he writes–alone–like the Lord Chancellor!” said another man.

“Better,” said another. “I know his writing. He couldn’t support his family this way.”

Then, a woman noticed the natural fluffiness of the hermit’s hair, and another woman, her friend, mentioned of the salmon’s gills that you could almost see him gasp. Then, an elderly country gentleman stepped forward and asked the modest man how he executed his work? And the modest man took some scraps of brown paper with colours in ’em out of his pockets, and showed them. Then a fair-complexioned donkey, with sandy hair and spectacles, asked if the hermit was a portrait? To which the modest man, casting a sorrowful glance upon it, replied that it was, to a certain extent, a recollection of his father. This caused a boy to yelp out, “Is the Pinter a smoking the pipe your mother?” who was immediately shoved out of view by a sympathetic carpenter with his basket of tools at his back.

At every fresh question or remark the crowd leaned forward more eagerly, and dropped the halfpence more freely, and the modest man gathered them up more meekly. At last, another elderly gentleman came to the front, and gave the artist his card, to come to his office to-morrow, and get some copying to do. The card was accompanied by sixpence, and the artist was profoundly grateful, and, before he put the card in his hat, read it several times by the light of his candles to fix the address well in his mind, in case he should lose it. The crowd was deeply interested by this last incident, and a man in the second row with a gruff voice growled to the artist, “You’ve got a chance in life now, ain’t you?” The artist answered (sniffing in a very low-spirited way, however), “I’m thankful to hope so.” Upon which there was a general chorus of “You are all right,” and the halfpence slackened very decidedly.

I felt myself pulled away by the arm, and Mr. Click and I stood alone at the corner of the next crossing.

“Why, Tom,” said Mr. Click, “what a horrid expression of face you’ve got!”

“Have I?” says I.

“Have you?” says Mr. Click. “Why, you looked as if you would have his blood.”

“Whose blood?”

“The artist’s.”

“The artist’s?” I repeated. And I laughed, frantically, wildly, gloomily, incoherently, disagreeably. I am sensible that I did. I know I did.

Mr. Click stared at me in a scared sort of a way, but said nothing until we had walked a street’s length. He then stopped short, and said, with excitement on the part of his forefinger:

“Thomas, I find it necessary to be plain with you. I don’t like the envious man. I have identified the cankerworm that’s pegging away at YOUR vitals, and it’s envy, Thomas.”

“Is it?” says I.

“Yes, it is,” says be. “Thomas, beware of envy. It is the green- eyed monster which never did and never will improve each shining hour, but quite the reverse. I dread the envious man, Thomas. I confess that I am afraid of the envious man, when he is so envious as you are. Whilst you contemplated the works of a gifted rival, and whilst you heard that rival’s praises, and especially whilst you met his humble glance as he put that card away, your countenance was so malevolent as to be terrific. Thomas, I have heard of the envy of them that follows the Fine-Art line, but I never believed it could be what yours is. I wish you well, but I take my leave of you. And if you should ever got into trouble through knifeing–or say, garotting–a brother artist, as I believe you will, don’t call me to character, Thomas, or I shall be forced to injure your case.”