The Heather-Moon. C. N. Williamson

I suppose it was both," Norman agreed; and Aline had retired too far within the rose-bower of happy memories to catch a suggestion of doubt in his voice.

      "I read once in a newspaper that he'd been a bootblack in Glasgow before he emigrated," Mrs. West said, as they turned away from the house again in their walk, and set their faces toward the distant gate. "It wasn't true. His father was a crofter on a little island somewhere near Skye. I think it's called Dhrum. I never heard of it before; and he had to excuse my ignorance, because I'm Canadian! It seems that a branch of the MacDonald family own the whole place and are great people there—lords of the isle. His name was MacDonald too, though his family were only peasants—clan connections, or whatever they call that sort of thing. I don't understand a bit, and I didn't like asking him to explain. It was too delicate a subject, though he appeared to be rather proud of his origin. Scotch peasants are apparently quite different from other peasants. You'll have to study up the differences and make lots of notes for the book. I'm no good at anything with dialect, or character sort of parts. You wouldn't think now, though, that Ian Somerled had ever been a peasant would you? He talked a lot about his father and mother—evidently he adored them. He said they'd be miracles anywhere out of Scotland, but there were many like them there. According to him there was nothing they hadn't read or couldn't quote by the yard, from Burns and Scott back to Shakespeare. That was the way he was brought up, and instead of wanting him to go on crofting like themselves, they were enchanted because he drew pictures on their unpainted doors and their whitewashed walls. They saved all their pennies to have him educated as an artist, and encouraged him—quite different from peasant parents in books. One day the 'meenister' called, and saw the boy's pictures. He thought them something out of the ordinary—pictures of castles and cathedrals they were, with people going in and coming out, and portraits of friends, and historical characters. After that he took a great interest in Ian, and taught him Latin and the few other things his wonderful parents didn't happen to know. When Ian was about thirteen or fourteen, the 'meenister' tried to get help for the little MacDonald from the great MacDonald, a disagreeable, cranky old man with one daughter. They thought they owned the whole world instead of one tiny island, and the man wouldn't do anything for the child. He simply poured contempt on 'clan ties.'"

      "That doesn't sound like the great folk of Scotland," said Basil, who for weeks had been reading little else but Scottish history, Scottish fiction, and Scottish poetry, in order to get himself in the right frame of mind for writing "the book." "I haven't come across a single instance of their being purse-proud or snobbish."

      "These weren't purse-proud, because their purses had nothing in them to be proud of," Aline explained. "Their branch of the MacDonalds had lost its money and its love of Scotland. Old Duncan MacDonald was the uncle of the last lord of Dhrum, who had to go away from his island for good and let his castle to 'aliens'—English people. When the nephew died later, Duncan inherited, but never lived at Dhrum. He only came there once in a while to visit the tenants who'd hired the castle from him, if they happened to be people he knew, and would 'do' him well. He and his daughter were mostly in London, where they had a flat, and prided themselves on knowing no Gaelic. They took pains to show that they considered the crofter's son a common brat, and resented the meenister's' expecting them to do anything for his future, just because his name happened to be MacDonald, and he lived in a hut on a remote point of their island. Ian didn't lose courage, though; and soon after the great snub he contrived to work his way somehow to Edinburgh. He wouldn't take the money his father and mother had saved up for him, because they were old and had been ill, and needed it themselves. But he did all kinds of queer jobs, and at last walked into the studio of a celebrated artist, saying he wanted to pay for some lessons. At first the man only laughed, but when he saw Ian's drawings, he was interested at once. He gave him lessons for nothing, and boasted of his protégé to other artists. It seems that a talent for both portraiture and architecture is very rare. When Ian was sixteen he won a big prize for the design of an important building which a lot of prominent architects had been trying for. Presently it came out that he was only a boy, a boy who could do wonderful portraits, too, and everybody began taking notice of him and writing enthusiastic praise in the papers. Some interviewer falsely reported that he'd called himself a cousin of the MacDonald of Dhrum, and disagreeable Duncan denied the relationship indignantly. He spoke to some one of Ian's father, who had just then died, as 'an ignorant old hay-cutter,' and the speech was repeated far and wide. You can imagine Ian Somerled forgetting an insult to his adored father! He dropped the name of MacDonald from that day, calling himself Somerled; and as he was all alone in the world—his mother was dead, too, and had never seen his success—he resolved to make a reputation in another country. Of course that was very young of him. He sees that now. He crossed to New York in the steerage, and vowed he'd never set foot in Scotland again, or take back his name of MacDonald, until old Duncan not only openly claimed him as a cousin, but begged him as a personal favour to return to Scotland."

      "That must have seemed like sentencing himself to perpetual banishment," said Basil.

      "I don't know. He appears to have had a kind of prophetic faith in his own powers of success. And he was right in every way. Duncan began to grovel years ago."

      In talking of Somerled, Aline had forgotten to listen for sounds of his approach. She was interested in the story she was telling—more interested than she was usually in the development of her own plots. But luckily Basil saw to the plot-making nowadays, and she hadn't to worry. "It's funny," she went on, "that a man who laughs at romance should be one of the most romantic figures in the world. If you and I wrote up his story, and took him for the hero, all the critics would say 'how impossible!' But critics will never believe that anything highly romantic or sensational can happen really. I don't know what their own lives must be like—or what they can think of the incidents they must see every day in the newspapers! Somerled says the only romantic thing he ever did was to annex the name of Somerled: but almost every phase of his life would make a story. Take his success in America, for instance. He wasn't eighteen when he landed as an immigrant, with nothing in his pocket except what was left of the architectural prize. Most of that money had gone in giving his father a few last comforts, and putting up some wonderful, extravagant sort of monuments for both his parents, which Ian designed himself. But he hadn't been two months in New York when he won a still bigger prize, which came just as he was on the point of starving! A handful of oatmeal and an apple a day I should call starvation, but he says it was grand for his health. In six years, at twenty-four, he was not only the greatest portrait-painter in America, but one of the most successful architects, an extraordinary combination which has made him unique in modern times. And before he was twenty-eight came that big 'coup' of his, which he calls a 'mere accident that might have happened to any fool'—the buying of a site for a new town in Nevada, where he meant to build up a little city of beautiful houses, and finding a silver mine. Of course, it wasn't an 'accident.' It was the spirit of prophecy in him which has always carried him on to success—that, and his grit and daring and enterprise and general cleverness. Oh, Basil, if you could have heard him telling me these things that last night on the Olympic—leaning back in his deck-chair, smoking cigarette after cigarette (I was smoking too. I hate it; but I think he likes a woman to smoke and be a man's pal), the moonlight shining on his face, showing his eyes half shut, and talking in his quietest way, as if he were dreaming it all over again, or speaking to himself! I hardly breathed, till he broke off suddenly and laughed in quite a shy sort of way, ashamed of being 'egotistical,' though he hadn't praised himself at all. The flowery things I've said are mine. He even apologized! I felt I'd never had so great a compliment in my life. It seemed too good to be true that such a man should have opened his heart to me. But when his invitation for Scotland came, it—it set the seal of reality on the rest. Do you know, I can't help believing he made more than he need of his business in London; that the real truth was he wanted to stay there without us, and see how much he missed me. Now he's coming to accept our invitation, a day sooner than he meant to at first. Something tells me the reason why. I shall know for sure to-night, when I see him. He didn't want us to meet him at the station. But that was perhaps because—I couldn't have gone very well without you, and maybe——"

      "I see! I'm to make myself scarce and leave you alone in the garden!"

      "Not yet, dear. Only when we hear the