to tell you the end of the story because of the moral. We made arrangements to get married; and I had to leave a good many of the arrangements to her, while I completed my great work. Then at last it was ready and I came to seek her like a pagan god descending in a cloud to carry a nymph up to Olympus. And I found she had already taken a very solid little brick villa on the edge of a town, having got it remarkably cheap and furnished it with most modern conveniences. And when I talked to her about castles in the air, she laughed and said her castle had come down to the ground. That is the moral. A woman, especially an Irishwoman, is always uncommonly practical when it comes to getting married. That is what I mean by saying it is never the cow who jumps over the moon. It is the cow who stands firmly planted in the middle of the three acres; and who always counts in any struggle of the land. That is why there must be women in this story, especially like those in your story and Pierce's, women who come from the land. When the world needs a Crusade for communal ideals, it is best waged by men without ties, like the Franciscans. But when it comes to a fight for private property—you can't keep women out of that. You can't have the family farm without the family. You