faith and low, of the beautiful and the ugly, of truth and lies; yet
with certain fine fidelities under it all; a drama so close-knit, so
amazingly true, that one who had lightly designed to make a tale there
was dismayed by fact. So much more thrilling was it than any fiction he
might have imagined, so more than human had been the cunning of the
Master Dramatist, that the little make-believe he was pondering seemed
clumsy and poor, and he turned from it to try to tell what had really
been.

In this story, then, the things that are strangest have most of truth.
The make-believe is hardly more than a cement to join the queerly
wrought stones of fact that were found ready. For, if the writer has now
and again had to divine certain things that did not show,--yet must have
been,--surely these are not less than truth. One of these deductions is
the Lute of the Holy Ghost who came in the end to be the Little Man of
Sorrows: who loved a woman, a child, and his God, but sinned through
pride of soul;--whose life, indeed, was a poem of sin and retribution.
Yet not less true was he than the Lion of the Lord, the Archer of
Paradise, the Wild Ram of the Mountains, or the gaunt, gray woman whom
hurt love had crazed. For even now, as the tale is done, comes a dry
little note in the daily press telling how such a one actually did the
other day a certain brave, great thing it had seemed the imagined one
must be driven to do. Only he and I, perhaps, will be conscious of the
struggle back of that which was printed; but at least we two shall know
that the Little Man of Sorrows is true, even though the cross where he
fled to say his last prayer in the body has long since fallen and its
bars crumbled to desert dust.

Yet there are others still living in a certain valley of the mountains
who will know why the soul-proud youth came to bend under invisible