“because, after all, it’s nothing but a catalogue of the specialties of May; but how the dickens to wind the thing up is what puzzles me.  It’s too beautiful and truly poetic to be spoiled by a completing couplet like: 

  “’And in the distant dam the croaking frog
  Completes, O May, thy wondrous catalogue.’

“Nobody would take a thing like that—­and pay for it; but what else can be said?  What do the violets wild, the dandelion, the ruby-breasted robin, and the lilac-laden atmosphere and other features all do, I’d like to know?  What one of many verbs—­oh, tut!  Poetry very evidently is not in my line, after all.  I’ll turn the vials of my vocabulary upon essay-writing.”

Which Partington, as his friends called him, proceeded at once to do.  He applied himself closely to his desk for one whole morning, and wrote a very long paper on “The Tendency of the Middle Ages Towards Artificialism.”  Hardly one of the fifteen thousand words employed by him in the construction of this paper held fewer than five syllables, and one or two of them got up as high as ten, a fact which led Partington to think that the editor of the South American Quarterly Review ought at least to have the refusal of it.  Apparently the editor of the South American Quarterly Review was only too eager to have the refusal of it, because he refused it, or so Partington observed in confidence to an acquaintance, in less time than it could possibly have taken him to read it.  After that the essay became emulous of men like Stanley and Joe Cook.  It became a great traveller, but never failed to get back in safety to its fond parent, Richard Partington Smithers, as our hero now called himself.  Finally, Partington did manage to realize something on his essay—­that is to say, indirectly—­for after “The Tendency of the Middle Ages Towards Artificialism” had gone the rounds of all the reviews, monthlies, dailies, and weeklies in the country, its author pigeon-holed it, and, stringing together the printed slips it had brought back to him upon the various occasions of its return, he sent these under the head of “How Editors Reject” to an evening journal in Boston, whose readers could know nothing of the subject, for reasons that are familiar to those who are acquainted with American letters.  For this he not only received the editor’s thanks, but a six months’ subscription to the journal in question—­the latter of which was useful, since every night, excluding Sundays, its columns contained much valuable information on such subjects as “How to Live on Fifty Dollars a Year,” “How to Knit an Afghan with One Needle,” and “How Not to Become a Novelist.”