He followed it up with another. This one with a chorus, consisting chiefly of “Umpty Umpty Umpty Umpty Ay,” which was vociferously encored. “Thanks,” said Joan. “I have heard of it.”!

Joan sat next to him at the round dinner-table with the child the other side of him. She noticed that he ate as far as possible with his right hand—his hands were large, but smooth and well shaped—his left remaining under the cloth, beneath which the child’s right hand, when free, would likewise disappear. For a while the conversation consisted chiefly of anecdotes by Mr. Airlie. There were few public men and women about whom he did not know something to their disadvantage. Joan, listening, found herself repeating the experience of a night or two previous, when, during a performance of Hamlet, Niel Singleton, who was playing the grave-digger, had taken her behind the scenes. Hamlet, the King of Denmark and the Ghost were sharing a bottle of champagne in the Ghost’s dressing-room: it happened to be the Ghost’s birthday. On her return to the front of the house, her interest in the play was gone. It was absurd that it should be so; but the fact remained. He drove her back to Paris, and she promised to come and see him in his studio and let him introduce her to his artist friends.

“Well, he talked more amusingly than he wrote,” explained Joan. “Get Boswell’s Life of him. Or I’ll lend you mine,” she added, “if you’ll be careful of it. You’ll find all the passages marked that are best worth remembering. At least, I think so.” “Why couldn’t you have married?” asked Joan. “It has been responsible for most of man’s miseries,” he answered. “Every world’s conqueror meant to make it happy after he had finished knocking it about. We are all born with it, thanks to the devil.” He shifted his position and regarded her with critical eyes. “You’ve got it badly,” he said. “I can see it in the tilt of your chin and the quivering of your nostrils. You beware of it.”