had interested themselves in the practical realisation of high ideals about the Drama. Only he had a finer understanding of these things, and instead of being preyed upon by the common professional—"and they are a lot," said Chitterlow; "I haven't toured for nothing"—he would have Chitterlow. Kipps gathered few details. It was clear he had bought the quarter of a farcical comedy—practically a gold mine—and it would appear it would be a good thing to buy the half. A suggestion, or the suggestion of a suggestion, floated out that he should buy the whole play and produce it forthwith. It seemed he was to produce the play upon a royalty system of a new sort, whatever a royalty system of any sort might be. Then there was some doubt, after all, whether that farcical comedy was in itself sufficient to revolutionise the present lamentable state of the British Drama. Better perhaps for such a purpose was that tragedy—as yet unfinished—which was to display all that Chitterlow knew about women, and which was to centre about a Russian nobleman embodying the fundamental Chitterlow personality. Then it became clearer that Kipps was to produce several plays. Kipps was to produce a great number of plays. Kipps was to found a National Theatre.
It is probable that Kipps would have expressed some sort of disavowal, if he had known how to express it. Occasionally his face assumed an expression of whistling meditation, but that was as far as he got towards protest.
