drama had presented chiefly the quiet gentleman to whom we have alluded, but at Guildford, under more varied stimuli, he burgeoned out more variously. There was the house agent's window, for instance, set him upon a charming little comedy. He would go in, make inquires about that thirty-pound house, get the key possibly and go over it—the thing would stimulate the clerk's curiosity immensely. He searched his mind for a reason for this proceeding and discovered that he was a dynamiter needing privacy. Upon that theory he procured the key, explored the house carefully, said darkly that it might suit his special needs, but that there were others to consult. The clerk, however, did not understand the allusion, and merely pitied him as one who had married young and paired himself to a stronger mind than his own.
This proceeding in some occult way led to the purchase of a note-book and pencil, and that started the conception of an artist taking notes. That was a little game Mr. Hoopdriver had, in congenial company, played in his still younger days—to the infinite annoyance of quite a number of respectable excursionists at Hastings. In early days Mr. Hoopdriver had been, as his mother proudly boasted, a 'bit of a drawer,' but a conscientious and normally stupid schoolmaster perceived the incipient talent and had nipped it in the bud by a series of lessons in art.
