The book was published long before Gilbert's play was produced; for Sir Geoffrey Mundane had taken fright at Gilbert's play. He was afraid that it was too clever, too original, too much above their heads, and so forth. "I'd like to produce it," he said. "I'd regard it as an honour to be allowed to produce it, but the Pall Mall is a very expensive theatre to maintain and I don't mind telling you, Mr. Farlow, that I lost money on that last piece, too much money, and I must retrieve some of it. Your play is excellent ... excellent ... in fact, it's a piece of literature ... almost Greek in its form ... Greek ... yes, I think, Greek ... remarkable plays those were, weren't they? ... Have you seen this portrait of me in to-day's Daily Reflexion ... quite jolly, I think ... but it won't be popular, Mr. Farlow, and I must put on something that is likely to be popular!"

Gilbert found Sir Geoffrey's sudden changes of conversation curiously interesting, but the hint of disaster to "The Magic Casement" disturbed him too much to let his interest absorb him.

"Then you've decided not to do the play?" he said, with a throb of disappointment in his voice.

Sir Geoffrey rose at him, fixing his eye-glass, and patted him on the shoulder. "No, no," he said. "I didn't mean that. I'll produce the play gladly ... some day ... but not just at present. If you care to leave it with me...."

Gilbert wondered what he ought to say next. Sir Geoffrey might retain the play for a year or two, and then decide that he could not produce it.

"Perhaps," he said, "you'd undertake to do it within a certain time...." He wanted to add that Sir Geoffrey should undertake to pay a fine if he failed to produce the play within the "certain time," but his courage was not strong enough. He was afraid that Sir Geoffrey might be offended by the suggestion and return the play at once. He wished that he had gone to Mr. Redder, as Henry had done, and asked him to place the play for him. "Redder'd stand no humbug," he said to himself.

Sir Geoffrey murmured something about the undesirability of committing oneself, and added that Gilbert should be content to wait for a year without any legal undertaking. "Of course," he said magnanimously, "if you can place the play elsewhere, don't let me stand in your way!" but Gilbert, alarmed, hurriedly said that he would be glad to leave the play with him for the time he mentioned. "I'd like you to take the part of Rupert Westlake," he said. "I don't think any one could play it so well as you could!" and Sir Geoffrey, still responsive to flattery, smiled and said he would be delighted to create the part.

The play which he produced instead of "The Magic Casement" ran for six weeks, bringing neither profit nor honour to Sir Geoffrey, who began to lose his head, with the result that he produced another play which was a greater failure than its predecessor. Then came a revival of an old play which had a moderate amount of success, and "I'll do your play next," he said to Gilbert. "I shall certainly do your play next!"

It was because of these delays in the production of "The Magic Casement" that Henry's novel, "Brasilia," was published much earlier than the play was performed. He had rewritten it so extensively that it was almost a new novel, very different from the manuscript which his father had read, and it received a fair number of reviews. The critics whose judgment he valued, praised it liberally, but the critics whose judgment he despised, either damned it or ignored it. Gilbert said it was splendid. "There's still some Slop in it," he said, "but it's miles better than the first version." Roger liked it. He said, "I like it, Quinny!" and that was all, but Henry knew that his speech was considerable praise. Ninian's praise was extravagant, and he was almost like a child in his pleasure at receiving an inscribed copy from Henry. He spent the better part of an afternoon in going to bookshops and asking the grossly ignorant assistants why they had not got "Drusilla" prominently placed in the window. The assistants were not humiliated by his charge of gross ignorance, nor were they impressed by his statement that the Times Literary Supplement had described the book as "remarkable." So many remarkable books are published in the course of a season that the assistants do not attempt to remember them; and so many friends of remarkable young authors wish to know why the works of these remarkable young men are not stacked in the window that the assistants have learned to look listlessly at the people who make the demands. Ninian bought three copies of the novel, and sent one to his mother and one to the Headmaster of Rumpell's and one to his uncle, the Dean of Exebury. "That ought to help the sales, Quinny!" he said. "I bought 'em in three different shops, and I stuffed the chaps that I'd been to other places to get it, but found they were sold out!"

"That'll make two copies Mrs. Graham'll have," Henry replied. "I've sent one to her to-day...."

"Well, she can give the other one to Mary," said Ninian.

The book was not a success. Including the number sold to the libraries, only three hundred and seventy-five copies were sold, but the financial failure of the book did not greatly depress Henry, for he had the praise of his friends to console him. His father's letter had heartened him almost as much as the review in the Times. "It's great stuff," he wrote, "and I'm proud of you. I didn't think you could improve it so much as you have done. Hurry up and do another one!"

His second book, "Broken Spears," was in proof before Sir Geoffrey Mundane decided to produce "The Magic Casement," and for a while he was at a loose end. He could not think of a subject for another story, although he had invented a good title: Turbulence. He sat at his desk, forcing himself to write chapters that ended ingloriously. He wrote pages and pages, and in the evening threw them into the wastepaper basket. "My God," he said to himself one morning, when he had been sitting at his desk for over an hour without writing a word, "I believe I've lost the power to write!"

He got up, terrified, and went to Gilbert's room.

"Hilloa, bloke!" said Gilbert, looking round at him as he entered.

"Are you busy, Gilbert?" he asked.

"I'm kidding myself that I am, but between ourselves, Quinny, I'm reading Gerald Luke's last book. That chap's a poet. He's as good as Alfred, Lord Tennyson. Listen to this!..."

But Henry did not wish to listen to Gerald Luke's poems.

"Gilbert," he said, "I believe I'm done!"

"Done?" Gilbert exclaimed, putting down the book of poems.

"Yes. I don't believe I shall ever do another book...."

"Silly ass!"

"I can't think of anything. My mind's like pap. I keep on writing and writing, but I only get a pile of words. That was bad enough, but to-day I can't write at all. I simply can't write...."

"Haven't you got a theme?"

"Vaguely, yes, but the thing won't come to life. The people lie about like logs, and ... damn them, they won't move!"

"Look here," said Gilbert, "I'm tired of work. Let's chuck it for a while. You're obviously off colour, and a holiday'll do you good. Let's go out somewhere for the day anyhow. I've a first night this evening. We'll wind up with that!"

"What's the play?" Henry asked.

"A revival. They're bringing Wilde's 'The Ideal Husband' on at the St. James's again," Gilbert answered. "Alexander's very good in it...."

"That's the fashionable theatre, isn't it?"

Henry's knowledge of London was still very limited, and he seldom visited the theatre, chiefly because Gilbert, who had to visit them all, spoke of the English drama with contempt.

"Yes," Gilbert replied. "All the Jews and dukes go there. Suppose we go for a row on the Serpentine, Quinny? You can pull the oars for an hour. It'll do you no end of good, and I'll lie in the bottom of the boat and watch you. That'll do me no end of good. Come on, let's get out of this!"