you see he specializes so entirely on liturgy and ecclesiastical architecture that his field is rather restricted. He once tried the SPORTING AND DRAMATIC with an article on church edifices in famous fox-hunting centres, but it wasn’t considered of sufficient general interest to be accepted. No, I don’t see how he can support himself in his present style merely by what he writes.”
“Perhaps he sells spurious transepts to American enthusiasts,” suggested Clovis.
“How could you sell a transept?” said Mrs. Riversedge; “such a thing would be impossible.”
“Whatever he may do to eke out his income,” interrupted Mrs. Troyle, “he is certainly not going to fill in his leisure moments by making love to my maid.”
“Of course not,” agreed her hostess; “that must be put a stop to at once. But I don’t quite know what we ought to do.”
“You might put a barbed wire entanglement round the yew tree as a precautionary measure,” said Clovis.
“I don’t think that the disagreeable situation that has arisen is improved by flippancy,” said Mrs. Riversedge; “a good maid is a treasure —”
“I am sure I don’t know what I should do without Florinda,” admitted Mrs. Troyle; “she understands my hair. I’ve long ago given up trying to do anything with it myself. I regard one’s hair as I regard husbands: as long as one is seen together in public one’s private divergences don’t matter. Surely that was the luncheon gong.”
Septimus Brope and Clovis had the smoking-room to themselves after lunch. The former seemed restless and preoccupied, the latter quietly observant.
“What is a lorry?” asked Septimus suddenly; “I don’t mean the thing on wheels, of course I know what that is, but isn’t there a bird with a name like that, the larger form of a lorikeet?”
“I fancy it’s a lory, with one ‘r,’” said Clovis lazily, “in which case it’s no good to you.”
Septimus Brope stared in some astonishment.
“How do you mean, no good to me?” he asked, with more than a trace of uneasiness in his voice.
“Won’t rhyme with Florrie,” explained Clovis briefly.
Septimus sat upright in his chair, with unmistakable alarm on his face.
“How did you find out? I mean how did you know I was trying to get a rhyme to Florrie?” he asked sharply.
“I didn’t know,” said Clovis, “I only guessed. When you wanted to turn the prosaic lorry of commerce into a feathered poem flitting through the verdure of a tropical forest, I knew you must be working up a sonnet, and Florrie was the only female name that suggested itself as rhyming with lorry.”
Septimus still looked uneasy.
“I believe you know more,” he said.
Clovis laughed quietly, but said nothing.
“How much do you know?” Septimus asked desperately.
“The yew tree in the garden,” said Clovis.
“There! I felt certain I’d dropped it somewhere. But you must have guessed something before. Look here, you have surprised my secret. You won’t give me away, will you? It is nothing to be ashamed of, but it wouldn’t do for the editor of the CATHEDRAL MONTHLY to go in openly for that sort of thing, would it?”
“Well, I suppose not,” admitted Clovis.
“You see,” continued Septimus, “I get quite a decent lot of money out of it. I could never live in the style I do on what I get as editor of the CATHEDRAL MONTHLY.”
Clovis was even more startled than Septimus had been earlier in the conversation, but he was better skilled in repressing surprise.
“Do you mean to say you get money out of — Florrie?” he asked.
“Not out of Florrie, as yet,” said Septimus; “in fact, I don’t mind saying that I’m having a good deal of trouble over Florrie. But there are a lot of others.”
Clovis’s cigarette went out.
“This is VERY interesting,” he said slowly. And then, with Septimus Brope’s next words, illumination dawned on him.
“There are heaps of others; for instance:
‘Cora with the lips of coral,
You and I will never quarrel.’
That was one of my earliest successes, and it still brings me in royalties. And then there is —‘Esmeralda, when I first beheld her,’ and ‘Fair Teresa, how I love to please her,’ both of those have been fairly popular. And there is one rather dreadful one,” continued Septimus, flushing deep carmine, “which has brought me in more money than any of the others:
‘Lively little Lucie
With her naughty nez retroussé.’
Of course, I loathe the whole lot of them; in fact, I’m rapidly becoming something of a woman-hater under their influence, but I can’t afford to disregard the financial aspect of the matter. And at the same time you can understand that my position as an authority on ecclesiastical architecture and liturgical subjects would be weakened, if not altogether ruined, if it once got about that I was the author of ‘Cora with the lips of coral’ and all the rest of them.”
Clovis had recovered sufficiently to ask in a sympathetic, if rather unsteady, voice what was the special trouble with “Florrie.”
“I can’t get her into lyric shape, try as I will,” said Septimus mournfully. “You see, one has to work in a lot of sentimental, sugary compliment with a catchy rhyme, and a certain amount of personal biography or prophecy. They’ve all of them got to have a long string of past successes recorded about them, or else you’ve got to foretell blissful things about them and yourself in the future. For instance, there is:
‘Dainty little girlie Mavis,
She is such a rara avis,
All the money I can save is
All to be for Mavis mine.’
It goes to a sickening namby-pamby waltz tune, and for months nothing else was sung and hummed in Blackpool and other popular centres.”
This time Clovis’s self-control broke down badly.
“Please excuse me,” he gurgled, “but I can’t help it when I remember the awful solemnity of that article of yours that you so kindly read us last night, on the Coptic Church in its relation to early Christian worship.”
Septimus groaned.
“You see how it would be,” he said; “as soon as people knew me to be the author of that miserable sentimental twaddle, all respect for the serious labours of my life would be gone. I dare say I know more about memorial brasses than anyone living, in fact I hope one day to publish a monograph on the subject, but I should be pointed out everywhere
