It was a very good Wednesday; but then the season was at its height. The gathering comprised the usual measure of interesting and interested persons, and the former had made their names upon as many different fields as ever. Claude had a chat with his friend, Edmund Stubbs, a young man with an unhealthy skin and a vague reputation for immense cleverness. They spoke of the poems. Stubbs expressed a wish to see the large-paper edition, which was not yet for sale, as did Ivor Llewellyn, the impressionist artist, who was responsible for the "decorations" in most volumes of contemporary minor verse, Claude's included. Claude was injudicious enough to invite both men to his rooms that night. The Impressionist was the most remarkable-looking of all Lady Caroline's guests. He wore a curled fringe and a flowing tie, and pince-nez attached to his person by a broad black ribbon. His pale face was prematurely drawn, and he showed his gums in a deathly grin at the many hard things which Stubbs muttered at the expense of all present whom he knew by sight. Claude had a high opinion of both these men, but for once he was scarcely in tune for their talk, which was ever at a sort of artistic-intellectual concert-pitch. The Duke was to be forgotten in the society of Olivia only. Claude therefore edged away, trod on the skirts of a titled divorcée, got jammed between an Irish member and a composer of comic songs, and was finally engaged in conversation by the aged police magistrate, Sir Joseph Todd. Sir Joseph had lowered his elephantine form into a chair beside the tea-table, where he sat, with his great cane between his enormous legs, munching cake like a school-boy and winking at his friends. He winked at Claude. The magistrate had been a journalist, and a scandalous Bohemian, so he said, in his young days; he had given Claude introductions and advice when the latter took to his pen. He, also, inquired after the new book, but rather grimly, and expressed himself with the rough edge of his tongue on the subject of modern "poets" and "poetry": the inverted commas were in his voice. "You young spring poets," said he, "are too tender by half; you're all white meat together. You may say that's no reason why I should have my knife in you. Why didn't you say it? A bad joke would be a positive treat from you precious young fellows of to-day. And you give us bad lyrics instead, in limited editions; that's the way it takes you now." Claude laughed; he was absurdly good-humoured under hostile criticism, a quality of which some of his literary friends were apt to take advantage. On this occasion, however, his unconcern was partly due to inattention. While listening to his old friend he was thinking still of the Duke.