The book was written at white heat, as the best of such books always are, and it was engraved and printed at the very shortest possible notice. Terrible and ghastly it certainly was at last--instinct with all the grim local colouring of those narrow, squalid, fever-stricken dens, where misfortune and crime huddle together indiscriminately in dirt and misery--a book to make one's blood run cold with awe and disgust, and to stir up even the callous apathy of the great rich capitalist West End to a passing moment's ineffective remorse; but very clever and very graphic after its own sort beyond the shadow of a question, for all its horror. When Arthur Berkeley turned over the first proof-sheets of 'London's Shame,' with its simple yet thrilling recital of true tales taken down from the very lips of outcast children or stranded women, with its awful woodcuts and still more awful descriptions--word-pictures reeking with the vice and filth and degradation of the most pestilent, overcrowded, undrained tenements--he felt instinctively that Ernest Le Breton's book would not need the artificial aid of Lady Hilda's influential friends in order to make it successful and even famous. The Cabinet ministers might be as silent as they chose, the indignant duke might confine his denunciations to the attentive and sympathetic ear of his friend Lord Connemara; but nothing on earth could prevent Ernest Le Breton's fiery and scathing diatribe from immediately enthralling the public attention. Lady Hilda had hit upon the exact subject which best suited his peculiar character and temperament, and he had done himself full justice in it. Not that Ernest had ever thought of himself, or even of his style, or the effect he was producing by his narrative; it was just the very non-self-consciousness of the thing that gave it its power. He wrote down the simple thoughts that came up into his own eager mind at the sight of so much inequality and injustice; and the motto that Arthur prefixed upon the title-page, 'Facit indignatio versum,' aptly described the key-note of that fierce and angry final denunciation. 'Yes, Lady Hilda had certainly hit the right nail on the head,' Arthur Berkeley said to himself more than once: 'A wonderful woman, truly, that beautiful, stately, uncompromising, brilliant, and still really tender Hilda Tregellis.'