When there devolved upon me as a labour of love the editing of Rupert Ray's book, "Tell England," I carried the manuscript into my room one bright autumn afternoon, and read it during the fall of a soft evening, till the light failed, and my eyes burned with the strain of reading in the dark. I could hardly leave his ingenuous tale to rise and turn on the gas. Nor, perhaps, did I want such artificial brightness. There are times when one prefers the twilight. Doubtless the tale held me fascinated because it revealed the schooldays of those boys whom I met in their young manhood, and told afresh that wild old Gallipoli adventure which I shared with them. Though, sadly enough, I take Heaven to witness that I was not the idealised creature whom Rupert portrays. God bless them, how these boys will idealise us! Then again, as Rupert tells you, it was I who suggested to him the writing of his story. And well I recall how he demurred, asking: "But what am I to write about?" For he was always diffident and unconscious of his power. "Is Gallipoli nothing to write about?" I retorted. "And you can't have spent five years at a great public school like Kensingtowe without one or two sensational things. Pick them out and let us have them. For whatever the modern theorists say, the main duty of a story-teller is certainly to tell stories." "But I thought," he broke in, "that you're always maintaining that the greatest fiction should be occupied with Subjective Incident." "Don't interrupt, you argumentative child," I said (you will find Rupert is impertinent enough in one place to suggest that I have a tendency to be rude and a tendency to hold forth). "Surely the ideal story must contain the maximum of Objective Incident with the maximum of Subjective Incident. Only give us the exciting events of your schooldays, and describe your thoughts as they happened, and you will unconsciously reveal what sort of scoundrelly characters you and your friends were. And when you get to the Gallipoli part, well, you can give us chiefly your thoughts, for Gallipoli, as far as dramatic incident is concerned, is well able to shift for itself." Little wonder that I was fascinated to read Rupert's final manuscript. And, when I had finished the last words, I announced aloud a weighty decision: "We must have a Prologue, Rupert,"--though, to be sure, my study was empty at the time--"and it must give pictures of what your three heroes were like, when they were small, abominable boys." And thereafter I busied myself in seeking information of the early childhood of Rupert Ray, Archibald Pennybet, and Edgar Gray Doe. Not without misgiving do I offer the result of these researches, for I fear all the time lest my self-conscious hand should profane Rupert's artless narrative.