He came in to see Miss Pynsent about midnight; as soon as she heard the lame tinkle of the bell she went to the door and let him in. He was an original, in the fullest sense of the word: a lonely, disappointed, embittered, cynical little man, whose musical organisation had been sterile, who had the nerves and sensibilities of a gentleman, yet whose fate had condemned him for the last ten years to play a fiddle at a second-rate establishment for a few shillings a week. He had ideas of his own about everything, and they were not always very improving. For Amanda Pynsent he represented art, literature (the literature of the play-bill) and philosophy, so that she always felt about him as if he belonged to a higher social sphere, though his earnings were hardly greater than her own and he occupied a single back room in a house where she had never seen a window washed. He had for her the glamour of reduced gentility and fallen fortunes; she was conscious that he spoke a different language (though she couldn’t have said in what, unless in more wicked words as well as more grand ones, the difference consisted) from the other members of her humble, almost suburban circle; and the shape of his hands was distinctly aristocratic. (Miss Pynsent, as I have intimated, was immensely preoccupied with that element in life.) Mr. Vetch displeased her only by one of the aspects of his character—his blasphemous republican, radical views and the licentious manner in which he expressed himself about the nobility. On that ground he worried her extremely, though he never seemed to her so probably well-connected, like Hyacinth himself, as when he horrified her most. These dreadful theories (expressed so brilliantly that really they might have been dangerous if Miss Pynsent had not been so grounded in the Christian faith and known thereby her own place so well) constituted no presumption against his refined origin; they were explained rather to a certain extent by a just resentment at finding himself excluded from his proper position. Mr. Vetch was short, fat and bald, though he was not much older than Miss Pynsent, who was not much older than some people who called themselves forty-five; he always went to the theatre in evening dress, with a flower in his buttonhole, and wore a glass in one eye. He looked placid and genial and as if he would fidget at the most about the “get up” of his linen; you would have thought him finical but superficial, and never have suspected that he was a revolutionist, or even an at all bold critic of life. Sometimes when he could get away from the theatre early enough he went with a pianist, a friend of his, to play dance-music at small parties; and after such expeditions he was particularly cynical and startling; he indulged in diatribes against the British middle-class, its Philistinism, its absurdity, its snobbery. He seldom had much conversation with Miss Pynsent without telling her that she had the