Though he spoke of himself as the article of barter he was well aware that Mr. Erin’s thoughts were fixed upon another purchase, which, as it were, included him in the same ‘lot.’ ‘But, my dear Samuel, this is so altogether unexpected.’ ‘So is the discovery of the manuscript,’ put in the young fellow with pitiless logic. ‘It is like springing a mine on me, my lad.’ ‘The “Vortigern and Rowena“ is also a mine, or I hope will prove so,’ was the quick rejoinder. Whatever might be urged against William Henry Erin, it could not be said that he had not his wits about him. ‘You have only the copy,’ objected the antiquary, though he felt the argument to be inadequate, since it was liable to be swept away. ‘Nay,’ returned the young man, smiling, ‘what becomes of the acumen of the critic, if internal evidence is insufficient to establish authenticity? His occupation is gone.’ This was Mr. Erin’s favourite quotation from the ‘Rejoinder;’ to use it against him was like seething a kid in its mother’s milk, and it roused him for the first time to vigorous opposition. It is possible that he also saw his opportunity for spurring the other on to gain possession of the precious document. ‘That is all mighty fine, young sir, but this is not a question of sentiment. I must see this play in Shakespeare’s own handwriting before I can take your most unlooked-for proposal into consideration at all. At present the whole affair is in the air.’ ‘You shall see the play,’ said William Henry composedly. ‘Moreover,’ continued the antiquary with equal firmness, ‘it will not be sufficient that I myself should be convinced of its authenticity. It must receive general acceptance.’ ‘I can hardly promise, sir, that there will be no objectors,’ returned the young man drily; ‘Mr. Malone, for example, will probably have something to say.’ The mention of ‘that devil,’ as the antiquary, in moments of irritation, was wont to call that respectable commentator, was most successful. ‘I speak of rational beings, sir,’ returned Mr. Erin, with quite what is called in painting his ‘early manner.’ ‘What Malone may take into his head to think is absolutely indifferent to me. I speak of the public voice.’ ‘As heard, for instance, at the National Theatre,’ suggested William Henry earnestly. ‘Suppose that “Vortigern and Rowena“ should be acted at Drury Lane or Covent Garden, and be received as the _bona fide_ production of Shakespeare? Would that test content you?’