"Glee," yes. And "crowed," also. They are the words, some of the words, to describe Mr. Chesterton's sounds. His utterance was rapid, melodious. The modulations of his softly flowing voice had curiously somewhat the effect of a very cheerful music-box. His easy and very natural command of a great multitude of words was striking. And yet there was something decidedly boyish about the effect of his talk. I think the cause of this was, for one thing, the rather gurgling enjoyment with which he spoke, and for another thing, in his impulsive concern for the point of his idea he frequently did not trouble to begin nor end sentences. He just let 'er go. But the fundamental source of this boyishness of spirit I think was this: I do not believe I have ever seen a man who had borne the brunt of life for some forty-five years and still retained such complete, abounding, unaffected and infectious good humor as Mr. Chesterton. "As I believe I have said somewhere before," Mr. Chesterton was saying, "it seems to me that the best known character in literature is Sherlock Holmes." Mr. Woollcott was inclined to consider Svengali. Dear me! Svengali may have been in the running at one time, but it strikes me that today he has pretty much gone by the board, somewhat to mix the figure. As to detective stories: "They are essentially domestic," declares Mr. Chesterton. "Intimate, all in the household, or ought to be. The children's nurse should murder the Bishop. These things where the Foreign Office becomes involved and" (chuckling) "Indian rajahs and military forces come in are never right. They are too big. The detective story is a fireside story." Had Mr. Chesterton been much to the theatre while here? No; the only thing he had seen was "The Bat." Something like anguish on the face of the dramatic critic of the New York _Times_. Why, he, Mr. Chesterton, had liked "The Bat," a good deal. Speaking of plays, the American presentation of "Magic" came into the conversation. It was remarked that the extremely mystical character of the setting rather crushed the mysticism of the play itself. The idea was advanced that a very simple, matter-of-fact, even bleak setting, would have been the thing to act as an effective foil to this play. Mr. Chesterton seemed to be not the slightest interested in stage-settings. And he knew next to nothing at all about the career of "Magic." He wasn't even sure whether or not he held any proprietary rights in the play. There was, he said as though fumbling around in his mind, something involved about the matter. Friend of his wanted a play. Necessary to finish it in a hurry. He didn't really know, answering a question to this purpose, whether or not he received any royalties from it.