“You’re a mighty subtle-minded young person for your age,” exclaimed St Aubyn, with a good-humoured laugh.  “I confess that your theory is new to me; it had never occurred to me before.  For one who has only been inside a theatre two or three times in his life you seem to have elaborated your conclusions pretty quickly.  I may infer, then, that you’re not exactly hankering to go on the stage yourself?”

“I?” said Austin, drawing himself up.  “I, disguise myself in paint and feathers to be a public gazing-stock?  Of course you mean it as a joke.”

“And yet there are gentlemen upon the stage,” observed St Aubyn, in order to draw him on.

“So much the better for the stage, perhaps; so much the worse for the gentlemen,” replied Austin haughtily.

A pause.  They were now well out in the open country, with the moonlit road stretching far in front of them.  Then St Aubyn said, in a different tone altogether: 

“You surprise me beyond measure by what you say.  I should have thought that a boy of your poetical and artistic temperament would have had his imagination somewhat fired, even by the efforts of the poor showman whom we’ve seen to-night.  Now I will make you a confession.  At the bottom of my heart I agree with every word you’ve said.  I may be one-sided, prejudiced, what you will, but I cannot help looking upon a public performer as I look upon no other human being.  And I pity the performer, too; he takes himself so seriously, he fails so completely to realise what he really is.  And the danger of going on the stage is that, once an actor, always an actor.  Let a man once get bitten by the craze, and there’s no hope for him.  Only the very finest natures can escape.  The fascination is too strong.  He’s ruined for any other career, however honourable and brilliant.”

“Is that so, really?” asked Austin.  “I cannot see where all this wonderful fascination comes in.  I should think it must be a dreadful trade myself.”

“So it is.  Because they don’t know it.  Because of the very fascination which exists, although you can’t understand it.  Let me tell you a story.  I knew a man once upon a time—­he was a great friend of mine—­in the navy.  Although he was quite young, not more than twenty-six, he was already a distinguished officer; he had seen active service, been mentioned in despatches, and all the rest of it.  He was also, curiously enough, a most accomplished botanist, and had written papers on the flora of Cambodia and Yucatan that had been accepted with marked appreciation by the Linnaean Society.  Well—­that man, who had a brilliant career before him, and would probably have been an admiral and a K.C.B. if he had stuck to it, got attacked by the theatrical microbe.  He chucked everything, and devoted his whole life to acting.  He is acting still.  He cares for nothing else.  It is the one and only thing in the universe he lives for.  The service of his country, the pure fame of scientific research and authorship, are as nothing to him, the merest dust in the balance, as compared with the cheap notoriety of the footlights.”