“I’ll drive you to his door. That isn’t all,” said Mrs. Highmore. And on the way, when the carriage had turned, she communicated the rest. “Mr. Bousefield really arrived with an ultimatum: it had the form of something or other by Minnie Meadows.”
“Minnie Meadows?” I was stupefied.
“The new lady-humourist every one is talking about. It’s the first of a series of screaming sketches for which poor Ray was to find a place.”
“Is that Mr. Bousefield’s idea of literature?”
“No, but he says it’s the public’s, and you’ve got to take some account of the public. Aux grands maux les grands remèdes. They had a tremendous lot of ground to make up, and no one would make it up like Minnie. She would be the best concession they could make to human weakness; she would strike at least this note of showing that it was not going to be quite all—well, all you. Now Ray draws the line at Minnie; he won’t stoop to Minnie; he declines to touch, to look at Minnie. When Mr. Bousefield—rather imperiously, I believe—made Minnie a sine quâ non of his retention of his post he said something rather violent, told him to go to some unmentionable place and take Minnie with him. That of course put the fat on the fire. They had really a considerable scene.”
“So had he with the Beacon man,” I musingly replied. “Poor dear, he seems born for considerable scenes! It’s on Minnie, then, that they’ve really split?” Mrs. Highmore exhaled her despair in a sound which I took for an assent, and when we had rolled a little further I rather in-consequently and to her visible surprise broke out of my reverie. “It will never do in the world—he must stoop to Minnie!”
“It’s too late—and what I’ve told you still isn’t all. Mr. Bousefield raises another objection.”
“What other, pray?”
“Can’t you guess?”
I wondered. “No more of Ray’s fiction?”