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112 roused him by remarking that he expected "an acter 'as a lot of ups and downs like, now and then."

At which Chitterlow seemed to bestir himself. "Ra-ther," he said. "And sometimes it's his own fault and sometimes it isn't. Usually it is. If it isn't one thing it's another. If it isn't the manager's wife it's bar-bragging. I tell you things happen at times. I'm a fatalist. The fact is Character has you. You can't get away from it. You may think you do, but you don't."

He reflected for a moment. "It's that what makes tragedy Psychology really. It's the Greek irony—Ibsen and—all that. Up to date."

He emitted this exhaustive summary of high-toned modern criticism as if he was repeating a lesson while thinking of something else, but it seemed to rouse him as It passed his lips, by Including the name of Ibsen.

He became interested in telling Kipps, who was indeed open to any information whatever about this quite novel name, exactly where he thought Ibsen fell short, points where it happened that Ibsen was defective just where it chanced that he, Chitterlow, was strong. Of course he had no desire to place himself in any way on an equality with Ibsen; still the fact remained that his own experience In England and America and the colonies was altogether more extensive than Ibsen could have had. Ibsen had probably never seen "one decent bar scrap" in his life. That, of course, was not Ibsen's fault or his own merit, but there the thing was. Genius, he knew, was supposed