THE NEW CONDITIONS
Kipps produced cigarettes and the conversation flowed again.
Chitterlow paced the room. He was, he explained, taking a day off; that was why he had come round to see Kipps. Whenever he thought of any extensive change in a play he was writing he always took a day off. In the end it saved time to do so. It prevented his starting rashly upon work that might have to be rewritten. There was no good in doing work when you might have to do it over again, none whatever.
Presently they were descending the steps by the Parade en route for the Warren, with Chitterlow doing the talking and going with a dancing drop from step to step. . . .
They had a great walk, not a long one, but a great one. They went up by the Sanatorium, and over the East Cliff and into that queer little wilderness of slippery and tumbling clay and rock under the chalk cliffs, a wilderness of thorn and bramble, wild rose and wayfaring tree, that adds so greatly to Folkestone's charm. They traversed its intricacies and clambered up to the crest of the cliffs at last by a precipitous path that Chitterlow endowed in some mysterious way with suggestions of Alpine adventure. Every now and then he would glance aside at sea and cliffs with a fresh boyishness of imagination that brought back New Romney and the stranded wrecks to Kipps' memory; but mostly he talked of his great obsession of plays and playwriting, and that empty absurdity that is so serious to his kind, his Art. That was a thing that needed a monstrous lot of explaining. Along they went, sometimes abreast, some-
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