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Then a blank space, after which came a few “unsolicited testimonials”:

“Lower Fifth” writes: “I was set two hundred lines of Virgil on Saturday last at one o’clock. Having laid in a supply from your agency I was enabled to show them up at five minutes past one. The master who gave me the commission was unable to restrain his admiration at the rapidity and neatness of my work. You may make what use of this you please.”

“Dexter’s House” writes: “Please send me one hundred (100) lines from Aeneid, Book Two. Mr. Dexter was so delighted with the last I showed him that he has asked me to do some more.”

“Enthusiast” writes: “Thank you for your Greek numerals. Day took them without blinking. So beautifully were they executed that I can hardly believe even now that I did not write them myself.”

There could be no doubt about the popularity of the Trust. It caught on instantly.

Nothing else was discussed in the form-rooms at the quarter to eleven interval, and in the houses after lunch it was the sole topic of conversation. Dunstable and Linton were bombarded with questions and witticisms of the near personal sort. To the latter they replied with directness, to the former evasively.

“What’s it all about?” someone would ask, fluttering the leaflet before Dunstable’s unmoved face.

“You should read it carefully,” Dunstable would reply. “It’s all there.”

“But what are you playing at?”

“We tried to make it clear to the meanest intelligence. Sorry you can’t understand it.”

While at the same time Linton, in his form-room, would be explaining to excited inquirers that he was sorry, but it was impossible to reply to their query as to who was running the Trust. He was not at liberty to reveal business secrets. Suffice it that there the lines were, waiting to be bought, and he was there to sell them. So that if anybody cared to lay in a stock, large or small, according to taste, would he kindly walk up and deposit the necessary coin?

But here the public showed an unaccountable disinclination to deal. It was gratifying to have acquaintances coming up and saying admiringly: “You are an ass, you know,” as if they were paying the highest of compliments–as, indeed, they probably imagined that they were. All this was magnificent, but it was not business. Dunstable and Linton felt that the whole attitude of the public towards the new enterprise was wrong. Locksley seemed to regard the Trust as a huge joke, and its prospectus as a literary jeu d’esprit.

In fact, it looked very much as if–from a purely commercial point of view–the great Lines Supplying Trust was going to be what is known in theatrical circles as a frost.

For two whole days the public refused to bite, and Dunstable and Linton, turning over the stacks of lines in their studies, thought gloomily that this world is no place for original enterprise.

Then things began to move.

It was quite an accident that started them. Jackson, of Dexter’s, was teaing with Linton, and, as was his habit, was giving him a condensed history of his life since he last saw him. In the course of this he touched on a small encounter with M. Gaudinois which had occurred that afternoon.

“So I got two pages of ‘Quatre-Vingt Treize’ to write,” he concluded, “for doing practically nothing.”

All Jackson’s impositions, according to him, were given him for doing practically nothing. Now and then he got them for doing literally nothing–when he ought to have been doing form-work.

“Done ’em?” asked Linton.

“Not yet; no,” replied Jackson. “More tea, please.”

“What you want to do, then,” said Linton, “is to apply to the Locksley Lines Supplying Trust. That’s what you must do.”

“You needn’t rot a chap on a painful subject,” protested Jackson.

“I wasn’t rotting,” said Linton. “Why don’t you apply to the Lines Trust?”

“Then do you mean to say that there really is such a thing?” Jackson said incredulously. “Why I thought it was all a rag.”