"I am afraid that those last years at Wareham were far from happy. He felt, I think, out of tune with his surroundings, and, pace the readers of the Guardian, I doubt whether he was ever quite at home in his stall. He confessed to one of his old associates that he doubted the wisdom of the whole Cathedral system. 'What,' he said, in his old characteristic manner, 'would St. Peter say if he could enter this building and see that gorgeous window in which he is represented with mitre, cope and keys?' And I do not think that he was ever quite reconciled to the daily recitation of the Liturgy, accompanied as it is in such establishments by elaborate music and all the pomp of the surpliced choir. 'Rome and water, Rome and water!' he has been heard to mutter under his breath as the procession swept up the nave, and before he died I think that he had the satisfaction of feeling that many in high places were coming round to his views.
"But to the very last he never forgot Lupton. A year or two before he died he wrote the great school song, 'Follow, follow, follow!' He was pleased, I know, when it appeared in the Luptonian, and a famous Old Boy informs me that he will never forget Horbury's delight when he was told that the song was already a great favourite in 'Chantry.' To many of your readers the words will be familiar; but I cannot resist quoting the first verse:
"I am getting old and grey and the hills seem far away,
And I cannot hear the horn that once proclaimed the morn
When we sallied forth upon the chase together;
For the years are gone—alack!—when we hastened on the track,
And the huntsman's whip went crack! as a signal to our pack
Riding in the sunshine and fair weather.
And yet across the ground
I seem to hear a sound,
A sound that comes up floating from the hollow;
And its note is very clear
As it echoes in my ear,
And the words are: 'Lupton, follow, follow, follow!'
Chorus.
"Lupton, follow away!
The darkness lies behind us, and before us is the day.
Follow, follow the sun,
The whole world's to be won,
So, Lupton, follow, follow, follow, follow away!
"An old pupil sang this verse to him on his death-bed, and I think, perhaps, that some at least of the readers of the Guardian will allow that George Horbury died 'fortified,' in the truest sense, 'with the rites of the Church'—the Church of a Great Aspiration."
Such was the impression that Mr. Horbury had evidently made upon some of his oldest friends; but Meyrick was, to the last, an infidel. He read the verses in the Guardian (he would never subscribe to the Luptonian) and jeered savagely at the whole sentiment of the memoir, and at the poetry, too.
"Isn't it incredible?" he would say. "Let's allow that the main purpose of the great Public Schools is to breed brave average boobies by means of rocker, sticker and mucker and the rest of it. Still, they do acknowledge that they have a sort of parergon—the teaching of two great literatures, two literatures that have moulded the whole of Western thought for more than two thousand years. And they pay an animal like this to teach these literatures—a swine that has not enough literature of any kind in him to save the soul of a louse! Look at those verses! Why, a decent fourth form boy would be ashamed to put his name to them!"
He was foolish to talk in this fashion. People merely said that it was evident he was one of the failures of the great Public School system; and the song was much admired in the right circles. A very well-turned idem Latine appeared in the Guardian shortly after the publication of the memoir, and the initials at the foot of the version were recognised as those of a literary dean.
And on that autumn evening, far away in the 'seventies, Meyrick, the boy, left Mr. Horbury's study in a white fury of grief and pain and rage. He would have murdered his master without the faintest compunction, nay, with huge delight. Psychologically, his frame of mind was quite interesting, though he was only a schoolboy who had just had a sound thrashing for breaking rules.
For the fact, of course, was that Horbury, the irritating influence of the Head's conversation and sherry apart, was by no means a bad fellow. He was for the moment savagely cruel, but then, most men are apt to be savagely cruel when they suffer from an inflamed liver and offensive superiors, more especially when there is an inferior, warranted defenceless, in their power. But, in the main, Horbury was a very decent specimen of his class—English schoolmaster—and Meyrick would never allow that. In all his reasoning about schools and schoolmasters there was a fatal flaw—he blamed both for not being what they never pretended to be. To use a figure that would have appealed to him, it was if one quarrelled with a plain, old-fashioned meeting-house because it was not in the least like Lincoln Cathedral. A chimney may not be a decorative object, but then it does not profess to be a spire or a pinnacle far in the spiritual city.
But Meyrick was always scolding meeting-houses because they were not cathedrals. He has been heard to rave for hours against useful, unpretentious chimney-pots because they bore no resemblance to celestial spires. Somehow or other, possibly by inheritance, possibly by the influence of his father's companionship, he had unconsciously acquired a theory of life which bore no relation whatever to the facts of it. The theory was manifest in his later years; but it must have been stubbornly, if vaguely, present in him all through his boyhood. Take, for instance, his comment on poor Canon Horbury's verses. He judged those, as we have seen, by the rules of the fine art of literature, and found them rubbish. Yet any old Luptonian would have told him that to hear the whole six hundred boys join in the chorus, "Lupton, follow away!" was one of the great experiences of life; from which it appears that the song, whatever its demerits from a literary point of view, fully satisfied the purpose for which is was written. In other words, it was an excellent chimney, but Meyrick still persisted in his easy and futile task of proving that it was not a bit like a spire. Then, again, one finds a fallacy of still huger extent in that major premiss of his: that the great Public Schools purpose to themselves as a secondary and minor object the imparting of the spirit and beauty of the Greek and Latin literatures. Now, it is very possible that at some distant period in the past this was an object, or even, perhaps, the object of the institutions in question. The Humanists, it may be conjectured, thought of school and University as places where Latin and Greek were to be learned, and to be learned with the object of enjoying the great thought and the great style of an antique world. One sees the spirit of this in Rabelais, for example. The Classics are a wonderful adventure; to learn to understand them is to be a spiritual Columbus, a discoverer of new seas and unknown continents, a drinker of new-old wine in a new-old land. To the student of those days a mysterious drowned Atlantis again rose splendid from the waves of the great deep. It was these things that Meyrick (unconsciously, doubtless) expected to find in his school life; it was for the absence of these things that he continued to scold the system in his later years; wherein, like Jim in Huckleberry Finn, he missed the point by a thousand miles.
The Latin and Greek of modern instruction are, of course, most curious and interesting survivals; no longer taught with any view of enabling students to enjoy and understand either the thought or beauty of the originals; taught rather in such a manner as to nauseate the learner for the rest of his days with the very notion of these lessons. Still, the study of the Classics survives, a curious and elaborate ritual, from which all sense and spirit have departed. One has only to recollect the form master's lessons in the Odyssey or the Bacchæ, and then to view modern Free-masons celebrating the Mystic Death and Resurrection of Hiram Abiff; the analogy is complete, for neither the master nor the Masons have the remotest notion of what they are doing. Both persevere in strange and mysterious actions from inveterate conservatism.
Meyrick was a lover of antiquity and a special lover of survivals, but he could never see that the round of Greek syntax, and Latin prose, of Elegiacs and verbs in [Greek: mi], with the mystery o
f the Oratio obliqua and the Optative, was one of the most strange and picturesque survivals of modern life. It is to be noted, by the way, that the very meaning of the word "scholar" has been radically changed. Thus a well-known authority points out that "Melancholy" Burton had no "scholarship" in the real sense of the word; he merely used his vast knowledge of ancient and modern literature to make one of the most entertaining and curious books that the world possesses. True "scholarship," in the modern sense, is to be sought for not in the Jacobean translators of the Bible, but in the Victorian revisers. The former made the greatest of English books out of their Hebrew and Greek originals; but the latter understood the force of the aorist. It is curious to reflect that "scholar" once meant a man of literary taste and knowledge.
Meyrick never mastered these distinctions, or, if he did so in later years, he never confessed to his enlightment, but went on railing at the meeting-house, which, he still maintained, did pretend to be a cathedral. He has been heard to wonder why a certain Dean, who had pointed out the vast improvements that had been effected by the Revisers, did not employ a few young art students from Kensington to correct the infamous drawing of the fourteenth-century glass in his cathedral. He was incorrigible; he was always incorrigible, and thus, in his boyhood, on the dark November evening, he meditated the murder of his good master and uncle—for at least a quarter of an hour.
His father, he remembered, had always spoken of Gothic architecture as the most wonderful and beautiful thing in the world: a thing to be studied and loved and reverenced. His father had never so much as mentioned rocker, much less had he preached it as the one way by which an English boy must be saved. Hence, Ambrose maintained inwardly that his visit to Selden Abbey was deserving of reward rather than punishment, and he resented bitterly, the savage injustice (as he thought it) of his caning.
III
Yet Mr. Horbury had been right in one matter, if not in all. That evening was a turning-point in Meyrick's life. He had felt the utmost rage of the enemy, as it were, and he determined that he would be a funk no longer. He would not degenerate into the state of little Phipps, who had been bullied and "rockered" and beaten into such a deplorable condition that he fainted dead away while the Headmaster was operating on him for "systematic and deliberate lying." Phipps not only fainted, but, being fundamentally sensible, as Dr. Johnson expressed it, showed a strong disinclination to return to consciousness and the precious balms of the "dear old Head." Chesson was rather frightened, and the school doctor, who had his living to get, said, somewhat dryly, that he thought the lad had better go home for a week or two.
So Phipps went home in a state which made his mother cry bitterly and his father wonder whether the Public School system was not over-praised. But the old family doctor went about raging and swearing at the "scoundrels" who had reduced a child of twelve to a nervous wreck, with "neurasthenia cerebralis" well on its way. But Dr. Walford had got his education in some trumpery little academy, and did not understand or value the ethos of the great Public Schools.
Now, Ambrose Meyrick had marked the career of wretched Phipps with concern and pity. The miserable little creature had been brought by careful handling from masters and boys to such a pitch of neurotic perfection that it was only necessary to tap him smartly on the back or on the arm, and he would instantly burst into tears. Whenever anyone asked him the simplest question he suspected a cruel trap of some sort, and lied and equivocated and shuffled with a pitiable lack of skill. Though he was pitched by the heels into mucker about three times a week, that he might acquire the useful art of natation, he still seemed to grow dirtier and dirtier. His school books were torn to bits, his exercises made into darts; he had impositions for losing books and canings for not doing his work, and he lied and cried all the more.
Meyrick had never got to this depth. He was a sturdy boy, and Phipps had always been a weakly little animal; but, as he walked from the study to the schoolroom after his thrashing, he felt that he had been in some danger of descending on that sad way. He finally resolved that he would never tread it, and so he walked past the baize-lined doors into the room where the other boys were at work on prep, with an air of unconcern which was not in the least assumed.
Mr. Horbury was a man of considerable private means and did not care to be bothered with the troubles and responsibilities of a big House. But there was room and to spare in the Old Grange, so he took three boys besides his nephew. These three were waiting with a grin of anticipation, since the nature of Meyrick's interview with "old Horbury" was not dubious. But Ambrose strolled in with a "Hallo, you fellows!" and sat down in his place as if nothing had happened. This was intolerable.
"I say, Meyrick," began Pelly, a beefy boy with a red face, "you have been blubbing! Feel like writing home about it? Oh! I forgot. This is your home, isn't it? How many cuts? I didn't hear you howl."
The boy took no notice. He was getting out his books as if no one had spoken.
"Can't you answer?" went on the beefy one. "How many cuts, you young sneak?"
"Go to hell!"
The whole three stared aghast for a moment; they thought Meyrick must have gone mad. Only one, Bates the observant, began to chuckle quietly to himself, for he did not like Pelly. He who was always beefy became beefier; his eyes bulged out with fury.
"I'll give it you," he said and made for Ambrose, who was turning over the leaves of the Latin dictionary. Ambrose did not wait for the assault; he rose also and met Pelly half-way with a furious blow, well planted on the nose. Pelly took a back somersault and fell with a crash to the floor, where he lay for a moment half stunned. He rose staggering and looked about him with a pathetic, bewildered air; for, indeed, a great part of his little world had crumbled about his ears. He stood in the middle of the room, wondering what it meant, whether it was true indeed that Meyrick was no longer of any use for a little quiet fun. A horrible and incredible transmutation had, apparently, been effected in the funk of old. Pelly gazed wildly about him as he tried to staunch the blood that poured over his mouth.
"Foul blow!" ventured Rawson, a lean lad who liked to twist the arms of very little boys till they shrieked for mercy. The full inwardness of the incident had not penetrated to his brain; he saw without believing, in the manner of the materialist who denies the marvellous even when it is before his eyes.
"Foul blow, young Meyrick!"
The quiet student had gone back to his place and was again handling his dictionary. It was a hard, compact volume, rebound in strong boards, and the edge of these boards caught the unfortunate Rawson full across the eyes with extraordinary force. He put his face in his hands and blubbered quietly and dismally, rocking to and fro in his seat, hardly hearing the fluent stream of curses with which the quiet student inquired whether the blow he had just had was good enough for him.
Meyrick picked up his dictionary with a volley of remarks which would have done credit to an old-fashioned stage-manager at the last dress rehearsal before production.
"Hark at him," said Pelly feebly, almost reverently. "Hark at him." But poor Rawson, rocking to and fro, his head between his hands, went on blubbering softly and spoke no word.
Meyrick had never been an unobservant lad; he had simply made a discovery that evening that in Rome certain Roman customs must be adopted. The wise Bates went on doing his copy of Latin verse, chuckling gently to himself. Bates was a cynic. He despised all the customs and manners of the place most heartily and took the most curious care to observe them. He might have been the inventor and patentee of rocker, if one judged him by the fervour with which he played it. He entered his name for every possible event at the sports, and jumped the jumps and threw the hammer and ran the races as if his life depended on it. Once Mr. Horbury had accidentally over-head Bates saying something about "the honour of the House" which went to his heart. As for cricket, Bates played as if his sole ambition was to become a first-class professional. And he chuckled as he did his Latin verses, which he wrote (to the awe of other boys) "as
if he were writing a letter"—that is, without making a rough copy. For Bates had got the "hang" of the whole system from rocker to Latin verse, and his copies were much admired. He grinned that evening, partly at the transmutation of Meyrick and partly at the line he was jotting down:
"Mira loquor, cœlo resonans vox funditur alto."
In after life he jotted down a couple of novels which sold, as the journalists said, "like hot cakes." Meyrick went to see him soon after the first novel had gone into its thirtieth thousand, and Bates was reading "appreciations" and fingering a cheque and chuckling.
"Mira loquor, populo, resonans, cheque funditur alto," he said. "I know what schoolmasters and boys and the public want, and I take care they get it—sale espèce de sacrés cochons de N. de D.!"
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