THE SECRET GLORY (The Quest of the Sangraal). Arthur Machen

who remembered the sparkle of his wit, the zest which he threw into everything, making the most ordinary form-work better fun than the games at other schools, as one of them observed, missed something indefinable from the man whom they had loved so long and so well. One of them, who had perhaps penetrated as closely as any into the arcana of Horbury's friendship (a privilege which he will ever esteem as one of the greatest blessings of his life), tried to rouse him with an extravagant rumour which was then going the round of the popular Press, to the effect that considerable modifications were about to be introduced into the compulsory system of games at X., one of the greatest of our great Public Schools. Horbury flushed; the old light came into his eyes; his friend was reminded of the ancient war-horse who hears once more the inspiring notes of the trumpet. 'I can't believe it,' he said, and there was a tremor in his voice. 'They wouldn't dare. Not even Y. (the Headmaster of X.) would do such a scoundrelly thing as that. I won't believe it.' But the flush soon faded and his apathy returned. 'After all,' he said, 'I shouldn't wonder if it were so. Our day is past, I suppose, and for all I know they may be construing the Breviary and playing dominoes at X. in a few years' time.'

      "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,