The Complete Works of F. Scott Fitzgerald. F. Scott Fitzgerald

by dark and powerful coffee, and sleeping in lectures through the interim. A rare scene, the Casino. A big, barnlike auditorium, dotted with boys as girls, boys as pirates, boys as babies; the scenery in course of being violently set up; the spotlight man rehearsing by throwing weird shafts into angry eyes; over all the constant tuning of the orchestra or the cheerful tumpty-tump of a Triangle tune. The boy who writes the lyrics stands in the corner, biting a pencil, with twenty minutes to think of an encore; the business manager argues with the secretary as to how much money can be spent on “those damn milkmaid costumes”; the old graduate, president in ninety-eight, perches on a box and thinks how much simpler it was in his day.

      How a Triangle show ever got off was a mystery, but it was a riotous mystery, anyway, whether or not one did enough service to wear a little gold Triangle on his watch-chain. “Ha-Ha Hortense!” was written over six times and had the names of nine collaborators on the programme. All Triangle shows started by being “something different—not just a regular musical comedy,” but when the several authors, the president, the coach and the faculty committee finished with it, there remained just the old reliable Triangle show with the old reliable jokes and the star comedian who got expelled or sick or something just before the trip, and the dark-whiskered man in the pony-ballet, who “absolutely won’t shave twice a day, dog-gone it!”

      There was one brilliant place in “Ha-Ha Hortense!” It is a Princeton tradition that whenever a Yale man who is a member of the widely advertised “Skull and Bones” hears the sacred name mentioned, he must leave the room. It is also a tradition that the members are invariably successful in later life, amassing fortunes or votes or coupons or whatever they choose to amass. Therefore, at each performance of “Ha-Ha Hortense!” half-a-dozen seats were kept from sale and occupied by six of the worst-looking vagabonds that could be hired from the streets, further touched up by the Triangle make-up man. At the moment in the show where Firebrand, the Pirate Chief, pointed at his black flag and said, “I am a Yale graduate—note my Skull and Bones!”—at this very moment the six vagabonds were instructed to rise conspicuously and leave the theatre with looks of deep melancholy and an injured dignity. It was claimed though never proved that on one occasion the hired Elis were swelled by one of the real thing.

      They played through vacation to the fashionable of eight cities. Amory liked Louisville and Memphis best: these knew how to meet strangers, furnished extraordinary punch, and flaunted an astonishing array of feminine beauty. Chicago he approved for a certain verve that transcended its loud accent—however, it was a Yale town, and as the Yale Glee Club was expected in a week the Triangle received only divided homage. In Baltimore, Princeton was at home, and every one fell in love. There was a proper consumption of strong waters all along the line; one man invariably went on the stage highly stimulated, claiming that his particular interpretation of the part required it. There were three private cars; however, no one slept except in the third car, which was called the “animal car,” and where were herded the spectacled wind-jammers of the orchestra. Everything was so hurried that there was no time to be bored, but when they arrived in Philadelphia, with vacation nearly over, there was rest in getting out of the heavy atmosphere of flowers and grease-paint, and the ponies took off their corsets with abdominal pains and sighs of relief.

      When the disbanding came, Amory set out posthaste for Minneapolis, for Sally Weatherby’s cousin, Isabelle Borgé, was coming to spend the winter in Minneapolis while her parents went abroad. He remembered Isabelle only as a little girl with whom he had played sometimes when he first went to Minneapolis. She had gone to Baltimore to live—but since then she had developed a past.

      Amory was in full stride, confident, nervous, and jubilant. Scurrying back to Minneapolis to see a girl he had known as a child seemed the interesting and romantic thing to do, so without compunction he wired his mother not to expect him … sat in the train, and thought about himself for thirty-six hours.

      “Petting.”

      On the Triangle trip Amory had come into constant contact with that great current American phenomenon, the “petting party.”

      None of the Victorian mothers—and most of the mothers were Victorian—had any idea how casually their daughters were accustomed to be kissed. “Servant-girls are that way,” says Mrs. Huston-Carmelite to her popular daughter. “They are kissed first and proposed to afterward.”

      But the Popular Daughter becomes engaged every six months between sixteen and twenty-two, when she arranges a match with young Hambell, of Cambell & Hambell, who fatuously considers himself her first love, and between engagements the P. D. (she is selected by the cut-in system at dances, which favors the survival of the fittest) has other sentimental last kisses in the moonlight, or the firelight, or the outer darkness.

      Amory saw girls doing things that even in his memory would have been impossible: eating three-o’clock, after-dance suppers in impossible cafés, talking of every side of life with an air half of earnestness, half of mockery, yet with a furtive excitement that Amory considered stood for a real moral let-down. But he never realized how wide-spread it was until he saw the cities between New York and Chicago as one vast juvenile intrigue.

      Afternoon at the Plaza, with winter twilight hovering outside and faint drums down-stairs … they strut and fret in the lobby, taking another cocktail, scrupulously attired and waiting. Then the swinging doors revolve and three bundles of fur mince in. The theatre comes afterward; then a table at the Midnight Frolic—of course, mother will be along there, but she will serve only to make things more secretive and brilliant as she sits in solitary state at the deserted table and thinks such entertainments as this are not half so bad as they are painted, only rather wearying. But the P. D. is in love again … it was odd, wasn’t it?—that though there was so much room left in the taxi the P. D. and the boy from Williams were somehow crowded out and had to go in a separate car. Odd! Didn’t you notice how flushed the P. D. was when she arrived just seven minutes late? But the P. D. “gets away with it.”

      The “belle” had become the “flirt,” the “flirt” had become the “baby vamp.” The “belle” had five or six callers every afternoon. If the P. D., by some strange accident, has two, it is made pretty uncomfortable for the one who hasn’t a date with her. The “belle” was surrounded by a dozen men in the intermissions between dances. Try to find the P. D. between dances, just try to find her.

      The same girl … deep in an atmosphere of jungle music and the questioning of moral codes. Amory found it rather fascinating to feel that any popular girl he met before eight he might quite possibly kiss before twelve.

      “Why on earth are we here?” he asked the girl with the green combs one night as they sat in some one’s limousine, outside the Country Club in Louisville.

      “I don’t know. I’m just full of the devil.”

      “Let’s be frank—we’ll never see each other again. I wanted to come out here with you because I thought you were the best-looking girl in sight. You really don’t care whether you ever see me again, do you?”

      “No—but is this your line for every girl? What have I done to deserve it?”

      “And you didn’t feel tired dancing or want a cigarette or any of the things you said? You just wanted to be——”

      “Oh, let’s go in,” she interrupted, “if you want to analyze. Let’s not talk about it.”

      When the hand-knit, sleeveless jerseys were stylish, Amory, in a burst of inspiration, named them “petting shirts.” The name travelled from coast to coast on the lips of parlor-snakes and P. D.’s.

      Descriptive.

      Amory was now eighteen years old, just under six feet tall and exceptionally, but not conventionally, handsome. He had rather a young face, the ingenuousness of which was marred by the penetrating green eyes, fringed with long dark eyelashes. He lacked somehow that intense animal magnetism that so often accompanies beauty in men or women; his personality seemed rather a mental thing, and it was not in his power to