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 Bacchae, and then to view modern Freemasons 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 μι, with the mystery of 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 enlightenment, but went on railing at the meetinghouse, 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
