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TONO-BUNGAY

American sculptor. This young man had a commission for an allegorical figure of Truth (draped, of course) for his State Capitol, and he needed help. Ewart had returned with his hair cut en brosse and with his costume completely translated into French. He wore, I remember, a bicycling suit of purplish-brown, baggy beyond imagining—the only creditable thing about it was that it had evidently not been made for him—a voluminous black tie, a decadent soft felt hat and several French expletives of a sinister description. "Silly clothes, aren't they?" he said at the sight of my startled eye. "I don't know why I got 'm. They seemed all right over there." He had come down to our Raggett Street place to discuss a benevolent project of mine for a poster by him, and he scattered remarkable discourse over the heads (I hope it was over the heads) of our bottlers.

"What I like about it all, Ponderevo, is its poetry. . . . That's where we get the pull of the animals. No animal would ever run a factory like this. Think! . . . One remembers the Beaver, of course. He might very possibly bottle things, but would he stick a label round 'em and sell 'em? The Beaver is a dreamy fool I'll admit, him and his dams, but after all, there's a sort of protection about 'em, a kind of muddy practicality! They prevent things getting at him. And it's not your poetry only. It's the poetry of the customer too. Poet answering to poet—soul to soul. Health, Strength and Beauty—in a bottle—the magic philtre! Like a fairy tale. . . .

"Think of the people to whom your bottles of footle go! (I'm calling it footle, Ponderevo, out of praise," he said in parenthesis.)

"Think of the little clerks and jaded women and