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TONO-BUNGAY

and did the "Retreat of the Ten Thousand" through it from end to end, cutting our way bravely through a host of nettle beds that barred our path, and not forgetting to weep and kneel when at last we emerged within sight of the High Road Sea. So we have burst at times, weeping and rejoicing, upon startled wayfarers. Usually I took the part of that distinguished general Xenōphen—and please note the quantity of the ō. I have all my classical names like that,—Socrates rhymes with Bates for me, and except when the bleak eye of some scholar warns me of his standards of judgment, I use those dear old mispronunciations still. The little splash into Latin made during my days as a chemist washed off nothing of the habit. Well,—if I met those great gentlemen of the past with their accents carelessly adjusted I did at least meet them alive, as an equal, and in a living tongue. Altogether my school might easily have been worse for me, and among other good things it gave me a friend who has lasted my life out.

This was Ewart, who is now a monumental artist at Woking, after many vicissitudes. Dear chap, how he did stick out of his clothes, to be sure! He was a long-limbed lout, ridiculously tall beside my more youthful compactness, and, except that there was no black moustache under his nose blob, he had the same round knobby face he has to-day, the same bright and active hazel brown eyes, the stare, the meditative moment, the insinuating reply. Surely no boy ever played the fool as Bob Ewart used to play it, no boy had a readier knack of mantling the world with wonder. Commonness vanished before Ewart, at his expository touch all things became memorable and rare. From him I first heard tell of love, but only after its