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TONO-BUNGAY

rises before my eyes as I write, young Hopley Dodd the son of the Wimblehurst auctioneer, the pride of Wimblehurst, its finest flower, with his fur waistcoat and his bulldog pipe, his riding-breeches—he had no horse—and his gaiters, as he used to sit, leaning forward and watching the billiard-table from under the brim of his artfully tilted hat. A half-dozen phrases constituted his conversation: "Hard lines!" he used to say, and "Good baazness," in a bass bleat. Moreover, he had a long slow whistle that was esteemed the very cream of humorous comment. Night after night he was there. . . .

Also, you know, he would not understand that I could play billiards, and regarded every stroke I made as a fluke. For a beginner I didn't play so badly, I thought. I'm not so sure now; that was my opinion at the time. But young Dodd's scepticism and the "good baazness" finally cured me of my disposition to frequent the Eastry Arms, and so these noises had their value in my world.

I made no friends among the young men of the place at all, and though I was entering upon adolescence I have no love-affair to tell of here. Not that I was not waking up to that aspect of life in my middle teens. I did, indeed, in various slightly informal ways scrape acquaintance with casual Wimblehurst girls; with a little dressmaker's apprentice I got upon shyly speaking terms, and a pupil teacher in the National School went further and was "talked about" in connection with me; but I was not by any means touched by any reality of passion for either of these young people; love—love as yet came to me only in my dreams. I only kissed these girls once or twice. They rather disconcerted than developed those dreams. They were