Sinister Street Compton Mackenzie (good novels to read in english .TXT) 📖

editor rejected the frivolous attentions of his audience, and left the J.C.R. Michael, not thinking it very prudent to remind Lonsdale of last night’s encounter with Appleby, examined the copy of The Oxford Looking-Glass that lay beside his plate.

It was a curious compound of priggishness and brilliance and perspicacity and wit, this olive-green bantling so meticulously hatched, and as Michael turned the pages and roved idly here and there among the articles that by persevering exhortation had been driven into the fold by the editor, he was bound to admit the verisimilitude of the image of Oxford presented. Maurice might certainly be congratulated on the variety of the opinions set on record, but whether he or that Academic Muse whose biographies and sculptured portraits nowhere exist should be praised for the impression of corporate unanimity that without question was ultimately conveyed to the reader, Michael was not sure. It was a promising fancy, this of the Academic Muse; and Michael played with the idea of elaborating his conception in an article for this very Looking-Glass which she invisibly supported. The Oxford Looking-Glass might serve her like the ægis of Pallas Athene, an ægis that would freeze to academic stone the self-confident chimeras of the twentieth century. Michael began to feel that his classical analogies were enmeshing the original idea, involving it already in complexities too manifold for him to unravel. His ideas always fled like waking dreams at the touch of synthesis. Perhaps Pallas Athene was herself the Academic Muse. Well enough might the owl and the olive serve as symbols of Oxford. The owl could stand for all the grotesque pedantry, all the dismal hootings of age, all the slow deliberate sweep of the don’s mind, the seclusions, the blinkings in the daylight and the unerring destruction of intellectual vermin; while the olive would speak of age and the grace and grayness of age, of age each year made young again by its harvest of youth, of sobriety sun-kindled to a radiancy of silver joy, of wisdom, peace, and shelter, and Attic glories.

Michael became so nearly stifled by the net of his fancies that he almost rose from the table then and there, ambitious to take pen in hand and test the power of its sharpness to cut him free. He clearly saw the gray-eyed goddess as the personification of the spirit of the university: but suddenly all the impulse faded out in self-depreciation. Guy Hazlewood would solve the problem with his pranked-out allusiveness, would trace more featly the attributes of the Academic Muse and establish more convincingly her descent from Apollo or her identity with Athene. At least, however, he could offer the idea and if Guy made anything of it, the second number of The Oxford Looking-Glass would hold more of Michael Fane than the ten pounds he had laid on the table of its exchequer. Inspired by the zest of his own fancy, he read on deliberately.

Some Reflections. By Maurice Avery.

The editor had really succeeded in reflecting accurately the passing glance of Oxford, although perhaps the tortuous gilt of the frame with which he had tried to impart style to his mirror was more personal to Maurice Avery than general to the university. Moreover, his glass would certainly never have stood a steady and protracted gaze. Still with all their faults these paragraphic reflections did show forth admirably the wit and unmatured cynicism of the various Junior Common Rooms, did signally flash with all the illusion of an important message, did suggest a potentiality for durable criticism.

Socrates at Balliol.
By Guy Hazlewood.

There was enough of Guy in his article to endear it to Michael, and there was so much of Oxford in Guy that whatever he wrote spontaneously would always enrich the magazine with that adventurous gaiety and childlike intolerance of Athene’s favorites.

The Failure of the Modern Illustrator.
By C. St. C. Wedderburn.

Here was Wedders writing with more distinction than Michael would have expected, but not with all the sartorial distinction of his attire.

“Let us turn now to the illustrators of the sixties and seventies, and we shall see.⁠ ⁠…” Wedderburn in the plural scarcely managed to convey himself into print. The neat bulk began to sprawl: the solidity became pompous: the profundity of his spoken voice was lacking to sustain so much sententiousness.

Quo Vadis?
By Nigel Stewart.

Nigel’s plea for the inspiration of modernity to make more vital the decorative Anglicanism whose cause he had pledged his youth to advance, was with all its predetermined logic and emphasis of rhetorical expression an appealing document. Michael did not think it would greatly serve the purpose for which it had been written, but its presence in The Oxford Looking-Glass was a guarantee that the youngest magazine was not going to ignore the force that perhaps more than any other had endowed Oxford with something that Cambridge for all her poets lacked. Michael himself had since he came up let the practice of religion slide, but his first fervors had not burned themselves out so utterly as to make him despise the warmth they once had kindled. His inclination in any argument was always toward the Catholic point of view, and though he himself allowed to himself the license of agnostic speech and agnostic thought, he was always a little impatient of a skeptical nonage and very contemptuous indeed of an unbelief which had never been tried by the fire of faith. He did not think Stewart’s challenge with its plaintive undercurrent of well-bred pessimism would be effective save for the personality of the writer, who revealed his formal grace notwithstanding the trumpeting of his young epigrams and the tassels of his too conspicuous style. With all the irritation of its verbal cleverness, he rejoiced to read “Quo Vadis?” and he felt in reading it that Oxford would still have silver plate to melt for a lost cause.

Under the stimulus of Nigel Stewart’s article, Michael managed to finish