The tower that in view of his window sprang upward, grew into a spire, yearning higher until its uppermost tip was half invisible against the morning skies, gave him the first sense of the transiency and unimportance of the campus figures except as holders of the apostolic succession. He liked knowing that Gothic architecture, with its upward trend, was peculiarly appropriate to universities, and the idea became personal to him. The silent stretches of green, the quiet halls with an occasional late-burning scholastic light held his imagination in a strong grasp, and the chastity of the spire became a symbol of this perception.
“Damn it all,” he whispered aloud, wetting his hands in the damp and running them through his hair. “Next year I work!” Yet he knew that where now the spirit of spires and towers made him dreamily acquiescent, it would then overawe him. Where now he realized only his own inconsequence, effort would make him aware of his own impotency and insufficiency.
The college dreamed on—awake. He felt a nervous excitement that might have been the very throb of its slow heart. It was a stream where he was to throw a stone whose faint ripple would be vanishing almost as it left his hand. As yet he had given nothing, he had taken nothing.
A belated freshman, his oilskin slicker rasping loudly, slushed along the soft path. A voice from somewhere called the inevitable formula, “Stick out your head!” below an unseen window. A hundred little sounds of the current drifting on under the fog pressed in finally on his consciousness.
“Oh, God!” he cried suddenly, and started at the sound of his voice in the stillness. The rain dripped on. A minute longer he lay without moving, his hands clinched. Then he sprang to his feet and gave his clothes a tentative pat.
“I’m very damn wet!” he said aloud to the sun-dial.
Historical.
The war began in the summer following his freshman year. Beyond a sporting interest in the German dash for Paris the whole affair failed either to thrill or interest him. With the attitude he might have held toward an amusing melodrama he hoped it would be long and bloody. If it had not continued he would have felt like an irate ticket-holder at a prize-fight where the principals refused to mix it up.
That was his total reaction.
“Ha-Ha Hortense!”
“All right, ponies !”
“Shake it up!”
“Hey, ponies—how about easing up on that crap game and shaking a mean hip?”
“Hey, ponies!”
The coach fumed helplessly, the Triangle Club president, glowering with anxiety, varied between furious bursts of authority and fits of temperamental lassitude, when he sat spiritless and wondered how the devil the show was ever going on tour by Christmas.
“All right. We’ll take the pirate song.”
The ponies took last drags at their cigarettes and slumped into place; the leading lady rushed into the foreground, setting his hands and feet in an atmospheric mince; and as the coach clapped and stamped and tumped and da-da’d, they hashed out a dance.
A great, seething ant-hill was the Triangle Club. It gave a musical comedy every year, travelling with cast, chorus, orchestra, and scenery all through Christmas vacation. The play and music were the work of undergraduates, and the club itself was the most influential of institutions, over three hundred men competing for it every year.
Amory, after an easy victory in the first sophomore Princetonian competition, stepped into a vacancy of the cast as Boiling Oil, a Pirate Lieutenant. Every night for the last week they had rehearsed “Ha-Ha Hortense!” in the Casino, from two in the afternoon until eight in the morning, sustained by dark and powerful coffee, and sleeping in lectures through the interim. A rare scene, the Casino. A big, barnlike auditorium, dotted with boys as girls, boys as pirates, boys as babies; the scenery in course of being violently set up; the spotlight man rehearsing by throwing weird shafts into angry eyes; over all the constant tuning of the orchestra or the cheerful tumpty-tump of a Triangle tune. The boy who writes the lyrics stands in the corner, biting a pencil, with twenty minutes to think of an encore; the business manager argues with the secretary as to how much money can be spent on “those damn milkmaid costumes”; the old graduate, president in ninety-eight, perches on a box and thinks how much simpler it was in his day.
How a Triangle show ever got off was a mystery, but it was a riotous mystery, anyway, whether or not one did enough service to wear a little gold Triangle on his watch-chain. “Ha-Ha Hortense!” was written over six times and had the names of nine collaborators on the programme. All Triangle shows started by being “something different—not just a regular musical comedy,” but when the several authors, the president, the coach and the faculty committee finished with it, there remained just the old reliable Triangle show with the old reliable jokes and the star comedian who got expelled or sick or something just before the trip, and the dark-whiskered man in the pony-ballet, who “absolutely won’t shave twice a day, dog-gone it!”
There was one brilliant place in “Ha-Ha Hortense!” It is a Princeton tradition that whenever a Yale man who is a member of the widely advertised “Skull and Bones” hears the sacred name mentioned, he must leave the room. It is also a tradition that the members are invariably successful in later life, amassing fortunes or votes or coupons or whatever they choose to amass. Therefore, at each performance of “Ha-Ha Hortense!” half-a-dozen seats were kept from sale and occupied by six of the worst-looking vagabonds that could be hired from the streets, further touched up by the Triangle make-up man. At the moment in the show where Firebrand, the Pirate Chief, pointed at his black flag and said, “I am a Yale graduate—note my Skull and Bones!”—at this very moment the six vagabonds were instructed to rise conspicuously and leave the theatre with looks of deep melancholy and an injured dignity. It was claimed though never proved that on one occasion the hired Elis were swelled by one of the real thing.
They played through vacation to the fashionable of eight cities. Amory liked Louisville and Memphis best: these knew how to meet strangers, furnished extraordinary punch, and flaunted an astonishing array of feminine beauty. Chicago he approved for a certain verve that transcended its loud accent—however, it was a Yale town, and as the Yale Glee Club was expected in a week the Triangle received only divided homage. In Baltimore, Princeton was at home, and every one fell in love. There was a proper consumption of strong waters all along the line; one man invariably went on the stage highly stimulated, claiming that his particular interpretation of the part required it. There were three private cars; however, no one slept except in the third car, which was called the “animal car,” and where were herded the spectacled wind-jammers of the orchestra. Everything was so hurried that there was no time to be bored, but when they arrived in Philadelphia, with vacation nearly over, there was rest in getting out of the heavy atmosphere of flowers and grease-paint, and the ponies took off their corsets with abdominal pains and sighs of relief.
When the disbanding came, Amory set out posthaste for Minneapolis, for Sally Weatherby’s cousin, Isabelle Borgé, was coming to spend the winter in Minneapolis while her parents went abroad. He remembered Isabelle only as a little girl with whom he had played sometimes when he first went to Minneapolis. She had gone to Baltimore to live—but since then she had developed a past.
Amory was in full stride, confident, nervous, and jubilant. Scurrying back to Minneapolis to see a girl he had known as a child seemed the interesting and romantic thing