Of Time and the River & Look Homeward, Angel. Thomas Wolfe

could flay a victim with as cruel a tongue as ever wagged, and in the next moment wipe out hostility, restore affection, heal all wounds by the same agency. His charm was enormous. Among the students he was the subject for comical speculation — in their myths, they made of him a passionate and sophisticated lover, and his midget cycle-car, which bounded like an overgrown toy around the campus, the scene of many romantic seductions.

      He was a good Grecian — an elegant indolent scholar. Under his instruction Eugene began to read Homer. The boy knew little grammar — he had learned little at Leonard’s — but, since he had had the bad judgment to begin Greek under some one other than Buck Benson, Buck Benson thought he knew even less than he did. He studied desperately, but the bitter dyspeptic gaze of the elegant little man frightened him into halting, timorous, clumsy performances. And as he proceeded, with thumping heart and tremulous voice, Buck Benson’s manner would become more and more weary, until finally, dropping his book, he would drawl:

      “Mister Gant, you make me so damned mad I could throw you out the window.”

      But, on the examination, he gave an excellent performance, and translated from sight beautifully. He was saved. Buck Benson commended his paper publicly with lazy astonishment, and gave him a fair grade. Thereafter, they slipped quickly into an easier relation: by Spring, he was reading Euripides with some confidence.

      But that which remained most vividly, later, in the drowning years which cover away so much of beauty, was the vast sea-surge of Homer which beat in his brain, his blood, his pulses, as did the sea-sound in Gant’s parlor shells, when first he heard it to the slowly pacing feet and the hexametrical drawl of Buck Benson, the lost last weary son of Hellas.

      Dwaney de clangay genett, argereoyo beeoyo — above the whistle’s shriek, the harsh scream of the wheel, the riveter’s tattoo, the vast long music endures, and ever shall. What dissonance can quench it? What jangling violence can disturb or conquer it — entombed in our flesh when we were young, remembered like “the apple tree, the singing, and the gold”?