underground room where paper moulders and leaves the wall, a feeling of ineradicable contagion in the Gothic buildings, in the narrow ditch-like rivers, in those roads and roads of stuffy little villas. Those little villas have destroyed all the good of the old monastic system and none of its evil....
Some of the most charming people in the world live in them, but their collective effect is below the quality of any individual among them.
Cambridge is a world of subdued tones, of excessively subtle humours, of prim conduct and free thinking; it fears the Parent, but it has no fear of God; it offers amidst surroundings that vary between disguises and antiquarian charm the inflammation of literature's purple draught; one hears there a peculiar thin scandal like no other scandal in the world—a covetous scandal—so that I am always reminded of Ibsen in Cambridge.
In Cambridge and the plays of Ibsen alone does it seem appropriate for the heroine before the great crisis of life to “enter, take off her overshoes, and put her wet umbrella upon the writing desk.”...
We have to make a new Academic mind for modern needs, and the last thing to make it out of, I am convinced, is the old Academic mind. One might as soon try to fake the old VICTORY at Portsmouth into a line of battleship again. Besides which the old Academic mind, like those old bathless, damp Gothic colleges, is much too delightful in its peculiar and distinctive way to damage by futile patching.
My heart warms to a sense of affectionate absurdity as I recall dear old Codger, surely the most “unleaderly” of men. No more than from the old Schoolmen, his kindred, could one get from him a School for Princes. Yet apart from his teaching he was as curious and adorable as a good Netsuke. Until quite recently he was