wounded and tortured him, but they hadn't broken him. They had, it seemed to me, made a kind of crippled and ugly demigod of him. He was, I began to perceive, so much better than I had any right to expect. At first I had been rather struck by his unkempt look, and it made my reaction all the stronger. There was about him something, a kind of raw and bleeding faith in the deep things of life, that stirred me profoundly as he showed it. My set of people had irritated him and disappointed him. I discovered at his touch how they irritated him. He reproached me boldly. He made me feel ashamed of my easy acquiescences as I walked in my sleek tall neatness beside his rather old coat, his rather battered hat, his sturdier shorter shape, and listened to his denunciations of our self-satisfied New Liberalism and Progressivism.
“It has the same relation to progress—the reality of progress—that the things they paint on door panels in the suburbs have to art and beauty. There's a sort of filiation.... Your Altiora's just the political equivalent of the ladies who sell traced cloth for embroidery; she's a dealer in Refined Social Reform for the Parlour. The real progress, Remington, is a graver thing and a painfuller thing and a slower thing altogether. Look! THAT”—and he pointed to where under a boarding in the light of a gas lamp a dingy prostitute stood lurking—“was in Babylon and Nineveh. Your little lot make believe there won't be anything of the sort after this Parliament! They're going to vanish at a few top notes from Altiora Bailey! Remington!—it's foolery. It's prigs at play. It's make-believe, make-believe! Your people there haven't got hold of things, aren't beginning to get hold of things, don't know