So it was I occupied my mind with the exact study of dead languages for seven long years. It was the strangest of detachments. We would sit under the desk of such a master as Topham like creatures who had fallen into an enchanted pit, and he would do his considerable best to work us up to enthusiasm for, let us say, a Greek play. If we flagged he would lash himself to revive us. He would walk about the class-room mouthing great lines in a rich roar, and asking us with a flushed face and shining eyes if it was not “GLORIOUS.” The very sight of Greek letters brings back to me the dingy, faded, ink-splashed quality of our class-room, the banging of books, Topham's disordered hair, the sheen of his alpaca gown, his deep unmusical intonations and the wide striding of his creaking boots. Glorious! And being plastic human beings we would consent that it was glorious, and some of us even achieved an answering reverberation and a sympathetic flush. I at times responded freely. We all accepted from him unquestioningly that these melodies, these strange sounds, exceeded any possibility of beauty that lay in the Gothic intricacy, the splash and glitter, the jar and recovery, the stabbing lights, the heights and broad distances of our English tongue. That indeed was the chief sin of him. It was not that he was for Greek and Latin, but that he was fiercely against every beauty that was neither classic nor deferred to classical canons. And what exactly did we make of it, we seniors who understood it best? We visualised dimly through that dust and the grammatical difficulties, the spectacle of the chorus chanting grotesquely, helping out protagonist and antagonist, masked and buskined, with the telling of incomprehensible parricides, of inexplicable incest, of gods faded beyond symbolism, of that Relentless Law we did not believe in for a moment, that no modern western European can believe in. We thought of the characters in the unconvincing wigs and costumes of our school performance. No Gilbert Murray had come as yet to touch these things to life again. It was like the ghost of an antiquarian's toy theatre, a ghost that crumbled and condensed into a gritty dust of construing as one looked at it. Marks, shindies, prayers and punishments, all flavoured with the leathery stuffiness of time-worn Big Hall....