ied itself with an air: the Shelley and the Keats were really editions better suited to the glass and gloom of a seaside lodging: the school-books looked like trippers usurping the gothic grandeur of these shelves. Moreover, the space was eked out with tattered paper editions that with too much room at their disposal collapsed with an appearance of ill-favored intoxication. Michael examined his possessions in critical discontent. They seemed to symbolize the unpleasant crudity of youth. In the familiar surroundings of childhood they had seemed on the contrary to testify to his maturity. Now at Oxford he felt most abominably young again, yet he was able to console himself with the thought that youth would be no handicap among his peers. He took down the scenes of Montmartre even from the walls of his bedroom and pushed them ignominiously out of sight under the bed.
Michael abandoned the contemplation of his possessions, and looked out of his sitting-room window at the High. There was something salutary