did order them, he'd get a morning newspaper and toothpick. Last Spring I was in the boot-blacking emporium in the village one afternoon and Horace came in to get his shoes shined. There--"

"Who is Horace!" asked Clint dejectedly.

"Mr. Daley; modern languages; you have him in French. Well, there was a notice stuck on the wall across the place. It was in Greek and I couldn't make anything out of it at all and I asked Horace what it said. Of course he just read it right off, with a mere passing glance; did he not? Yes, he did not! He hemmed and hawed and muttered and finally said he couldn't make out the second word. I told him that was my trouble, too. Then we asked the Greek that runs the place and he told us it said that shines on Sundays and holidays were ten cents. Of course, Horace isn't a specialist in Greek, but still he's been through college, and what I say is--"

"I don't believe the men who wrote the stuff really understood it," said Clint.

"Oh, they understood a little of it, all right. They could sign their names, probably. The only consolation I find is this, Clint. A couple of hundred years from now, when everyone is talking Esperanto or some other universal language, the kids will have to study English. Can't you see them grinding over the Orations of William Jennings Bryan and wondering why the dickens anyone ever wanted to talk such a silly language? That's when we get our revenge, Clint. We won't be around to see it, but it'll be there."

Clint had to smile at the picture Amy drew, but he didn't find as much consolation as Amy pretended to, and Xenophon didn't come any easier. He was heartily glad when the study-hour came to an end and he could conscientiously close his books.

The termination of that hour was almost invariably announced by the dismal squawking of Penny Durkin's fiddle. Sometimes it was to be heard in the afternoon, but not always, for Penny was a very busy youth. He was something of a "shark" at lessons, was a leading light in the Debating Circle and conducted a second-hand business in all sorts of things from a broken tooth-mug to a brass bed. Penny bought and sold and traded and, so rumour declared, made enough to nearly pay his tuition each year. If you wanted a rug or a table or a chair or a picture or a broken-down bicycle or a pair of football pants you went to Penny, and it was a dollar to a dime that Penny either had in his possession, or could take you to someone else who had, the very thing you were looking for. If you paid cash you got it reasonably cheap--or you did if you knew enough to bargain craftily--and if you wanted credit Penny charged you a whole lot more and waited on you promptly for the instalment at the first of each month. And besides these activities Penny was a devoted student of music.

He was an odd-looking fellow, tall and thin, with a lean face from which a pair of pale and near-sighted eyes peered forth from behind rubber-rimmed spectacles. His hair was almost black and was always in need of trimming, and his garments--he seldom wore trousers, coat and vest that matched--always seemed about to fall off him. Clint's first glimpse of Penny came one afternoon. The door of Number 13 was open as Clint returned to his room after football practice and lugubrious sounds issued forth. It was very near the supper hour and Penny's room was lighted only by the rays of the sinking sun. Against the window Clint saw him in silhouette, his hair wildly ruffled, his violin under his chin, his bow scraping slowly back and forth as he leaned near-sightedly over the sheet of music spread on the rack before him. The strains that issued from the instrument were awful, but there was something fine in the player's absorption and obvious content, and what had started out as a laugh of amusement changed to a sympathetic smile as Clint tiptoed on to his own door.

The sorrow of Penny's young life was that, although he had made innumerable attempts, he could not succeed in the formation of a school orchestra. There was a Glee Club and a Musical Society, the latter composed of performers on the mandolin, banjo and guitar, but no one would take any interest in Penny's project. Or no one save a fellow named Pillsbury. Pillsbury played the bass viol, and once a week or so he and Penny got together and spent an entranced hour. Time was when such meetings took place in Penny's room or in Pillsbury's room, but popular indignation put an end to that. Nowadays they took their instruments to the gymnasium and held their chamber concerts in the trophy room. Amy one day drew Clint's attention to a fortunate circumstance. This was that, while there was a connecting door between Number 14 and Number 15, there was none between Number 14 and Number 13. That fact, Amy declared, rendered their room fairly habitable when Penny was pouring out his soul. "It's lucky in another way," he added, staring darkly at the buff-coloured wall that separated them from Number 13. "If that door was on this side I'd have broken it open long ago and done murder!"

Clint laughed and inquired: "Who rooms on the other side?"

"Schuman and Dreer." The contemptuous tone of his reply caused Clint to ask:

"Anything wrong with them?"

"Oh, Schuman's all right, I guess, but Dreer's a pill." There was a wealth of contempt in the word "pill" as Amy pronounced it, and Clint asked innocently what a "pill" was.

"A pill," replied Amy, "is--is--well, there are all sorts of pills. A fellow who toadies to the instructors is a pill. A fellow who is too lazy to play football or baseball or tennis or anything else and pretends the doctor won't let him is a pill. A fellow who has been to one school and got fired and then goes to another and is always shooting off his mouth about how much better the first school is is the worst kind of pill. And that's the kind Harmon Dreer is. He went to Claflin for a year and a half and then got into some sort of mess and was expelled. Then the next Fall he came here. This is his second year here and he's still gabbing about how much higher class Claflin is and how much better they do everything there and--oh, all that sort of rot. I told him once that if the fellows at Claflin were so much classier than we are I could understand why they didn't let him stay there. He didn't like it. He doesn't narrate his sweet, sad story to me any more. If he ever does I'm likely to forget that I'm a perfect gentleman."

But Clint's neighbours were not of overpowering interest to him those days. There were more absorbing matters, pleasant and unpleasant, to fill his mind. For one thing, he was trying very hard to make a place on one of the football teams. He hadn't any hope of working into the first team. Perhaps when he started he may, in spite of his expressed doubts, have secretly entertained some such hope, but by the end of the second day of practice he had abandoned it. The brand of football taught by Coach Robey and played by the 'varsity team was ahead of any Clint had seen outside a college gridiron and was a revelation to him. Even by the end of the first week the first team was in what seemed to Clint end-of-season form, although in that Clint was vastly mistaken, and his own efforts appeared to him pretty weak and amateurish. But he held on hard, did his best and hoped to at least retain a place on the third squad until the final cut came. And it might just be, he told himself in optimistic moments, that he'd make the second! Meanwhile he was enjoying it. It's remarkable what a lot of extremely hard work a boy will go through if he likes football, and what a deal of pleasure he will get out of it! Amy pretended to be totally unable to get that point of view. One afternoon when Clint returned to prepare for supper with a lower lip twice the normal size of that feature Amy indulged in sarcasm.

"Oh, the proud day!" he declaimed, striking an attitude. "Wounded on the field of battle! Glory! Triumph! Pæans! My word, old top, but I certainly am proud to be the chum of such a hero! I'm so sot-up I could scream for joy. Football's a