This Side of Paradise. F. Scott Fitzgerald

as Amory, due to the fact that his entire class had gone to Yale. “Joe's” was unaesthetic and faintly unsanitary, but a limitless charge account could be opened there, a convenience that Amory appreciated. His father had been experimenting with mining stocks and, in consequence, his allowance, while liberal, was not at all what he had expected.

      “Joe's” had the additional advantage of seclusion from curious upper-class eyes, so at four each afternoon Amory, accompanied by friend or book, went up to experiment with his digestion. One day in March, finding that all the tables were occupied, he slipped into a chair opposite a freshman who bent intently over a book at the last table. They nodded briefly. For twenty minutes Amory sat consuming bacon buns and reading “Mrs. Warren's Profession” (he had discovered Shaw quite by accident while browsing in the library during mid-years); the other freshman, also intent on his volume, meanwhile did away with a trio of chocolate malted milks.

      By and by Amory's eyes wandered curiously to his fellow-luncher's book. He spelled out the name and title upside down—“Marpessa,” by Stephen Phillips. This meant nothing to him, his metrical education having been confined to such Sunday classics as “Come into the Garden, Maude,” and what morsels of Shakespeare and Milton had been recently forced upon him.

      Moved to address his vis-a-vis, he simulated interest in his book for a moment, and then exclaimed aloud as if involuntarily:

      “Ha! Great stuff!”

      The other freshman looked up and Amory registered artificial embarrassment.

      “Are you referring to your bacon buns?” His cracked, kindly voice went well with the large spectacles and the impression of a voluminous keenness that he gave.

      “No,” Amory answered. “I was referring to Bernard Shaw.” He turned the book around in explanation.

      “I've never read any Shaw. I've always meant to.” The boy paused and then continued: “Did you ever read Stephen Phillips, or do you like poetry?”

      “Yes, indeed,” Amory affirmed eagerly. “I've never read much of Phillips, though.” (He had never heard of any Phillips except the late David Graham.)

      “It's pretty fair, I think. Of course he's a Victorian.” They sallied into a discussion of poetry, in the course of which they introduced themselves, and Amory's companion proved to be none other than “that awful highbrow, Thomas Parke D'Invilliers,” who signed the passionate love-poems in the Lit. He was, perhaps, nineteen, with stooped shoulders, pale blue eyes, and, as Amory could tell from his general appearance, without much conception of social competition and such phenomena of absorbing interest. Still, he liked books, and it seemed forever since Amory had met any one who did; if only that St. Paul's crowd at the next table would not mistake him for a bird, too, he would enjoy the encounter tremendously. They didn't seem to be noticing, so he let himself go, discussed books by the dozens—books he had read, read about, books he had never heard of, rattling off lists of titles with the facility of a Brentano's clerk. D'Invilliers was partially taken in and wholly delighted. In a good-natured way he had almost decided that Princeton was one part deadly Philistines and one part deadly grinds, and to find a person who could mention Keats without stammering, yet evidently washed his hands, was rather a treat.

      “Ever read any Oscar Wilde?” he asked.

      “No. Who wrote it?”

      “It's a man—don't you know?”

      “Oh, surely.” A faint chord was struck in Amory's memory. “Wasn't the comic opera, 'Patience,' written about him?”

      “Yes, that's the fella. I've just finished a book of his, 'The Picture of Dorian Gray,' and I certainly wish you'd read it. You'd like it. You can borrow it if you want to.”

      “Why, I'd like it a lot—thanks.”

      “Don't you want to come up to the room? I've got a few other books.”

      Amory hesitated, glanced at the St. Paul's group—one of them was the magnificent, exquisite Humbird—and he considered how determinate the addition of this friend would be. He never got to the stage of making them and getting rid of them—he was not hard enough for that—so he measured Thomas Parke D'Invilliers' undoubted attractions and value against the menace of cold eyes behind tortoise-rimmed spectacles that he fancied glared from the next table.

      “Yes, I'll go.”

      So he found “Dorian Gray” and the “Mystic and Somber Dolores” and the “Belle Dame sans Merci”; for a month was keen on naught else. The world became pale and interesting, and he tried hard to look at Princeton through the satiated eyes of Oscar Wilde and Swinburne—or “Fingal O'Flaherty” and “Algernon Charles,” as he called them in precieuse jest. He read enormously every night—Shaw, Chesterton, Barrie, Pinero, Yeats, Synge, Ernest Dowson, Arthur Symons, Keats, Sudermann, Robert Hugh Benson, the Savoy Operas—just a heterogeneous mixture, for he suddenly discovered that he had read nothing for years.

      Tom D'Invilliers became at first an occasion rather than a friend. Amory saw him about once a week, and together they gilded the ceiling of Tom's room and decorated the walls with imitation tapestry, bought at an auction, tall candlesticks and figured curtains. Amory liked him for being clever and literary without effeminacy or affectation. In fact, Amory did most of the strutting and tried painfully to make every remark an epigram, than which, if one is content with ostensible epigrams, there are many feats harder. 12 Univee was amused. Kerry read “Dorian Gray” and simulated Lord Henry, following Amory about, addressing him as “Dorian” and pretending to encourage in him wicked fancies and attenuated tendencies to ennui. When he carried it into Commons, to the amazement of the others at table, Amory became furiously embarrassed, and after that made epigrams only before D'Invilliers or a convenient mirror.

      One day Tom and Amory tried reciting their own and Lord Dunsany's poems to the music of Kerry's graphophone.

      “Chant!” cried Tom. “Don't recite! Chant!”

      Amory, who was performing, looked annoyed, and claimed that he needed a record with less piano in it. Kerry thereupon rolled on the floor in stifled laughter.

      “Put on 'Hearts and Flowers'!” he howled. “Oh, my Lord, I'm going to cast a kitten.”

      “Shut off the damn graphophone,” Amory cried, rather red in the face. “I'm not giving an exhibition.”

      In the meanwhile Amory delicately kept trying to awaken a sense of the social system in D'Invilliers, for he knew that this poet was really more conventional than he, and needed merely watered hair, a smaller range of conversation, and a darker brown hat to become quite regular. But the liturgy of Livingstone collars and dark ties fell on heedless ears; in fact D'Invilliers faintly resented his efforts; so Amory confined himself to calls once a week, and brought him occasionally to 12 Univee. This caused mild titters among the other freshmen, who called them “Doctor Johnson and Boswell.”

      Alec Connage, another frequent visitor, liked him in a vague way, but was afraid of him as a highbrow. Kerry, who saw through his poetic patter to the solid, almost respectable depths within, was immensely amused and would have him recite poetry by the hour, while he lay with closed eyes on Amory's sofa and listened: