Benson is also getting "ragged," not so much by the boys as by some of the younger members of the staff. Last term we started a club which meets nightly in his rooms and "rouses the welkin with a succession of catches." We drink whisky and consume vast quantities of fruit and cake, while he plays to us on the piano or violin and we shout snatches from the latest musical comedy.

Benson's forte lies in the subject of boys' smoking. He is certain that boys use the music-rooms to smoke in. To encourage him in this idea, several of us have lately dropped cigarette ends in different parts of the building; these he discovers, picks up and treasures, revealing them to us later. He has a wonderful scheme (which he thinks is his own but which in reality we have put him up to) by which he means to catch the miscreants red-handed.

Half of the club are to sit in darkness and silence in one room, the other half in another: we are all to listen until we hear the boys come in, and at a given signal dash out upon them from two directions and so catch them.

Jackson and I have been deputed by the others to dress up and do the smoking; we are to get out of the window after smoking two or three cheap cigarettes one night and then be chased up and down the shore. That is, Benson will do the chasing, the others will slip back in the dark to consume whisky and wait for his return. He will then be told and the sight of his face ought to be good to see.

October 24, 1910

We have brought off the rag: it didn't turn out as we expected. Both Jackson and I elaborated the jest. I was produced in a (pretended) faint, covered with mud and bleeding at the nose, after a supposed fight with one of the boys, who "in the end got away by pushing me into a pond." I put so much realism into this that Benson was quite concerned about me. I felt an awful pig and so seriously did Benson take it that we did not feel that we could let him know the truth of the matter.

I have been restless again of late and to cure myself have taken to going into Scarborough and roaming round the streets at night. I find this an excellent remedy. I love watching crowds, especially a seaside crowd. They are so obviously out to enjoy life once work for the day is over. They are hail-fellow-well-met with everybody. I don't know why I get so fascinated with the life of the streets: no one else at Radchester ever thinks of any other strata of society than his own.

I want to probe the drama of life: each lighted window conjures up some vision of domestic comedy or tragedy to me. I want to know. I want to play eavesdropper to whisperers in the dark: I scent romance at every corner of the street. Partly I attribute this to reading O. Henry's short stories. "We live by habits, but for adventure" would seem to be the foundation of his belief about life. The skirts of Romance are always swishing past us; we just hear faintly the sound of her tread, we see dimly the sheen of her garments, but we are so bolstered up and surrounded by convention that we dare not give chase, much as we should like to. So Romance for us, as O. Henry says, comes to mean a mere matter of a marriage or two, a few old letters, and a ball programme stuffed away in a drawer—the memory of one scent-laden evening, and for the rest, our existence consists of a lifelong feud with a steam radiator.

I find that my boys love these American short stories, with their quaint extravagances of language, their three-fold surprise upon surprise, their outspokenness and world-wide sympathies with every sort of man and woman, from train-robber to shop-girl and man about town to murderer and convict.

I have been reading lately Edmund Holmes's book on "What Is and What Might Be." He seems to express the ideals of education better than any one I have ever read: yet no one on the staff does more than sneer or laugh at him as an idealist and an impracticable dreamer. I like particularly his six instinctive desires of youth. Every child, he says, wants passionately (1) to talk and listen, (2) to act (in the dramatic sense), (3) to draw, paint, and model, (4) to dance and sing, (5) to know the why of things, and (6) to construct things. To develop all these six instincts he declares is the true aim of all real education.