The Two Cock was always played a fortnight after the Thirds, and during that fortnight the outhouses had to play off among themselves three preliminary rounds. For them it was a remarkably strenuous time. The two best outhouses sides had, in fact, to play four house matches in twelve days. But it was possible for the School House to take things easily for at least half a week. And these three days out of training meant a lot to Gordon and others, who would have to play not only in the Two Cock, but most probably in the Three Cock as well. It prevented staleness; and staleness was the great danger that all outhouse sides had to face.

The week after the Thirds was regarded as a fairly slack time before the strenuous week that culminated in the Two Cock. There would probably be only one game—on the Saturday; and that a short quarter-of-an-hour-each-way affair. It was usually a quite uneventful time. This term, however, an occurrence took place that had a big effect on the growth of Gordon's character.

Finnemore had caught influenza; the Chief had to go for a week to Oxford. The Sixth was at a loose end. Various masters took it in various subjects, or at least were supposed to. Most of the week was spent in the studies, as the master in charge forgot to turn up.

One afternoon, Ferrers was to take them in English. But Ferrers was engaged in writing an article on the "New Public School Boy" for The Cornhill Magazine, and wanted to be quiet. He sent the form to their studies to write an essay on a typical Ferrers subject: "Poetry is in the first instance the outpouring of a rebel." It had to be shown up by six o'clock.

Gordon revelled in it. During the long afternoon he poured out his fierce soul. His life was now a strange paradox. Half the time he thought of poetry, worshipping any sort of rebellion against the conventional standards of living. At other times he was like the ordinary Philistine, blindly worshipping games, never seeing that they led nowhere, and were as a blind alley. This afternoon Gordon forgot everything but Swinburne, Byron, Rossetti, and the poets of revolt. He stigmatised Wordsworth as a doddering old man, not knowing that his return to nature was the greatest revolution in English literature. In a text-book he saw Shelley described as a rebel. He got a copy of his works out of the library, but found little there resembling the work of his own favourite. However, he quoted a verse out of O World, O Life, O Time! and decided to search more deeply later on. The bulk of the essay was a glowing eulogy of The Hymn to Proserpine and Don Juan. It was very dogmatic, very absurd in parts, but it had the merit of enthusiasm, and, at any rate, showed a genuine appreciation of a certain class of literature.

Well satisfied, he made his way across to the Sixth Form room, and found Ferrers gazing at a pile of papers, as Hercules must have gazed at the Augean stables.

"Um," said Ferrers, "who are you?"

"Caruthers, sir. I have brought you the essay you set the Sixth."

"Right; let's have a look at it; hope it is better than the stuff I have just been reading."

"Yes, yes, um—ah," he murmured to himself, as he read on. There was clearly some hankering after style, some searching for an idea. Ferrers dearly wanted to smile at the attack on Wordsworth, and the comparison between Swinburne and Milton (whom Gordon had never read), all in favour of the Pre-Raphaelite. But he knew that it would be a fatal thing to do; it would seem superior; the master must come down to the boy's level. He read on to the end of the wild, sprawling peroration.

"Not bad stuff, Caruthers, not bad at all. Far and away better than anything I have so far struck. I must talk to you again about this; I am glad you love Byron; I do myself; people run him down—fools, that is. You stick to Byron, he is all right. And don't despise the rest too much. Have a shot at Keats and Shelley. They are not so powerful, but good all the same, very fine stuff.... Try The Pot of Basil. Must rush off now. Are you in training? No! Not yet. Right. Come up to tea to-morrow. Good-night."

And thus began a friendship that was the most permanent in Gordon's school career.

Every Friday he used to climb up the hill past Rogers's house, and step out down the white London road to Ferrers's cosy little home. Over a cup of tea he read an essay. Ferrers would lie back listening, and then discuss it with him. He sometimes blamed the actual expression of it, but he never found fault on questions of taste. He let Gordon browse at will in the fields of English literature; he suggested books he thought Gordon would like; he did not try to rush him on. There was heaps of time; he would let Gordon develop on his own lines.

From these evenings Gordon derived a pleasure that he found it hard to explain. He was thankful to get away from the footer talk, the inevitable intrigues, scandals, all in fact that went to form the daily curriculum. The world of ideas was far more attractive. Ferrers, although himself a quarter-mile Blue, looked upon games as a recreation, and upon school life as a mud-heap that had to be washed clean. Poetry, drama, the modern novel, these were what Ferrers loved; and Gordon was glad to find someone who thought like this. He felt uplifted after his talks with Ferrers, he walked back to the House buoyant, as it were on wings. Then as the school gates rose before him, and he heard the sound of a football bouncing in the court, the old routine caught him once more. He plunged into the old life with the same zest. He devised a new scheme for avoiding work, thought out an idea for teaching forwards to heel, laughed, discussed athletics and was well content. He tried to analyse his feelings, but could not. He was now two separate persons. At times he was the dreamer, the lover of art and poetry; at another the politician, the fighter who lived every minute of his life deeply to the full, with one fixed aim before him. Gordon wondered if this apparent paradox in himself was in any way an answer of the enigma that an artist's life so frequently was utterly different from the broad outlines of his work. Browning had talked of a man having "two soul-sides." Had he two soul-sides, one for the world, the other for art—and Ferrers? But then Browning had spoken contemptuously of the "one to face the world with." Surely games were as good as poetry? Or weren't they, after all? He felt an unanswerable doubt, and at such times of introspection he would stop trying to think and merely let himself be carried on in whatever course fortune chose to bear him. And so the Jekyll and Hyde business went on.