Roused from perfect apathy, the boy cast about the schoolroom an eye wearied to nausea by the perpetual vision of the neat teacher upon the platform, the backs of the heads of the pupils in front of him, and the monotonous stretches of blackboard threateningly defaced by arithmetical formulae and other insignia of torture. Above the blackboard, the walls of the high room were of white plaster--white with the qualified whiteness of old snow in a soft coal town. This dismal expanse was broken by four lithographic portraits, votive offerings of a thoughtful publisher. The portraits were of good and great men, kind men; men who loved children. Their faces were noble and benevolent.

But the lithographs offered the only rest for the eyes of children fatigued by the everlasting sameness of the schoolroom.

Long day after long day, interminable week in and interminable week out, vast month on vast month, the pupils sat with those four portraits beaming kindness down upon them. The faces became permanent in the consciousness of the children; they became an obsession--in and out of school the children were never free of them. The four faces haunted the minds of children falling asleep; they hung upon the minds of children waking at night; they rose forebodingly in the minds of children waking in the morning; they became monstrously alive in the minds of children lying sick of fever. Never, while the children of that schoolroom lived, would they be able to forget one detail of the four lithographs: the hand of Longfellow was fixed, for them, forever, in his beard. And by a simple and unconscious association of ideas, Penrod Schofield was accumulating an antipathy for the gentle Longfellow and for James Russell Lowell and for Oliver Wendell Holmes and for John Greenleaf Whittier, which would never permit him to peruse a work of one of those great New Englanders without a feeling of personal resentment.

His eyes fell slowly and inimically from the brow of Whittier to the braid of reddish hair belonging to Victorine Riordan, the little octoroon girl who sat directly in front of him.

Victorine's back was as familiar to Penrod as the necktie of Oliver Wendell Holmes. So was her gayly coloured plaid waist.

He hated the waist as he hated Victorine herself, without knowing why. Enforced companionship in large quantities and on an equal basis between the sexes appears to sterilize the affections, and schoolroom romances are few.

Victorine's hair was thick, and the brickish glints in it were beautiful, but Penrod was very tired of it. A tiny knot of green ribbon finished off the braid and kept it from unravelling; and beneath the ribbon there was a final wisp of hair which was just long enough to repose upon Penrod's desk when Victorine leaned back in her seat. It was there now. Thoughtfully, he took the braid between thumb and forefinger, and, without disturbing Victorine, dipped the end of it and the green ribbon into the inkwell of his desk. He brought hair and ribbon forth dripping purple ink, and partially dried them on a blotter, though, a moment later when Victorine leaned forward, they were still able to add a few picturesque touches to the plaid waist.

Rudolph Krauss, across the aisle from Penrod, watched the operation with protuberant eyes, fascinated. Inspired to imitation, he took a piece of chalk from his pocket and wrote "RATS" across the shoulder-blades of the boy in front of him, then looked across appealingly to Penrod for tokens of congratulation. Penrod yawned. It may not be denied that at times he appeared to be a very self-centred boy.