But to express all this in the pages of a book is an almost impossible task; what one wants is to get the outer life briskly and sharply depicted, and to speak of the inner in hints and flashes. Unfortunately, the man who really knows boys is apt to get so penetrated with the pathos, the unrealised momentousness, the sad shipwrecks of boy life that he is not light-hearted enough to depict the outer side of it all, and a book becomes morbid and sentimental. Then, too, to draw a boy correctly would often be to produce a sense of contrast which would almost give a feeling of hypocrisy, because there are boys—and not unfrequently the most interesting—who, if fairly drawn, would appear frivolous, silly, conventional in public, even coarse, who yet might have very fine things behind, though rarely visible. Moreover, the natural, lively, chattering boys, whom it would be a temptation to try and draw, are not really the most interesting. They tend to develop into bores of the first water in later life. But the boy who develops into a fine man is often ungainly, shy, awkward, silent in early life, acutely sensitive, and taking refuge in bluntness or dumbness.
The most striking instances that have come under my own experience, where a boy has really revealed the inside of his mind and spirit, are absolutely incapable of being expressed in words. If I were to write down what boys have said to me, on critical occasions, the record would be laughed at as impossible and unnatural.


