Then come the rank and file. There are many types. There is the precocious type, marked out for favourable notice by aptitude at games and attractive manners. Such an one stands in danger of being taken up by older boys than himself; which means that he will suffer the fate of all those who stray out of their proper station. At first he will be an object of envy and dislike; later, when his patrons have passed on elsewhere, he may find himself friendless.
At the opposite end of the scale comes the Butt. His life is a hard one, but not without its compensations; for although he is the target of all the practical humour in the House, his post carries with it a certain celebrity; and at any rate a Butt can never be unpopular. So he is safe at least from the worst disaster that can befall a schoolboy. Besides, you require a good deal of character to be a Butt.
And there is the Buffoon. He is distinct from the Butt, because a Butt is usually a Butt _malgré lui_, owing to some peculiarity of appearance or temperament; whereas the Buffoon is one of those people who yearn for notice at any price, and will sell their souls "to make fellows laugh." You may behold him, the centre of a grinning group, tormenting some shy or awkward boy--very often the Butt himself; while in school he is the bugbear of weak masters. The larger his audience the more exuberant he becomes: he reaches his zenith at a breaking-up supper or in the back benches on Speech Day. One is tempted to feel that when reduced to his own society he must suffer severely from depression.
Then there is the Man of the World. He is a recognised authority on fast life in London and Bohemian revels in Paris. He is a patron of the drama, and a perfect mine of unreliable information as to the private life of the originals of the dazzling portraits which line his study--and indeed half the studies in the House. The picture-postcard, as an educative and refining influence, has left an abiding mark upon the youth of the present day. We of an older and more rugged civilisation, who were young at a period when actresses' photographs cost two shillings each, were compelled in those days to restrict our gallery of divinities to one or two at the most. (Too often our collection was second-hand, knocked down for sixpence at some end-of-term auction, or reluctantly yielded in composition for a long-outstanding debt by a friend in the throes of a financial crisis.) But nowadays, with the entire Gaiety chorus at a penny apiece, the youthful connoisseur of female beauty has emancipated himself from the pictorial monogamy (or at the most, bigamy) of an earlier generation. He is a polygamist, a pantheist. He can erect an entire feminine Olympus upon his mantelpiece for the sum of half-a-crown. And yet, bless him, he is just as unsophisticated as we used to be--no more and no less. The type does not change.