"Fire away," I replied, "I am here to be convinced. But I don't think
you will teach me that there is any romance except where there is
another sex."
"Don't talk to me of the other sex," he cried with distaste in voice and
manner. "First of all in beauty there is no comparison between a boy and
a girl. Think of the enormous, fat hips which every sculptor has to tone
down, and make lighter, and the great udder breasts which the artist
has to make small and round and firm, and then picture the exquisite
slim lines of a boy's figure. No one who loves beauty can hesitate for a
moment. The Greeks knew that; they had the sense of plastic beauty, and
they understood that there is no comparison."
"You must not say that," I replied; "you are going too far; the Venus of
Milo is as fine as any Apollo, in sheer beauty; the flowing curves
appeal to me more than your weedy lines."
"Perhaps they do, Frank," he retorted, "but you must see that the boy is
far more beautiful. It is your sex-instinct, your sinful sex-instinct
which prevents you worshipping the higher form of beauty. Height and
length of limb give distinction; slightness gives grace; women are
squat! You must admit that the boy's figure is more beautiful; the
appeal it makes far higher, more spiritual."
"Six of one and half-a-dozen of the other," I barked. "Your sculptor
knows it is just as hard to find an ideal boy's figure as an ideal
girl's; and if he has to modify the most perfect girl's figure, he has
to modify the most perfect boy's figure as well. If he refines the
girl's breasts and hips he has to pad the boy's ribs and tone down the
great staring knee-bones and the unlovely large ankles; but please go
on, I enjoy your special pleading and your romantic passion interests
me; though you have not yet come to the romance, let alone the passion."
"Oh, Frank," he cried, "the story is full of romance; every meeting was
an event in my life. You have no idea how intelligent he is; every
evening we spent together he was different; he had grown, developed. I
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