With hardly a demur one sweet voice after another arose; then a man gained courage, and chimed in with a full harmonious bass; then a rich sad alto made itself heard, as it wandered in and out between the voices of the men and women; and at last a wild mellow tenor, which we discovered after much searching to proceed from the most unlikely-looking lips of an old dry, weather-bleared, mummified chrysalis of a man, who stood aft, steering with his legs, and showing no sign of life except when he slowly and solemnly filled his nose with snuff.
‘What strange people have you brought me among?’ asked Claude. ‘I have been wondering ever since I came here at the splendid faces and figures of men, women, and children, which popped out upon me from every door in that human rabbit-burrow above. I have been in raptures at the gracefulness, the courtesy, the intelligence of almost everyone I meet; and now, to crown all, everyone among them seems to be a musician.’
‘Really you are not far wrong, and you will find them as remarkable morally as they are physically and intellectually. The simplicity and purity of the women here put one more in mind of the valleys of the Tyrol than of an English village.’
‘And in proportion to their purity, I suppose,’ said Claude, ‘is their freedom and affectionateness?’
‘Exactly. It would do your “naturalist” heart good, Claude, to see a young fellow just lauded from a foreign voyage rolling up the street which we have just descended, and availing himself of the immemorial right belonging to such cases of kissing and being kissed by every woman whom he meets, young and old. You will find yourself here among those who are too simple-minded, and too full of self-respect, to be either servile or uncourteous.’
‘I have found out already that Liberty, Fraternity, and Equality, in such company as this, are infinitely pleasanter, as well as cheaper, than the aristocratic seclusion of a cutter hired for our own behoof.’
‘True; and now you will not go home and, as most tourists do, say that you know a place, without knowing the people who live in it—as if the human inhabitants of a range of scenery were not among its integral and most important parts—’
‘What! are Copley Fielding’s South Down landscapes incomplete without a half-starved seven shillings a-week labourer in the foreground?’
‘Honestly, are they not a text without a sermon? a premise without a conclusion? Is it not partly because the land is down, and not well-tilled arable, that the labourer is what he is? And yet, perhaps, the very absence of human beings in his vast sheets of landscape, when one considers that they are scraps of great, overcrowded, scientific England in the nineteenth century, is in itself the bitterest of satires. But, hush! there is another hymn commencing—not to be the last by many.’
* * * * *