Lake country sketches

by H. D. Rawnsley

But though I thought I knew the capacity of Westmoreland folk pretty well, a new surprise was in store for me as I took my seat in the temporary play-house at Grasmere and learned that Westmoreland folk can not only play in the Grasmere wrestling ring, but can play on the boards and before the footlights also. It is quite true that the Grasmere people have had nearly a generation of training in the dramatic art. A late rector, who was much interested in looking after the recreations of the village, had translated for them many a simple pastoral play from the French, and hardly a Christmas came round, but he and his family, one of whom was herself a talented writer of country plays, trained the villagers to give their neighbours a play, and the children in the Bands of Hope to act charades. Since his time another family who are much honoured at Grasmere, and who have the same kind of enthusiasm for the dramatic capacity of the village, had carried on the work, with the result that at a moment's notice, for any simple play the daughter of the house might write or adapt, she could count on having as her players seventeen or eighteen of the villagers who would seem born for the parts she entrusted to them. There was no rivalry, no 'fratching' from house to house because this person or that person was not selected for this or that particular part; on the contrary, the village had such confidence in the conductor of the village troupe that if Miss S. thought that So-and-so was to take this part and So-and-so the other, that was enough, and not another word was to be said. Meanwhile the village had come to look upon the village play as part of its very life and soul. Grasmere in winter time would not be recognised by the average tourist. It is a village of peace absolute and tranquillity beyond words.

From the earliest times 'Cursmas' has been looked upon as a time when everybody in the dale should enjoy himself. In the old days, when the fiddlers went round from farm to farm between Christmas-day and New Year's Day, and when the Merry Night (or Murry Neet) was held from place to place, the Grasmere folk knew that, however hard they worked for the rest of the year, at least they would 'laike' until the Twelfth Night, and precious little work would go forward in the dales for the first fortnight of each glad new year. The desire for some simple and rational form of amusement with the beginning of every year has never died out of their blood, so that a village play seems to fill a need which is part of their very nature. 'Why, we could not live without it,' said a Grasmere body to me; 'it's the brightest spot in our lives.' 'I can't tell you how dramatic it makes me feel,' said another. 'I am going thro' my dialogue at all times o' day.' My husband said, 'You've had company to-day then.' 'Ay, ay,' I replied, 'rare company. I was taking two or three parts in second Act, you see, and changing voices, that was all.'

'But where do you get your theatrical properties?' I said. 'Who manages the scene-shifting and all the rest of it?' 'Oh, as for scene-shifting, that is all managed by that great hairy-faced man that you saw going down the road just now; he is a grand stage manager and has been at it for twenty years or more.' I did not see him again until after the close of the performance, when I noticed him with his pocket-handkerchief in an unconventional way fanning out the footlights, and then going up on a ladder to puff out the oil lamps above the stage. 'And as for properties,' the good dame replied, 'if you mean by that the things we have on the stage, well everything is lent—there is crockery from one house and chairs from another, and the dresses, why they are the old originals that were worn by our grandmothers, and great-grandmothers. We all know to what farm or to what house we must go for this or that particular dress, and it is lent very willingly.' 'And do you have large audiences?' I said. 'Large audiences, well, if th' room would hold double the number we could fill it, because folk of all maks and sizes come together. This year we are giving a special afternoon performance for the quality, but I am told that all reserved seats have been booked for weeks.'

It was growing dark as I stood by the cottage door. The omnibus, as it drove down from the Raise gap with folk from Keswick coming to see the play, was sending sparks out behind from its 'slipper,' as though it were making fireworks. And soon I saw the lamp-lighter lighting up the oil lamps in the quaintly intricate lanes of the village beside the Mere. Knots of people were gathered already at their door-ways talking of the play, and already folk were drawing towards the village hall near the Red Lion. I soon joined them, and passed up a break-neck stairway to a big barn-like room, the back part of which was filled with rough boards knocked up into temporary benches, and the forepart had wooden cottage chairs for reserved seats. The drop-scene was down—the lake and island with Helm Crag and Dunmail Raise, as seen from Loughrigg, on a summer evening.

A big moon shone in a solid sort of way in mid-heaven, and was repeated at intervals right down through the picture, as though the scene-painters would say: 'This is the moon, it is rising now, and there it is fully risen.' But I was assured that this was the result of some accident by fire that had taken place years ago in the said drop-scene, and that these moons were, after all, only the patches that repaired the beautiful picture. Three fiddlers and a piano were making lively music when the bell tinkled and the curtain went up. It was a very simple scene—the village carpenter sitting in his shop working away at a stool, but it was to the life; and the Jacob who was working there, with his red handkerchief round his throat, spoke and acted to the life, and well he might—he was a village carpenter. A tourist came upon the scene, and got very little change out of Jacob, and less still out of Jacob's mother, Mrs. Rawlinson, who (after a very amusing dialogue with the tourist) determined to allow him to be her lodger. She made him pay double the usual price because he asked for 'sec a new faddlement as a seven o'clock dinner.' Dolly, the maid, comes in with a handkerchief bound over her head, as is the fashion of the North-country maids when they are dusting or brushing up. They fall to talk:

Mrs. Rawlinson: 'I'se goin' to have mair nor sebben shillings a room this time, but I was forced to ask a good price, for he'll be wanting late dinners, and a' maks o' cooking and faddlements. What does ta think wawmlets'll be, Dolly?'

Dolly: 'Nay, I never heard tell o' sec a thing.'

Mrs. Rawlinson: 'And grilled bones to his breakfast; but I kna' what them'll be, just a marra bone served up hot in a napkin. I can mannish that finely. Then he talked about a dish o' curry; that'll certainly be some mak o' a French stew, made rare and hot wid pepper and an onion or two.'

Dolly: 'What, thou's goin' to be sadly tewed.'

Mrs. Rawlinson: 'Nay. I was nobbut a bit put about at first, but I mean to ask Betty Braithwaite to lend me her beuk as larns yan to mak hundreds and hundreds of things 'at I never heard of, nor naebody else, I wud think.'