The spring arrived in course, and with the warm May air and flowers came the day of Kitty’s marriage.
There had been grave discussions among the instrumentalists of the village orchestra previous to the event, as to how it was to be honoured by their performance. In compliment to the ex-schoolmaster, who took a lively interest in the marriage, it was unanimously decided that Puddicombe in F should be performed, if not in its entirety, at all events in part. The “fugg,” it was thought, might be omitted, as only a critical and scientific musician could appreciate its merits and disentangle the chaos of sounds. But there was the largo molto con affettuoso caprizio at their disposal. As largo molto meant, Turn the score upside down, then if the score were not inverted, it would flow in the melody of “Kitty Alone and I.” Mr. Puddicombe was approached with the demand whether it were permissible to execute this movement without the largo molto, i.e. the inversion of the score. Puddicombe at once assented. That, as he pointed out, was the magnificent brilliancy of the composition, that it could be turned about anyhow, and played right off, and the effect was superb any way. Let them disregard largo molto and simply play con affettuoso caprizio’which meant, go ahead with the score upright’and there you are.
Accordingly, after the ceremony, when bride and bridegroom issued from the church, the orchestra, which was in readiness, struck up the movement of Puddicombe in F, con affettuoso caprizio; and most certainly as it so stood in the score, and so was performed, the air was none other than “The Frog and the Mouse’Crock-a-mydaisy, Kitty alone.”
Forward marched the band, playing hautboy, clarionet, first fiddle, second fiddle, the bass labouring along as best he could, tumbling over his viol, throwing out a grunt and a growl when he was able.
The people of Coombe-in-Teignhead were at their doors wishing happiness to the young couple. The children strewed flowers, and every now and then broke out into chorus’
“Crock-a-mydaisy, Kitty alone.”
The ploughmen whistled the air and waved their caps. The church bells burst out into clamour and drowned it. The rooks in the elms of the churchyard poured forth volleys of “Caw, caw, caw,” introducing a new element into the musical medley.
Through the street went the little procession, headed by children, who danced and sang before the band; then came the musicians, and lastly the married young people. They were on their way to the Cellars, where Zerah was waiting for them, and had brought forth cake and ale in abundance, to feast children, musicians, well-wishers’everyone who would drink the health of bride and bridegroom.
Then, when the regaling was over, and thundering cheers had been given for the schoolmaster, for Kitty, for Zerah’Walter Bramber and Kitty appeared at the door, and half singing, with a smile on his face, to the strain of “The Frog and the Mouse,” Walter thus tendered his thanks’
“Curtsey, Kitty, and say with me’