There was a noise as of atmospheric hoes and scrapers, and the bass contingent at last got under way with a time of its own:
‘Honwerd, Christen sojers!’
‘Ah, that’s where we are so defective—the pronunciation,’ interrupted the parson. ‘Now repeat after me: “On-ward, Christ-ian, sol-diers.”’
The choir repeated like an exaggerative echo: ‘On-wed, Chris-ting, sol-jaws!’
‘Better!’ said the parson, in the strenuously sanguine tones of a man who got his living by discovering a bright side in things where it was not very perceptible to other people. ‘But it should not be given with quite so extreme an accent; or we may be called affected by other parishes. And, Nathaniel Chapman, there’s a jauntiness in your manner of singing which is not quite becoming. Why don’t you sing more earnestly?’
‘My conscience won’t let me, sir. They say every man for himself: but, thank God, I’m not so mean as to lessen old fokes’ chances by being earnest at my time o’ life, and they so much nearer the need o’t.’
‘It’s bad reasoning, Nat, I fear. Now, perhaps we had better sol-fa the tune. Eyes on your books, please. Sol-sol! fa-fa! mi—’
‘I can’t sing like that, not I!’ said Sammy Blore, with condemnatory astonishment. ‘I can sing genuine music, like F and G; but not anything so much out of the order of nater as that.’
‘Perhaps you’ve brought the wrong book, sir?’ chimed in Haymoss, kindly. ‘I’ve knowed music early in life and late,—in short, ever since Luke Sneap broke his new fiddle-bow in the wedding psalm, when Pa’son Wilton brought home his bride (you can mind the time, Sammy?—when we sung “His wife, like a fair fertile vine, her lovely fruit shall bring,” when the young woman turned as red as a rose, not knowing ’twas coming). I’ve knowed music ever since then, I say, sir, and never heard the like o’ that. Every martel note had his name of A, B, C, at that time.’
‘Yes, yes, men; but this is a more recent system!’