Tom Brown at Oxford

by Thomas Hughes

“Poor fellow! that makes a difference, of course. I hope he won't carry out his notion. Who is it, do you know? Do tell me all about it.”

“Our gardener's daughter, I believe. Of course, I never meddle with these matters; but one can't help hearing the servant's gossip. I think it likely to be true, for he was about our premises at all sorts of times until lately, and I never see him now that she is away.”

“Is she pretty?” said Mary, who was getting interested.

“Yes, she is our belle. In fact, they are the two beauties of the parish.”

“Fancy that cross-grained old Simon having a pretty daughter. Oh, Katie, look here! who is this figure of fun?”

The figure of fun was a middle-aged man of small stature, and very bandy-legged, dressed in a blue coat and brass buttons, and carrying a great bass-viol bigger than himself, in a rough baize cover. He came out of a footpath into the road just before them, and, on seeing them, touched his hat to Miss Winter, and then fidgeted along with his load, and jerked his head in a deprecatory manner away from them as he walked on, with the sort of look and action which a favorite terrier uses when his master holds out a lighted cigar to his nose. He was the village tailor and constable, also the principal performer in the church-music which obtained in Englebourn. In the latter capacity he had of late come into collision with Miss Winter.

For this was another of the questions which divided the parish—The great church music question. From time immemorial, at least ever since the gallery at the west end had been built, the village psalmody had been in the hands of the occupiers of that Protestant structure. In the middle of the front row sat the musicians, three in number, who played respectively a bass-viol, a fiddle, and a clarionet. On one side of them were two or three young women, who sang treble—shrill, ear-piercing treble—with a strong nasal Berkshire drawl in it. On the other side of the musicians sat the blacksmith, the wheelwright, and other tradesmen of the place. Tradesmen means in that part of the country what we mean by artisan, and these were naturally allied with the laborers, and consorted with them. So far as church-going was concerned, they formed a sort of independent opposition, sitting in the gallery, instead of in the nave, where the farmers and the two or three principal shopkeepers—the great landed and commercial interests—regularly sat and slept, and where the two publicans occupied pews, but seldom made even the pretence of worshipping.

The rest of the gallery was filled by the able-bodied male peasantry. The old worn-out men generally sat below in the free seats; the women also, and some few boys. But the hearts of these latter were in the gallery—a seat on the back benches of which was a sign that they had indued the toga virilis, and were thenceforth free from maternal and pastoral tutelage in the matter of church-going. The gallery thus constituted had gradually usurped the psalmody as their particular and special portion of the service; they left the clerk and the school children, aided by such of the aristocracy below as cared to join, to do the responses; but, when singing time came, they reigned supreme. The slate on which the Psalms were announced was hung out from before the centre of the gallery, and the clerk, leaving his place under the reading-desk, marched up there to give them out. He took this method of preserving his constitutional connection with the singing, knowing that otherwise he could not have maintained the rightful position of his office in this matter. So matters had stood until shortly before the time of our story.

The present curate, however, backed by Miss Winter, had tried a reform. He was a quiet man, with a wife and several children, and small means. He had served in the diocese ever since he had been ordained, in a hum-drum sort of way, going where he was sent for, and performing his routine duties reasonably well, but without showing any great aptitude for his work. He had little interest, and had almost given up expecting promotion, which he certainly had done nothing particular to merit. But there was one point on which he was always ready to go out of his way, and take a little trouble. He was a good musician, and had formed choirs at all his former curacies.

Soon after his arrival, therefore, he, in concert with Miss Winter, had begun to train the children in church-music. A small organ, which had stood in a passage in the Rectory for many years, had been repaired, and appeared first at the schoolroom, and at length under the gallery of the church; and it was announced one week to the party in possession, that, on the next Sunday, the constituted authorities would take the church-music into their own hands. Then arose a strife, the end of which had nearly been to send the gallery off, in a body, headed by the offended bass-viol, to the small red-brick little Bethel at the other end of the village. Fortunately the curate had too much good sense to drive matters to extremities, and so alienate the parish constable, and a large part of his flock, though he had not tact or energy enough to bring them round to his own views. So a compromise was come to; and the curate's choir were allowed to chant the Psalms and Canticles, which had always been read before, while the gallery remained triumphant masters of the regular Psalms.