“Truly; and he allows no nonsense.”
“Il est meme éxcessivement severe,” interpolated the same young lady.
“He needs be,” replied her employer. “He allows no loud speaking—no joking; and as there are no candles, no light, why they can do nothing better than go quietly to sleep, if it were only in self-defense.”
One word more about the vintage. The reader will easily conceive that it is on the smaller properties, where the wine is intended, not so much for commerce as for household use, that the vintage partakes most of the festival nature. In the large and first-class vineyards the process goes on under rigid superintendence, and is, as much as possible, made a cold matter of business. He who wishes to see the vintages of books and poems—the laughing, joking, singing festivals amid the vines, which we are accustomed to consider the harvests of the grape—must betake him to the multitudinous patches of peasant property, in which neighbor helps neighbor to gather in the crop, and upon which whole families labor merrily together, as much for the amusement of the thing, and from good neighborly feeling, as in consideration of francs and sous. Here, of course, there is no tight discipline observed, nor is there any absolute necessity for that continuous, close scrutiny into the state of the grapes—all of them, hard or rotten, going slap-dash into the cuvier—which, in the case of the more precious vintages, forms no small check upon a general state of careless jollity. Every one eats as much fruit as he pleases, and rests when he is tired. On such occasions it is that you hear to the best advantage the joyous songs and choruses of the vintage—many of these last being very pretty bits of melody, generally sung by the women and girls, in shrill treble unison, and caught up and continued from one part of the field to another.
Yet, discipline and control it as you will, the vintage will ever be beautiful, picturesque, and full of association. The rude wains, creaking beneath the reeking tubs—the patient faces of the yoked oxen— the half-naked, stalwort men, who toil to help the cart along the ruts and furrows of the way—the handkerchief-turbaned women, their gay red-and-blue dresses peeping from out the greenery of the leaves—the children dashing about as if the whole thing were a frolick, and the gray-headed old men tottering cheerfully a-down the lines of vines, with baskets and pails of gathered grapes to fill the yawning tubs—the whole picture is at once classic, venerable, and picturesque, not more by association than actuality.
A strange feature in the wine country is the wonderously capricious and fitful nature of the soil. A forenoon’s walk will show you the earth altering in its surface qualities almost like the shifting hues of shot silk—gravel of a light color fading into gravel of a dark—sand blending with the mould, and bringing it now to a dusky yellow, now to an ashen gray—strata of chalky clay every now and then struggling into light only to melt away into beds of mere shingle—or bright, semi-transparent pebbles, indebted to the action of water for shape and hue. At two principal points these blending and shifting qualities of soil put forth their utmost powers—in the favored grounds of Margaux, and again, at a distance of about fifteen miles farther to the north, in the vineyards of Lafitte, Latour, and between these latter, in the sunny slopes of St. Jullien. And the strangest thing of all is, that the quality—the magic—of the ground changes, without, in all cases, a corresponding change in the surface strata. If a fanciful and willful fairy had flown over Medoc, flinging down here a blessing and there a curse upon the shifting shingle, the effect could not have been more oddly various. You can almost jump from a spot unknown to fame, to another clustered with the most precious vintage of Europe. Half-a-dozen furrows often make all the difference between vines producing a beverage which will be drunk in the halls and palaces of England and Russia, and vines yielding a harvest which will be consumed in the cabarets and estaminets of the neighborhood. It is to be observed, however, that the first-class wines belong almost entirely to the large proprietors. Amid a labyrinth of little patches, the property of the laboring peasants around, will be a spot appertaining to, and bearing the name of, some of the famous growths; while, conversely, inserted, as if by an accident, in the centre of a district of great name, and producing wine of great price, will be a perverse patch, yielding the most commonplace tipple, and worth not so many sous per yard as the surrounding earth is worth crowns.
How comes this? The peasants will tell you that it doesn’t come at all. That it is all cant and blague and puff on the part of the big proprietors, and that their wine is only more thought of because they have more capital to get it bragged about. Near Château Lafitte, on a burning afternoon, I took refuge beneath the emblematic bush; for the emblem which good wine is said not to require, is still, in the mid and southern districts of France, in universal use; in other words, I entered a village public-house.
Two old men, very much of the general type of the people of the country—that is, tall and spare, with intelligent and mildly-expressive faces and fine black eyes, were discussing together a sober bottle. One of them had lost an arm, and the other a leg. As I glanced at this peculiarity, the one-legged man caught my eye.
“Ah!” he said, “looking at our misfortunes; I left my leg on Waterloo.”
“And I,” chimed in his companion, “left my arm at Trafalgar.”