Men's Wives

by William Makepeace Thackeray

Another point of sentiment, and one curious to speculate on. Have you not remarked the immense works of art that women get through? The worsted-work sofas, the counterpanes patched or knitted (but these are among the old-fashioned in the country), the bushels of pincushions, the albums they laboriously fill, the tremendous pieces of music they practise, the thousand other fiddle-faddles which occupy the attention of the dear souls—nay, have we not seen them seated of evenings in a squad or company, Louisa employed at the worsted-work before mentioned, Eliza at the pincushions, Amelia at card-racks or filagree matches, and, in the midst, Theodosia with one of the candles, reading out a novel aloud? Ah! my dear sir, mortal creatures must be very hard put to it for amusement, be sure of that, when they are forced to gather together in a company and hear novels read aloud! They only do it because they can't help it, depend upon it: it is a sad life, a poor pastime. Mr. Dickens, in his American book, tells of the prisoners at the silent prison, how they had ornamented their rooms, some of them with a frightful prettiness and elaboration. Women's fancy-work is of this sort often—only prison work, done because there was no other exercising-ground for their poor little thoughts and fingers; and hence these wonderful pincushions are executed, these counterpanes woven, these sonatas learned. By everything sentimental, when I see two kind innocent fresh-cheeked young women go to a piano, and sit down opposite to it upon two chairs piled with more or less music-books (according to their convenience), and, so seated, go through a set of double-barrelled variations upon this or that tune by Herz or Kalkbrenner—I say, far from receiving any satisfaction at the noise made by the performance, my too susceptible heart is given up entirely to bleeding for the performers. What hours, and weeks, nay, preparatory years of study, has that infernal jig cost them! What sums has papa paid, what scoldings has mamma administered (“Lady Bullblock does not play herself;” Sir Thomas says, “but she has naturally the finest ear for music ever known!”); what evidences of slavery, in a word, are there! It is the condition of the young lady's existence. She breakfasts at eight, she does “Mangnall's Questions” with the governess till ten, she practises till one, she walks in the square with bars round her till two, then she practises again, then she sews or hems, or reads French, or Hume's “History,” then she comes down to play to papa, because he likes music whilst he is asleep after dinner, and then it is bed-time, and the morrow is another day with what are called the same “duties” to be gone through. A friend of mine went to call at a nobleman's house the other day, and one of the young ladies of the house came into the room with a tray on her head; this tray was to give Lady Maria a graceful carriage. Mon Dieu! and who knows but at that moment Lady Bell was at work with a pair of her dumb namesakes, and Lady Sophy lying flat on a stretching-board? I could write whole articles on this theme but peace! we are keeping Mrs. Walker waiting all the while.

Well, then, if the above disquisitions have anything to do with the story, as no doubt they have, I wish it to be understood that, during her husband's absence, and her own solitary confinement, Mrs. Howard Walker bestowed a prodigious quantity of her time and energy on the cultivation of her musical talent; and having, as before stated, a very fine loud voice, speedily attained no ordinary skill in the use of it. She first had for teacher little Podmore, the fat chorus-master at “The Wells,” and who had taught her mother the “Tink-a-tink” song which has been such a favourite since it first appeared. He grounded her well, and bade her eschew the singing of all those “Eagle Tavern” ballads in which her heart formerly delighted; and when he had brought her to a certain point of skill, the honest little chorus-master said she should have a still better instructor, and wrote a note to Captain Walker (enclosing his own little account), speaking in terms of the most flattering encomium of his lady's progress, and recommending that she should take lessons of the celebrated Baroski. Captain Walker dismissed Podmore then, and engaged Signor Baroski, at a vast expense; as he did not fail to tell his wife. In fact, he owed Baroski no less than two hundred and twenty guineas when he was—But we are advancing matters.

Little Baroski is the author of the opera of “Eliogabalo,” of the oratorio of “Purgatorio,” which made such an immense sensation, of songs and ballet-musics innumerable. He is a German by birth, and shows such an outrageous partiality for pork and sausages, and attends at church so constantly, that I am sure there cannot be any foundation in the story that he is a member of the ancient religion. He is a fat little man, with a hooked nose and jetty whiskers, and coal-black shining eyes, and plenty of rings and jewels on his fingers and about his person, and a very considerable portion of his shirtsleeves turned over his coat to take the air. His great hands (which can sprawl over half a piano, and produce those effects on the instrument for which he is celebrated) are encased in lemon-coloured kids, new, or cleaned daily. Parenthetically, let us ask why so many men, with coarse red wrists and big hands, persist in the white kid glove and wristband system? Baroski's gloves alone must cost him a little fortune; only he says with a leer, when asked the question, “Get along vid you; don't you know dere is a gloveress that lets me have dem very sheap?” He rides in the Park; has splendid lodgings in Dover Street; and is a member of the “Regent Club,” where he is a great source of amusement to the members, to whom he tells astonishing stories of his successes with the ladies, and for whom he has always play and opera tickets in store. His eye glistens and his little heart beats when a lord speaks to him; and he has been known to spend large sums of money in giving treats to young sprigs of fashion at Richmond and elsewhere. “In my bolyticks,” he says, “I am consarevatiff to de bag-bone.” In fine, he is a puppy, and withal a man of considerable genius in his profession.

This gentleman, then, undertook to complete the musical education of Mrs. Walker. He expressed himself at once “enshanted vid her gababilities,” found that the extent of her voice was “brodigious,” and guaranteed that she should become a first-rate singer. The pupil was apt, the master was exceedingly skilful; and, accordingly, Mrs. Walker's progress was very remarkable: although, for her part, honest Mrs. Crump, who used to attend her daughter's lessons, would grumble not a little at the new system, and the endless exercises which she, Morgiana, was made to go through. It was very different in HER time, she said. Incledon knew no music, and who could sing so well now? Give her a good English ballad: it was a thousand times sweeter than your “Figaros” and “Semiramides.”

In spite of these objections, however, and with amazing perseverance and cheerfulness, Mrs. Walker pursued the method of study pointed out to her by her master. As soon as her husband went to the City in the morning her operations began; if he remained away at dinner, her labours still continued: nor is it necessary for me to particularise her course of study, nor, indeed, possible; for, between ourselves, none of the male Fitz-Boodles ever could sing a note, and the jargon of scales and solfeggios is quite unknown to me. But as no man can have seen persons addicted to music without remarking the prodigious energies they display in the pursuit, as there is no father of daughters, however ignorant, but is aware of the piano-rattling and voice-exercising which go on in his house from morning till night, so let all fancy, without further inquiry, how the heroine of our story was at this stage of her existence occupied.

Walker was delighted with her progress, and did everything but pay Baroski, her instructor. We know why he didn't pay. It was his nature not to pay bills, except on extreme compulsion; but why did not Baroski employ that extreme compulsion? Because, if he had received his money, he would have lost his pupil, and because he loved his pupil more than money. Rather than lose her, he would have given her a guinea as well as her cachet. He would sometimes disappoint a great personage, but he never missed his attendance on HER; and the truth must out, that he was in love with her, as Woolsey and Eglantine had been before.

“By the immortel Chofe!” he would say, “dat letell ding sents me mad vid her big ice! But only vait avile: in six veeks I can bring any voman in England on her knees to me and you shall see vat I vill do vid my Morgiana.” He attended her for six weeks punctually, and yet Morgiana was never brought down on her knees; he exhausted his best stock of “gomblimends,” and she never seemed disposed to receive them with anything but laughter. And, as a matter of course, he only grew more infatuated with the lovely creature who was so provokingly good-humoured and so laughingly cruel.

Benjamin Baroski was one of the chief ornaments of the musical profession in London; he charged a guinea for a lesson of three-quarters of an hour abroad, and he had, furthermore, a school at his own residence, where pupils assembled in considerable numbers, and of that curious mixed kind which those may see who frequent these places of instruction. There were very innocent young ladies with their mammas, who would hurry them off trembling to the farther corner of the room when certain doubtful professional characters made their appearance. There was Miss Grigg, who sang at the “Foundling,” and Mr. Johnson, who sang at the “Eagle Tavern,” and Madame Fioravanti (a very doubtful character), who sang nowhere, but was always coming out at the Italian Opera. There was Lumley Limpiter (Lord Tweedledale's son), one of the most accomplished tenors in town, and who, we have heard, sings with the professionals at a hundred concerts; and with him, too, was Captain Guzzard, of the Guards, with his tremendous bass voice, which all the world declared to be as fine as Porto's, and who shared the applause of Baroski's school with Mr. Bulger, the dentist of Sackville Street, who neglected his ivory and gold plates for his voice, as every unfortunate individual will do who is bitten by the music mania. Then among the ladies there were a half-score of dubious pale governesses and professionals with turned frocks and lank damp bandeaux of hair under shabby little bonnets; luckless creatures these, who were parting with their poor little store of half-guineas to be enabled to say they were pupils of Signor Baroski, and so get pupils of their own among the British youths, or employment in the choruses of the theatres.

The prima donna of the little company was Amelia Larkins, Baroski's own articled pupil, on whose future reputation the eminent master staked his own, whose profits he was to share, and whom he had farmed, to this end, from her father, a most respectable sheriff's officer's assistant, and now, by his daughter's exertions, a considerable capitalist. Amelia is blonde and blue-eyed, her complexion is as bright as snow, her ringlets of the colour of straw, her figure—but why describe her figure? Has not all the world seen her at the Theatres Royal and in America under the name of Miss Ligonier?

Until Mrs. Walker arrived, Miss Larkins was the undisputed princess of the Baroski company—the Semiramide, the Rosina, the Tamina, the Donna Anna. Baroski vaunted her everywhere as the great rising genius of the day, bade Catalani look to her laurels, and questioned whether Miss Stephens could sing a ballad like his pupil. Mrs. Howard Walker arrived, and created, on the first occasion, no small sensation. She improved, and the little society became speedily divided into Walkerites and Larkinsians; and between these two ladies (as indeed between Guzzard and Bulger before mentioned, between Miss Brunck and Miss Horsman, the two contraltos, and between the chorus-singers, after their kind) a great rivalry arose. Larkins was certainly the better singer; but could her straw-coloured curls and dumpy high-shouldered figure bear any comparison with the jetty ringlets and stately form of Morgiana? Did not Mrs. Walker, too, come to the music-lesson in her carriage, and with a black velvet gown and Cashmere shawl, while poor Larkins meekly stepped from Bell Yard, Temple Bar, in an old print gown and clogs, which she left in the hall? “Larkins sing!” said Mrs. Crump, sarcastically; “I'm sure she ought; her mouth's big enough to sing a duet.” Poor Larkins had no one to make epigrams in her behoof; her mother was at home tending the younger ones, her father abroad following the duties of his profession; she had but one protector, as she thought, and that one was Baroski. Mrs. Crump did not fail to tell Lumley Limpiter of her own former triumphs, and to sing him “Tink-a-tink,” which we have previously heard, and to state how in former days she had been called the Ravenswing. And Lumley, on this hint, made a poem, in which he compared Morgiana's hair to the plumage of the Raven's wing, and Larkinissa's to that of the canary; by which two names the ladies began soon to be known in the school.