Kitabı oku: «Bits of Blarney», sayfa 14
IRISH DANCING-MASTERS
Five-and-twenty years ago, when I left Ireland, the original or aboriginal race of country dancing-masters was nearly extinct. By this time, I presume, it has almost died out. Here and there a few may be seen,
"Rari nantes in gurgite vasto,"
but the light-heeled, light-hearted, jovial, genial fellows who were actual Masters of the Revels in the district to which they respectively belonged, are nowhere.
There used to be as much pride (and property) in a village dancing-master as in a village schoolmaster, in my young days, and I have heard of "many accidents by flood and field," caused by attempts to remove a dancing-master or a pedagogue, of high reputation, from one district to another. In such cases, the very abduction being the strongest possible compliment to his renown, the person who was "enticed away by force," always made a point of offering no resistance, and would passively and proudly await the result. Indeed, care was always taken that such removal should be actual preferment, as, to ameliorate his condition, the residence provided for him in the new village, township, or barony, was always better than that from which he was removed.
As a general rule, the abduction, of schoolmasters was a favorite practice in Kerry – where every man and boy is supposed to speak Latin13– while stolen dancing-masters did not abound in the neighbouring counties of Cork and Limerick. The natural inference is that the County Kerry-men preferred the culture of the head, while the others rather cared for the education of the heels.
To have a first-rate hedge-schoolmaster was a credit to any parish. To have engrossed the services of an eminent maître de danse was almost a matter of considerable pride and boasting, but to possess both of these treasures was indeed a triumph.
There was more pride, perhaps, in having a schoolmaster of great repute – more pleasure in owning a dancer of high renown. The book-man was never known to dance, and the village Vestris was rarely able to write his name. Thus they never clashed. One ruled by day, and the other had unquestioned sovereignty in the hours between dusk and dawn.
Such a being as a youthful dancing-master I never saw – never heard of. They were invariably middle-aged men, at the youngest; but professors of "the poetry of motion," who were about seventy, appeared the greatest favourites. It was dreaded, perhaps, that the attraction of youth and good dancing combined would be too much for the village beauties to resist. On the same system, in all probability, it was a sine quâ non that the dancing-master should be married.
The Irish peasantry used to have a sort of passion for dancing. Hence the necessity for a teacher. On stated evenings during the winter, no matter what obstacles wet weather or dirty roads might present, a large company of pupils, from the age of ten to forty years, would assemble, in some roomy barn, possessing a smooth and hard floor of closely-pounded clay, to receive instructions in the saltatory art. Sometimes, when the teacher was ambitious, he would flourishingly open the proceedings with what was called "a bit of a noration," – the oratory principally consisting of sesquipedalian words and mythological allusions, being composed by the schoolmaster – utterly unintelligible, but sounding largely, and delivered in an ore rotundo manner and with "a laudable voice," as if the dancing-master really understood the words he uttered. Not taking particular pains to follow "copy," and frequently putting in words of his own when those written down for him had slipped out of his memory, these orations were amusingly absurd. They invariably commenced with an allusion to Miriam dancing before Moses, after the passage of the Red Sea, (on which occasion, no doubt, was first heard "the piper who played before Moses," familiarly named in Irish colloquy,) and, passing down, through Homer and the classics, always ended with a warm eulogy on the antiquity of the dance.
In those days, the favourite exhibitions were the jig, the reel, the hornpipe, and the country-dance. The last-named was considered dreadfully genteel – too aristocratic, in fact, for the multitude – and was learned and practiced (as courting and kissing often are) on the sly! The reel was countenanced – and no more. It was rather Scotch than Irish. Every one was expected to be able to go that laborious piece of amusement called "The Sailor's Hornpipe," – faint vestiges of which are extant, to this hour, in nautical scenes, – as represented on the stage. Words cannot describe the evolutions of this remarkable dance, when exhibited with all the scientific varieties of which it was capable. The shuffles, cross-shuffles, jumps, hops, leaps, cuttings, slides, and so on, which were introduced, I am unable to describe. The manner in which "heel-and-toe" was employed and varied, some abler historian may record.
That the hours passed away on swift pinions at these dancing academies, may well be imagined. There was any quantity of flirtation at all times, and about half the marriages in the country owed their origin to these réunions. It is creditable to the proverbial good conduct of my countrywomen, that loss of character rarely, if ever, resulted from these free-and-easy meetings.
The real glory of the evening, however, was when the dancing-master, after a world of solicitation, would "take the flure," in order to give his admiring pupils a touch of his quality. On such an occasion, the door of the house would be lifted off its hinges, and placed in the centre of the floor. Abandoning the little kit (a small-sized violin) which was his companion at all other exhibitions, he would allow a blind piper to "discourse most excellent music," and, on the door, would commence that wondrous display of agility, known, in my time, as "cover the buckle;" – a name probably derived from the circumstance that the dancing-master, while teaching, always wore large buckles in his shoes, and by the rapidity of motion with which he would make his "many twinkling feet" perpetually cross, would seem to "cover" the appendages in question. The great effort was to exhibit all varieties of steps and dances, without once quitting the prostrate door on which the exhibitor took his stand. The jumps, the "cuttings" in the air, the bends, the dives, the wrigglings, the hops – these were all critically regarded by his audience, and sometimes rewarded with such exclamations as "That's the way," – "now for a double cut," – "cover-the-buckle, ye divel," – "Oh, then, 'tis he that handles his feet nately." At the conclusion, when he literally had danced himself almost off his legs, he would bow to the company, and – if he were very much a favourite, or had eclipsed all former displays – one of the prettiest girls in the room would go round, plate in hand, and make a collection for him. How the ten-penny and five-penny bits would tumble in, on those occasions – particularly if the fair collector could be induced to announce, with a blush and a smile, that she would take an extra donation on the usual terms, which meant that, for five shillings into the plate, any gallant swain might brush the dew from her own coral lips, on that occasion only and by particular desire. Can you doubt, for a moment, that the likely "boy" who had been sitting by her side all the evening, making babies on her eyes (as the saying is), and with his arm round her waist, just to steady her in her seat, would jump up and fling his crown-piece into the treasury – though the pecuniary sacrifice would probably involve his being obliged to dispense, for a few weeks more, with "the new Carline hat" on which his dandyism had set its mind, for his Sunday adorning!
It was difficult for "an outsider" to become a spectator of the peculiar modes of teaching adopted and practiced by these masters. At a small extra rate, they would undertake to give instructions in that "deportment," of which the late Mr. Turvey-drop was such an illustrious exemplar. I never witnessed anything of this sort, but have conversed on the subject with some who did. From what I could learn, the whole course of tuition in this particular branch must have been ludicrous in the extreme. Besides lessons in standing, walking, sitting, and even leaning with grace and ease, more recondite points were considered. Such were "how to slide out of a room backwards" (on the chance, no doubt, of some of the rustics having to appear at Court, before Royalty) – "how to accept a tumbler of punch from a gentleman," touching the liquid with her lips, so as to leave a kiss within the cup, as Ben Jonson advises, – "how to refuse a kiss," and yet not destroy the hope of its being accepted, a little later in the evening, – and, above all, "how to take a kiss," in the most genteel and approved manner of politeness! These instructions, super-added to a lesson that was called "the Grecian bend" (which was nothing less than a coquettish way of leaning forward, with the eyes cast down, while listening to soft nonsense from a favoured swain), were peculiar and private. The only way in which the male sex could obtain a glimpse at such Eleusinian mysteries was by taking a recumbent position on the roof of the house, carefully removing a small portion of the thatch, and using eyes and ears in that situation to the best advantage. If detected by the irate maidens, the spy would run a fair chance of a scratched face and well-boxed ears.
As might be expected, the country dancing-master sometimes had stupid and refractory pupils. There was a common method of giving them instruction, which, for its practical simplicity, may be worth relating. When the pupil would persist in not recollecting which foot was to be used, at particular periods, the dancing-master would take a rope made of twisted hay, called a suggaun, and fasten it around one of the delinquent's ankles. He would then take a similar bracelet of twisted willow, denominated a gad, and put this on the other. Then, instead of directing the pupil to the particular use or motion of the right leg or the left, he would exclaim, "Rise upon suggaun," or "Sink upon gad," and in this manner convey his instructions beyond a possibility of mistake by even the most stupid!
Of course, where there was large company of young people, full of life and spirit, under pupilage to a not young instructor, a variety of practical jokes would be perpetrated, at his expense, every now and then. They were almost invariably of a good-natured kind. One, which might be considered as to "be repeated every night until farther notice," generally came off towards the end of the evening. A joyous, light-hearted damsel would suddenly start up, while the music was playing, and, placing herself before the dancing-master, with that particular description of curtsy called "a bob," silently challenge him to dance with her. Now, under all circumstances, except actual inability to move, the gentleman so challenged has nothing to do but pick up the gauntlet, and "take the flure." Then, challenger and challenged would commence an Irish jig – a dance so violent that, writing in the dog-days as I do, the very recollection of it makes me feel as if the barometer was some two hundred in the shade. When the damsel had pretty well tired herself, one of her fair friends would take her place, and so on until a round dozen or so had had their turn. All this time, the doomed victim of a man had to continue dancing – and the point of honour was to do so, without giving in, as long as strength and wind lasted. The company would gather round, forming a ring for the performers, and the word would be, "On with the dance" (as it was, at Brussels, on the eve of Waterloo), until, at last, some male spectator would pityingly dash into the circle, take the tired man's place, and permit the breathless and exhausted victim to totter to a seat, gasping out a protest, as he did, that he could have held out for half an hour longer, and wondered why any gentleman should interfere with another gentleman's divarshun.
In the preceding story of "The Petrified Piper," mention is made of a dancing-master commonly known as "Ould Lynch." He was an original, in many respects, and, like many of his profession, was in a constant flutter of faded finery and actual poverty. He was so much a character that my father took rather a fancy to him, and had him often at the house, as a teacher of dancing, in the well populated town of Fermoy. He had small chance of earning what would keep life and soul together. But he was a quiet, unassuming man, better educated than most of his class, and full of anecdote. One social virtue he eminently possessed: – he was one of the best backgammon players I ever saw, and (I speak it modestly,) was very fond of me as a pupil.
Lynch was a County Limerick man, on the confines of "the Kingdom of Kerry," and informed me that, in the parish where he was brought up, the natives had a passion for backgammon, and were wont, on high-days and holidays, to hold tournaments (on their favourite game) with the inhabitants of the next parish, in Kerry. Unfortunately, one day when a great trial of skill was appointed to come off, it turned out that no backgammon box was forthcoming. Both parties had contrived to forget it. To send for the necessary implements would have been a waste of time, when the combatants had "their souls in arms," and were "eager for the fray." In this dilemma, a lad who had a decided genius for expedients suggested a plan by which, without delay, their mutual wishes could be realized. Under his advice, one of the meadows was fixed upon as the scene of action. The turf was removed at intervals, so as to make the place present the semblance of a backgammon board, and substitutes for men were readily found in the flat stones and slates with which the ground abounded. The great difficulty was – the dice! They could extemporize board and men, but how to raise the bits of ivory? The lad was not to be baffled. He proposed that two men, one selected from each party, should sit on the ditch opposite each other, with "the board in the centre, with their respective backs turned from the combatants, and, in turn, should call out the numbers, as if they had been actually thrown by dice! This brilliant idea was acted upon. A halfpenny was thrown up to decide who should have first play, and the men on the ditch alternately called out, at will, any of the throws which might have been actually cast had the dice themselves been "to the fore."
Such primitive practice, I venture to say, had never before been applied to the noble science of backgammon. I use the word advisedly, because, with skill and judgment, what is called bad luck does not very materially affect the game. The art is to conquer, despite bad throwing.
Lynch succeeded a worthy named Hearne – a nom de guerre, his enemies averred, for the less euphonious one of Herring. Whatever his name, the man was quite a character. He fancied himself a poet, and was particularly fond of taking his favourite pupils aside to communicate to them in a confidential manner, sotto voce, the latest productions of his muse, – it being expected that, a little later in the evening, the favoured individuals should delicately draw him out and solicit him to a public recital of his verses. After a good deal of pressing on their part, and a show of resistance on his, (which every one understood,) the little dancing-master would mount on a table, deliver a flourishing preface in prose, and then go through the recitation, in a manner which set description at defiance. At the conclusion of this feat, which was duly encored, Hearne was wont to distribute copies of his composition printed on whity-brown paper, and the tribute of a five-penny bit was expected in acknowledgment of the same – simply, as he said, "to pay for the printing." He had such a peculiar system of orthography – spelling the words by the sound – that I venture, with all due diffidence, to put forward his claim to take precedence of the interesting and worthy founders of the newspaper-nondescript, The Fonetic Nuz, at which the Londoners laughed heartily a dozen years ago. By some accident, I have preserved a copy of one of Hearne's poetical compositions, in which his own mode of spelling is carefully preserved, and I subjoin it as a curiosity, – a specimen of what emanated, some thirty years ago, from one who belonged to the peculiar class (of which Grant Thorburn is the head) worthy of being called The Illiterate Literati!
"A few lions addressed in prease of Mr. Jon Anderson, Esquire, by his humble servant, and votary of the Muses, Wm. Ahearne, profesor of dancing.
"Who lives in this Eaden wich lyes to the easte
Of Fermoy ould bridge and its pallasades;
He is the best man on the Blackwater's breast,
As thousans from povirty he has razed.
"There's no grand Pear in all Urop this day,
With him can compare most certinly,
In bilding a town of buty and sweay
As Fermoy and its gay sweet liberty.
"Now, weagh well the case betwin him and those
Who travel the globe and fair Itly,
After skroozhing their tinnants hard when at home,
And spinding their store most foulishly."
The most original idea in these "few lions," is the geographical information that Italy is not a part of the globe. In the pen-ultimate line, the poet may have hinted a little sly satire at the "at home" in high life, where the crushing of hundreds into a space where tens can scarcely sit in comfort is esteemed a great feat.
A wealthy attorney, named Henley, who had been kind to Hearne, was the object of an eulogistic "pome." It ran somewhat thus:
There is a barrister of great fame
In Fermoy, I do declare,
Who administers strict justas
Without bribery or dessate.
May God prolong your days,
Your Court to reglate,
And force sly roges and villines
To pay their dews and rates.
CHARLEY CROFTS
In the immortal "Maxims of O'Doherty," written by the late Dr. Maginn, mention is made of a dinner at the late Lord Doneraile's, in the South of Ireland, in which a reproof was administered to his Lordship's meanness in the article of – tippling. He says, "My friend, Charley Crofts, was also of the party. The claret went lazily round the table, and his Lordship's toad-eaters hinted that they preferred punch, and called for hot water. My Lord gave in, after a humbug show of resistance, and whiskey-punch was in a few minutes the order of the night. Charley, however, to the annoyance of the host, kept swilling away at the claret, on which Lord Doneraile lost all patience, and said to him, 'Charley, you are missing quite a treat; this punch is so excellent.' 'Thank ye, my Lord,' said Charley, 'I am a plain man, who does not want trates; I am no epicure, so I stick to the claret.'"
This free-and-easy gentleman, of whom I have some personal recollection, belonged to a class of which, I suspect, he was the very latest specimen. Charley Crofts, who had acquired no book-learning, because he was born to a large landed property, was of a respectable family in the west of the county Cork, and, even in his decline, was highly honoured by the multitude, as coming from "the good ould stock." Brought up, but not educated, by his mother, Charley entered the world with very flattering prospects. He had a good property, good looks, good temper, and (what he most prized) good horses. Cursed with an easy disposition, he had never learned how to utter the monosyllable "No," but had unfortunately learned how to sign his name – his friends kindly giving him very frequent opportunities of practicing that autograph, by obtaining it, across narrow slips of stamped paper, ('yclept "bills" and "promissory notes") underneath the words "Accepted, payable at the Bank of James Delacour, Mallow." In the long run, these autographs ruined him – as, bit-by-bit, all his property went to meet the sums to which they pledged him, and Charley Crofts found himself, at the age of thirty, without home or money. He had preserved one thing, however – his personal character. He had committed a great many of the frailties of his sex and youth, but the shadow of a disreputable or doubtful action never rested on his name. He could proudly say, like Francis the First, after the battle of Pavia, "All lost, except honour."
The result was that, in his poverty, he was as highly thought of as in his affluence, and was ever a welcome guest in the first houses of his native county.
Like the rest of his class, (I mean the estated Irish gentlemen of the last century,) Charley Crofts had learned to drink deeply. He used to narrate, with great glee, an incident connected with his entrance into vivacious habits. His mother, having occasion to leave their country residence, in order to transact some business in Cork, left her hopeful son in full possession of the house and full command of the servants, for the fortnight she intended being absent. Charley, who was then in his sixteenth year, determined that he would hold no powerless sceptre of vice-royalty, and invited sundry acquaintances to visit him, which they did. As a hogshead of fine claret was always on tap, there was no difficulty in obtaining an adequate supply of drink. One day, however, a guest happened to express a desire to vary the post-prandial proceedings by the introduction of a few bottles of port. Now, it happened that Mrs. Crofts possessed (and was known to possess) some remarkably fine port wine, which she carefully kept locked up, reserving it for "State days and holidays." Charley had been left the key of the cellar, and, considering that his hospitality was especially appealed to, by the hint about the port, went down and had a supply brought up. That afternoon's performance went rather hard against the port. Indeed, so much of it was drank that Charley Crofts was puzzled how to account for it, without making full confession. A few days after his mother's return, she asked him to accompany her to the cellar, to provide a suitable location for a supply of sherry which she expected from Cork. The first thing which attracted her notice was the remarkable diminution in the stock of her valued and nearly unique port wine. Catching her eye, Charley anticipated her inquiry, by remarking that, in her absence, a remarkable thunder-storm had penetrated to the cellar and broken a quantity of the bottled wine. Taking up two or three of the bottles, and fully aware that it would be useless to repine or get angry over the mischief done, she drew her hopeful son's attention to them, and only said, "A dreadful storm, indeed! It has actually drawn the corks out of the necks of the bottles, instead of bursting them in the usual way!"
For the last five-and-thirty years of his life, Charley Crofts may be said to have literally lived all around. He had a number of tried friends, who were glad to have him as their guest and boon companion, for a month at a time. He could tell a good story, knew the private history of every family in the county, was undoubted authority on horseflesh and every subject connected with the sports of the field, and could take any quantity of wine without its apparently affecting him. Nature had endowed him with great muscular power, immense physical strength, a temper which nothing could cloud, and a mode of expression so terse as sometimes to be almost epigrammatic. He was exactly qualified for the shifting sort of life upon which he had fallen.
When I met him, the brighter portion of his career had passed. He was but the wreck of what he once had been, I was assured by every one; but one may judge, from the ruin, what the structure had been in its pride. Numerous anecdotes were afloat as to his sayings and doings, but it is difficult to realize their effect in our days, unless you could imagine the person on whom they were affiliated. Though I fear that I shall fail in the attempt, I shall endeavour to record two or three.
As a four-bottle man, who could drink every one else under the table, Charley Crofts was not so much of a favourite with wives as with their husbands. They knew, by experience, that with Charley Crofts in the van, a wet evening might be looked for – in the dining-room.
Mr. Wrixon, of Ballygiblin, near Mallow, (father of Sir W. Wrixon-Becher, who married Miss O'Neill, the eminent actress,) had only a small hereditary property when he succeeded to vast estates, on condition that he superadded the name of "Becher" to his own patronymic. As plain Mr. Wrixon, with a small property, he had lived unnoticed, but his circle of friends immensely increased when he became Mr. Wrixon-Becher, and a man of "Ten Thousand a Year." Soon after, he married an English lady, with some fortune, much pride, a fair share of beauty, and a decided abhorrence of the drinking habits of her husband's friends. She had heard of, and had been cautioned against, the vivacious enormities of Charley Crofts, and had actually declared to her husband (in private, of course) that whenever Mr. Crofts took a seat at her table, she would immediately relinquish hers.
One day, when Wrixon had been out with the Duhallow hounds, and the run had been quick and long, the only man who was in with him "at the death," was Charley Crofts, and under the circumstances – the rain beginning to fall heavily, Crofts' place of sojourn being at least ten miles distant, and Ballygiblin at hand, – Wrixon felt that he must invite Charley home, or rest under the imputation of behaving in an unsportsmanlike and inhospitable manner.
So, he told Charley that half a dozen other good fellows were to take "pot-luck" with him that day, and that he must insist on Charley's joining them. Without any pressing or denial, the invitation was accepted.
Now, Charley Crofts knew, just as well as if he had been present when the affair was discussed, how and why it was that, of all the houses in the barony of Duhallow, the mansion of Ballygiblin was the only one to which he had not a general invitation. Wrixon, the moment he reached home, turning over his companion to the friendly custody of a mutual acquaintance, who was to form one of the party that day, hastened to "his lady's chamber," where he found his wife dressed for dinner, and (as her glass told her) looking remarkably well. A few well-expressed and well-timed compliments on her appearance, a congratulation or two on her exquisite taste in dress, a half-hint and half-promise as to the killing effect of a set of pearl in contrast with her ebon looks, and more "blarney" of the same sort, made the lady so very gracious that the husband ventured to communicate under what circumstances he had been compelled to invite Charley Crofts to her table. The lady took them, as they sometimes do in French courts of justice, as "extenuating circumstances," and consented to receive the dreaded Charley. This done, she found her way into the drawing-room, where the guests waited upon her – the most subdued and quiet of them being Charley Crofts. At first, with his grave air and grave attire, she thought that he might have been a clergyman.
As the only stranger in the party, Charley had to escort Mrs. Wrixon to the dining-room, to sit next her, to perform the duties of carving for her, to supply her with a little of the small change of conversation. Nobody could behave more decorously, more unlike the lady's fearful anticipations of the dreaded guest. Now and then, when addressed by his friends, a quaint remark or a satiric witticism would make her smile, and convince her that the dangerously seductive companionable character of her guest had not been undeservedly obtained. On the whole, she had every reason to think him very much of a gentleman, and graciously smiled on him when she quitted the table.
"You have conquered her, by Jove," exclaimed Wrixon. "Not yet," said Charley, "but in a fair way for it." The wine went round. The conversation branched off into its usual channels, and settled, at last, upon a meet of the hounds which was to take place on Mr. Wrixon's property, at which all the company present would attend.
In the middle of the discussion, one of the footmen duly announced that his lady was waiting for them, with tea and coffee, in the drawing-room. Heretofore, in that house, such an announcement had always been a mere matter of form. Not so now. Charley Crofts started up and proceeded to obey the summons. "Nonsense!" they all exclaimed. "Don't turn milksop. No one ever goes to tea or coffee in this house." "Say what you may," said Charley, "the lady shall not have to complain of my want of politeness."
In the drawing-room, sooth to say, no gentleman had been expected, and Mrs. Wrixon was taking a solitary cup of tea. She was an admirable musician, and was playing "Gramachree" (that saddest of all Irish airs) just as Charley reached the door. Now, music was among the things which he thoroughly understood and appreciated, and the moment that he heard her exquisite execution on the harp he paused, spell-bound, listening with rapt attention and delight, while the pathos of the air drew tears from eyes all unaccustomed to the melting mood. When she had concluded, she turned round, saw the effect which she had produced, and (need I say it) was flattered at that proof of her skill.
Quickly recovering himself, Charley Crofts informed her that he had the pleasure of accepting the invitation she had sent into the dining-room. Tea was accordingly provided, and the conversation naturally fell upon music. Charley happened to be a first rate flutist, and having mentioned in what a delightful manner the flute and harp went together, either to accompany the voice or without, Mrs. Wrixon sent for her husband's flute, and allowed him to show her how correctly he had spoken. Presently, she even sang to the double accompaniment, and her husband and his friends, curious to know how Crofts was getting on, having now adjourned from their wine, found him thus engaged.
