Kitabı oku: «The Atlantic Monthly, Volume 12, No. 70, August, 1863», sayfa 7

WET-WEATHER WORK

BY A FARMER

III

Will any of our artists ever give us, on canvas, a good, rattling, saucy shower? There is room in it for a rare handling of the brush:—the vague, indistinguishable line of hills, (as I see them to-day,)—the wild scud of gray, with fine gray lines, slanted by the wind, and trending eagerly downward,—the swift, petulant dash into the little pools of the highway, making fairy bubbles that break as soon as they form,—the land smoking with excess of moisture,—and the pelted leaves all wincing and shining and adrip.

I know no painter who has so well succeeded in putting a wet sky into his pictures as Turner; and in this I judge him by the literal chiaroscuro of engraving. In proof of it, I take down from my shelf his "Rivers of France": a book over which I have spent a great many pleasant hours, and idle ones too,—if it be idle to travel leagues at the turning of a page, and to see hill-sides spotty with vineyards, and great bridges wallowing through the Loire, and to watch the fishermen of Honfleur putting to sea. There are skies, as I said, in some of these pictures which make a man instinctively think of his umbrella, or of his distance from home: no actual rain-drift stretching from them, but such unmistakable promise of a rainy afternoon, in their little parallel wisps of dark-bottomed clouds, as would make a provident farmer order every scythe out of the field.

In the "Chair of Gargantua," on which my eye falls, as I turn over the pages, an actual thunder-storm is breaking. The scene is somewhere upon the Lower Seine. From the middle of the left of the picture the lofty river-bank stretches far across, forming all the background;—its extreme distance hidden by a bold thrust of the right bank, which juts into the picture just far enough to shelter a white village, which lies gleaming upon the edge of the water. On all the foreground lies the river, broad as a bay. The storm is coming down the stream. Over the left spur of the bank, and over the meeting of the banks, it broods black as night. Through a little rift there is a glimpse of serene sky, from which a mellow light streams down upon the edges and angles of a few cliffs upon the farther shore. All the rest is heavily shadowed. The edges of the coming tempest are tortuous and convulsed, and you know that a fierce wind is driving the black billows on; yet all the water under the lee of the shores is as tranquil as a dream; a white sail, near to the white village, hangs slouchingly to the mast: but in the foreground the tempest has already caught the water; a tall lugger is scudding and careening under it as if mad; the crews of three fishermen's boats, that toss on the vexed water, are making a confused rush to shorten sail, and you may almost fancy that you hear their outcries sweeping down the wind. In the middle scene, a little steamer is floating tranquilly on water which is yet calm; and a column of smoke piling up from its tall chimney rises for a space placidly enough, until the wind catches and whisks it before the storm. I would wager ten to one, upon the mere proof in the picture, that the fishermen and the washerwomen in the foreground will be drenched within an hour.

When I have once opened the covers of Turner,—especially upon such a wet day as this,—it is hard for me to leave him until I have wandered all up and down the Loire, revisited Tours and its quiet cathedral, and Blois with its stately chateau, and Amboise with its statelier, and coquetted again with memories of the Maid of Orléans.

From the Upper Loire it is easy to slip into the branching valleys which sidle away from it far down into the country of the Auvergne. Turner does not go there, indeed; the more's the pity; but I do, since it is the most attractive region rurally (Brittany perhaps excepted) in all France. The valleys are green, the brooks are frequent, the rivers are tortuous, the mountains are high, and luxuriant walnut-trees embower the roads. It was near to Moulins, on the way hither, through the pleasant Bourbonnois, that Tristram Shandy met with the poor, half-crazed Maria, piping her evening service to the Virgin.

And at that thought I must do no less than pull down my "Tristram Shandy," (on which the dust of years has accumulated,) and read again that tender story of the lorn maiden, with her attendant goat, and her hair caught up in a silken fillet, and her shepherd's pipe, from which she pours out a low, plaintive wail upon the evening air.

It is not a little singular that a British author should have supplied the only Arcadian resident of all this Arcadian region. The Abbé Delille was, indeed, born hereabout, within sight of the bold Puy de Dome, and within marketing-distance of the beautiful Clermont. But there is very little that is Arcadian, in freshness or simplicity, in either the "Gardens" or the other verse of Delille.

Out of his own mouth (the little green-backed book, my boy) I will condemn him:—

 
"Ce n'est plus cette simple et rustique déesse
Qui suit ses vieilles lois; c'est une enchanteresse
Qui, la baguette en main, par des hardis travaux
Fait naître des aspects et des trésors nouveaux,
Compose un sol plus riche et des races plus belles,
Fertilise les monts, dompte les rocs rebelles."
 

The baguette of Delille is no shepherd's crook; it has more the fashion of a drumstick,—baguette de tambour.

If I follow on southward to Provence, whither I am borne upon the scuds of rain over Turner's pictures, and the pretty Bourbonnois, and the green mountains of Auvergne, I find all the characteristic literature of that land of olives is only of love or war: the vines, the olive-orchards, and the yellow hill-sides pass for nothing. And if I read an old Sirvente of the Troubadours, beginning with a certain redolence of the fields, all this yields presently to knights, and steeds caparisoned,—

 
"Cavalliers ab cavals armatz."
 

It is smooth reading, and is attributed to Bertrand de Born,³ who lived in the time when even the lion-hearted King Richard turned his brawny fingers to the luting of a song. Let us listen:—

 
"The beautiful spring delights me well,
When flowers and leaves are growing;
And it pleases my heart to hear the swell
Of the birds' sweet chorus flowing
In the echoing wood;
And I love to see, all scattered around,
Pavilions and tents on the martial ground;
And my spirit finds it good
To see, on the level plains beyond,
Gay knights and steeds caparisoned."
 

But as the Troubadour nestles more warmly into the rhythm of his verse, the birds are all forgotten, and the beautiful spring, and there is a sturdy clang of battle, that would not discredit our own times:—

 
"I tell you that nothing my soul can cheer,
Or banqueting or reposing,
Like the onset cry of 'Charge them!' rung
From each side, as in battle closing;
Where the horses neigh,
And the call to 'aid' is echoing loud,
And there, on the earth, the lowly and proud
In the foss together lie,
And yonder is piled the mingled heap
Of the brave that scaled the trenches steep.
"Barons! your castles in safety place,
Your cities and villages, too,
Before ye haste to the battle-scene:
And Papiol! quickly go,
And tell the lord of 'Yes and No'
That peace already too long hath been!"⁴
 

I am on my way to Italy, (it may as well be confessed,) where I had fully intended to open my rainy day's work; but Turner has kept me, and then Auvergne, and then the brisk battle-song of a Troubadour.

When I was upon the Cajano farm of Lorenzo the Magnificent, during my last "spell of wet," it was uncourteous not to refer to the pleasant commemorative poem of "Ambra," which Lorenzo himself wrote, and which, whatever may be said against the conception and conduct of it, shows in its opening stanzas that the great Medici was as appreciative of rural images—fir-boughs with loaded snows, thick cypresses in which late birds lurked, sharp-leaved junipers, and sturdy pines fighting the wind—as ever he had been of antique jewels, or of the rhythm of such as Politiano. And if I have spoken slightingly of this latter poet, it was only in contrast with Virgil, and in view of his strained Latinity. When he is himself, and wraps his fancies only in his own sparkling Tuscan, we forget his classic frigidities, and his quarrels with Madonna Clarice, and are willing to confess that no pen of his time was dipped with such a relishing gusto into the colors of the hyacinths and trembling pansies, and into all the blandishments of a gushing and wanton spring.⁵

But classical affectation was the fashion of that day. A certain Bolognese noble, Berò by name, wrote ten Latin books on rural affairs: Tiraboschi says he never saw them; neither have I. Another scholar, Pietro da Barga, who astonished his teachers by his wonderful proficiency at the age of twelve, and who was afterward guest of the French ambassador in Venice, wrote a poem on rural matters, to which, with an exaggerated classicism, he gave the Greek name of "Cynegeticon"; and about the same time Giuseppe Voltolina composed three books on kitchen-gardening. I name these writers only out of sympathy with their topics: I would not advise the reading of them: it would involve a long journey and scrupulous search to find them, through I know not what out-of-the-way libraries; and if found, no essentially new facts or theories could be counted on which are not covered by the treatise of Crescenzi. The Pisans or Venetians may possibly have introduced a few new plants from the East; the example of the Medici may have suggested some improvements in the arrangement of forcing-houses, or the outlay of villas; but in all that regarded general husbandry, Crescenzi was still the man.

I linger about this period, and the writers of this time, because I snuff here and there among them the perfume of a country bouquet, which carries the odor of the fields with it, and transports me to the "empurpled hill-sides" of Tuscany. Shall I name Sannazaro, with his "Arcadia"?—a dead book now,—or "Amyntas," who, before he is tall enough to steal apples from the lowest boughs, (so sings Tasso,) plunges head and ears in love with Sylvia, the fine daughter of Montano, who has a store of cattle, "richissimo d'armenti"?

Then there is Rucellai, who, under the pontificate of Leo X., came to be Governor of the Castle of Sant' Angelo, and yet has left a poem of fifteen hundred lines devoted to Bees. In his suggestions for the allaying of a civil war among these winged people, he is quite beyond either Virgil or Columella or Mr. Lincoln. "Pluck some leafy branch," he says, "and with it sprinkle the contending factions with either honey or sweet grape-juice, and you shall see them instantly forego their strife":—

 
"The two warring bands joyful unite,
And foe embraces foe: each with its lips
Licking the others' wings, feet, arms, and breast,
Whereon the luscious mixture hath been shed,
And all inebriate with delight."
 

So the Swiss,⁶ he continues, when they fall out among themselves, are appeased by some grave old gentleman, who says a few pleasant words, and orders up a good stoop of sweet wine, in which all parties presently dip their beards, and laugh and embrace and make peace, and so forget outrage. It may have been the sixteenth-century way of closing a battle.

Guarini, with all his affectations, has little prettinesses which charm like the chirping of a bird;—as where he paints (in the very first scene of the "Pastor Fido") the little sparrow flitting from fir to beech, and from beech to myrtle, and twittering, "How I love! how I love!" And the bird-mate ("il suo dolce desio") twitters in reply, "How I love, how I love, too!" "Ardo d' amore anch' io."

Messer Pietro Bembo was a different man from Guarini. I cannot imagine him listening to the sparrows; I cannot imagine him plucking a flower,—except he have some courtly gallantry in hand, perhaps toward the Borgia. He was one of those pompous, stiff, scholastic prigs who wrote by rules of syntax; and of syntax he is dead. He was clever and learned; he wrote in Latin, Italian, Castlian: but nobody reads him; he has only a little crypt in the "Autori Diversi." I think of him as I think of fine women who must always rustle in brocade embossed with hard jewels, and who never win the triumphs that belong to a charming morning déshabillé with only the added improvisation of a rose.

In his "Asolani" Bembo gives a very full and minute description of the gardens at Asolo, which relieved the royal retirement of Caterina, the Queen of Cyprus. Nothing could be more admirable than the situation: there were skirts of mountain which were covered, and are still covered, with oaks; there were grottos in the sides of cliffs, and water so disposed—in jets, in pools inclosed by marble, and among rocks—as to counterfeit all the wildness of Nature; there was the same stately array of cypresses, and of clipped hedges, which had belonged to the villas of Pliny; temples were decorated with blazing frescoes, to which, I dare say, Carpaccio may have lent a hand, if not that wild rake, Giorgione. Here the pretty Queen, with eight thousand gold ducats a year, (whatever that amount may have been,) and some seventy odd retainers, held her court; and here Bembo, a dashing young fellow at that time of seven or eight and twenty, became a party to those disquisitions on Love, and to those recitations of song, part of which he has recorded in the "Asolani." I am sorry to say, the beauty of the place, so far as regards its artificial features, is now all gone. The hall, which may have served as the presence-chamber of the Queen, was only a few years since doing service as a farmer's barn; and the traces of a Diana and an Apollo were still coloring the wall under which a few cows were crunching their clover-hay.

All the gardening of Italy at that period, as, indeed, at almost all times, depended very much upon architectural accessories: colonnades and wall-veil with frescoes make a large part of Italian gardening to this day. The Isola Bella in the Lago Maggiore, and the Borghese Garden at Rome, are fair types. And as I recall the sunny vistas of this last, and the noontide loungings upon the marble seats, counting white flecks of statues amid the green of cypresses, and watching the shadow which some dense-topped pine flings upon a marble flight of steps or a marble balustrade, I cannot sneer at the Italian gardening, or wish it were other than it is. The art-life of Italy is the crowning and the overlapping life. The Campagna seems only a bit of foreground to carry the leaping arches of the aqueducts, and to throw the hills of Tivoli and Albano to a purple distance. The farmers (fattori) who gallop across the fields, in rough sheepskin wrappers, and upon scurvy-looking ponies, are more picturesque than thrifty; and if I gallop in company with one of them to his home upon the farther edge of the Campagna, (which is an allowable wet-day fancy,) I shall find a tall stone house smeared over roughly with plaster, and its ground-floor devoted to a crazy cart, a pony, a brace of cows, and a few goats; a rude court is walled in adjoining the house, where a few pigs are grunting. Ascending an oaken stair-way within the door, I come upon the living-room of the fattore; the beams overhead are begrimed with smoke, and garnished here and there with flitches of bacon; a scant fire of fagots is struggling into blaze upon an open hearth; and on a low table bare of either cloth or cleanliness, there waits him his supper of polenta, which is nothing more or less than our plain boiled Indian-pudding. Add to this a red-eyed dog, that seems to be a savage representative of a Scotch colley,—a lean, wrinkled, dark-faced woman, who is unwinding the bandages from a squalling Bambino,—a mixed odor of garlic and of goats, that is quickened with an ammoniacal pungency,—and you may form some idea of the home of a small Roman farmer in our day. It falls away from the standard of Cato; and so does the man.

He takes his twenty or thirty acres, upon shares, from some wealthy proprietor of Rome, whose estate may possibly cover a square mile or two of territory. He sells vegetables, poultry, a little grain, a few curds, and possibly a butt or two of sour wine. He is a type of a great many who lived within the limits of the old Papal territory; whether he and they have dropped their musty sheepskins and shaken off their unthrift under the new government, I cannot say.

Around Bologna, indeed, there was a better race of farmers: the intervening thrift of Tuscany had always its influence. The meadows of Terni, too, which are watered by the Velino, bear three full crops of grass in the season; the valley of the Clitumnus is like a miniature of the Genesee; and around Perugia the crimson-tasselled clovers, in the season of their bloom, give to the fields the beauty of a garden.

The old Duke of Tuscany, before he became soured by his political mishaps, was a great patron of agricultural improvements. He had princely farms in the neighborhood both of his capital and of Pisa. Of the latter I cannot speak from personal observation; but the dairy-farm, Cascina, near to Florence, can hardly have been much inferior to the Cajano property of the great Lorenzo. The stables were admirably arranged, and of permanent character; the neatness was equal to that of the dairies of Holland. The Swiss cows, of a pretty dun-color, were kept stalled, and luxuriously fed upon freshly cut ray-grass, clover, or vetches, with an occasional sprinkling of meal; the calves were invariably reared by hand; and the average per diem of milk, throughout the season, was stated at fourteen quarts; and I think Madonna Clarice never strained more than this into the cheese-tubs of Ambra. I trust the burghers of Florence, and the new Gonfaloniere, whoever he may be, will not forget the dun cows of the Cascina, or their baitings with the tender vetches.

The redemption of the waste marshlands in the Val di Chiana by the engineering skill of Fossombroni, and the consequent restoration of many thousands of acres which seemed hopelessly lost to fertility, is a result of which the Medici would hardly have dreamed, and which would do credit to any age or country.

About the better-cultivated portions of Lombardy there is an almost regal look. The roads are straight, and of most admirable construction. Lines of trees lift their stateliness on either side, and carry trailing festoons of vines. On both sides streams of water are flowing in artificial canals, interrupted here and there by cross sluices and gates, by means of which any or all of the fields can be laid under water at pleasure, so that old meadows return three and four cuttings of grass in the year. There are patches of Indian-corn which are equal to any that can be seen on the Miami; hemp and flax appear at intervals, and upon the lower lands rice. The barns are huge in size, and are raised from the ground upon columns of masonry.

I have a dapper little note-book of travel, from which these facts are mainly taken; and at the head of one of its pages I observe an old ink-sketch of a few trees, with festoons of vines between. It is yellowed now, and poor always; for I am but a dabbler at such things. Yet it brings back, clearly and briskly, the broad stretch of Lombard meadows, the smooth Macadam, the gleaming canals of water, the white finials of Milan Cathedral shining somewhere in the distance, the thrushes, as in the "Pastor Fido," filling all the morning air with their sweet

 
"Ardo d' amore! ardo d' amore!"
 

the dewy clover-lots, looking like wavy silken plush, the green glitter of mulberry-leaves, and the beggar in steeple-crowned hat, who says, "Grazia," and "Á rivedervi!" as I drop him a few kreutzers, and rattle away to the North, and out of Italy.

About the year 1570, a certain Conrad Heresbach, who was Councillor to the Duke of Cleves, (brother to that unfortunate Anne of Cleves who was one of the wife-victims of Henry VIII.,) wrote four Latin books on rustic affairs, which were translated by Barnaby Googe, a Lincolnshire farmer and poet, who was in his day gentleman-pensioner to Queen Elizabeth. Our friend Barnaby introduces his translation in this style:—"I haue thought it meet (good Reader) for thy further profit & pleasure, to put into English these foure Bookes of Husbandry, collected & set forth by Master Conrade Heresbatch, a great & a learned Counceller of the Duke of Cleues: not thinking it reason, though I haue altered & increased his worke, with mine owne readings & obseruations, joined with the experience of sundry my friends, to take from him (as diuers in the like case haue done) the honour & glory of his owne trauaile: Neither is it my minde, that this either his doings or mine, should deface, or any waves darken the good enterprise, or painfull trauailes of such our countrymen, of England, as haue plentifully written of this matter: but always haue, & do giue them the reuerence & honour due to so vertuous, & well disposed Gentlemen, namely, Master Fitz herbert, & Master Tusser: whose workes may, in my fancie, without any presumption, compare with any, either Varro, Columella, or Palladius of Rome."

The work is written in the form of a dialogue, the parties being Cono, a country-gentleman, Metella, his wife, Rigo, a courtier, and Hermes, a servant. The first book relates to tillage, and farm-practice in general; the second, to orcharding, gardens, and woods; the third, to cattle; and the fourth, to fowl, fish, and bees. He had evidently been an attentive reader of the older authors I have discussed, and his citations from them are abundant. He had also opportunity for every-day observation in a region which, besides being one of the most fertile, was probably at that time the most highly cultivated in Europe; and his work may be regarded as the most important contribution to agricultural literature since the days of Crescenzi. He reaffirms, indeed, many of the old fables of the Latinists,—respects the force of proper incantations, has abiding faith in "the moon being aloft" in time of sowing, and insists that the medlar can be grafted on the pine, and the cherry upon the fir. Rue, he tells us, "will prosper the better for being stolen"; and "If you breake to powder the horne of a Ram & sowe it watrying it well, it is thought it will come to be good Sperage" (Asparagus). He assures us that he has grafted the pear successfully when in full bloom; and furthermore, that he has seen apples which have been kept sound for three years.

Upon the last page are some rules for purchasing land, which I suspect are to be attributed to the poet of Lincolnshire, rather than to Heresbach. They are as good as they were then; and the poetry none the worse:—

 
"First see that the land be clear
In title of the seller;
And that it stand in danger
Of no woman's dowrie;
See whether the tenure be bond or free,
And release of every fee of fee;
See that the seller be of age,
And that it lie not in mortgage;
Whether ataile be thereof found,
And whether it stand in statute bound;
Consider what service longeth thereto,
And what quit rent thereout must goe;
And if it become of a wedded woman,
Think thou then on covert baron;
And if thou may in any wise,
Make thy charter in warrantise,
To thee, thine heyres, assignes also;
Thus should a wise purchaser doe."
 

The learned Lipsius was a contemporary of Councillor Heresbach, and although his orthodoxy was somewhat questionable, and his Calvinism somewhat stretchy, there can be no doubt of the honest rural love which belongs to some of his letters, and especially to this smack of verse (I dare not say poetry) with which he closes his Eighth (Cent. I.)

 
"Vitam si liceat mihi
Formare arbitriis meis:
Non fasces cupiam aut opes,
Non clarus niveis equis
Captiva agmina traxerim.
In solis habitem locis,
Hortos possideam atque agros,
Illic ad strepitus aquæ
Musarum studiis fruar.
Sic cum fata mihi ultima
Pernerit Lachesis mea;
Tranquillus moriar senex."
 

And with this I will have done with a dead language; for I am come to a period now when I can garnish my talk with the flowers of good old English gardens. At the very thought of them, I seem to hear the royal captive James pouring madrigals through the window of his Windsor prison,—

 
"the hymnis consecrat
Of lovis use, now soft, now loud among,
That all the gardens and the wallis rung."
 

And through the "Dreme" of Chaucer I seem to see the great plain of Woodstock stretching away under my view, all white and green, "green y-powdered with daisy." Upon the half-ploughed land, lying yonder veiled so tenderly with the mist and the rain, I could take oath to the very spot where five hundred years ago the plowman of Chaucer, all "forswat,"

 
"plucked up his plowe
Whan midsomer mone was comen in
And shoke off shear, and coulter off drowe,
And honged his harnis on a pinne,
And said his beasts should ete enowe
And lie in grasse up to the chin."
 

But Chaucer was no farmer, or he would have known it to be bad husbandry (even for poetry) to allow cattle steaming from the plough to lie down in grass of that height.

Sir Anthony Fitz-herbert is the first duly accredited writer on British husbandry. There are some few earlier ones, it is true,—a certain "Mayster Groshede, Bysshop of Lyncoln," and a Henri Calcoensis, among them. Indeed, Mr. Donaldson, who has compiled a bibliography of British farm-writers, and who once threatened a poem on kindred subjects, has the effrontery to include Lord Littleton. Now I have a respect for Lord Littleton, and for Coke on Littleton, but it is tempered with some early experiences in a lawyer's office, and some later experiences of the legal profession; he may have written well upon "Tenures," but he had not enough of tenderness even for a teasel.

I think it worthy of remark, in view of the mixed complexion which I have given to these wet-day studies, that the oldest printed copy of that sweet ballad of the "Nut Browne Mayde" has come to us in a Chronicle of 1503, which contains also a chapter upon "the crafte of graffynge & plantynge & alterynge of fruyts." What could be happier than the conjunction of the knight of "the grenwode tree" with a good chapter on "graffynge"?

Fitz-herbert's work is entitled a "Boke of Husbandrie," and counts, among other headings of discourse, the following:—

"Whether is better a plough of horses or a plough of oxen."

"To cary out dounge & mucke, & to spreade it."

"The fyrste furryng of the falowes."

"To make a ewe to love hir lambe."

"To bye lean cattel."

"A shorte information for a young gentyleman that entendeth to thryve."

"What the wyfe oughte to dooe generally."

(seq.) "To kepe measure in spendynge."

"What be God's commandments."

By all which it may be seen that Sir Anthony took as broad a view of husbandry as did Xenophon.

Among other advices to the "young gentyleman that entendeth to thryve" he counsels him to rise betime in the morning, and if "he fynde any horses, mares, swyne, shepe, beastes in his pastures that be not his own; or fynde a gap in his hedge, or any water standynge in his pasture uppon his grasse, whereby he may take double herte, bothe losse of his grasse, & rotting of his shepe, & calves; or if he fyndeth or seeth anything that is amisse, & wold be amended, let him take out his tables & wryte the defautes; & when he commeth home to dinner, supper, or at nyght, then let him call his bayley, & soo shewe him the defautes. For this," says he, "used I to doo x or xi yeres or more; & yf he cannot wryte, lette him nycke the defautes uppon a stycke."

Sir Anthony is gracious to the wife, but he is not tender; and it may be encouraging to country-housewives nowadays to see what service was expected of their mothers in the days of Henry VIII.

"It is a wives occupacion to winow al maner of cornes, to make malte, wash & wring, to make hey, to shere corne, & in time of neede to helpe her husbande to fyll the mucke wayne or donge carte, dryve the plough, to lode hay corne & such other. Also to go or ride to the market to sell butter, chese, mylke, egges, chekens, kapons, hennes, pygges, gees & al maner of corne. And also to bye al maner of necessary thinges belonging to a household, & to make a true rekening & accompt to her husband what she hath receyved & what she hathe payed. And yf the husband go to market to bye or sell as they ofte do, he then to shew his wife in lyke maner. For if one of them should use to disceive the other, he disceyveth himselfe, & he is not lyke to thryve, & therfore they must be true ether to other."

I come next to Master Tusser,—poet, farmer, chorister, vagabond, happily dead at last, and with a tomb whereon some wag wrote this:—

 
"Tusser, they tell me, when thou wert alive,
Thou teaching thrift, thyself could never thrive;
So, like the whetstone, many men are wont
To sharpen others when themselves are blunt."
 

I cannot help considering poor Tusser's example one of warning to all poetically inclined farmers.

He was born at a little village in the County of Essex. Having a good voice, he came early in life to be installed as singer at Wallingford College; and showing here a great proficiency, he was shortly after impressed for the choir of St. Paul's Cathedral. Afterward he was for some time at Eton, where he had the ill-luck to receive some fifty-four stripes for his shortcomings in Latin; thence he goes to Trinity College, Cambridge, where he lives "in clover." It appears that he had some connections at Court, through whose influence he was induced to go up to London, where he remained some ten years,—possibly as singer,—but finally left in great disgust at the vices of the town, and commenced as farmer in Suffolk,—

 
"To moil and to toil
With loss and pain, to little gain,
To cram Sir Knave";—
 

from which I fancy that he had a hard landlord, and but little sturdy resolution. Thence he goes to Ipswich, or its neighborhood, with no better experience. Afterward we hear of him with a second wife at Dereham Abbey; but his wife is young and sharp-tempered, and his landlord a screw: so he does not thrive here, but goes to Norwich and commences chorister again; but presently takes another farm in Fairstead, Essex, where it would seem he eked out a support by collecting tithes for the parson. But he says,—