Delphi Complete Works of George Eliot (Illustrated) (37 page)

Arthur himself had provided the prizes for the men, and Bill was made happy with a splendid pocket-knife, supplied with blades and gimlets enough to make a man at home on a desert island. He had hardly returned from the marquee with the prize in his hand, when it began to be understood that Wiry Ben proposed to amuse the company, before the gentry went to dinner, with an impromptu and gratuitous performance — namely, a hornpipe, the main idea of which was doubtless borrowed; but this was to be developed by the dancer in so peculiar and complex a manner that no one could deny him the praise of originality. Wiry Ben’s pride in his dancing — an accomplishment productive of great effect at the yearly Wake — had needed only slightly elevating by an extra quantity of good ale to convince him that the gentry would be very much struck with his performance of his hornpipe; and he had been decidedly encouraged in this idea by Joshua Rann, who observed that it was nothing but right to do something to please the young squire, in return for what he had done for them. You will be the less surprised at this opinion in so grave a personage when you learn that Ben had requested Mr. Rann to accompany him on the fiddle, and Joshua felt quite sure that though there might not be much in the dancing, the music would make up for it. Adam Bede, who was present in one of the large marquees, where the plan was being discussed, told Ben he had better not make a fool of himself — a remark which at once fixed Ben’s determination: he was not going to let anything alone because Adam Bede turned up his nose at it.

“What’s this, what’s this?” said old Mr. Donnithorne. “Is it something you’ve arranged, Arthur? Here’s the clerk coming with his fiddle, and a smart fellow with a nosegay in his button-hole.”

“No,” said Arthur; “I know nothing about it. By Jove, he’s going to dance! It’s one of the carpenters — I forget his name at this moment.”

“It’s Ben Cranage — Wiry Ben, they call him,” said Mr. Irwine; “rather a loose fish, I think. Anne, my dear, I see that fiddle-scraping is too much for you: you’re getting tired. Let me take you in now, that you may rest till dinner.”

Miss Anne rose assentingly, and the good brother took her away, while Joshua’s preliminary scrapings burst into the “White Cockade,” from which he intended to pass to a variety of tunes, by a series of transitions which his good ear really taught him to execute with some skill. It would have been an exasperating fact to him, if he had known it, that the general attention was too thoroughly absorbed by Ben’s dancing for any one to give much heed to the music.

Have you ever seen a real English rustic perform a solo dance? Perhaps you have only seen a ballet rustic, smiling like a merry countryman in crockery, with graceful turns of the haunch and insinuating movements of the head. That is as much like the real thing as the “Bird Waltz” is like the song of birds. Wiry Ben never smiled: he looked as serious as a dancing monkey — as serious as if he had been an experimental philosopher ascertaining in his own person the amount of shaking and the varieties of angularity that could be given to the human limbs.

To make amends for the abundant laughter in the striped marquee, Arthur clapped his hands continually and cried “Bravo!” But Ben had one admirer whose eyes followed his movements with a fervid gravity that equalled his own. It was Martin Poyser, who was seated on a bench, with Tommy between his legs.

“What dost think o’ that?” he said to his wife. “He goes as pat to the music as if he was made o’ clockwork. I used to be a pretty good un at dancing myself when I was lighter, but I could niver ha’ hit it just to th’ hair like that.”

“It’s little matter what his limbs are, to my thinking,” re-turned Mrs. Poyser. “He’s empty enough i’ the upper story, or he’d niver come jigging an’ stamping i’ that way, like a mad grasshopper, for the gentry to look at him. They’re fit to die wi’ laughing, I can see.”

“Well, well, so much the better, it amuses ‘em,” said Mr. Poyser, who did not easily take an irritable view of things. “But they’re going away now, t’ have their dinner, I reckon. Well move about a bit, shall we, and see what Adam Bede’s doing. He’s got to look after the drinking and things: I doubt he hasna had much fun.”

Chapter XXV
I

The Danc
e

ARTHUR had chosen the entrance-hall for the ballroom: very wisely, for no other room could have been so airy, or would have had the advantage of the wide doors opening into the garden, as well as a ready entrance into the other rooms. To be sure, a stone floor was not the pleasantest to dance on, but then, most of the dancers had known what it was to enjoy a Christmas dance on kitchen quarries. It was one of those entrance-halls which make the surrounding rooms look like closets — with stucco angels, trumpets, and flower-wreaths on the lofty ceiling, and great medallions of miscellaneous heroes on the walls, alternating with statues in niches. Just the sort of place to be ornamented well with green boughs, and Mr. Craig had been proud to show his taste and his hothouse plants on the occasion. The broad steps of the stone staircase were covered with cushions to serve as seats for the children, who were to stay till half-past nine with the servant-maids to see the dancing, and as this dance was confined to the chief tenants, there was abundant room for every one. The lights were charmingly disposed in coloured-paper lamps, high up among green boughs, and the farmers’ wives and daughters, as they peeped in, believed no scene could be more splendid; they knew now quite well in what sort of rooms the king and queen lived, and their thoughts glanced with some pity towards cousins and acquaintances who had not this fine opportunity of knowing how things went on in the great world. The lamps were already lit, though the sun had not long set, and there was that calm light out of doors in which we seem to see all objects more distinctly than in the broad day.

It was a pretty scene outside the house: the farmers and their families were moving about the lawn, among the flowers and shrubs, or along the broad straight road leading from the east front, where a carpet of mossy grass spread on each side, studded here and there with a dark flat-boughed cedar, or a grand pyramidal fir sweeping the ground with its branches, all tipped with a fringe of paler green. The groups of cottagers in the park were gradually diminishing, the young ones being attracted towards the lights that were beginning to gleam from the windows of the gallery in the abbey, which was to be their dancing-room, and some of the sober elder ones thinking it time to go home quietly. One of these was Lisbeth Bede, and Seth went with her — not from filial attention only, for his conscience would not let him join in dancing. It had been rather a melancholy day to Seth: Dinah had never been more constantly present with him than in this scene, where everything was so unlike her. He saw her all the more vividly after looking at the thoughtless faces and gay-coloured dresses of the young women — just as one feels the beauty and the greatness of a pictured Madonna the more when it has been for a moment screened from us by a vulgar head in a bonnet. But this presence of Dinah in his mind only helped him to bear the better with his mother’s mood, which had been becoming more and more querulous for the last hour. Poor Lisbeth was suffering from a strange conflict of feelings. Her joy and pride in the honour paid to her darling son Adam was beginning to be worsted in the conflict with the jealousy and fretfulness which had revived when Adam came to tell her that Captain Donnithorne desired him to join the dancers in the hall. Adam was getting more and more out of her reach; she wished all the old troubles back again, for then it mattered more to Adam what his mother said and did.

“Eh, it’s fine talkin’ o’ dancin’,” she said, “an’ thy father not a five week in’s grave. An’ I wish I war there too, i’stid o’ bein’ left to take up merrier folks’s room above ground.”

“Nay, don’t look at it i’ that way, Mother,” said Adam, who was determined to be gentle to her to-day. “I don’t mean to dance — I shall only look on. And since the captain wishes me to be there, it ‘ud look as if I thought I knew better than him to say as I’d rather not stay. And thee know’st how he’s behaved to me to-day.”

“Eh, thee’t do as thee lik’st, for thy old mother’s got no right t’ hinder thee. She’s nought but th’ old husk, and thee’st slipped away from her, like the ripe nut.”

“Well, Mother,” said Adam, “I’ll go and tell the captain as it hurts thy feelings for me to stay, and I’d rather go home upo’ that account: he won’t take it ill then, I daresay, and I’m willing.” He said this with some effort, for he really longed to be near Hetty this evening.

“Nay, nay, I wonna ha’ thee do that — the young squire ‘ull be angered. Go an’ do what thee’t ordered to do, an’ me and Seth ‘ull go whome. I know it’s a grit honour for thee to be so looked on — an’ who’s to be prouder on it nor thy mother? Hadna she the cumber o’ rearin’ thee an’ doin’ for thee all these ‘ears?”

“Well, good-bye, then, Mother — good-bye, lad — remember Gyp when you get home,” said Adam, turning away towards the gate of the pleasure-grounds, where he hoped he might be able to join the Poysers, for he had been so occupied throughout the afternoon that he had had no time to speak to Hetty. His eye soon detected a distant group, which he knew to be the right one, returning to the house along the broad gravel road, and he hastened on to meet them.

“Why, Adam, I’m glad to get sight on y’ again,” said Mr. Poyser, who was carrying Totty on his arm. “You’re going t’ have a bit o’ fun, I hope, now your work’s all done. And here’s Hetty has promised no end o’ partners, an’ I’ve just been askin’ her if she’d agreed to dance wi’ you, an’ she says no.”

“Well, I didn’t think o’ dancing to-night,” said Adam, already tempted to change his mind, as he looked at Hetty.

“Nonsense!” said Mr. Poyser. “Why, everybody’s goin’ to dance to-night, all but th’ old squire and Mrs. Irwine. Mrs. Best’s been tellin’ us as Miss Lyddy and Miss Irwine ‘ull dance, an’ the young squire ‘ull pick my wife for his first partner, t’ open the ball: so she’ll be forced to dance, though she’s laid by ever sin’ the Christmas afore the little un was born. You canna for shame stand still, Adam, an’ you a fine young fellow and can dance as well as anybody.”

“Nay, nay,” said Mrs. Poyser, “it ‘ud be unbecomin’. I know the dancin’s nonsense, but if you stick at everything because it’s nonsense, you wonna go far i’ this life. When your broth’s ready-made for you, you mun swallow the thickenin’, or else let the broth alone.”

“Then if Hetty ‘ull dance with me,” said Adam, yielding either to Mrs. Poyser’s argument or to something else, “I’ll dance whichever dance she’s free.”

“I’ve got no partner for the fourth dance,” said Hetty; “I’ll dance that with you, if you like.”

“Ah,” said Mr. Poyser, “but you mun dance the first dance, Adam, else it’ll look partic’ler. There’s plenty o’ nice partners to pick an’ choose from, an’ it’s hard for the gells when the men stan’ by and don’t ask ‘em.”

Adam felt the justice of Mr. Poyser’s observation: it would not do for him to dance with no one besides Hetty; and remembering that Jonathan Burge had some reason to feel hurt to-day, he resolved to ask Miss Mary to dance with him the first dance, if she had no other partner.

“There’s the big clock strikin’ eight,” said Mr. Poyser; “we must make haste in now, else the squire and the ladies ‘ull be in afore us, an’ that wouldna look well.”

When they had entered the hall, and the three children under Molly’s charge had been seated on the stairs, the folding-doors of the drawing-room were thrown open, and Arthur entered in his regimentals, leading Mrs. Irwine to a carpet-covered dais ornamented with hot-house plants, where she and Miss Anne were to be seated with old Mr. Donnithorne, that they might look on at the dancing, like the kings and queens in the plays. Arthur had put on his uniform to please the tenants, he said, who thought as much of his militia dignity as if it had been an elevation to the premiership. He had not the least objection to gratify them in that way: his uniform was very advantageous to his figure.

The old squire, before sitting down, walked round the hall to greet the tenants and make polite speeches to the wives: he was always polite; but the farmers had found out, after long puzzling, that this polish was one of the signs of hardness. It was observed that he gave his most elaborate civility to Mrs. Poyser to-night, inquiring particularly about her health, recommending her to strengthen herself with cold water as he did, and avoid all drugs. Mrs. Poyser curtsied and thanked him with great self-command, but when he had passed on, she whispered to her husband, “I’ll lay my life he’s brewin’ some nasty turn against us. Old Harry doesna wag his tail so for nothin’.” Mr. Poyser had no time to answer, for now Arthur came up and said, “Mrs. Poyser, I’m come to request the favour of your hand for the first dance; and, Mr. Poyser, you must let me take you to my aunt, for she claims you as her partner.”

The wife’s pale cheek flushed with a nervous sense of unwonted honour as Arthur led her to the top of the room; but Mr. Poyser, to whom an extra glass had restored his youthful confidence in his good looks and good dancing, walked along with them quite proudly, secretly flattering himself that Miss Lydia had never had a partner in HER life who could lift her off the ground as he would. In order to balance the honours given to the two parishes, Miss Irwine danced with Luke Britton, the largest Broxton farmer, and Mr. Gawaine led out Mrs. Britton. Mr. Irwine, after seating his sister Anne, had gone to the abbey gallery, as he had agreed with Arthur beforehand, to see how the merriment of the cottagers was prospering. Meanwhile, all the less distinguished couples had taken their places: Hetty was led out by the inevitable Mr. Craig, and Mary Burge by Adam; and now the music struck up, and the glorious country-dance, best of all dances, began.

Pity it was not a boarded floor! Then the rhythmic stamping of the thick shoes would have been better than any drums. That merry stamping, that gracious nodding of the head, that waving bestowal of the hand — where can we see them now? That simple dancing of well-covered matrons, laying aside for an hour the cares of house and dairy, remembering but not affecting youth, not jealous but proud of the young maidens by their side — that holiday sprightliness of portly husbands paying little compliments to their wives, as if their courting days were come again — those lads and lasses a little confused and awkward with their partners, having nothing to say — it would be a pleasant variety to see all that sometimes, instead of low dresses and large skirts, and scanning glances exploring costumes, and languid men in lacquered boots smiling with double meaning.

There was but one thing to mar Martin Poyser’s pleasure in this dance: it was that he was always in close contact with Luke Britton, that slovenly farmer. He thought of throwing a little glazed coldness into his eye in the crossing of hands; but then, as Miss Irwine was opposite to him instead of the offensive Luke, he might freeze the wrong person. So he gave his face up to hilarity, unchilled by moral judgments.

How Hetty’s heart beat as Arthur approached her! He had hardly looked at her to-day: now he must take her hand. Would he press it? Would he look at her? She thought she would cry if he gave her no sign of feeling. Now he was there — he had taken her hand — yes, he was pressing it. Hetty turned pale as she looked up at him for an instant and met his eyes, before the dance carried him away. That pale look came upon Arthur like the beginning of a dull pain, which clung to him, though he must dance and smile and joke all the same. Hetty would look so, when he told her what he had to tell her; and he should never be able to bear it — he should be a fool and give way again. Hetty’s look did not really mean so much as he thought: it was only the sign of a struggle between the desire for him to notice her and the dread lest she should betray the desire to others. But Hetty’s face had a language that transcended her feelings. There are faces which nature charges with a meaning and pathos not belonging to the single human soul that flutters beneath them, but speaking the joys and sorrows of foregone generations — eyes that tell of deep love which doubtless has been and is somewhere, but not paired with these eyes — perhaps paired with pale eyes that can say nothing; just as a national language may be instinct with poetry unfelt by the lips that use it. That look of Hetty’s oppressed Arthur with a dread which yet had something of a terrible unconfessed delight in it, that she loved him too well. There was a hard task before him, for at that moment he felt he would have given up three years of his youth for the happiness of abandoning himself without remorse to his passion for Hetty.

These were the incongruous thoughts in his mind as he led Mrs. Poyser, who was panting with fatigue, and secretly resolving that neither judge nor jury should force her to dance another dance, to take a quiet rest in the dining-room, where supper was laid out for the guests to come and take it as they chose.

“I’ve desired Hetty to remember as she’s got to dance wi’ you, sir,” said the good innocent woman; “for she’s so thoughtless, she’d be like enough to go an’ engage herself for ivery dance. So I told her not to promise too many.”

“Thank you, Mrs. Poyser,” said Arthur, not without a twinge. “Now, sit down in this comfortable chair, and here is Mills ready to give you what you would like best.”