A FEW CRUSTED CHARACTERS

by Thomas Hardy (1840—1928)

Thomas Hardy is one of the most prominent English novelists and poets of the second half of the nineteenth century. His life and creative work are inseparable from the South West of English countryside, mainly Dorchest­er, which forms the background of his novels and stories. Hardy was deeply disappointed in the results of capitalist progress and its fatal influence on the English village. Seeing no way out of its impoverishment and decay, he attributes this process to the force of fate and circumst­ances, which marks his work with pessimism and fatalism.

The only healing power, to Hardy's thinking, is nature and people who are nearest to it. That's why his novels and stories are permeated with deep concern and sympathy for common people—peasants, poor tenants, agricultural labourers, all those small people who suffer from false laws of capitalist civilization.

"A Few Crusted Characters" is a collection of short stories written in the same year as Hardy's masterpiece "Tess of the D'Urbervilles" was published (1891). The col­lection contains 9 stories with an introduction and an epi­logue. The stories are told in turn by the passengers of a van coming hack from the local market to their village. The listener is a newcomer and a former inhabitant of those parts. Most of the stories are funny episodes from the lives of people who have been long buried in the nearby ceme­tery. Humorous as most of the tales may seem at first sight, they are tinged with deep melancholy for the past that is gone for ever. The episode presented here is rendered by the village schoolmaster.

Old Andrey's  Experience as a Musician

I was one of the choir-boys at that time, and we and the players were to appear at the manor-house as usual that Christmas week, to play and sing in the hall to the squire's people and visitors (among 'em being the archdeacon, Lord and Lady Baxby, and I don't know who); afterwards going, as we always did, to have a good supper in the ser­vants' hall. Andrew knew this was the custom, and meeting us when we were starting to go, he said to us: 'Lord, how I should like to join in that meal of beef, and turkey, and plum-pudding, and ale, that you happy ones be going to just now! One more or less will make no difference to the squire.   I am too old to pass as a singing boy and too bearded to pass as a singing girl; can ye lend me a fiddle, neighbours, that I may come with ye as a bandsman?'

Well, we didn't like to be hard upon him, and lent him an old one, though Andrew knew no more of music than the Giant O'Cernel; and armed with the instrument he walked up in the squire’s house with the others of us at the time appointed, and went in boldly, his fiddle under his arm. He made himself as natural as he could in opening the music-books and moving the candles to the best points for throwing light upon the notes; and all went well till we had played and sung ‘While shepherds watch’, and ‘Star arise’, and ‘Hark the glad sound’. Then the squire’s mother, a tall gruff old lady, who was much interested in church-music, said quite unexpectedly to Andrew: ‘My man, I see you don’t play your instrument with the rest. How is that?’

Every one of the choir was ready to sink into the earth with concern at the fix Andrew was in. We could see that he had fallen into a cold sweat, and how he would get out of it we did not know.

"‘I’ve had a misfortune, mem,’ he says, bowing as meek as a child. ‘ Coming along the road I fell down and broke my bow.’

‘Oh, I am sorry to hear that,’ says she, ‘Can’t it be mended?’

‘Oh, no, mem,’ says Andrew. ‘’T was broke all to splinters.’

‘I’ll see what I can do for you,’ says she.

And then it seemed all over, and we played ‘Rejoice, ye drowsy mortals, all,’ in D and two sharps. But no sooner had we got through it than she says to Andrew:

‘I’ve sent up into the attic, where we have some old musical instruments, and found a bow for you.’ And she hands the bow to poor wretched Andrew, who didn’t even know which end to take hold of. ‘Now we shall have the full accompaniment,’ says she.

Andrew’s face looked as if it were made of rotten apple as he stood in the circle of players in front of his book; for if there was one person in the parish that everybody was afraid of, ‘twas this hook-nosed old lady. However, by keeping a little behind the next man he managed to make pretence of beginning sawing away with his bow without letting it touch the strings, so that it looked as if he were driving into the tune with heart and soul. ‘Tis a question if he wouldn’t have got through all right if one of the squire’s visitors (no other than the archdeacon) hadn’t noticed that he held the fiddle upside down, the nut under his chin, and the tail-piece in his hand; and they be­gan to crowd round him, thinking 'twas a new way of  performing.

This revealed everything; the squire's mother had Andrew turned out of the house as a vile impostor, and there was great interrup­tion to the harmony of the proceedings, the squire declaring he should have notice to leave his cottage that day fortnight. However, when we got to the servants' hall there sat Andrew, who had been let in at the back door by orders of the squire's wife, after being turned out at the front by the orders of the squire, and nothing was heard about his leav­ing the cottage. But Andrew never performed in public as a musi­cian after that night; and now he's dead and gone, poor man, as we all shall be!

 

COMMENTARY

1. I was one of the choir-boys at that time...

A choir-boy is a boy employed in church-singing. Note the differ­ence between "choir" and "chorus". "Choir" is a group of singers trained to sing together, especially in a church, but you may say "a students' choir". "Chorus" is a more general word. It may refer to any group of singers and what is sung by them, or to part of a song sung together. People may speak in chorus (= all together), we may hear a chorus of voices.

2. ...and we and the players were to appear at the manor-house...

The manor-house is the principal residence of landed estate (=man­or), part of which is occupied by tenants, who farm it and pay a rent to the lord of the manor. Andrew was one of the tenants.

3.'Lord, how I should like to join in that meal of beef...'

Note the use of prepositions after the verb "to join": generally no preposition is used after it; "in" is used after this verb before words denoting process; "to join" means to take part in some process. Thus we join some company, but we join in a discussion (argument, quarrel, competition).

4.                ...that you happy ones be going to just now!

The forms ''be” for "are", "ye" for "you", " 'twas" for "it was" and some others are used by Hardy to convey the dialectal manner of speech pecu­liar to Dorsetshire. Most of these forms are obsolete, some of them are also to be found in other local dialects and in poetry.

5. ... can ye lend me a fiddle?

"Fiddle" is a synonym for ''violin" but the former is older; it is used when dealing with folk music and may stand for any fiddle-shaped instrument, whereas a violin is always a small fiddle. When speak­ing of a symphony orchestra we use the word "violin", we also say a violin recital, a violin concerto. But the word "fiddle" is used in the idiom "to play second fiddle (to somebody)".

6.                ...Andrew knew no more of music than the Giant O'Cernel.
The Giant O'Cernel is a huge figure of a giant carved in the chalky cliffs above Abbot's Cernel, near Dorchester. The figure is known to all people living nearby. The mentioning of the giant O'Cernel is one of Hardy's means to create a local colouring.

7.                Andrew ... went in boldly, his fiddle under his arm.

The sentence contains the Nominative Absolute Construction used as adverbial modifier of attendant circumstances. This use is typical of descriptive prose.

8.                'I've had a misfortune, mem,' he says...

In this and the following sentences a shift of tenses is observed. The writer resorts to the Present Indefinite Tense instead of the Past Indefinite to make the narration more vivid, helping the listeners to see the scene, as if everything were going in their presence. This use of the Present Indefinite Tense is traditionally called the historic present.

9.                Andrew's face looked as if it were made of rotten apple...

In this sentence the writer employs a simile ['simili], a figure of speech in which two objects are compared, one of them being likened to the other. A simile is a kind of comparison, but the latter is more general and is not necessarily used for artistic purposes, e.g. "Her spelling is better than mine". A simile is introduced with the help of special grammatical means such as conjunctions "than", "as if", "like", or may be suggested by such verbs as "remind", "resemble", "seem".