Sketches in Lavender, Blue and Green [71]
thought is an advance upon the former, bringing the footsteps of the many nearer to the landmarks left by the mighty climbers of the past upon the mountain paths of truth. The crowd that was satisfied with The Derby Day now appreciates Millet. The public that were content to wag their heads to The Bohemian Girl have made Wagner popular."
"And the play lovers, who stood for hours to listen to Shakespeare," interrupted the Philosopher, "now crowd to music- halls."
"The track sometimes descends for a little way, but it will wind upwards again," returned the Poet. "The music-hall itself is improving; I consider it the duty of every intellectual man to visit such places. The mere influence of his presence helps to elevate the tone of the performance. I often go myself!"
"I was looking," said the Woman of the World, "at some old illustrated papers of thirty years ago, showing the men dressed in those very absurd trousers, so extremely roomy about the waist, and so extremely tight about the ankles. I recollect poor papa in them; I always used to long to fill them out by pouring in sawdust at the top."
"You mean the peg-top period," I said. "I remember them distinctly myself, but it cannot be more than three-and-twenty years ago at the outside."
"That is very nice of you," replied the Woman of the World, "and shows more tact than I should have given you credit for. It could, as you say, have been only twenty-three years ago. I know I was a very little girl at the time. I think there must be some subtle connection between clothes and thought. I cannot imagine men in those trousers and Dundreary whiskers talking as you fellows are talking now, any more than I could conceive of a woman in a crinoline and a poke bonnet smoking a cigarette. I think it must be so, because dear mother used to be the most easy-going woman in the world in her ordinary clothes, and would let papa smoke all over the house. But about once every three weeks she would put on a hideous old-fashioned black silk dress, that looked as if Queen Elizabeth must have slept in it during one of those seasons when she used to go about sleeping anywhere, and then we all had to sit up. 'Look out, ma's got her black silk dress on,' came to be a regular formula. We could always make papa take us out for a walk or a drive by whispering it to him."
"I can never bear to look at those pictures of by-gone fashions," said the Old Maid, "I see the by-gone people in them, and it makes me feel as though the faces that we love are only passing fashions with the rest. We wear them for a little while upon our hearts, and think so much of them, and then there comes a time when we lay them by, and forget them, and newer faces take their place, and we are satisfied. It seems so sad."
"I wrote a story some years ago," remarked the Minor Poet, "about a young Swiss guide, who was betrothed to a laughing little French peasant girl."
"Named Suzette," interrupted the Girton Girl. "I know her. Go on."
"Named Jeanne," corrected the Poet, "the majority of laughing French girls, in fiction, are named Suzette, I am well aware. But this girl's mother's family was English. She was christened Jeanne after an aunt Jane, who lived in Birmingham, and from whom she had expectations."
"I beg your pardon," apologised the Girton Girl, "I was not aware of that fact. What happened to her?"
"One morning, a few days before the date fixed for the wedding," said the Minor Poet, "she started off to pay a visit to a relative living in the village, the other side of the mountain. It was a dangerous track, climbing half-way up the mountain before it descended again, and skirting more than one treacherous slope, but the girl was mountain born and bred, sure-footed as a goat, and no one dreamed of harm."
"She went over, of course," said the Philosopher, "those sure- footed girls always do."
"What happened," replied the Minor Poet, "was never known. The girl was never seen again."
"And what became of her lover?" asked the Girton Girl. "Was he, when next year's
"And the play lovers, who stood for hours to listen to Shakespeare," interrupted the Philosopher, "now crowd to music- halls."
"The track sometimes descends for a little way, but it will wind upwards again," returned the Poet. "The music-hall itself is improving; I consider it the duty of every intellectual man to visit such places. The mere influence of his presence helps to elevate the tone of the performance. I often go myself!"
"I was looking," said the Woman of the World, "at some old illustrated papers of thirty years ago, showing the men dressed in those very absurd trousers, so extremely roomy about the waist, and so extremely tight about the ankles. I recollect poor papa in them; I always used to long to fill them out by pouring in sawdust at the top."
"You mean the peg-top period," I said. "I remember them distinctly myself, but it cannot be more than three-and-twenty years ago at the outside."
"That is very nice of you," replied the Woman of the World, "and shows more tact than I should have given you credit for. It could, as you say, have been only twenty-three years ago. I know I was a very little girl at the time. I think there must be some subtle connection between clothes and thought. I cannot imagine men in those trousers and Dundreary whiskers talking as you fellows are talking now, any more than I could conceive of a woman in a crinoline and a poke bonnet smoking a cigarette. I think it must be so, because dear mother used to be the most easy-going woman in the world in her ordinary clothes, and would let papa smoke all over the house. But about once every three weeks she would put on a hideous old-fashioned black silk dress, that looked as if Queen Elizabeth must have slept in it during one of those seasons when she used to go about sleeping anywhere, and then we all had to sit up. 'Look out, ma's got her black silk dress on,' came to be a regular formula. We could always make papa take us out for a walk or a drive by whispering it to him."
"I can never bear to look at those pictures of by-gone fashions," said the Old Maid, "I see the by-gone people in them, and it makes me feel as though the faces that we love are only passing fashions with the rest. We wear them for a little while upon our hearts, and think so much of them, and then there comes a time when we lay them by, and forget them, and newer faces take their place, and we are satisfied. It seems so sad."
"I wrote a story some years ago," remarked the Minor Poet, "about a young Swiss guide, who was betrothed to a laughing little French peasant girl."
"Named Suzette," interrupted the Girton Girl. "I know her. Go on."
"Named Jeanne," corrected the Poet, "the majority of laughing French girls, in fiction, are named Suzette, I am well aware. But this girl's mother's family was English. She was christened Jeanne after an aunt Jane, who lived in Birmingham, and from whom she had expectations."
"I beg your pardon," apologised the Girton Girl, "I was not aware of that fact. What happened to her?"
"One morning, a few days before the date fixed for the wedding," said the Minor Poet, "she started off to pay a visit to a relative living in the village, the other side of the mountain. It was a dangerous track, climbing half-way up the mountain before it descended again, and skirting more than one treacherous slope, but the girl was mountain born and bred, sure-footed as a goat, and no one dreamed of harm."
"She went over, of course," said the Philosopher, "those sure- footed girls always do."
"What happened," replied the Minor Poet, "was never known. The girl was never seen again."
"And what became of her lover?" asked the Girton Girl. "Was he, when next year's