“YOU see we are fated to meet again,” said Kenelm, stretching himself at his ease beside the Wandering Minstrel, and motioning Tom to do the same. “But you seem to add the accomplishment of drawing to that of verse-making! You sketch from what you call Nature?”
“From what I call Nature! yes, sometimes.”
“And do you not find in drawing, as in verse-making, the truth that I have before sought to din into your reluctant ears; namely, that Nature has no voice except that which man breathes into her out of his mind? I would lay a wager that the sketch you are now taking is rather an attempt to make her embody some thought of your own, than to present her outlines as they appear to any other observer. Permit me to judge for myself.” And he bent over the sketch-book. It is often difficult for one who is not himself an artist nor a connoisseur to judge whether the pencilled jottings in an impromptu sketch are by the hand of a professed master or a mere amateur. Kenelm was neither artist nor connoisseur, but the mere pencil-work seemed to him much what might be expected from any man with an accurate eye who had taken a certain number of lessons from a good drawing-master. It was enough for him, however, that it furnished an illustration of his own theory. “I was right,” he cried triumphantly. “From this height there is a beautiful view, as it presents itself to me; a beautiful view of the town, its meadows, its river, harmonized by the sunset; for sunset, like gilding, unites conflicting colours, and softens them in uniting. But I see nothing of that view in your sketch. What I do see is to me mysterious.”
“The view you suggest,” said the minstrel, “is no doubt very fine, but it is for a Turner or a Claude to treat it. My grasp is not wide enough for such a landscape.”
“I see indeed in your sketch but one figure, a child.”
“Hist! there she stands. Hist! while I put in this last touch.”
Kenelm strained his sight, and saw far off a solitary little girl, who was tossing something in the air (he could not distinguish what), and catching it as it fell. She seemed standing on the very verge of the upland, backed by rose-clouds gathered round the setting sun; below lay in confused outlines the great town. In the sketch those outlines seemed infinitely more confused, being only indicated by a few bold strokes; but the figure and face of the child were distinct and lovely. There was an ineffable sentiment in her solitude; there was a depth of quiet enjoyment in her mirthful play, and in her upturned eyes.
“But at that distance,” asked Kenelm, when the wanderer had finished his last touch, and, after contemplating it, silently closed his book, and turned round with a genial smile, “but at that distance, how can you distinguish the girl’s face? How can you discover that the dim object she has just thrown up and recaught is a ball made of flowers? Do you know the child?”
“I never saw her before this evening; but as I was seated here she was straying around me alone, weaving into chains some wild-flowers which she had gathered by the hedgerows yonder, next the high road; and as she strung them she was chanting to herself some pretty nursery rhymes. You can well understand that when I heard her thus chanting I became interested, and as she came near me I spoke to her, and we soon made friends. She told me she was an orphan, and brought up by a very old man distantly related to her, who had been in some small trade and now lived in a crowded lane in the heart of the town. He was very kind to her, and being confined himself to the house by age or ailment he sent her out to play in the fields on summer Sundays. She had no companions of her own age. She said she did not like the other little girls in the lane; and the only little girl she liked at school had a grander station in life, and was not allowed to play with her, and so she came out to play alone; and as long as the sun shines and the flowers bloom, she says she never wants other society.”
“Tom, do you hear that? As you will be residing in Luscombe, find out this strange little girl, and be kind to her, Tom, for my sake.”
Tom put his large hand upon Kenelm’s, making no other answer; but he looked hard at the minstrel, recognized the genial charm of his voice and face, and slid along the grass nearer to him.
The minstrel continued: “While the child was talking to me I mechanically took the flower-chains from her hands, and not thinking what I was about, gathered them up into a ball. Suddenly she saw what I had done, and instead of scolding me for spoiling her pretty chains, which I richly deserved, was delighted to find I had twisted them into a new plaything. She ran off with the ball, tossing it about till, excited with her own joy, she got to the brow of the hill, and I began my sketch.”
“Is that charming face you have drawn like hers?”
“No; only in part. I was thinking of another face while I sketched, but it is not like that either; in fact, it is one of those patchworks which we call ‘fancy heads,’ and I meant it to be another version of a thought that I had just put into rhyme when the child came across me.”
“May we hear the rhyme?”
“I fear that if it did not bore yourself it would bore your friend.”
“I am sure not. Tom, do you sing?”
“Well, I have sung,” said Tom, hanging his head sheepishly, “and I should like to hear this gentleman.”
“But I do not know these verses, just made, well enough to sing them; it is enough if I can recall them well enough to recite.” Here the minstrel paused a minute or so as if for recollection, and then, in the sweet clear tones and the rare purity of enunciation which characterized his utterance, whether in recital or song, gave to the following verses a touching and a varied expression which no one could discover in merely reading them.
THE FLOWER-GIRL BY THE CROSSING.
“By the muddy crossing in the crowded streets
Stands a little maid with her basket full of posies,
Proffering all who pass her choice of knitted sweets,
Tempting Age with heart’s-ease, courting Youth with roses.
“Age disdains the heart’s-ease,
Love rejects the roses;
London life is busy,—
Who can stop for posies?
“One man is too grave, another is too gay;
This man has his hothouse, that man not a penny:
Flowerets too are common in the month of May,
And the things most common least attract the many.
“Ill, on London crossings,
Fares the sale of posies;
Age disdains the heart’s-ease,
Youth rejects the roses.”
When the verse-maker had done, he did not pause for approbation, nor look modestly down, as do most people who recite their own verses, but unaffectedly thinking much more of his art than his audience, hurried on somewhat disconsolately,—
“I see with great grief that I am better at sketching than rhyming. Can you” (appealing to Kenelm) “even comprehend what I mean by the verses?”
KENELM.—“Do you comprehend, Tom?”
TOM (in a whisper).—“No.”
KENELM.—“I presume that by his flower-girl our friend means to represent not only poetry, but a poetry like his own, which is not at all the sort of poetry now in fashion. I, however, expand his meaning, and by his flower-girl I understand any image of natural truth or beauty for which, when we are living the artificial life of crowded streets, we are too busy to give a penny.”
“Take it as you please,” said the minstrel, smiling and sighing at the same time; “but I have not expressed in words that which I did mean half so well as I have expressed it in my sketch-book.”
“Ah! and how?” asked Kenelm.
“The image of my thought in the sketch, be it poetry or whatever you prefer to call it, does not stand forlorn in the crowded streets: the child stands on the brow of the green hill, with the city stretched in confused fragments below, and, thoughtless of pennies and passers-by, she is playing with the flowers she has gathered; but in play casting them heavenward, and following them with heavenward eyes.”
“Good!” muttered Kenelm, “good!” and then, after a long pause, he added, in a still lower mutter, “Pardon me that remark of mine the other day about a beefsteak. But own that I am right: what you call a sketch from Nature is but a sketch of your own thought.”
All books are sourced from Project Gutenberg