The Orange Girl - Walter Besant

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of music, to each of which one is raised by Nature, as much as by study. Thus, you have at the bottom, the rank and file, namely, those who can play a single instrument: next, those who can compose and make simple music for songs, in which all that is wanted is a tuneful and spirited air with an ordinary accompaniment: next those who understand harmony and can make music of a higher character, such as anthems, part-songs, and so forth. Lastly, you have the composer in whose brains lies the knowledge of every instrument in the orchestra. He is the King of musicians: from him come the noble oratorios which delight our age and lift our souls to Heaven: from him come the masses which are sung – I have the scores of several – in Cathedrals of Roman Catholic countries. It is not for an Englishman to admire aught that belongs to Rome: but we must at least concede to the Roman Catholic the possession of noble music.

      This, then, was my ambition. For four years I continued to live with my friend Tom Shirley. I held no communication with my father or any of my own people. None of them made any attempt at reconciliation. I believe they were honestly ashamed of me. The new friends I made were good and faithful: musical people have ever kindly hearts, and are loyal to each other: they do not backbite: there is no room for envy where one man plays the fiddle and another the cornet: we are all a company of brothers.

      The time came when it was no longer necessary for me to play at taverns for the sailors: when I was no longer compelled to attend weddings. I obtained, one after the other, two posts, neither of which was a very great thing, but both together made it possible for me to live in some comfort. The first was that of organist at St. George's in the Borough. I had to attend the service and to play the organ twice on Sunday: the week day services and the Gift Lectures were conducted without any singing. The Church contains, I believe, the most fashionable congregation of South London, and therefore the most critical. I do not think, however, that, while I sat in the organ-loft, they had any reason to complain either of music or of choir. There sat with me in the organ-loft, Alice, who possessed a sweet, clear, and strong voice: her brother Tom, who brought into the choir an excellent tenor: Mr. Ramage, one of my father's clerks, who lodged behind the Marshal-sea, gave us a bass of indifferent quality, though he was now past fifty. Half a dozen boys and girls from the Charity School, of no great account for voices, made up our choir. I believe it was better than the average, and I think that people came on Sunday morning on purpose to hear the organ and the singing.

      Mr. Ramage, or Ramage, as he was called in the Counting-house, where no title is allowed to any below the rank of partner or partner's son, kept me acquainted with events in College Street and on the wharf. My father, it was understood, never mentioned my name: the business of the Firm was never more flourishing: Mr. Matthew was constantly called in for consultations. 'And oh! Master Will,' my old friend always concluded, 'be reconciled. What is it – to give up playing the organ at Church? Why – it is nothing. Someone else will play while you sit in state in your red velvet pew below. Give way to your father. He is a hard man, but he is just.'

      It also appeared from Mr. Ramage's information that it was perfectly well known by the clerks and by Mr. Matthew, who doubtless told my father, the ways by which I had been making a living: I had been seen by one marching ahead of a sailor's wedding-party: by another fiddling in the Bermondsey Tavern: by a third in the Gallery of a City Company Hall. The Counting-house down to the messengers was humiliated: there was but one feeling among the clerks: I had brought disgrace upon the House.

      'They are sorry, Master Will, for your father's sake. It is hard for him: so proud a man – with so much to be proud of – a quarter of a million, some say. Think how hard it is for him.'

      'It is harder for me Ramage,' I replied, 'to be driven to fiddle for sailors, when all I ask is to be allowed to follow music in peace. However, tell the clerks that I am sorry to have disgraced them.'

      Disgraced the clerks! What did I say? Why, theirs is the lowest kind of work that the world can find for men. They were disgraced because their Master's son played the fiddle for a living. But I could not afford to consider their opinions.

      Ramage knew nothing about my other place, or his entreaties would have been more fervent. I had but one answer, however. I could not give up the only work that I cared for, even to be reconciled to my father. Why, I was born for music. Shall a man fly in the face of Providence, and scorn the gifts with which he is endowed?

      My other place was none other than second fiddle, Tom Shirley being the first fiddle, of the Dog and Duck.

      I have mentioned the Pleasure Gardens south of the River. There are, as Londoners know very well, a great many such gardens, all alike in most respects. That is to say, there is in every one of them an avenue or walk, lined by trees which at night are festooned by thousands of lights in coloured glass lamps hanging from tree to tree. There is also in most a piece of water with swans or ducks upon it, and all round it arbours where the company take tea or punch or wine. There is a tavern where drink may be had: suppers are served in the evening: there is a floor for dancing in the open air with a place for the band; and there is a Long Room with an organ at one end where the company promenade and listen, and where on hot nights the band and the singers perform. In many gardens there is also a bowling-green: there is sometimes a swimming bath, and in most there is a chalybeate spring the water of which is warranted to cure anything, but especially rheumatism, gout, and the King's evil.

      Every one of these gardens employs an orchestra, and engages the services of singers. The number of musicians employed is therefore considerable. There are certainly in the south of London alone more than a dozen Gardens large enough to have a band. Beside the Dog and Duck, there are the Temple of Flora: the Lambeth Wells: the Cumberland Gardens: Vauxhall Gardens: Bermondsey Spa: St. Helena Gardens: Finch's Grotto: Cupid's Gardens: Restoration Spring Gardens – is not that twelve? And there are more. So that it is not difficult for a young man who can play any instrument tolerably to get a place in the orchestra of some Garden.

      One would not choose such a position if Fortune gave one a choice. At the Dog and Duck there are visitors to whose pleasure we should be ashamed of ministering: people whose proper place is the House of Correction or Bridewell: they are allowed to attend these gardens with friends who should also be denied entrance: they make the company noisy and disorderly. We gave them music that was a great deal better than they deserved: it was thrown away upon the majority: we gave them songs that were innocent and tender – Tom Shirley wrote and composed them himself: we also had to give them other songs more suited to their gross and grovelling tastes.

      It was part of Tom's humour to speak of the audience at the Dog and Duck as the most polite, fashionable, and aristocratic assembly in the world. He declared that their taste in music was excellent: their attention that of a connoisseur: and their appreciation of his own songs all that he could desire. I asked him once how he reconciled these things with their delight in the comic songs which were also provided for them. 'The aristocracy,' he said, 'must from time to time, unbend: they must from time to time, laugh: they laugh and they unbend when we give them a song to which in their more polite moments they would refuse to listen.' I knew very well that the company was chiefly composed of deboshed profligates: prentices who daily robbed their masters in order to come to the gardens: young gentlemen from the country; prodigal sons from the Temple and Lincoln's Inn; and tradesmen who were dissipating their capital. If good music was played they talked and laughed: at the singing of good songs they walked about or left the open platform for the dark lanes of the garden. 'You are lucky, Will,' said Tom. 'To play for such an audience brings good luck, with name and fame and riches.'

      It brought me fifteen shillings a week. And as for name and fame I never heard of either.

      I did not propose to write my own history, but that of a woman to whom you have already seen me conversing. Yet my own history must be understood before hers can be related. You have been told how for my obstinate adherence to music I was turned out of my father's house: how I found a refuge: how I earned my livelihood by playing the fiddle. Now, before I come to the events which connected my fortunes with those of the lady whom I call my mistress – and that with my wife's consent – I must tell one or two events which befell me. The first of them was my courtship and my marriage. In the courtship there was no obstacle: the course of true love ran smoothly: in my marriage there were no regrets: no discords: always a full deep current of affection on both sides. A simple, plain story, in which nothing

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