Joseph's cousin, Walpurga Moser, to an orchestra of clarionet and zither, taught the family the country dances, the Steierisch and the Landler, and gained their hearts during the lessons. Her sister Loys, too, who was up at the Alp with the cattle, came down to church on Sundays, made acquaintance with the Jenkins, and must have them up to see the sunrise from her house upon the Loser, where they had supper and all slept in the loft among the hay. The Mosers were not lost sight of; Walpurga still corresponds with Mrs.
Jenkin, and it was a late pleasure of Fleeming's to choose and despatch a wedding present for his little mountain friend. This visit was brought to an end by a ball in the big inn parlour; the refreshments chosen, the list of guests drawn up, by Joseph; the best music of the place in attendance; and hosts and guests in their best clothes. The ball was opened by Mrs. Jenkin dancing Steierisch with a lordly Bauer, in gray and silver and with a plumed hat; and Fleeming followed with Walpurga Moser.
There ran a principle through all these holiday pleasures. In Styria as in the Highlands, the same course was followed: Fleeming threw himself as fully as he could into the life and occupations of the native people, studying everywhere their dances and their language, and conforming, always with pleasure, to their rustic etiquette. Just as the ball at Alt Aussee was designed for the taste of Joseph, the parting feast at Attadale was ordered in every particular to the taste of Murdoch the Keeper. Fleeming was not one of the common, so-called gentlemen, who take the tricks of their own coterie to be eternal principles of taste. He was aware, on the other hand, that rustic people dwelling in their own places, follow ancient rules with fastidious precision, and are easily shocked and embarrassed by what (if they used the word) they would have to call the vulgarity of visitors from town. And he, who was so cavalier with men of his own class, was sedulous to shield the more tender feelings of the peasant; he, who could be so trying in a drawing-room, was even punctilious in the cottage. It was in all respects a happy virtue. It renewed his life, during these holidays, in all particulars. It often entertained him with the discovery of strange survivals; as when, by the orders of Murdoch, Mrs. Jenkin must publicly taste of every dish before it was set before her guests. And thus to throw himself into a fresh life and a new school of manners was a grateful exercise of Fleeming's mimetic instinct; and to the pleasures of the open air, of hardships supported, of dexterities improved and displayed, and of plain and elegant society, added a spice of drama.
II.
Fleeming was all his life a lover of the play and all that belonged to it. Dramatic literature he knew fully. He was one of the not very numerous people who can read a play: a knack, the fruit of much knowledge and some imagination, comparable to that of reading score. Few men better understood the artificial principles on which a play is good or bad; few more unaffectedly enjoyed a piece of any merit of construction. His own play was conceived with a double design; for he had long been filled with his theory of the true story of Griselda; used to gird at Father Chaucer for his misconception; and was, perhaps first of all, moved by the desire to do justice to the Marquis of Saluces, and perhaps only in the second place, by the wish to treat a story (as he phrased it) like a sum in arithmetic. I do not think he quite succeeded; but I must own myself no fit judge. Fleeming and I were teacher and taught as to the principles, disputatious rivals in the practice, of dramatic writing.
Acting had always, ever since Rachel and the Marseillaise, a particular power on him. 'If I do not cry at the play,' he used to say, 'I want to have my money back.' Even from a poor play with poor actors, he could draw pleasure. 'Giacometti's ELISABETTA,' I find him writing, 'fetched the house vastly. Poor Queen Elizabeth!
And yet it was a little good.' And again, after a night of Salvini: 'I do not suppose any one with feelings could sit out OTHELLO, if Iago and Desdemona were acted.' Salvini was, in his view, the greatest actor he had seen. We were all indeed moved and bettered by the visit of that wonderful man. - 'I declare I feel as if I could pray!' cried one of us, on the return from HAMLET. -
'That is prayer,' said Fleeming. W. B. Hole and I, in a fine enthusiasm of gratitude, determined to draw up an address to Salvini, did so, and carried it to Fleeming; and I shall never forget with what coldness he heard and deleted the eloquence of our draft, nor with what spirit (our vanities once properly mortified) he threw himself into the business of collecting signatures. It was his part, on the ground of his Italian, to see and arrange with the actor; it was mine to write in the ACADEMY a notice of the first performance of MACBETH. Fleeming opened the paper, read so far, and flung it on the floor. 'No,' he cried, 'that won't do.
You were thinking of yourself, not of Salvini!' The criticism was shrewd as usual, but it was unfair through ignorance; it was not of myself that I was thinking, but of the difficulties of my trade which I had not well mastered. Another unalloyed dramatic pleasure which Fleeming and I shared the year of the Paris Exposition, was the MARQUIS DE VILLEMER, that blameless play, performed by Madeleine Brohan, Delaunay, Worms, and Broisat - an actress, in such parts at least, to whom I have never seen full justice rendered. He had his fill of weeping on that occasion; and when the piece was at an end, in front of a cafe, in the mild, midnight air, we had our fill of talk about the art of acting.
