Love and Life: An Old Story in Eighteenth Century CostumeYonge, Charlotte M. (Charlotte Mary)
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Love and Life: An Old Story in Eighteenth Century Costume
Yonge, Charlotte M. (Charlotte Mary)
English fiction -- 19th century
No Sunday school had been invented. The dame who hobbled along in
spectacles, dropping a low curtsey to the “quality,” taught the hornbook
and the primer to a select few of the progeny of the farmers and
artisans, and the young ladies would no more have thought of assisting
her labours than the blacksmith’s. They only clubbed their pocket money
to clothe and pay the schooling of one little orphan, who acknowledged
them by a succession of the lowest bobs as she trotted past, proud as
Margery Twoshoes herself of the distinction of being substantially shod.
The church was small, and with few pretensions to architecture at
the best. It had been nearly a ruin, when, stirred by the Major, the
church-wardens had taken it in hand, so that, owing to Richard Stokes
and John Ball, as they permanently declared in yellow letters on a blue
ground, the congregation were no longer in danger of the roof admitting
the rain or coming down on the congregation. They had further beautified
the place with a huge board of the royal arms, and with Moses and Aaron
in white cauliflower wigs presiding over the tables of the Commandments.
Four long dark, timber pews and numerous benches, ruthlessly constructed
out of old carvings, occupied the aisle, and the chancel was more than
half filled with the lofty “closet” of the Great House family. Hither
the Delavie family betook themselves, and on her way Betty was startled
by the recognition, in the seat reserved for the servants, of a broad
back and curled wig that could belong to no one but Jonah Dove. She did
her utmost to keep her mind from dwelling on what this might portend,
though she followed the universal custom by exchanging nods and curtsies
with the Duckworth family as she sailed up the aisle at the head of the
little procession.
Public-domain text, read in full here on John Shaqi.
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