The International Monthly, Volume 3, No. 3, June, 1851Various
History
The International Monthly, Volume 3, No. 3, June, 1851
Various
Art, Modern -- 19th century -- Periodicals; Literature, Modern -- 19th century -- Periodicals; Science -- History -- Periodicals
"Hang those brats! they are actually playing," growled Dick. "As I
live, the jade has been washing again! Stop, boy." During this
soliloquy, a good-looking young woman had rushed from the
door--slapped the children, as catching sight of the chaise, they ran
towards the house--opened the gates, and, dropping a curtsey to the
ground, seemed to wish that she could drop into it altogether, so
frightened and so trembling seemed she to shrink from the wrathful
face which the master now put out of the window.
"Did I tell you, or did I not," said Dick, "that I would not have
these horrid disreputable clubs of yours playing just before my lodge
gates?"
"Please, sir--"
"Don't answer me. And did I tell you, or did I not, that the next time
I saw you making a drying-ground of my lilacs, you should go out, neck
and crop--"
"Oh, please, sir--"
"You leave my lodge next Saturday: drive on, boy. The ingratitude and
insolence of those common people are disgraceful to human nature,"
muttered Richard, with an accent of the bitterest misanthropy.
The chaise wheeled along the smoothest and freshest of gravel roads,
and through fields of the finest land, in the highest state of
cultivation. Rapid as was Leonard's survey, his rural eye detected the
signs of a master in the art agronomial. Hitherto he had considered
the Squire's model farm as the nearest approach to good husbandry he
had seen: for Jackeymo's finer skill was developed rather on the
minute scale of market-gardening than what can fairly be called
husbandry. But the Squire's farm was degraded by many old fashioned
notions, and concessions to the whim of the eye, which would not be
found in model farms now-a-days,--large tangled hedgerows, which,
though they constitute one of the beauties most picturesque in old
England, make sad deductions from produce; great trees, overshadowing
the corn, and harboring the birds; little patches of rough sward left
to waste; and angles of woodland running into fields, exposing them to
rabbits, and blocking out the sun. These and such like blots on a
gentleman's agriculture, common-sense and Giacomo had made clear to
the acute comprehension of Leonard. No such faults were perceptible in
Richard Avenel's domain. The fields lay in broad divisions, the hedges
were clipped and narrowed into their proper destination of mere
boundaries. Not a blade of wheat withered under the cold shade of a
tree; not a yard of land lay waste; not a weed was to be seen, not a
thistle to waft its baleful seed through the air: some young
plantations were placed, not where the artist would put them, but just
where the farmer wanted a fence from the wind. Was there no beauty in
this? Yes, there was beauty of its kind--beauty at once recognizable
to the initiated--beauty of use and profit--beauty that could bear a
monstrous high rent. And Leonard uttered a cry of admiration which
thrilled through the heart of Richard Avenel.
"This _is_ farming!" said the villager.
Public-domain text, read in full here on John Shaqi.
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