Under the Greenwood Tree; Or, The Mellstock Quire A Rural Painting of the Dutch School — Key Ideas to Explore

CHAPTER I. MELLSTOCK-LANE CHAPTER II. THE TRANTER’S CHAPTER III. THE ASSEMBLED QUIRE CHAPTER IV. GOING THE ROUNDS CHAPTER V. THE LISTENERS CHAPTER VI. CHRISTMAS MORNING CHAPTER VII. THE TRANTER’S PARTY CHAPTER VIII. THEY DANCE MORE WILDLY CHAPTER IX. DICK CALLS AT THE SCHOOL

PART THE SECOND—SPRING CHAPTER I. PASSING BY THE SCHOOL CHAPTER II. A MEETING OF THE QUIRE CHAPTER III. A TURN IN THE DISCUSSION CHAPTER IV. THE INTERVIEW WITH THE VICAR CHAPTER V. RETURNING HOME WARD CHAPTER VI. YALBURY WOOD AND THE KEEPER’S HOUSE CHAPTER VII. DICK MAKES HIMSELF USEFUL CHAPTER VIII. DICK MEETS HIS FATHER

PART THE THIRD—SUMMER CHAPTER I. DRIVING OUT OF BUDMOUTH CHAPTER II. FURTHER ALONG THE ROAD CHAPTER III. A CONFESSION CHAPTER IV. AN ARRANGEMENT

PART THE FOURTH—AUTUMN CHAPTER I. GOING NUTTING CHAPTER II. HONEY-TAKING, AND AFTERWARDS CHAPTER III. FANCY IN THE RAIN CHAPTER IV. THE SPELL CHAPTER V. AFTER GAINING HER POINT CHAPTER VI. INTO TEMPTATION CHAPTER VII. SECOND THOUGHTS

PART THE FIFTH: CONCLUSION CHAPTER I. ‘THE KNOT THERE’S NO UNTYING’ CHAPTER II. UNDER THE GREENWOOD TREE

This story of the Mellstock Quire and its old established west-gallery musicians, with some supplementary descriptions of similar officials in _Two on a Tower, A Few Crusted Characters_, and other places, is intended to be a fairly true picture, at first hand, of the personages, ways, and customs which were common among such orchestral bodies in the villages of fifty or sixty years ago.

One is inclined to regret the displacement of these ecclesiastical bandsmen by an isolated organist (often at first a barrel-organist) or harmonium player; and despite certain advantages in point of control and accomplishment which were, no doubt, secured by installing the single artist, the change has tended to stultify the professed aims of the clergy, its direct result being to curtail and extinguish the interest of parishioners in church doings. Under the old plan, from half a dozen to ten full-grown players, in addition to the numerous more or less grown-up singers, were officially occupied with the Sunday routine, and concerned in trying their best to make it an artistic outcome of the combined musical taste of the congregation. With a musical executive limited, as it mostly is limited now, to the parson’s wife or daughter and the school-children, or to the school-teacher and the children, an important union of interests has disappeared.

The zest of these bygone instrumentalists must have been keen and staying to take them, as it did, on foot every Sunday after a toilsome week, through all weathers, to the church, which often lay at a distance from their homes. They usually received so little in payment for their performances that their efforts were really a labour of love. In the parish I had in my mind when writing the present tale, the gratuities received yearly by the musicians at Christmas were somewhat as follows: From the manor-house ten shillings and a supper; from the vicar ten shillings; from the farmers five shillings each; from each cottage-household one shilling; amounting altogether to not more than ten shillings a head annually—just enough, as an old executant told me, to pay for their fiddle-strings, repairs, rosin, and music-paper (which they mostly ruled themselves). Their music in those days was all in their own manuscript, copied in the evenings after work, and their music-books were home-bound.

It was customary to inscribe a few jigs, reels, horn-pipes, and ballads in the same book, by beginning it at the other end, the insertions being continued from front and back till sacred and secular met together in the middle, often with bizarre effect, the words of some of the songs exhibiting that ancient and broad humour which our grandfathers, and possibly grandmothers, took delight in, and is in these days unquotable.

The aforesaid fiddle-strings, rosin, and music-paper were supplied by a pedlar, who travelled exclusively in such wares from parish to parish, coming to each village about every six months. Tales are told of the consternation once caused among the church fiddlers when, on the occasion of their producing a new Christmas anthem, he did not come to time, owing to being snowed up on the downs, and the straits they were in through having to make shift with whipcord and twine for strings. He was generally a musician himself, and sometimes a composer in a small way, bringing his own new tunes, and tempting each choir to adopt them for a consideration. Some of these compositions which now lie before me, with their repetitions of lines, half-lines, and half-words, their fugues and their intermediate symphonies, are good singing still, though they would hardly be admitted into such hymn-books as are popular in the churches of fashionable society at the present time.