The Tale of Chloe: An Episode in the History of Beau Beamish. George Meredith
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The Tale of Chloe: An Episode in the History of Beau Beamish
'Fair Chloe, we toasted of old,
As the Queen of our festival meeting;
Now Chloe is lifeless and cold;
You must go to the grave for her greeting.
Her beauty and talents were framed
To enkindle the proudest to win her;
Then let not the mem'ry be blamed
Of the purest that e'er was a sinner!'
CHAPTER I
A proper tenderness for the Peerage will continue to pass current the illustrious gentleman who was inflamed by Cupid's darts to espouse the milkmaid, or dairymaid, under his ballad title of Duke of Dewlap: nor was it the smallest of the services rendered him by Beau Beamish, that he clapped the name upon her rustic Grace, the young duchess, the very first day of her arrival at the Wells. This happy inspiration of a wit never failing at a pinch has rescued one of our princeliest houses from the assaults of the vulgar, who are ever too rejoiced to bespatter and disfigure a brilliant coat-of-arms; insomuch that the ballad, to which we are indebted for the narrative of the meeting and marriage of the ducal pair, speaks of Dewlap in good faith
O the ninth Duke of Dewlap I am, Susie dear!
without a hint of a domino title. So likewise the pictorial historian is merry over 'Dewlap alliances' in his description of the society of that period. He has read the ballad, but disregarded the memoirs of the beau. Writers of pretension would seem to have an animus against individuals of the character of Mr. Beamish. They will treat of the habits and manners of highwaymen, and quote obscure broadsheets and songs of the people to colour their story, yet decline to bestow more than a passing remark upon our domestic kings: because they are not hereditary, we may suppose. The ballad of 'The Duke and the Dairymaid,' ascribed with questionable authority to the pen of Mr. Beamish himself in a freak of his gaiety, was once popular enough to provoke the moralist to animadversions upon an order of composition that 'tempted every bouncing country lass to sidle an eye in a blowsy cheek' in expectation of a coronet for her pains—and a wet ditch as the result! We may doubt it to have been such an occasion of mischief. But that mischief may have been done by it to a nobility- loving people, even to the love of our nobility among the people, must be granted; and for the particular reason, that the hero of the ballad behaved so handsomely. We perceive a susceptibility to adulteration in their worship at the sight of one of their number, a young maid, suddenly snatched up to the gaping heights of Luxury and Fashion through sheer good looks. Remembering that they are accustomed to a totally reverse effect from that possession, it is very perceptible how a breach in their reverence may come of the change.
Otherwise the ballad is innocent; certainly it is innocent in design. A fresher national song of a beautiful incident of our country life has never been written. The sentiments are natural, the imagery is apt and redolent of the soil, the music of the verse appeals to the dullest ear. It has no smell of the lamp, nothing foreign and far-fetched about it, but is just what it pretends to be, the carol of the native bird. A sample will show, for the ballad is much too long to be given entire:
Sweet Susie she tripped on a shiny May morn,
As blithe as the lark from the green-springing corn,
When, hard by a stile, 'twas her luck to behold
A wonderful gentleman covered with gold!
There was gold on his breeches and gold on his coat,
His shirt-frill was grand as a fifty-pound note;
The diamonds glittered all up him so bright,
She thought him the Milky Way clothing a Sprite!
'Fear not, pretty maiden,' he said with a smile;
'And, pray, let me help you in crossing the stile.
She bobbed him a curtsey so lovely and smart,
It shot like an arrow and fixed in his heart.
As light as a robin she hopped to the stone,
But fast was her hand in the gentleman's own;
And guess how she stared, nor her senses could trust,
When this creamy gentleman knelt in the dust!
With a rhapsody upon her beauty, he informs her of his rank, for a flourish to the proposal of honourable and immediate marriage. He cannot wait. This is the fatal condition of his love: apparently a characteristic of amorous dukes. We read them in the signs extended to us. The minds of these august and solitary men have not yet been sounded; they are too distant. Standing upon their lofty pinnacles, they are as legible to the rabble below as a line of cuneiform writing in a page of old copybook roundhand. By their deeds we know them, as heathendom knows of its gods; and it is repeatedly on record that the moment they have taken fire they must wed, though the lady's finger be circled with nothing closer fitting than a ring of the bed-curtain. Vainly, as becomes a candid country lass, blue-eyed Susan tells him that she is but a poor dairymaid. He has been a student of women at Courts, in which furnace the sex becomes a transparency, so he recounts to her the catalogue of material advantages he has to offer. Finally, after his assurances that she is to be married by the parson, really by the parson, and a real parson—
Sweet Susie is off for her parents' consent,
And long must the old folk debate what it meant.
She left them the eve of that happy May morn,
To shine like the blossom that hangs from the thorn!
Apart from its historical value, the ballad is an example to poets of our day, who fly to mythological Greece, or a fanciful and morbid mediaevalism, or—save the mark!—abstract ideas, for themes of song, of what may be done to make our English life poetically interesting, if they would but pluck the treasures presented them by the wayside; and Nature being now as then the passport to popularity, they have themselves to thank for their little hold on the heart of the people. A living native duke is worth fifty Phoebus Apollos to Englishmen, and a buxom young lass of the fields mounting from a pair of pails to the estate of duchess, a more romantic object than troops of your visionary Yseults and Guineveres.
CHAPTER II
A certain time after the marriage, his Grace alighted at the Wells, and did himself the honour to call on Mr. Beamish. Addressing that gentleman, to whom he was no stranger, he communicated the purport of his visit.
'Sir, and my very good friend,' he said, 'first let me beg you to abate the severity of your countenance, for if I am here in breach of your prohibition, I shall presently depart in compliance with it. I could indeed deplore the loss of the passion for play of which you effectually cured me. I was then armed against a crueller, that allows of no interval for a man to make his vow to recover!'
'The disease which is all crisis, I apprehend,' Mr. Beamish remarked.
'Which, sir, when it takes hold of dry wood, burns to the last splinter. It is now'—the duke fetched a tender groan—'three years ago that I had a caprice to marry a grandchild!'
'Of Adam's,' Mr. Beamish said cheerfully. 'There was no legitimate bar to the union.'
'Unhappily none. Yet you are not to suppose I regret it. A most admirable creature, Mr. Beamish, a real divinity! And the better known, the more adored. There is the misfortune. At my season of life, when the greater and the minor organs are in a conspiracy to tell me I am mortal, the passion of love must be welcomed as a calamity, though one would not be free of it for the renewal of youth. You are to understand, that with a little awakening taste for dissipation, she is the most innocent of angels. Hitherto we have lived . . . To her it has been a new world. But she is beginning to find it a narrow one. No, no, she is not tired of my society. Very far from that. But in her present station an inclination for such gatherings as you have here, for example, is like a desire to take the air: and the healthy habits of my duchess have not accustomed her to be immured. And