When we came into the drawingroom, my friend pointed to a picture which I had before noticed, without, however, its having attracted more than a passing look; now I regarded it with more attention. It was one of those portraits of the middle of the eighteenth century, in which artists endeavoured to conquer the stiffness of hoops and brocades; by throwing a fancy drapery around the figure, with loose folds like a mantle or dressing gown, the stays, however, being retained, and the bosom displayed in a manner which shows that our mothers, like their daughters, were as liberal of their charms as the nature of the dress might permit. To this, the wellknown style of the period, the features and form of the individual added, at first sight, little interest. It represented a handsome woman of about thirty, her hair wound simply about her head, her features regular, and her complexion fair. But on looking more closely, especially after having had a hint that the original had been the heroine of a tale, I could observe a melancholy sweetness in the countenance that seemed to speak of woes endured, and injuries sustained, with that resignation which women can and do sometimes display under the insults and ingratitude of those on whom they have bestowed their affections.
“Yes, she was an excellent and an illused woman,” said Mr. Fairscribe, his eye fixed like mine on the picture—”She left our family not less, I dare say, than five thousand pounds, and I believe she died worth four times that sum; but it was divided among the nearest of kin, which was all fair.”
“But her history, Mr. Fairscribe,” said I—”to judge from her look, it must have been a melancholy one.”
“You may say that, Mr. Croftangry. Melancholy enough, and extraordinary enough too—But,” added he, swallowing in haste a cup of the tea which was presented to him, “I must away to my business—we cannot be gowfling all the morning, and telling old stories all the afternoon. Katie knows all the outs and the ins of cousin Menie’s adventures as well as I do, and when she has given you the particulars, then I am at your service, to condescend more articulately upon dates or particulars.”
Well, here was I, a gay old bachelor, left to hear a love tale from my young friend Katie Fairscribe, who, when she is not surrounded by a bevy of gallants, at which time, to my thinking, she shows less to advantage, is as pretty, well-behaved, and unaffected a girl as you see tripping the new walks of Prince’s Street or Heriot Row. Old bachelorship so decided as mine has its privileges in such a tete-a-tete, providing you are, or can seem for the time, perfectly good-humoured and attentive, and do not ape the manners of your younger years, in attempting which you will only make yourself ridiculous. I don’t pretend to be so indifferent to the company of a pretty young woman as was desired by the poet, who wished to sit beside his mistress—
—”As unconcern’d as when
Her infant beauty could beget
Nor happiness nor pain.”
On the contrary, I can look on beauty and innocence, as something of which I know and esteem the value, without the desire or hope to make them my own. A young lady can afford to talk with an old stager like me without either artifice or affectation; and we may maintain a species of friendship, the more tender, perhaps, because we are of different sexes, yet with which that distinction has very little to do.
Now, I hear my wisest and most critical neighbour remark, “Mr. Croftangry is in the way of doing a foolish thing, He is well to pass—Old Fairscribe knows to a penny what he is worth, and Miss Katie, with all her airs, may like the old brass that buys the new pan. I thought Mr. Croftangry was looking very cadgy when he came in to play a rubber with us last night. Poor gentleman, I am sure I should be sorry to see him make a fool of himself.”
Spare your compassion, dear madam, there is not the least danger. The beaux yeux de ma casette are not brilliant enough to make amends for the spectacles which must supply the dimness of my own. I am a little deaf, too, as you know to your sorrow when we are partners; and if I could get a nymph to marry me with all these imperfections, who the deuce would marry Janet McEvoy? and from Janet McEvoy Chrystal Croftangry will not part.
Miss Katie Fairscribe gave me the tale of Menie Gray with much taste and simplicity, not attempting to suppress the feelings, whether of grief or resentment, which justly and naturally arose from the circumstances of the tale. Her father afterwards confirmed the principal outlines of the story, and furnished me with some additional circumstances, which Miss Katie had suppressed or forgotten. Indeed, I have learned on this occasion, what old Lintot meant when he told Pope, that he used to propitiate the critics of importance, when he had a work in the press, by now and then letting them see a sheet of the blotted proof, or a few leaves of the original manuscript. Our mystery of authorship has something about it so fascinating, that if you admit any one, however little he may previously have been disposed to such studies, into your confidence, you will find that he considers himself as a party interested, and, if success follows, will think himself entitled to no inconsiderable share of the praise.
The reader has seen that no one could have been naturally less interested than was my excellent friend Fairscribe in my lucubrations, when I first consulted him on the subject; but since he has contributed a subject to the work, he has become a most zealous coadjutor; and half-ashamed, I believe, yet half-proud of the literary stock-company, in which he has got a share, he never meets me without jogging my elbow, and dropping some mysterious hints, as, “I am saying—when will you give us any more of yon?”—or, “Yon’s not a bad narrative—I like yon.”
Pray Heaven the reader may be of his opinion.
Chapter I
When fainting Nature call’d for aid,
And hovering Death prepared the blow,
His vigorous remedy display’d
The power of art without the show;
In Misery’s darkest caverns known,
His useful care was ever nigh,
Where hopeless Anguish pour’d his groan,
And lonely Want retired to die;
No summons mock’d by cold delay,
No petty gains disclaim’d by pride,
The modest wants of every day
The toil of every day supplied.
SAMUEL JOHNSON.
The exquisitely beautiful portrait which the Rambler has painted of his friend Levett, well describes Gideon Gray, and many other village doctors, from whom Scotland reaps more benefit, and to whom she is perhaps more ungrateful than to any other class of men, excepting her schoolmasters.
Such a rural man of medicine is usually the inhabitant of some pretty borough or village, which forms the central point of his practice. But, besides attending to such cases as the village may afford, he is day and night at the service of every one who may command his assistance within a circle of forty miles in diameter, untraversed by roads in many directions, and including moors, mountains, rivers, and lakes. For late and dangerous journeys through an inaccessible country for services of the most essential kind, rendered at the expense, or risk at least, of his own health and life, the Scottish village doctor receives at best a very moderate recompense, often one which is totally inadequate, and very frequently none whatever. He has none of the ample resources proper to the brothers of the profession. in an English town. The burgesses of a Scottish borough are rendered, by their limited means of luxury, inaccessible to gout, surfeits, and all the comfortable chronic diseases which are attendant on wealth and indolence. Four years, or so, of abstemiousness, enable them to stand an election dinner; and there is no hope of broken heads among a score or two of quiet electors, who settle the business