Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school eBook

This eBook from the Gutenberg Project consists of approximately 235 pages of information about Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school.

Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school eBook

This eBook from the Gutenberg Project consists of approximately 235 pages of information about Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school.
is saying a great deal, when it is remembered that there are a hundred pretty mouths and eyes for one pretty nose.  Add to this, plentiful knots of dark-brown hair, a gauzy dress of white, with blue facings; and the slightest idea may be gained of the young maiden who showed, amidst the rest of the dancing-ladies, like a flower among vegetables.  And so the dance proceeded.  Mr. Shiner, according to the interesting rule laid down, deserted his own partner, and made off down the middle with this fair one of Dick’s—­the pair appearing from the top of the room like two persons tripping down a lane to be married.  Dick trotted behind with what was intended to be a look of composure, but which was, in fact, a rather silly expression of feature—­implying, with too much earnestness, that such an elopement could not be tolerated.  Then they turned and came back, when Dick grew more rigid around his mouth, and blushed with ingenuous ardour as he joined hands with the rival and formed the arch over his lady’s head; which presumably gave the figure its name; relinquishing her again at setting to partners, when Mr. Shiner’s new chain quivered in every link, and all the loose flesh upon the tranter—­who here came into action again—­shook like jelly.  Mrs. Penny, being always rather concerned for her personal safety when she danced with the tranter, fixed her face to a chronic smile of timidity the whole time it lasted—­a peculiarity which filled her features with wrinkles, and reduced her eyes to little straight lines like hyphens, as she jigged up and down opposite him; repeating in her own person not only his proper movements, but also the minor flourishes which the richness of the tranter’s imagination led him to introduce from time to time—­an imitation which had about it something of slavish obedience, not unmixed with fear.

The ear-rings of the ladies now flung themselves wildly about, turning violent summersaults, banging this way and that, and then swinging quietly against the ears sustaining them.  Mrs. Crumpler—­a heavy woman, who, for some reason which nobody ever thought worth inquiry, danced in a clean apron—­moved so smoothly through the figure that her feet were never seen; conveying to imaginative minds the idea that she rolled on castors.

Minute after minute glided by, and the party reached the period when ladies’ back-hair begins to look forgotten and dissipated; when a perceptible dampness makes itself apparent upon the faces even of delicate girls—­a ghastly dew having for some time rained from the features of their masculine partners; when skirts begin to be torn out of their gathers; when elderly people, who have stood up to please their juniors, begin to feel sundry small tremblings in the region of the knees, and to wish the interminable dance was at Jericho; when (at country parties of the thorough sort) waistcoats begin to be unbuttoned, and when the fiddlers’ chairs have been wriggled, by the frantic bowing of their occupiers, to a distance of about two feet from where they originally stood.

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Under the Greenwood Tree, or, the Mellstock quire; a rural painting of the Dutch school from Project Gutenberg. Public domain.