WANDERING MINSTRELS; OR, WAILS OF THE WORKLESS POOR.

"For whom the heart of man shuts out,
Straightway the heart of God takes in,
And fences them all round about
With silence, 'mid the world's loud din.
And one of his great charities
Is music; and it doth not scorn
To close the lids upon the eyes
Of the weary and forlorn."
—JAMES RUSSEL LOWELL.

There is one feature of the distress in Lancashire which was seen strikingly upon the streets of our large towns during some months of 1862. I allude to the wandering minstrelsy of the unemployed. Swarms of strange, shy, sad-looking singers and instrumental performers, in the work-worn clothing of factory operatives, went about the busy city, pleading for help in touching wails of simple song—like so many wild birds driven by hard weather to the haunts of man. There is something instructive, as well as affecting, in this feature of the troubled time. These wanderers are only a kind of representative overflow of a vast number whom our streets will never see. Any one well acquainted with Lancashire, will know how widespread the study of music is among its working population. Even the inhabitants of our large towns know something more about this now than they knew a few months ago. I believe there is no part of England in which the practice of sacred music is so widely and lovingly pursued amongst the working people as in the counties of Lancashire and Yorkshire. There is no part of England where, until lately, there have been so many poor men's pianos, which have been purchased by a long course of careful savings from the workman's wages. These, of course, have mostly been sold during the hard times to keep life in the owner and his family. The great works of Handel, Haydn, Beethoven, and Mozart have solaced the toil of thousands of the poorest working people of Lancashire. Anybody accustomed to wander among the moorlands of the country will remember how common it is to hear the people practising sacred music in their lonely cottages. It is not uncommon to meet working men wandering over the wild hills, "where whip and heather grow," with their musical instruments, to take part in some village oratorio many miles away. "That reminds me," as tale-tellers say, of an incident among the hills, which was interesting, though far from singular in my experience.

Up in the forest of Rosendale, between Derply Moor and the wild bill called Swinshaw, there is a little lone valley, a green cup in the mountains, called "Dean." The inhabitants of this valley are so notable for their love of music, that they are known all through the vales of Rosendale as "Th' Deighn Layrocks," or "The Larks of Dean." In the twilight of a glorious Sunday evening, in the height of summer, I was roaming over the heathery waste of Swinshaw, towards Dean, in company with a musical friend of mine, who lived in the neighbouring clough, when we saw a little crowd of people coming down a moorland slope, far away in front of us. As they drew nearer, we found that many of them had musical instruments, and when we met, my friend recognised them as working people living in the district, and mostly well known to him. He inquired where they had been; and they told him that they had "bin to a bit ov a sing deawn i'th Deighn." "Well," said he, "can't we have a tune here?" "Sure, yo con, wi' o' th' plezzur i'th world," replied he who acted as spokesman; and a low buzz of delighted consent ran through the rest of the company. They then ranged themselves in a circle around their conductor, and they played and sang several fine pieces of psalmody upon the heather-scented mountain top. As those solemn strains floated over the wild landscape, startling the moorfowl untimely in his nest, I could not help thinking of the hunted Covenanters of Scotland. The all-together of that scene upon the mountains, "between the gloaming and the mirk," made an impression upon me which I shall not easily forget. Long after we parted from them we could hear their voices, softening in sound as the distance grew, chanting on their way down the echoing glen, and the effect was wonderfully fine. This little incident upon the top of Swinshaw is representative of things which often occur in the country parts of Lancashire, showing how widespread the love of music is among the working classes there. Even in great manufacturing towns, it is very common, when passing cotton mills at work, to hear some fine psalm tune streaming in chorus from female voices, and mingling with the spoom of thousands of spindles. The "Larks of Dean," like the rest of Lancashire operatives, must have suffered in this melancholy time; but I hope that the humble musicians of our county will never have occasion to hang their harps upon the willows.

Now, when fortune has laid such a load of sorrow upon the working people of Lancashire, it is a sad thing to see so many workless minstrels of humble life "chanting their artless notes in simple guise" upon the streets of great towns, amongst a kind of life they are little used to. There is something very touching, too, in their manner and appearance. They may be ill-shod and footsore; they may be hungry, and sick at heart, and forlorn in countenance, but they are almost always clean and wholesome-looking in person. They come singing in twos and threes, and sometimes in more numerous bands, as if to keep one another in countenance. Sometimes they come in a large family all together, the females with their hymn-books, and the men with their different musical instruments,—bits of pet salvage from the wrecks of cottage homes. The women have sometimes children in their arms, or led by the hand; and they sometimes carry music-books for the men. I have seen them, too, with little handkerchiefs of rude provender for the day. As I said before, they are almost invariably clean in person, and their clothing is almost always sound and seemly in appearance, however poor and scanty. Amongst these poor wanderers there is none of the reckless personal negligence and filth of hopeless reprobacy; neither is there a shadow of the professional ostentation of poverty amongst them. Their faces are sad, and their manners very often singularly shame-faced and awkward; and any careful observer would see at a glance that these people were altogether unused to the craft of the trained minstrel of the streets. Their clear, healthy complexion, though often touched with pallor, their simple, unimportunate demeanour, and the general rusticity of their appearance, shows them to be

"Suppliants who would blush
To wear a tatter'd garb, however coarse;
Whom famine cannot reconcile to filth;
Who ask with painful shyness, and refused,
Because deserving, silently retire."

The females, especially the younger ones, generally walk behind, blushing and hiding themselves as much as possible. I have seen the men sometimes walk backwards, with their faces towards those who were advancing, as if ashamed of what they were doing. And thus they went wailing through the busy streets, whilst the listening crowd looks on them pityingly and wonderingly, as if they were so many hungry shepherds from the mountains of Calabria. This flood of strange minstrels partly drowned the slang melodies and the monotonous strains of ordinary street musicians for a while. The professional gleeman "paled his ineffectual fire" before these mournful songsters. I think there never was so much sacred music heard upon the streets of Manchester before. With the exception of a favourite glee now and then, their music consisted chiefly of fine psalm tunes—often plaintive old strains, known and welcome to all, because they awaken tender and elevating remembrances of life. "Burton," "French," "Kilmarnock," "Luther's Hymn," the grand "Old Hundred," and many other fine tunes of similar character, have floated daily in the air of our city, for months together. I am sure that this choice does not arise from the minstrels themselves having craft enough to select "a mournful muse, soft pity to infuse." It is the kind of music which has been the practice and pleasure of their lives, and it is a fortuitous thing that now, in addition to its natural plaintiveness, the sad necessity of the times lends a tender accompaniment to their simplest melody. I doubt very much whether Leech's minor tunes were ever heard upon our streets till lately. Leech was a working man, born near the hills, in Lancashire; and his anthems and psalm tunes are great favourites among the musical population, especially in the country districts. Leech's harp was tuned by the genius of sorrow. Several times lately I have heard the tender complaining notes of his psalmody upon the streets of the city. About three months ago I heard one of his most pathetic tunes sung in the market-place by an old man and two young women. The old man's dress had the peculiar hue and fray of factory work upon it, and he had a pair of clogs upon his stockingless feet. They were singing one of Leech's finest minor tunes to Wesley's hymn:-

"And am I born to die,
To lay this body down?
And must my trembling spirit fly
Into a world unknown?
A land of deepest shade,
Unpierced by human thought;
The dreary country of the dead
Where all things are forgot."

It is a tune often sung by country people in Lancashire at funerals; and, if I remember right, the same melody is cut upon Leech's gravestone in the old Wesleyan Chapel-yard, at Rochdale. I saw a company of minstrels of the same class going through Brown Street, the other day, playing and singing,

"In darkest shades, if Thou appear,
My dawning is begun."

The company consisted of an old man, two young men, and three young women. Two of the women had children in their arms. After I had listened to them a little while, thinking the time and the words a little appropriate to their condition, I beckoned to one of the young men, who came "sidling" slowly up to me. I asked him where they came from, and he said, "Ash'n." In answer to another question, he said, "We're o' one family. Me an' yon tother's wed. That's his wife wi' th' chylt in her arms, an' hur wi' th' plod shawl on's mine." I asked if the old man was his father. "Ay," replied he, "we're o' here, nobbut two. My mother's ill i' bed, an' one o' my sisters is lookin' after her." " Well, an' heaw han yo getten on?" said I. "Oh, we'n done weel; but we's come no moor," replied he. Another day, there was an instrumental band of these operatives playing sacred music close to the Exchange lamp. Amongst the crowd around, I met with a friend of mine. He told me that the players were from Staleybridge. They played some fine old tunes, by desire, and, among the rest, they played one called "Warrington. "When they had played it several times over, my friend turned to me and said, "That tune was composed by a Rev. Mr Harrison, who was once minister of Cross Street Unitarian Chapel, in Manchester; and, one day, an old weaver, who had come down from the hills, many miles, staff in hand, knocked at the minister's door, and asked if there was 'a gentleman co'de' Harrison lived theer?' 'Yes.' 'Could aw see him?' 'Yes.' When the minister came to the door, the old weaver looked hard at him, for a minute, and said, 'Are yo th' mon 'at composed that tune co'de Worrington?' 'Yes,' replied the minister, 'I believe I am.' 'Well,' said the old weaver, 'give me your hond! It's a good un!' He then shook hands with him heartily again, and saying, 'Well, good day to yo,' he went his way home again, before the old minister could fairly collect his scattered thoughts."

I do not know how it is that these workless minstrels are gradually becoming rarer upon the streets than they were a few months ago. Perhaps it is because the unemployed are more liberally relieved now than they were at first. I know that now many who have concealed their starving condition are ferreted out and relieved as far as possible. Many of these street wanderers have gone home again disgusted, to pinch out the hard time in proud obscurity; and there are some, no doubt, who have wandered away to other parts of England. Of these last, we may naturally expect that a few may become so reconciled to a life of wandering minstrelsy that they may probably never return to settled labour again. But "there's a divinity that shapes our ends, rough-hew them how we will." Let us trust that the Great Creator may comfort and relieve them, "according to their several necessities, giving them patience under their sufferings, and a happy issue out of all their afflictions."