Sunny Memories Of Foreign Lands, Volume 1

Our ride along was a singular commixture of an upper and under current of thought. Deep down in our hearts we were going back to English days; the cumbrous, quaint, queer, old, picturesque times; the dim, haunted times between cock-crowing and morning; those hours of national childhood, when popular ideas had the confiding credulity, the poetic vivacity, and versatile life, which distinguish children from grown people.

No one can fail to feel, in reading any of the plays of Shakspeare, that he was born in an age of credulity and marvels, and that the materials out of which his mind was woven were dyed in the grain, in the haunted springs of tradition. It would have been as absolutely impossible for even himself, had he been born in the daylight of this century, to have built those quaint, Gothic structures of imagination, and tinted them with their peculiar coloring of marvellousness and mystery, as for a modern artist to originate and execute the weird designs of an ancient cathedral. Both Gothic architecture and this perfection of Gothic poetry were the springing and efflorescence of that age, impossible to grow again. They were the forest primeval; other trees may spring in their room, trees as mighty and as fair, but not such trees.

So, as we rode along, our speculations and thoughts in the under current were back in the old world of tradition. While, on the other hand, for the upper current, we were keeping up a brisk conversation on the peace question, on the abolition of slavery, on the possibility of ignoring slave-grown produce, on Mr. Cobden and Mr. Bright, and, in fact, on all the most wide-awake topics of the present day.

One little incident occurred upon the road. As we were passing by a quaint old mansion, which stood back from the road, surrounded by a deep court, Mr. S. said to me, "There is a friend here who would like to see thee, if thou hast no objections," and went on to inform me that she was an aged woman, who had taken a deep interest in the abolition of slavery since the time of its first inception under Clarkson and Wilberforce, though now lying very low on a sick bed. Of course we all expressed our willingness to stop, and the carriage was soon driving up the gravelled walk towards the house. We were ushered into a comfortable sitting room, which looked out on beautiful grounds, where the velvet grass, tall, dark trees, and a certain quaint air of antiquity in disposition and arrangement, gave me a singular kind of pleasure; the more so, that it came to me like a dream; that the house and the people were unknown to me, and the whole affair entirely unexpected.

I was soon shown into a neat chamber, where an aged woman was lying in bed. I was very much struck and impressed by her manner of receiving me. With deep emotion and tears, she spoke of the solemnity and sacredness of the cause which had for years lain near her heart. There seemed to be something almost prophetic in the solemn strain of assurance with which she spoke of the final extinction of slavery throughout the world.

I felt both pleased and sorrowful. I felt sorrowful because I knew, if all true Christians in America had the same feelings, that men, women, and children, for whom Christ died, would no more be sold in my country on the auction block.

There have been those in America who have felt and prayed thus nobly and sincerely for the heathen in Burmah and Hindostan, and that sentiment was a beautiful and an ennobling one; but, alas! the number has been few who have felt and prayed for the heathenism, and shame of our own country; for the heathenism which sells the very members of the body of Christ as merchandise.

When we were again on the road, we were talking on the change of times in England since railroads began; and Mr. S. gave an amusing description of how the old lords used to travel in state, with their coaches and horses, when they went up once a year on a solemn pilgrimage to London, with postilions and outriders, and all the country gaping and wondering after them.

"I wonder," said one of us, "if Shakspeare were living, what he would say to our times, and what he would think of all the questions that are agitating the world now." That he did have thoughts whose roots ran far beyond the depth of the age in which he lived, is plain enough from numberless indications in his plays; but whether he would have taken any practical interest in the world's movements is a fair question. The poetic mind is not always the progressive one; it has, like moss and ivy, a need for something old to cling to and germinate upon. The artistic temperament, too, is soft and sensitive; so there are all these reasons for thinking that perhaps he would have been for keeping out of the way of the heat and dust of modern progress. It does not follow because a man has penetration to see an evil, he has energy to reform it.

Erasmus saw all that Luther saw just as clearly, but he said that he had rather never have truth at all, than contend for it with the world in such a tumult. However, on the other hand, England did, in Milton, have one poet who girt himself up to the roughest and stormiest work of reformation; so it is not quite certain, after all, that Shakspeare might not have been a reformer in our times. One thing is quite certain, that he would have said very shrewd things about all the matters that move the world now, as he certainly did about all matters that he was cognizant of in his own day.

It was a little before noon when we drove into Stratford, by which time, with our usual fatality in visiting poetic shrines, the day had melted off into a kind of drizzling mist, strongly suggestive of a downright rain. It is a common trick these English days have; the weather here seems to be possessed of a water spirit. This constant drizzle is good for ivies, and hawthorns, and ladies' complexions, as whoever travels here will observe, but it certainly is very bad for tourists.

This Stratford is a small town, of between three and four thousand inhabitants, and has in it a good many quaint old houses, and is characterized (so I thought) by an air of respectable, stand-still, and meditative repose, which, I am afraid, will entirely give way before the railroad demon, for I understand that it is soon to be connected by the Oxford, Worcester, and Wolverhampton line with all parts of the kingdom. Just think of that black little screeching imp rushing through these fields which have inspired so many fancies; how every thing poetical will fly before it! Think of such sweet snatches as these set to the tune of a railroad whistle:—

"Hark! hark! the lark at heaven's gate sings,
And Phoebus 'gins to rise,
His steeds to water at those springs
On chaliced flowers that lies.

And winking Mary-buds begin
To ope their golden eyes,
With everything that pretty bid
My lady sweet to rise."

And again:—

"Philomel with melody sing in our sweet lullaby,
Lulla, lulla, lullaby.
Never harm, nor spell, nor charm,
Come our lovely lady nigh."

I suppose the meadows, with their "winking Mary-buds," will be all cut up into building lots in the good times coming, and Philomel caught and put in a cage to sing to tourists at threepence a head.

We went to the White Lion, and soon had a little quiet parlor to ourselves, neatly carpeted, with a sofa drawn up to the cheerful coal fire, a good-toned piano, and in short every thing cheerful and comfortable.

At first we thought we were too tired to do any thing till after dinner; we were going to take time to rest ourselves and proceed leisurely; so, while the cloth was laying, C– took possession of the piano, and I of the sofa, till Mr. S. came in upon us, saying, "Why, Shakspeare's house is right the next door here!" Upon that we got up, just to take a peep, and from peeping we proceeded to looking, and finally put on our things and went over seriatim. The house has recently been bought by a Shakspearian club, who have taken upon themselves the restoration and preservation of the premises.

Shakspeare's father, it seems, was a man of some position and substance in his day, being high sheriff and justice of the peace for the borough; and this house, therefore, I suppose, may be considered a specimen of the respectable class of houses in the times of Queen Elizabeth. This cut is taken from an old print, and is supposed to represent the original condition of the house.

We saw a good many old houses somewhat similar to this on the road, particularly resembling it in this manner of plastering, which shows all the timber on the outside. Parts of the house have been sold, altered, and used for various purposes; a butcher's stall having been kept in a part of it, and a tavern in another portion, being new-fronted with brick.

The object of this Shakspeare Club has been to repurchase all these parts, and restore them as nearly as possible to their primeval condition. The part of the house which is shown consists of a lower room, which is floored with flat stones very much broken. It has a wide, old-fashioned chimney on one side, and opens into a smaller room back of it. From thence you go up a rude flight of stairs to a low-studded room, with rough-plastered walls, where the poet was born.

The prints of this room, which are generally sold, allow themselves in considerable poetic license, representing it in fact as quite an elegant apartment, whereas, though it is kept scrupulously neat and clean, the air of it is ancient and rude. This is a somewhat flattered likeness. The roughly-plastered walls are so covered with names that it seemed impossible to add another. The name of almost every modern genius, names of kings, princes, dukes, are shown here; and it is really curious to see by what devices some very insignificant personages have endeavored to make their own names conspicuous in the crowd. Generally speaking the inscription books and walls of distinguished places tend to give great force to the Vulgate rendering of Ecclesiastes i. 15, "The number of fools is infinite."

To add a name in a private, modest way to walls already so crowded, is allowable; but to scrawl one's name, place of birth, and country, half across a wall, covering scores of names under it, is an operation which speaks for itself. No one would ever want to know more of a man than to see his name there and thus.

Back of this room were some small bed rooms, and what interested me much, a staircase leading up into a dark garret. I could not but fancy I saw a bright-eyed, curly-headed boy creeping up those stairs, zealous to explore the mysteries of that dark garret. There perhaps he saw the cat, with "eyne of burning coal, crouching 'fore the mouse's hole." Doubtless in this old garret were wonderful mysteries to him, curious stores of old cast-off goods and furniture, and rats, and mice, and cobwebs. I fancied the indignation of some belligerent grandmother or aunt, who finds Willie up there watching a mouse hole, with the cat, and has him down straightway, grumbling that Mary did not govern that child better.

We know nothing who this Mary was that was his mother; but one sometimes wonders where in that coarse age, when queens and ladies talked familiarly, as women would blush to talk now, and when the broad, coarse wit of the Merry Wives of Windsor was gotten up to suit the taste of a virgin queen,—one wonders, I say, when women were such and so, where he found those models of lily-like purity, women so chaste in soul and pure in language that they could not even bring their lips to utter a word of shame. Desdemona cannot even bring herself to speak the coarse word with which her husband taunts her; she cannot make herself believe that there are women in the world who could stoop-to such grossness.[12 - This idea is beautifully wrought out by Mrs. Jamieson in her Characteristics of the Women of Shakspeare, to which, the author is indebted for the suggestion.]

For my part I cannot believe that, in such an age, such deep heart-knowledge of pure womanhood could have come otherwise than by the impression on the child's soul of a mother's purity. I seem to have a vision of one of those women whom the world knows not of, silent, deep-hearted, loving, whom the coarser and more practically efficient jostle aside and underrate for their want of interest in the noisy chitchat and commonplace of the day; but who yet have a sacred power, like that of the spirit of peace, to brood with dovelike wings over the childish heart, and quicken into life the struggling, slumbering elements of a sensitive nature.

I cannot but think, in that beautiful scene, where he represents Desdemona as amazed and struck dumb with the grossness and brutality of the charges which had been thrown upon her, yet so dignified in the consciousness of her own purity, so magnanimous in the power of disinterested, forgiving love, that he was portraying no ideal excellence, but only reproducing, under fictitious and supposititious circumstances, the patience, magnanimity, and enduring love which had shone upon him in the household words and ways of his mother.

It seemed to me that in that bare and lowly chamber I saw a vision of a lovely face which was the first beauty that dawned on those childish eyes, and heard that voice whose lullaby tuned his ear to an exquisite sense of cadence and rhythm. I fancied that, while she thus serenely shone upon, him like a benignant star, some rigorous grand-aunt took upon her the practical part of his guidance, chased up his wanderings to the right and left, scolded him for wanting to look out of the window because his little climbing toes left their mark on the neat wall, or rigorously arrested him when his curly head was seen bobbing off at the bottom of the street, following a bird, or a dog, or a showman; intercepting him in some happy hour when he was aiming to strike off on his own account to an adjoining field for "winking Mary-buds;" made long sermons to him on the wickedness of muddying his clothes and wetting his new shoes, (if he had any,) and told him that something dreadful would come out of the graveyard and catch him if he was not a better boy, imagining that if it were not for her bustling activity Willie would go straight to destruction.

I seem, too, to have a kind of perception of Shakspeare's father; a quiet, God-fearing, thoughtful man, given to the reading of good books, avoiding quarrels with a most Christian-like fear, and with but small talent, either in the way of speech making or money getting; a man who wore his coat with an easy slouch, and who seldom knew where his money went to.

All these things I seemed to perceive as if a sort of vision had radiated from the old walls; there seemed to be the rustling of garments and the sound of voices in the deserted rooms; the pattering of feet on the worm-eaten staircase; the light of still, shady summer afternoons, a hundred years ago, seemed to fall through the casements and lie upon the floor. There was an interest to every thing about the house, even to the quaint iron fastenings about the windows; because those might have arrested that child's attention, and been dwelt on in some dreamy hour of infant thought. The fires that once burned in those old chimneys, the fleeting sparks, the curling smoke, and glowing coals, all may have inspired their fancies. There is a strong tinge of household coloring in many parts of Shakspeare, imagery that could only have come from such habits of quiet, household contemplation. See, for example, this description of the stillness of the house, after all are gone to bed at night:—

"Now sleep yslaked hath the rout;
No din but snores, the house about,
Made louder by the o'er-fed breast
Of this most pompous marriage feast.
The cat, with, eyne of burning coal,
Now crouches 'fore the mouse's hole;
And, crickets sing at th' oven's mouth,
As the blither for their drouth."

Also this description of the midnight capers of the fairies about the house, from Midsummer Night's Dream:—

PUCK.:

"Now the hungry lion roars,
And the wolf behowls the moon;
Whilst the heavy ploughman snores,
All with, weary task fordone.
Now the wasted brands do glow,
Whilst the scritch-owl, scritching loud,
Puts the wretch, that lies in woe,
In remembrance of a shroud.
Now it is the time of night,
That the graves all gaping wide,
Every one lets forth his sprite,
In the churchway paths to glide:
And we fairies that do run
By the triple Hecate's team,
From the presence of the sun,
Following darkness like a dream,