Part 5

John Greenleaf Whittier 320

STORIES OF AUTHORS

THE ANCIENT TABARD INN

The picture we see here is that of an inn whose fame is as widespread as the love of English poetry, for it is at the Tabard Inn that Chaucer more than five hundred years ago assembled his nine and twenty pilgrims who were preparing to visit the tomb of Thomas à Becket at Canterbury. The witchery of the springtime had stirred the blood of these Londoners who, perhaps, were enticed from home more by the soft April showers and the melody of the birds than by their need of spiritual consolation. This, at least, is the impression we receive as in imagination we join these immortal pilgrims at the Tabard. Our guide is

Dan Chaucer, the first warbler, whose sweet breath Preluded those melodious bursts that fill The spacious times of great Elizabeth With sounds that echo still,--

and as he moves among his motley group, let us take a glance at the Tabard.

The picture we have is that of the typical old English inn. "As late as 1870 the ruins of the famous Tabard could be found. It was near St. Saviour in the Borough High Street. Turning from the street into one of those courtyards which abound in the east of London, the visitor comes upon the ruins of the once famous inn the very name of which has been transformed by time. It is now known as the 'Talbot,' but the inscription above the doorway contradicts the modern signboard and proclaims the house to be 'The Ancient Tabard Inn.' The whole yard is redolent of dilapidation. Facing the visitor on entering is an interesting block of old buildings, forming part of the left side, and the bottom of what once was an ample courtyard. This part of the building contains not improbably the shell of the corresponding portion of the original inn. The doors of the first floor all open into one of the wide balustraded galleries or verandas so common in the genuine old English hostelry. Until recently the landlord of the Talbot, then a small public-house, and still forming part of the modern mass of brick building that blocks up the right side and part of the center of the courtyard, rented the rooms by which this balustraded gallery was, and still is, surrounded. They were then let as bedrooms, and kept in good repair; and are supposed to occupy the site of the very rooms once tenanted by the Canterbury pilgrims; the gallery probably differing but little in appearance from what it was when Chaucer frequented it in search of good wine. The landlord eventually became insolvent; the paltry tavern was shut up, and the bedrooms were dismantled. In that plight they might be seen some years ago, may still possibly be seen--empty, dusty, dreary--ranged above ground-floor premises which do duty as a parcels' conveyance office, and abutting on a mean, ill-kept yard. Until within the last few years the coigne of the old balustraded gallery was connected on the right with the modern brick mass by an ancient wood-work bridge, coeval at least with the oldest portion of the building as it stands. But the bridge is gone, and the lust of gold and the pride of life have so destroyed that spirit of reverence and refined superstitious love for the venerable which should characterize an advanced civilization, that it is greatly to be feared the rest of the structure will soon follow. Yet it was in this courtyard, and before this very inn, that Chaucer and his nine-and-twenty pilgrims stood in picturesque confusion in the early dawn of that spring morning, long, long ago; and agreed for their common amusement on the road each one of them should tell at least one tale in going to, and another in returning from Canterbury; the best story teller to be treated to a supper by his fellow travelers on their return to the Tabard Inn. The company comprises representatives from all classes of society except the two extremes; there is neither a prince nor a beggar. The characters are taken from middle-class life, of which they may be accepted as fair and truthful types; being described with a vigorous fidelity which has never been surpassed in the whole range of art. Every figure stands out from the canvas sharp and clear like pictures seen through a stereoscope. Not a touch, not a line is wanting; each trick of speech and peculiarity of feature or of dress, is photographed with Preraphaelite fidelity."

SIR PHILIP SIDNEY AT ZUTPHEN

Whenever the name of Sir Philip Sidney is mentioned one involuntarily thinks of noble generosity and knightly gentleness and self-sacrifice. And here is the story of the act that forever united his name with the highest ideals of chivalry:

In August, 1586, Leicester assembled his troops at Arnheim, which he made his headquarters. After reducing Doesburg, he prepared to besiege Zutphen, an important town on the Yssel. The garrison was in sore need of provisions, which Parma, before marching to its relief, determined to supply. A convoy of corn, meat, and other necessaries, sufficient to victual the place for three months, was accordingly collected, and on the twenty-second of September left the Spanish camp. So high was Parma's estimate of the importance of preserving Zutphen, that the escort despatched with the convoy numbered twenty-nine hundred foot and six hundred horse. Leicester was informed of the enemy's movement, but not of the force which protected it. An ambuscade of five hundred men, under Sir John Norris, was held sufficient to intercept the convoy. About fifty young officers volunteered to add their services. This gallant band was composed of the flower of the English army.... It was indeed "an incredible extravagance to send a handful of such heroes against such an army," but Leicester can scarcely be blamed for failing to restrain the impulsive ardor which animated his entire staff. Sidney's characteristic magnanimity betrayed him that day into a fatal excess. He had risen at the first sound of the trumpet and left his tent completely armed, but observing that Sir William Pelham, an older soldier, had not protected his legs with cuishes, returned and threw off his own. The morning was cold and densely foggy, as the little company galloped forth to join their comrades in ambush. Just as they came up, Sir John Norris had caught the first sounds of the approaching convoy. Almost at the same moment the fog cleared off and revealed at what terrible odds the battle was to be fought that day. Mounted arquebusiers, pikemen and musketeers on foot, Spaniards, Italians, and even, it is said, Albanians, to the number of thirty-five hundred, guarded the wagons before and behind. The English were but five hundred and fifty men. Yet among them all, the historian has the right of blood to say with confidence, "There was no thought of retreat." The indomitable national spirit embodied itself in the war-cry of young Essex: "Follow me, good fellows, for the honor of England and England's queen!" At the word a hundred horsemen, Sidney in the midst, with lance in hand and curtel-axe at saddle-bow, spurred to the charge. The enemy's cavalry broke, but the musketeers in the rear fired a deadly volley, under cover of which it formed anew. A second charge re-broke it. In the onset Sidney's horse was killed, but he remounted and rode forward. Lord Willoughby, after unhorsing and capturing the Albanian leader, lost his own horse. Attacked on all sides, he must have fallen and yielded, when Sidney came to the rescue and struck down his assailants. Individual valor, however, proved unavailing against the might of numbers. After nearly two hours' desperate opposition, the convoy still made way. Charge succeeded charge in the vain effort to prevent its effecting a junction with the garrison, two thousand of whom were waiting for the right moment to sally forth. In the last of these onsets, Sir Philip's impetuosity carried him within musket-shot of the camp. A bullet struck his unprotected leg, just above the knee, and shattered the bone. He endeavored to remain on the field, but his horse became unmanageable, and in agonies of pain and thirst he rode back to the English quarters, a mile and a half distant. An incident of that ride, as told in the quaint language of Lord Brooke, retains the immortal charm of pathos which commands our tears, how often soever repeated:

In which sad progress, passing along by the rest of the army, where his uncle the general was, and being thirsty with excess of bleeding, he called for drink, which was presently brought him, but as he was putting the bottle to his mouth, he saw a poor soldier carried along who had eaten his last at that same feast, ghastly, casting up his eyes at the bottle, which Sir Philip perceiving, took it from his head before he drank, and delivered it to the poor man with these words, "Thy necessity is greater than mine." And when he had pledged this poor soldier, he was presently carried to Arnheim.

The golden chain of heroic actions, Christian and pagan, may contain examples of self-denial sublimer and more absolute than this; but in the blended grace and tenderness of its knightly courtesy, we know not where to find its parallel.

Leicester met his nephew as he was borne back to the camp, and burst into a genuine passion of sorrow. Many a rough soldier among those who, in returning from the failure of their impossible enterprise, now came up with their comrade, was unmanned for the first time that day. Sir William Russell, as tender-hearted as he was daring, embraced him weeping, and kissed his hand amid broken words of admiration and sympathy. But Sidney needed no consolation. "I would," said Leicester, in a letter to Sir Thomas Heneage, "you had stood by to hear his most loyal speeches to her Majesty, his constant mind to the cause, his loving care over me, and his most resolute determination for death; not one jot appalled for his blow, which is the most grievous that ever I saw with such a bullet."

The English surgeons at first gave hopes of his speedy restoration to health, and the favorable news was sent to England. Lady Sidney, who had followed him to Flushing some months before, at once hastened to him, but with no idea of his danger. The nation at large thought him convalescent. He himself, however, never expected to recover, although submitting with fortitude to whatever systems of treatment were proposed. Nothing was left untried that affection could suggest or the imperfect science of the age effect. His wife tenderly nursed him, and his two younger brothers were constantly at his side. His quondam foe, Count Hohenlo, though himself dangerously wounded, sent off his own physician, Adrian Van den Spiegel, to his aid. After examining the injuries Adrian pronounced them mortal, and then hastened back to the Count, whose case was not so desperate. "Away, villain!" cried the generous soldier in a transport of wrath; "never see my face again till thou bring better news of that man's recovery, for whose redemption many such as I were happily lost!"

From the first to the last moment of his suffering Sir Philip's temper was calm and cheerful. During the three weeks that he lingered at Arnheim he occupied himself with the thoughts befitting a death-bed.... On the 17th of October he felt himself dying, and summoned his friends to say farewell. His latest words were addressed to his brother Robert: "Love my memory; cherish my friends; their faith to me may assure you they are honest. But, above all things, govern your will and affections by the will and word of your Creator; in me beholding the end of this world with all her vanities." When powerless to speak, he replied to the entreaty of friends, who desired some token of his trust in God, by clasping his hands in the attitude of prayer, and a few moments afterwards had ceased to breathe.

--Adapted from the Edinburgh Review.

III

ABOUT SHAKSPERE

What would we not give to be able to relate a half-dozen good anecdotes about Shakspere? It is true there are traditions, the best known of which is the story that he poached deer in the park of Sir Thomas Lucy. Men have discussed the pros and cons of this deer-stealing tradition with a gravity and fulness worthy of a weightier cause. Suppose he did engage in the exciting sport of worrying a nobleman who had a game preserve. Does that fact blacken the youth's character? It is said the students at Oxford were the most notorious poachers in the kingdom, although expulsion was the penalty. Dr. Forman relates how a student who afterwards became a bishop was more given to poaching than to study.

What do we know about the life of Shakspere? We know that he was born at Stratford-on-Avon in 1564, that he died there in 1616, April 23. Some years ago I stood in the house which is reputed to be the place of his birth; over 20,000 pilgrims from all lands each year pay their shilling for the privilege of going through that house; the town corporation has purchased the property and controls it; the place has been photographed until the reading world is familiar with the picture,--and yet we do not positively know that Shakspere was born in that house. For Shakspere's father owned two houses at the time of the son's birth; in which of the two he lived at this time we can but guess. We suppose he lived in the Henley Street house, for it was the better of the two houses and the Shakspere family was prospering when William was born. The house itself has been remodeled. I think it is Sidney Lee who says that the only thing that remains as it was in Shakspere's time is the cellar. We do not know the day of Shakspere's birth. In Holy Trinity Church one may look into the book containing the baptismal record of the babe, William. He was baptized on April 26 and as children were usually baptized three days after their birth we infer he was born April 23. We know that he married Anne Hathaway, a woman eight years his senior; that in early manhood he went to London; that he became an actor, dramatist, manager of a theater; that in 1597 he bought New Place, the stateliest residence in Stratford; that he lived in Stratford during the last years of his life as a highly esteemed and worthy man, and that he died in 1616 and was buried in Trinity Church. These are the facts in the records of Shakspere's life. They, however, are not the important facts. The main fact in his life is his work, the matchless collection of literary masterpieces that bear the imprint of his genius. It is also well to keep in mind that our paucity of definite documentary records is not characteristic of Shakspere alone. We may know little of Shakspere, but we know less of Marlowe, his most brilliant competitor.

It is because we know so little of fact in the life of Shakspere that we delight to let fancy paint its charming pictures. We are led into the old Grammar School which Shakspere in all probability attended. Tradition points out the desk at which he used to sit. We can infer what he studied. The name of the Latin grammar then used we can deduce from his quoting a Latin sentence just as it was misquoted in Lilly's grammar. Artists have painted from imagination the picture of the boy Shakspere. Poets have wandered over the Warwickshire region and in their mind's eye have seen the youthful bard as he walked over the same picturesque region. In Midsummer-Night's Dream we read

I know a bank where the wild thyme blows, Where oxlips and the nodding violet grows, Quite over-canopied with luscious woodbine, With sweet musk-roses and with eglantine.--

and we see the young Shakspere, keen-eyed, observant, reveling in the beauty of nature. In Macbeth we read

This castle hath a pleasant seat; the air Nimbly and sweetly recommends itself Unto our gentle senses.--

and we recall that Kenilworth and Warwick Castles are near Stratford and we see the boyish Shakspere as he walks about these magnificent testimonies to the might and power of feudal England, or perhaps mingling with the crowd when Royalty has come to Kenilworth to be entertained by the lavish Leicester. So, too, when we find in Much Ado About Nothing

The pleasant'st angling is to see the fish Cut with her golden oars the silver stream, And greedily devour the treacherous bait,--

we have a picture before us of the boy standing on the banks of the placid Avon, enjoying the sports of boyhood and unconsciously receiving impressions that shall later be reproduced to adorn with freshest imagery the poetry of the world's greatest genius.

After years of labor the scholars of the world have scraped together enough definite information to make the Life of Shakspere, as Mr. Raleigh puts it, "assume the appearance of a scrap-heap of respectable size." But to us the great fact in the life of Shakspere is that he has given us his masterpieces. Perhaps it is just as well that we know so little about the facts in his life. We have all the more time to study his works. About their quality there is little of disagreement. Three hundred years ago Ben Jonson wrote