Folk-lore of Shakespeare Part 69

CHAPTER XIII.

MARRIAGE.

The style of courtship which prevailed in Shakespeare's time, and the numerous customs a.s.sociated with the marriage ceremony, may be accurately drawn from the many allusions interspersed through his plays.

From these, it would seem that the mode of love-making was much the same among all cla.s.ses, often lacking that polish and refined expression which are distinguishing characteristics nowadays. As Mr. Drake remarks,[707] the amatory dialogues of Hamlet, Hotspur, and Henry V. are not more refined than those which occur between Master Fenton and Anne Page, in the "Merry Wives of Windsor," between Lorenzo and Jessica, in the "Merchant of Venice," and between Orlando and Rosalind, in "As You Like It." These last, which may be considered as instances taken from the middle cla.s.s of life, together with a few drawn from the lower rank of rural manners, such as the courtship of Touchstone and Audrey, and of Silvius and Phbe, in "As You Like It," are good ill.u.s.trations of this subject, although it must be added that, in point of fancy, sentiment, and simplicity, the most pleasing love-scenes in Shakespeare are those of Romeo and Juliet and of Florizel and Perdita.

[707] "Shakespeare and His Times," 1817, vol. i. p. 220.

The ancient ceremony of betrothing seems still to have been in full use in Shakespeare's day. Indeed, he gives us several interesting pa.s.sages upon the subject of troth-plight. Thus, in "Measure for Measure" (iii.

1), we learn that the unhappiness of the poor, dejected Mariana was caused by a violation of the troth-plight:

"_Duke._ She should this Angelo have married; was affianced to her by oath, and the nuptial appointed: between which time of the contract, and limit of the solemnity, her brother Frederick was wrecked at sea, having in that perished vessel the dowry of his sister. But mark how heavily this befell to the poor gentlewoman: there she lost a n.o.ble and renowned brother, in his love toward her ever most kind and natural; with him, the portion and sinew of her fortune, her marriage-dowry; with both, her combinate husband, this well-seeming Angelo.

_Isabella._ Can this be so? Did Angelo so leave her?

_Duke._ Left her in her tears, and dried not one of them with his comfort; swallowed his vows whole, pretending in her discoveries of dishonour; in few, bestowed her on her own lamentation, which she yet wears for his sake; and he, a marble to her tears, is washed with them, but relents not."

It is evident that Angelo and Mariana were bound by oath; the nuptial was appointed; there was a prescribed time between the contract and the performance of the solemnity of the Church. The lady, however, having lost her dowry, the contract was violated by her "combinate" or affianced husband-the oath, no doubt, having been tendered by a minister of the Church, in the presence of witnesses. In "Twelfth Night" (iv. 3) we have a minute description of such a ceremonial; for, when Olivia is hastily espoused to Sebastian, she says:

"Now go with me and with this holy man Into the chantry by: there, before him, And underneath that consecrated roof, Plight me the full a.s.surance of your faith; That my most jealous and too doubtful soul May live at peace. He shall conceal it, Whiles you are willing it shall come to note: What time we will our celebration keep According to my birth."

This, then, was a private ceremony before a single witness, who would conceal it till the proper period of the public ceremonial. Olivia, fancying that she has thus espoused the page, repeatedly calls him "husband;" and, being rejected, she summons the priest to declare (v.

1):

"what thou dost know Hath newly pa.s.s'd between this youth and me."

The priest answers:

"A contract of eternal bond of love, Confirm'd by mutual joinder of your hands, Attested by the holy close of lips, Strengthen'd by interchangement of your rings; And all the ceremony of this compact Seal'd in my function, by my testimony: Since when, my watch hath told me, toward my grave I have travell'd but two hours."

Again, in the "Winter's Tale" (iv. 4), which contains many a perfect picture of real rustic life, it appears that, occasionally, the troth-plight was exchanged without the presence of a priest; but that witnesses were essential to the ceremony:

"_Florizel._ ... O, hear me breathe my life Before this ancient sir, who, it should seem, Hath sometime lov'd: I take thy hand, this hand, As soft as dove's down and as white as it, Or Ethiopian's tooth, or the fann'd snow, that's bolted By the northern blasts twice o'er.

_Polixenes._ What follows this?- How prettily the young swain seems to wash The hand, was fair before!-I have put you out:- But, to your protestation; let me hear What you profess.

_Florizel._ Do, and be witness to't.

_Polixenes._ And this my neighbour too?

_Florizel._ And he, and more Than he, and men; the earth, the heavens, and all; That, were I crown'd the most imperial monarch, Thereof most worthy; were I the fairest youth That ever made eye swerve; had force and knowledge More than was ever man's, I would not prize them Without her love; for her employ them all; Commend them, and condemn them, to her service, Or to their own perdition.

_Polixenes._ Fairly offer'd.

_Camillo._ This shows a sound affection.

_Shepherd._ But, my daughter, Say you the like to him?

_Perdita._ I cannot speak So well, nothing so well; no, nor mean better: By the pattern of mine own thoughts I cut out The purity of his.

_Shepherd._ Take hands, a bargain!

And, friends unknown, you shall bear witness to't: I give my daughter to him, and will make Her portion equal his.[708]

_Florizel._ O, that must be I' the virtue of your daughter: one being dead, I shall have more than you can dream of yet; Enough then for your wonder. But, come on, Contract us 'fore these witnesses.

_Shepherd._ Come, your hand; And, daughter, yours."

[708] On entering into any contract, or plighting of troth, the clapping of the hands together set the seal, as in the "Winter's Tale" (i. 2), where Leontes says:

"Ere I could make thee open thy white hand, And clap thyself my love; then didst thou utter _I am yours forever_."

So, too, in "The Tempest" (iii. 1):

"_Miranda._ My husband, then?

_Ferdinand._ Ay, with a heart as willing As bondage e'er of freedom: here's my hand.

_Miranda._ And mine, with my heart in't."

And in the old play of "Ram Alley," by Barry (1611), we read, "Come, clap hands, a match." The custom is not yet disused in common life.

To the argument of Polixenes, that the father of Florizel ought to know of his proceeding, the young man answers:

"Come, come, he must not.

Mark our contract."

And then the father, discovering himself, exclaims:

"Mark your divorce, young sir."

Here, then, as Mr. Knight remarks,[709] in the publicity of a village festival, the hand of the loved one is solemnly taken by her lover, who breathes his love before the ancient stranger who is accidentally present. The stranger is called to be a witness to the protestation, and so is the neighbor who has come with him. The maiden is called upon by her father to speak, and then the old man adds:

"Take hands, a bargain!"

[709] "The Stratford Shakespeare," 1854, vol. i p. 70.

The friends are to bear witness to it:

"I give my daughter to him, and will make Her portion equal his."

The impatient lover then again exclaims:

"Contract us 'fore these witnesses."

The shepherd takes the hands of the youth and the maiden. Again the lover exclaims: