The People for Whom Shakespeare Wrote Part 2

In the great street pageants, it was the beauty and winsomeness of the London ladies, looking on, that nearly drove the foreigners wild. In 1606, upon the entry of the king of Denmark, the chronicler celebrates "the unimaginable number of gallant ladies, beauteous virgins, and other delicate dames, filling the windows of every house with kind aspect." And in 1638, when Cheapside was all alive with the pageant of the entry of the queen mother, "this miserable old queen," as Lilly calls Marie de'

Medicis (Mr. Furnivall reproduces an old cut of the scene), M. de la Serre does not try to restrain his admiration for the pretty women on view: only the most fecund imagination can represent the content one has in admiring the infinite number of beautiful women, each different from the other, and each distinguished by some sweetness or grace to ravish the heart and take captive one's liberty. No sooner has he determined to yield to one than a new object of admiration makes him repent the precipitation of his judgment.

And all the other foreigners were in the like case of "goneness."

Kiechel, writing in 1585, says, "Item, the women there are charming, and by nature so mighty pretty as I have scarcely ever beheld, for they do not falsify, paint, or bedaub themselves as in Italy or other places;"

yet he confesses (and here is another tradition preserved) "they are somewhat awkward in their style of dress." His second "item" of grat.i.tude is a Netherland custom that pleased him--whenever a foreigner or an inhabitant went to a citizen's house on business, or as a guest, he was received by the master, the lady, or the daughter, and "welcomed" (as it is termed in their language); "he has a right to take them by the arm and to kiss them, which is the custom of the country; and if any one does not do so, it is regarded and imputed as ignorance and ill-breeding on his part." Even the grave Erasmus, when he visited England, fell easily into this pretty practice, and wrote with untheological fervor of the "girls with angel faces," who were "so kind and obliging." "Wherever you come,"

he says, "you are received with a kiss by all; when you take your leave you are dismissed with kisses; you return, kisses are repeated. They come to visit you, kisses again; they leave you, you kiss them all round.

Should they meet you anywhere, kisses in abundance in fine, wherever you move there is nothing but kisses"--a custom, says this reformer, who has not the fear of Stubbes before his eyes, "never to be sufficiently commended."

We shall find no more convenient opportunity to end this part of the social study of the age of Shakespeare than with this naive picture of the s.e.x which most adorned it. Some of the details appear trivial; but grave history which concerns itself only with the actions of conspicuous persons, with the manoeuvres of armies, the schemes of politics, the battles of theologies, fails signally to give us the real life of the people by which we judge the character of an age.

III

When we turn from France to England in, the latter part of the sixteenth and the beginning of the seventeenth century, we are in another atmosphere; we encounter a literature that smacks of the soil, that is as varied, as racy, often as rude, as human life itself, and which cannot be adequately appreciated except by a study of the popular mind and the history of the time which produced it.

"Voltaire," says M. Guizot, "was the first person in France who spoke of Shakespeare's genius; and although he spoke of him merely as a barbarian genius, the French public were of the opinion that he had said too much in his favor. Indeed, they thought it nothing less than profanation to apply the words genius and glory to dramas which they considered as crude as they were coa.r.s.e."

Guizot was one of the first of his nation to approach Shakespeare in the right spirit--that is, in the spirit in which he could hope for any enlightenment; and in his admirable essay on "Shakespeare and His Times,"

he pointed out the exact way in which any piece or period of literature should be studied, that is worth studying at all. He inquired into English civilization, into the habits, manners, and modes of thought of the people for whom Shakespeare wrote. This method, this inquiry into popular sources, has been carried much further since Guizot wrote, and it is now considered the most remunerative method, whether the object of study is literature or politics. By it not only is the literature of a period for the first time understood, but it is given its just place as an exponent of human life and a monument of human action.

The student who takes up Shakespeare's plays for the purpose of either amus.e.m.e.nt or cultivation, I would recommend to throw aside the whole load of commentary, and speculation, and disquisition, and devote himself to trying to find out first what was the London and the England of Shakespeare's day, what were the usages of all cla.s.ses of society, what were the manners and the character of the people who crowded to hear his plays, or who denounced them as the works of the devil and the allies of sin. I say again to the student that by this means Shakespeare will become a new thing to him, his mind will be enlarged to the purpose and scope of the great dramatist, and more illumination will be cast upon the plays than is received from the whole race of inquisitors into his phrases and critics of his genius. In the light of contemporary life, its visions of empire, its spirit of adventure, its piracy, exploration, and warlike turmoil, its credulity and superst.i.tious wonder at natural phenomena, its implicit belief in the supernatural, its faith, its virility of daring, coa.r.s.eness of speech, bluntness of manner, luxury of apparel, and ostentation of wealth, the mobility of its shifting society, these dramas glow with a new meaning, and awaken a profounder admiration of the poet's knowledge of human life.

The experiences of the poet began with the rude and rural life of England, and when he pa.s.sed into the presence of the court and into the bustle of great London in an age of amazing agitation, he felt still in his veins the throb of the popular blood. There were cla.s.sic affectations in England, there were masks and mummeries and cla.s.sic puerilities at court and in n.o.ble houses--Elizabeth's court would well have liked to be cla.s.sical, remarks Guizot--but Shakespeare was not fettered by cla.s.sic conventionalities, nor did he obey the unities, nor attempt to separate on the stage the tragedy and comedy of life--"immense and living stage,"

says the writer I like to quote because he is French, upon which all things are represented, as it were, in their solid form, and in the place which they occupied in a stormy and complicated civilization. In these dramas the comic element is introduced whenever its character of reality gives it the right of admission and the advantage of opportune appearance. Falstaff appears in the train of Henry V., and Doll Tear-Sheet in the train of Falstaff; the people surround the kings, and the soldiers crowd around their generals; all conditions of society, all the phases of human destiny appear by turns in juxtaposition, with the nature which properly belongs to them, and in the position which they naturally occupy. . . .

"Thus we find the entire world, the whole of human realities, reproduced by Shakespeare in tragedy, which, in his eyes, was the universal theatre of life and truth."

It is possible to make a brutal picture of the England of Shakespeare's day by telling nothing that is not true, and by leaving out much that is true. M. Taine, who has a theory to sustain, does it by a graphic catalogue of details and traits that cannot be denied; only there is a great deal in English society that he does not include, perhaps does not apprehend. Nature, he thinks, was never so completely acted out. These robust men give rein to all their pa.s.sions, delight in the strength of their limbs like Carmen, indulge in coa.r.s.e language, undisguised sensuality, enjoy gross jests, brutal buffooneries. Humanity is as much lacking as decency. Blood, suffering, does not move them. The court frequents bull and bear baitings; Elizabeth beats her maids, spits upon a courtier's fringed coat, boxes Ess.e.x's ears; great ladies beat their children and their servants. "The sixteenth century," he says, "is like a den of lions. Amid pa.s.sions so strong as these there is not one lacking.

Nature appears here in all its violence, but also in all its fullness. If nothing has been softened, nothing has been mutilated. It is the entire man who is displayed, heart, mind, body, senses, with his n.o.blest and finest aspirations, as with his most b.e.s.t.i.a.l and savage appet.i.tes, without the preponderance of any dominant pa.s.sion to cast him altogether in one direction, to exalt or degrade him. He has not become rigid as he will under Puritanism. He is not uncrowned as in the Restoration." He has entered like a young man into all the l.u.s.ty experiences of life, every allurement is known, the sweetness and novelty of things are strong with him. He plunges into all sensations. "Such were the men of this time, Raleigh, Ess.e.x, Elizabeth, Henry VIII himself, excessive and inconstant, ready for devotion and for crime, violent in good and evil, heroic with strange weaknesses, humble with sudden changes of mood, never vile with premeditation like the roisterers of the Restoration, never rigid on principle like the Puritans of the Revolution, capable of weeping like children, and of dying like men, often base courtiers, more than once true knights, displaying constantly, amidst all these contradictions of bearing, only the overflowing of nature. Thus prepared, they could take in everything, sanguinary ferocity and refined generosity, the brutality of shameless debauchery, and the most divine innocence of love, accept all the characters, wantons and virgins, princes and mountebanks, pa.s.s quickly from trivial buffoonery to lyrical sublimities, listen alternately to the quibbles of clowns and the songs of lovers. The drama even, in order to satisfy the prolixity of their nature, must take all tongues, pompous, inflated verse, loaded with imagery, and side by side with this vulgar prose; more than this, it must distort its natural style and limits, put songs, poetical devices in the discourse of courtiers and the speeches of statesmen; bring on the stage the fairy world of opera, as Middleton says, gnomes, nymphs of the land and sea, with their groves and meadows; compel the G.o.ds to descend upon the stage, and h.e.l.l itself to furnish its world of marvels. No other theatre is so complicated, for nowhere else do we find men so complete."

M. Taine heightens this picture in generalizations splashed with innumerable blood-red details of English life and character. The English is the most warlike race in Europe, most redoubtable in battle, most impatient of slavery. "English savages" is what Cellini calls them; and the great shins of beef with which they fill themselves nourish the force and ferocity of their instincts. To harden them thoroughly, inst.i.tutions work in the same groove as nature. The nation is armed. Every man is a soldier, bound to have arms according to his condition, to exercise himself on Sundays and holidays. The State resembles an army; punishments must inspire terror; the idea of war is ever present. Such instincts, such a history, raises before them with tragic severity the idea of life; death is at hand, wounds, blood, tortures. The fine purple cloaks, the holiday garments, elsewhere signs of gayety of mind, are stained with blood and bordered with black. Throughout a stern discipline, the axe ready for every suspicion of treason; "great men, bishops, a chancellor, princes, the king's relations, queens, a protector kneeling in the straw, sprinkled the Tower with their blood; one after the other they marched past, stretched out their necks; the Duke of Buckingham, Queen Anne Boleyn, Queen Catherine Howard, the Earl of Surrey, Admiral Seymour, the Duke of Somerset, Lady Jane Grey and her husband, the Duke of Northumberland, the Earl of Ess.e.x, all on the throne, or on the steps of the throne, in the highest ranks of honor, beauty, youth, genius; of the bright procession nothing is left but senseless trunks, marred by the tender mercies of the executioner."

The gibbet stands by the highways, heads of traitors and criminals grin on the city gates. Mournful legends multiply, church-yard ghosts, walking spirits. In the evening, before bedtime, in the vast country houses, in the poor cottages, people talk of the coach which is seen drawn by headless horses, with headless postilions and coachmen. All this, with unbounded luxury, unbridled debauchery, gloom, and revelry hand in hand.

"A threatening and sombre fog veils their mind like their sky, and joy, like the sun, pierces through it and upon them strongly and at intervals." All this riot of pa.s.sion and frenzy of vigorous life, this madness and sorrow, in which life is a phantom and destiny drives so remorselessly, Taine finds on the stage and in the literature of the period.

To do him justice, he finds something else, something that might give him a hint of the innate soundness of English life in its thousands of sweet homes, something of that great force of moral stability, in the midst of all violence and excess of pa.s.sion and performance, which makes a nation n.o.ble. "Opposed to this band of tragic figures," which M. Taine arrays from the dramas, "with their contorted features, brazen fronts, combative att.i.tudes, is a troop (he says) of timid figures, tender before everything, the most graceful and love-worthy whom it has been given to man to depict. In Shakespeare you will meet them in Miranda, Juliet, Desdemona, Virginia, Ophelia, Cordelia, Imogen; but they abound also in the others; and it is a characteristic of the race to have furnished them, as it is of the drama to have represented them. By a singular coincidence the women are more of women, the men more of men, here than elsewhere. The two natures go to its extreme--in the one to boldness, the spirit of enterprise and resistance, the warlike, imperious, and unpolished character; in the other to sweetness, devotion, patience, inextinguishable affection (hence the happiness and strength of the marriage tie), a thing unknown in distant lands, and in France especially a woman here gives herself without drawing back, and places her glory and duty in obedience, forgiveness, adoration, wishing, and pretending only to be melted and absorbed daily deeper and deeper in him whom she has freely and forever chosen." This is an old German instinct. The soul in this race is at once primitive and serious. Women are disposed to follow the n.o.ble dream called duty. "Thus, supported by innocence and conscience, they introduce into love a profound and upright sentiment, abjure coquetry, vanity, and flirtation; they do not lie, they are not affected. When they love they are not tasting a forbidden fruit, but are binding themselves for their whole life. Thus understood, love becomes almost a holy thing; the spectator no longer wishes to be malicious or to jest; women do not think of their own happiness, but of that of the loved ones; they aim not at pleasure, but at devotion."

Thus far M. Taine's brilliant ant.i.theses--the most fascinating and most dangerous model for a young writer. But we are indebted to him for a most suggestive study of the period. His astonishment, the astonishment of the Gallic mind, at what he finds, is a measure of the difference in the literature of the two races as an expression of their life. It was natural that he should somewhat exaggerate what he regards as the source of this expression, leaving out of view, as he does, certain great forces and currents which an outside observer cannot feel as the race itself feels. We look, indeed, for the local color of this English literature in the manners and habits of the times, traits of which Taine has so skillfully made a mosaic from Harrison, Stubbes, Stowe, Holinshed, and the pages of Reed and Drake; but we look for that which made it something more than a mirror of contemporary manners, vices, and virtues, made it representative of universal men, to other causes and forces-such as the Reformation, the immense stir, energy, and ambition of the age (the result of invention and discovery), newly awakened to the sense that there was a world to be won and made tributary; that England, and, above all places on the globe at that moment, London, was the centre of a display of energy and adventure such as has been scarcely paralleled in history. And underneath it all was the play of an uneasy, protesting democracy, eager to express itself in adventure, by changing its condition, in the joy of living and overcoming, and in literature, with small regard for tradition or the unities.

When Shakespeare came up to London with his first poems in his pocket, the town was so great and full of marvels, and luxury, and entertainment, as to excite the astonishment of continental visitors. It swarmed with soldiers, adventurers, sailors who were familiar with all seas and every port, men with projects, men with marvelous tales. It teemed with schemes of colonization, plans of ama.s.sing wealth by trade, by commerce, by planting, mining, fishing, and by the quick eye and the strong hand.

Swaggering in the coffee-houses and ruffling it in the streets were the men who had sailed with Frobisher and Drake and Sir Humphrey Gilbert, Hawkins, and Sir Richard Granville; had perhaps witnessed the heroic death of Sir Philip Sidney, at Zutphen; had served with Raleigh in Anjou, Picardy, Languedoc, in the Netherlands, in the Irish civil war; had taken part in the dispersion of the Spanish Armada, and in the bombardment of Cadiz; had filled their cups to the union of Scotland with England; had suffered shipwreck on the Barbary Coast, or had, by the fortune of war, felt the grip of the Spanish Inquisition; who could tell tales of the marvels seen in new-found America and the Indies, and, perhaps, like Captain John Smith, could mingle stories of the naive simplicity of the natives beyond the Atlantic, with charming narratives of the wars in Hungary, the beauties of the seraglio of the Grand Turk, and the barbaric pomp of the Khan of Tartary. There were those in the streets who would see Raleigh go to the block on the scaffold in Old Palace Yard, who would fight against King Charles on the fields of Newbury or Naseby, Kineton or Marston Moor, and perchance see the exit of Charles himself from another scaffold erected over against the Banqueting House.

Although London at the accession of James I.(1603) had only about one hundred and fifty thousand inhabitants--the population of England then numbering about five million--it was so full of life and activity that Frederick, Duke of Wurtemberg, who saw it a few years before, in 1592, was impressed with it as a large, excellent, and mighty city of business, crowded with people buying and selling merchandise, and trading in almost every corner of the world, a very populous city, so that one can scarcely pa.s.s along the streets on account of the throng; the inhabitants, he says, are magnificently appareled, extremely proud and overbearing, who scoff and laugh at foreigners, and no one dare oppose them lest the street boys and apprentices collect together in immense crowds and strike to right and left unmercifully without regard to persons.

There prevailed an insatiable curiosity for seeing strange sights and hearing strange adventures, with an eager desire for visiting foreign countries, which Shakespeare and all the play-writers satirize.

Conversation turned upon the wonderful discoveries of travelers, whose voyages to the New World occupied much of the public attention. The exaggeration which from love of importance inflated the narratives, the poets also take note of. There was also a universal taste for hazard in money as well as in travel, for putting it out on risks at exorbitant interest, and the habit of gaming reached prodigious excess. The pa.s.sion for sudden wealth was fired by the success of the sea-rovers, news of which inflamed the imagination. Samuel Kiechel, a merchant of Ulm, who was in London in 1585, records that, "news arrived of a Spanish ship captured by Drake, in which it was said there were two millions of uncoined gold and silver in ingots, fifty thousand crowns in coined reals, seven thousand hides, four chests of pearls, each containing two bushels, and some sacks of cochineal--the whole valued at twenty-five barrels of gold; it was said to be one year and a half's tribute from Peru."

The pa.s.sion for travel was at such a height that those who were unable to accomplish distant journeys, but had only crossed over into France and Italy, gave themselves great airs on their return. "Farewell, monsieur traveler," says Shakespeare; "look, you lisp, and wear strange suits; disable all the benefits of your own country; be out of love with your nativity, and almost chide G.o.d for making you that countenance you are, or I will scarce think you have swam in a gondola." The Londoners dearly loved gossip, and indulged in exaggeration of speech and high-flown compliment. One gallant says to another: "O, signior, the star that governs my life is contentment; give me leave to interre myself in your arms."--"Not so, sir, it is too unworthy an enclosure to contain such preciousness!"

Dancing was the daily occupation rather than the amus.e.m.e.nt at court and elsewhere, and the names of dances exceeded the list of the virtues--such as the French brawl, the pavon, the measure, the canary, and many under the general t.i.tles of corantees, jigs, galliards, and fancies. At the dinner and ball given by James I. to Juan Fernandez de Velasco, Constable of Castile, in 1604, fifty ladies of honor, very elegantly dressed and extremely beautiful, danced with the n.o.blemen and gentlemen. Prince Henry danced a galliard with a lady, "with much sprightliness and modesty, cutting several capers in the course of the dance"; the Earl of Southampton led out the queen, and with three other couples danced a brando, and so on, the Spanish visitors looking on. When Elizabeth was old and had a wrinkled face and black teeth, she was one day discovered practicing the dance step alone, to the sound of a fiddle, determined to keep up to the last the limberness and agility necessary to impress foreign amba.s.sadors with her grace and youth. There was one custom, however, that may have made dancing a labor of love: it was considered ill manners for the gentleman not to kiss his partner. Indeed, in all households and in all ranks of society the guest was expected to salute thus all the ladies a custom which the grave Erasmus, who was in England in the reign of Henry VIII., found not disagreeable.

Magnificence of display went hand in hand with a taste for cruel and barbarous amus.e.m.e.nts. At this same dinner to the Constable of Castile, the two buffets of the king and queen in the audience-chamber, where the banquet was held, were loaded with plate of exquisite workmanship, rich vessels of gold, agate, and other precious stones. The constable drank to the king the health of the queen from the lid of a cup of agate of extraordinary beauty and richness, set with diamonds and rubies, praying his majesty would condescend to drink the toast from the cup, which he did accordingly, and then the constable directed that the cup should remain in his majesty's buffet. The constable also drank to the queen the health of the king from a very beautiful dragon-shaped cup of crystal garnished with gold, drinking from the cover, and the queen, standing up, gave the pledge from the cup itself, and then the constable ordered that the cup should remain in the queen's buffet.

The banquet lasted three hours, when the cloth was removed, the table was placed upon the ground--that is, removed from the dais--and their majesties, standing upon it, washed their hands in basins, as did the others. After the dinner was the ball, and that ended, they took their places at the windows of a roam that looked out upon a square, where a platform was raised and a vast crowd was a.s.sembled to see the king's bears fight with greyhounds. This afforded great amus.e.m.e.nt. Presently a bull, tied to the end of a rope, was fiercely baited by dogs. After this tumblers danced upon a rope and performed feats of agility on horseback.

The constable and his attendants were lighted home by half an hundred halberdiers with torches, and, after the fatigues of the day, supped in private. We are not surprised to read that on Monday, the 30th, the constable awoke with a slight attack of lumbago.

Like Elizabeth, all her subjects were fond of the savage pastime of bear and bull baiting. It cannot be denied that this people had a taste for blood, took delight in brutal encounters, and drew the sword and swung the cudgel with great prompt.i.tude; nor were they fastidious in the matter of public executions. Kiechel says that when the criminal was driven in the cart under the gallows, and left hanging by the neck as the cart moved from under him, his friends and acquaintances pulled at his legs in order that he might be strangled the sooner.

When Shakespeare was managing his theatres and writing his plays London was full of foreigners, settled in the city, who no doubt formed part of his audience, for they thought that English players had attained great perfection. In 1621 there were as many as ten thousand strangers in London, engaged in one hundred and twenty-one different trades. The poet need not go far from Blackfriars to pick up sc.r.a.ps of German and folk-lore, for the Hanse merchants were located in great numbers in the neighborhood of the steel-yard in Lower Thames Street.

Foreigners as well as contemporary chronicles and the printed diatribes against luxury bear witness to the profusion in all ranks of society and the variety and richness in apparel. There was a rage for the display of fine clothes. Elizabeth left hanging in her wardrobe above three thousand dresses when she was called to take that unseemly voyage down the stream, on which the clown's brogan jostles the queen's slipper. The plays of Shakespeare, Jonson, Beaumont and Fletcher, and of all the dramatists, are a perfect commentary on the fashions of the day, but a knowledge of the fashions is necessary to a perfect enjoyment of the plays. We see the fine lady in a gown of velvet (the foreigners thought it odd that velvet should be worn in the street), or cloth of gold and silver tissue, her hair eccentrically dressed, and perhaps dyed, a great hat with waving feathers, sometimes a painted face, maybe a mask or a m.u.f.fler hiding all the features except the eyes, with a m.u.f.f, silk stockings, high-heeled shoes, imitated from the "chopine" of Venice, perfumed bracelets, necklaces, and gloves--"gloves sweet as damask roses"--a pocket-handkerchief wrought in gold and silver, a small looking-gla.s.s pendant at the girdle, and a love-lock hanging wantonly over the shoulder, artificial flowers at the corsage, and a mincing step. "These fashionable women, when they are disappointed, dissolve into tears, weep with one eye, laugh with the other, or, like children, laugh and cry they can both together, and as much pity is to be taken of a woman weeping as of a goose going barefoot," says old Burton.

The men had even greater fondness for finery. Paul Hentzner, the Brandenburg jurist, in 1598, saw, at the Fair at St. Bartholomew, the lord mayor, attended by twelve gorgeous aldermen, walk in a neighboring field, dressed in a scarlet gown, and about his neck a golden chain, to which hung a Golden Fleece. Men wore the hair long and flowing, with high hats and plumes of feathers, and carried m.u.f.fs like the women; gallants sported gloves on their hats as tokens of ladies' favors, jewels and roses in the ears, a long love-lock under the left ear, and gems in a ribbon round the neck. This tall hat was called a "capatain." Vincentio, in the "Taming of the Shrew," exclaims: "O fine villain! A silken doublet! A velvet hose! A scarlet cloak! And a capatain hat!" There was no limit to the caprice and extravagance. Hose and breeches of silk, velvet, or other rich stuff, and fringed garters wrought of gold or silver, worth five pounds apiece, are some of the items noted. Burton says, "'Tis ordinary for a gallant to put a thousand oaks and an hundred oxen into a suit of apparel, to wear a whole manor on his back." Even serving-men and tailors wore jewels in their shoes.

We should note also the magnificence in the furnishing of houses, the arras, tapestries, cloth of gold and silver, silk hangings of many colors, the splendid plate on the tables and sideboards. Even in the houses of the middle cla.s.ses the furniture was rich and comfortable, and there was an air of amenity in the chambers and parlors strewn with sweet herbs and daily decked with pretty nosegays and fragrant flowers. Lights were placed on antique candelabra, or, wanting these at suppers, there were living candleholders. "Give me a torch," says Romeo; "I'll be a candle-holder, and look on." Knowledge of the details of luxury of an English home of the sixteenth century will make exceedingly vivid hosts of allusions in Shakespeare.

Servants were numerous in great households, a large retinue being a mark of gentility, and hospitality was unbounded. During the lord mayor's term in London he kept open house, and every day any stranger or foreigner could dine at his table, if he could find an empty seat. Dinner, served at eleven in the early years of James, attained a degree of epicureanism rivaling dinners of the present day, although the guests ate with their fingers or their knives, forks not coming in till 1611. There was mighty eating and swigging at the banquets, and carousing was carried to an extravagant height, if we may judge by the account of an orgy at the king's palace in 1606, for the delectation of the King and Queen of Denmark, when the company and even their majesties abandoned discretion and sobriety, and "the ladies are seen to roll about in intoxication."

The manners of the male population of the period, says Nathan Drake, seem to have been compounded from the characters of the two sovereigns. Like Elizabeth, they are brave, magnanimous, and prudent; and sometimes, like James, they are credulous, curious, and dissipated. The credulity and superst.i.tion of the age, and its belief in the supernatural, and the sumptuousness of masques and pageants at the court and in the city, of which we read so much in the old chronicles, are abundantly reflected in the pages of Jonson, Shakespeare, and other writers.

The town was full of public-houses and pleasure-gardens, but, curiously enough, the favorite place of public parading was the middle aisle of St.

Paul's Cathedral--"Paul's Walk," as it was called--which was daily frequented by n.o.bles, gentry, perfumed gallants, and ladies, from ten to twelve and three to six o'clock, to talk on business, politics, or pleasure. Hither came, to acquire the fashions, make a.s.signations, arrange for the night's gaming, or shun the bailiff, the gallant, the gamester, the ladies whose dresses were better than their manners, the stale knight, the captain out of service. Here Falstaff purchased Bardolph. "I bought him," say's the knight, "at Paul's." The tailors went there to get the fashions of dress, as the gallants did to display them, one suit before dinner and another after. What a study was this varied, mixed, flaunting life, this dance of pleasure and license before the very altar of the church, for the writers of satire, comedy, and tragedy!

But it is not alone town life and court life and the society of the fine folk that is reflected in the English drama and literature of the seventeenth century, and here is another wide difference between it and the French literature of the same period; rural England and the popular life of the country had quite as much to do in giving tone and color to the writings of the time. It is necessary to know rural England to enter into the spirit of this literature, and to appreciate how thoroughly it took hold of life in every phase. Shakespeare knew it well. He drew from life the country gentleman, the squire, the parson, the pedantic schoolmaster who was regarded as half conjurer, the yeoman or farmer, the dairy maids, the sweet English girls, the country louts, shepherds, boors, and fools. How he loved a fool! He had talked with all these persons, and knew their speeches and humors. He had taken part in the country festivals-May Day, Plow Monday, the Sheep Shearing, the Morris Dances and Maud Marian, the Harvest Home and Twelfth Night. The rustic merrymakings, the feasts in great halls, the games on the greensward, the love of wonders and of marvelous tales, the regard for portents, the naive superst.i.tions of the time pa.s.s before us in his pages. Drake, in his "Shakespeare and his Times," gives a graphic and indeed charming picture of the rural life of this century, drawn from Harrison and other sources.

In his s.p.a.cious hall, floored with stones and lighted by large transom windows, hung with coats of mail and helmets, and all military accoutrements, long a prey to rust, the country squire, seated at a raised table at one end, held a baronial state and dispensed prodigal hospitality. The long table was divided into upper and lower messes by a huge salt-cellar; and the consequence of the guests was marked by their seats above or below the salt. The distinction extended to the fare, for wine frequently circulated only above the salt, and below it the food was of coa.r.s.er quality. The literature of the time is full of allusions to this distinction. But the luxury of the table and good cooking were well understood in the time of Elizabeth and James. There was ma.s.sive eating done in those days, when the guests dined at eleven, rose from the banquet to go to evening prayers, and returned to a supper at five or six, which was often as substantial as the dinner. Gervase Markham in his "English Housewife," after treating of the ordering of great feasts, gives directions for "a more humble feast of an ordinary proportion."

This "humble feast," he says, should consist for the first course of "sixteen full dishes, that is, dishes of meat that are of substance, and not empty, or for shew--as thus, for example: first, a shield of brawn with mustard; secondly, a boyl'd capon; thirdly, a boyl'd piece of beef; fourthly, a chine of beef rosted; fifthly, a neat's tongue rosted; sixthly, a pig rosted; seventhly, chewets bak'd; eighthly, a goose rosted; ninthly, a swan rosted; tenthly, a turkey rosted; the eleventh, a haunch of venison rosted; the twelfth, a pasty of venison; the thirteenth, a kid with a pudding in the belly; the fourteenth, an olive-pye; the fifteenth, a couple of capons; the sixteenth, a custard or dowsets. Now to these full dishes may be added sallets, fricases, 'quelque choses,' and devised paste; as many dishes more as will make no less than two and thirty dishes, which is as much as can conveniently stand on one table, and in one mess; and after this manner you may proportion both your second and third course, holding fullness on one half the dishes, and shew in the other, which will be both frugal in the splendor, contentment to the guest, and much pleasure and delight to the beholders." After this frugal repast it needed an interval of prayers before supper.

The country squire was a long-lived but not always an intellectual animal. He kept hawks of all kinds, and all sorts of hounds that ran buck, fox, hare, otter, and badger. His great hall was commonly strewn with marrow-bones, and full of hawks' perches, of hounds, spaniels, and terriers. His oyster-table stood at one end of the room, and oysters he ate at dinner and supper. At the upper end of the room stood a small table with a double desk, one side of which held a church Bible, the other Fox's "Book of Martyrs." He drank a gla.s.s or two of wine at his meals, put syrup of gilly-flower in his sack, and always had a tun-gla.s.s of small beer standing by him, which he often stirred about with rosemary. After dinner, with a gla.s.s of ale by his side he improved his mind by listening to the reading of a choice pa.s.sage out of the "Book of Martyrs."

This is a portrait of one Henry Hastings, of Dorsetshire, in Gilpin's "Forest Scenery." He lived to be a hundred, and never lost his sight nor used spectacles. He got on horseback without help, and rode to the death of the stag till he was past fourscore.

The plain country fellow, plowman, or clown, is several pegs lower, and described by Bishop Earle as one that manures his ground well, but lets himself lie fallow and unt.i.tled. His hand guides the plow, and the plow his thoughts. His mind is not much disturbed by objects, but he can fix a half-hour's contemplation on a good fat cow. His habitation is under a poor thatched roof, distinguished from his barn only by loop-holes that let out the smoke. Dinner is serious work, for he sweats at it as much as at his labor, and he is a terrible fastener on a piece of beef. His religion is a part of his copyhold, which he takes from his landlord and refers it wholly to his discretion, but he is a good Christian in his way, that is, he comes to church in his best clothes, where he is capable only of two prayers--for rain and fair weather.

The country clergymen, at least those of the lower orders, or readers, were distinguished in Shakespeare's time by the appellation "Sir," as Sir Hugh, in the "Merry Wives," Sir Topas, in "Twelfth Night," Sir Oliver, in "As You Like It." The distinction is marked between priesthood and knighthood when Vista says, "I am one that would rather go with Sir Priest than Sir Knight." The clergy were not models of conduct in the days of Elizabeth, but their position excites little wonder when we read that they were often paid less than the cook and the minstrel.

There was great fondness in cottage and hall for merry tales of errant knights, lovers, lords, ladies, dwarfs, friars, thieves, witches, goblins, for old stories told by the fireside, with a toast of ale on the hearth, as in Milton's allusion

"---to the nut-brown ale, With stories told of many a feat"

A designation of winter in "Love's Labour's Lost" is

"When roasted crabs hiss in the bowl."

To "turne a crab" is to roast a wild apple in the fire in order to throw it hissing hot into a bowl of nutbrown ale, into which had been put a toast with some spice and sugar. Puck describes one of his wanton pranks:

"And sometimes I lurk in a gossip's bowl, In very likeness of a roasted crab, And when she drinks against her lips I bob:"