Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (460 page)

Thence I was ushered up stairs to the room in which Shakespeare is supposed to have been born: though, if you peep too curiously into the matter, you may find the shadow of an ugly doubt on this, as well as most other points of his mysterious life. It is the chamber over the butcher's shop, and is lighted by one broad window containing a great many small, irregular panes of glass. The floor is made of planks, very rudely hewn, and fitting together with little neatness; the naked beams and rafters, at the sides of the room and overhead, bear the original marks of the builder's broad-axe, with no evidence of an attempt to smooth off the job. Again we have to reconcile ourselves to the smallness of the space enclosed by these illustrious walls, — a circumstance more difficult to accept, as regards places that we have heard, read, thought, and dreamed much about, than any other disenchanting particular of a mistaken ideal. A few paces — perhaps seven or eight — take us from end to end of it. So low it is, that I could easily touch the ceiling, and might have done so without a tiptoe-stretch, had it been a good deal higher; and this humility of the chamber has tempted a vast multitude of people to write their names overhead in pencil. Every inch of the sidewalls, even into the obscurest nooks and corners, is covered with a similar record; all the window-panes, moreover, are scrawled with diamond signatures, among which is said to be that of Walter Scott; but so many persons have sought to immortalize themselves in close vicinity to his name, that I really could not trace him out. Methinks it is strange that people do not strive to forget their forlorn little identities, in such situations, instead of thrusting them forward into the dazzle of a great renown, where, if noticed, they cannot but be deemed impertinent.

This room, and the entire house, so far as I saw it, are whitewashed and exceedingly clean; nor is there the aged, musty smell with which old Chester first made me acquainted, and which goes far to cure an American of his excessive predilection for antique residences. An old lady, who took charge of me up stairs, had the manners and aspect of a gentlewoman, and talked with somewhat formidable knowledge and appreciative intelligence about Shakespeare. Arranged on a table and in chairs were various prints, views of houses and scenes connected with Shakespeare's memory, together with editions of his works and local publications about his home and haunts, from the sale of which this respectable lady perhaps realizes a handsome profit. At any rate, I bought a good many of them, conceiving that it might be the civillest way of requiting her for her instructive conversation and the trouble she took in showing me the house. It cost me a pang (not a curmudgeonly, but a gentlemanly one) to offer a downright fee to the lady-like girl who had admitted me; but I swallowed my delicate scruples with some little difficulty, and she digested hers, so far as I could observe, with no difficulty at all. In fact, nobody need fear to hold out half a crown to any person with whom he has occasion to speak a word in England.

I should consider it unfair to quit Shakespeare's house without the frank acknowledgment that I was conscious of not the slightest emotion while viewing it, nor any quickening of the imagination. This has often happened to me in my visits to memorable places. Whatever pretty and apposite reflections I may have made upon the subject had either occurred to me before I ever saw Stratford, or have been elaborated since. It is pleasant, nevertheless, to think that I have seen the place; and I believe that I can form a more sensible and vivid idea of Shakespeare as a flesh-and-blood individual now that I have stood on the kitchen-hearth and in the birth-chamber; but I am not quite certain that this power of realization is altogether desirable in reference to a great poet. The Shakespeare whom I met there took various guises, but had not his laurel on. He was successively the roguish boy, — the youthful deer-stealer, — the comrade of players, — the too familiar friend of Davenant's mother, — the careful, thrifty, thriven man of property who came back from London to lend money on bond, and occupy the best house in Stratford, — the mellow, red-nosed, autumnal boon-companion of John a' Combe, — and finally (or else the Stratford gossips belied him), the victim of convivial habits, who met his death by tumbling into a ditch on his way home from a drinking-bout, and left his second-best bed to his poor wife.

I feel, as sensibly as the reader can, what horrible impiety it is to remember these things, be they true or false. In either case, they ought to vanish out of sight on the distant ocean-line of the past, leaving a pure, white memory, even as a sail, though perhaps darkened with many stains, looks snowy white on the far horizon. But I draw a moral from these unworthy reminiscences and this embodiment of the poet, as suggested by some of the grimy actualities of his life. It is for the high interests of the world not to insist upon finding out that its greatest men are, in a certain lower sense, very much the same kind of men as the rest of us, and often a little worse; because a common mind cannot properly digest such a discovery, nor ever know the true proportion of the great man's good and evil, nor how small a part of him it was that touched our muddy or dusty earth. Thence comes moral bewilderment, and even intellectual loss, in regard to what is best of him. When Shakespeare invoked a curse on the man who should stir his bones, he perhaps meant the larger share of it for him or them who should pry into his perishing earthliness, the defects or even the merits of the character that he wore in Stratford, when he had left mankind so much to muse upon that was imperishable and divine. Heaven keep me from incurring any part of the anathema in requital for the irreverent sentences above written!

From Shakespeare's house, the next step, of course, is to visit his burial-place. The appearance of the church is most venerable and beautiful, standing amid a great green shadow of lime-trees, above which rises the spire, while the Gothic battlements and buttresses and vast arched windows are obscurely seen through the boughs. The Avon loiters past the churchyard, an exceedingly sluggish river, which might seem to have been considering which way it should flow ever since Shakespeare left off paddling in it and gathering the large forget-me-nots that grow among its flags and water-weeds.

An old man in small-clothes was waiting at the gate; and inquiring whether I wished to go in, he preceded me to the church-porch, and rapped. I could have done it quite as effectually for myself; but it seems, the old people of the neighborhood haunt about the churchyard, in spite of the frowns and remonstrances of the sexton, who grudges them the half-eleemosynary sixpence which they sometimes get from visitors. I was admitted into the church by a respectable-looking and intelligent man in black, the parish-clerk, I suppose, and probably holding a richer incumbency than his vicar, if all the fees which he handles remain in his own pocket. He was already exhibiting the Shakespeare monuments to two or three visitors, and several other parties came in while I was there.

The poet and his family are in possession of what may be considered the very best burial-places that the church affords. They lie in a row, right across the breadth of the chancel, the foot of each gravestone being close to the elevated floor on which the altar stands. Nearest to the side-wall, beneath Shakespeare's bust, is a slab bearing a Latin inscription addressed to his wife, and covering her remains; then his own slab, with the old anathematizing stanza upon it; then that of Thomas Nash, who married his granddaughter; then that of Dr. Hall, the husband of his daughter Susannah; and, lastly, Susannah's own. Shakespeare's is the commonest-looking slab of all, being just such a flag-stone as Essex Street in Salem used to be paved with, when I was a boy. Moreover, unless my eyes or recollection deceive me, there is a crack across it, as if it had already undergone some such violence as the inscription deprecates. Unlike the other monuments of the family, it bears no name, nor am I acquainted with the grounds or authority on which it is absolutely determined to be Shakespeare's; although, being in a range with those of his wife and children, it might naturally be attributed to him. But, then, why does his wife, who died afterwards, take precedence of him and occupy the place next his bust? And where are the graves of another daughter and a son, who have a better right in the family row than Thomas Nash, his grandson-in-law? Might not one or both of them have been laid under the nameless stone? But it is dangerous trifling with Shakespeare's dust; so I forbear to meddle further with the grave (though the prohibition makes it tempting), and shall let whatever bones be in it rest in peace. Yet I must needs add that the inscription on the bust seems to imply that Shakespeare's grave was directly underneath it.

The poet's bust is affixed to the northern wall of the church, the base of it being about a man's height, or rather more, above the floor of the chancel. The features of this piece of sculpture are entirely unlike any portrait of Shakespeare that I have ever seen, and compel me to take down the beautiful, lofty-browed, and noble picture of him which has hitherto hung in my mental portrait-gallery. The bust cannot be said to represent a beautiful face or an eminently noble head; but it clutches firmly hold of one's sense of reality and insists upon your accepting it, if not as Shakespeare the poet, yet as the wealthy burgher of Stratford, the friend of John a' Combe, who lies yonder in the corner. I know not what the phrenologists say to the bust. The forehead is but moderately developed, and retreats somewhat, the upper part of the skull rising pyramidally; the eyes are prominent almost beyond the penthouse of the brow; the upper lip is so long that it must have been almost a deformity, unless the sculptor artistically exaggerated its length, in consideration, that, on the pedestal, it must be foreshortened by being looked at from below. On the whole, Shakespeare must have had a singular rather than a prepossessing face; and it is wonderful how, with this bust before its eyes, the world has persisted in maintaining an erroneous notion of his appearance, allowing painters and sculptors to foist their idealized nonsense on its all, instead of the genuine man. For my part, the Shakespeare of my mind's eye is henceforth to be a personage of a ruddy English complexion, with a reasonably capacious brow, intelligent and quickly observant eyes, a nose curved slightly outward, a long, queer upper lip, with the mouth a little unclosed beneath it, and cheeks considerably developed in the lower part and beneath the chin. But when Shakespeare was himself (for nine tenths of the time, according to all appearances, he was but the burgher of Stratford), he doubtless shone through this dull mask and transfigured it into the face of an angel.

Fifteen or twenty feet behind the row of Shakespeare gravestones is the great east-window of the church, now brilliant with stained glass of recent manufacture. On one side of this window, under a sculptured arch of marble, lies a full-length marble figure of John a' Combe, clad in what I take to be a robe of municipal dignity, and holding its hands devoutly clasped. It is a sturdy English figure, with coarse features, a type of ordinary man whom we smile to see immortalized in the sculpturesque material of poets and heroes; but the prayerful attitude encourages us to believe that the old usurer may not, after all, have had that grim reception in the other world which Shakespeare's squib foreboded for him. By the by, till I grew somewhat familiar with Warwickshire pronunciation, I never understood that the point of those ill-natured lines was a pun. “'Oho!' quoth the Devil, ''t is my John a' Combe'“ — that is, “My John has come!”

Close to the poet's bust is a nameless, oblong, cubic tomb, supposed to be that of a clerical dignitary of the fourteenth century. The church has other mural monuments and altar-tombs, one or two of the latter upholding the recumbent figures of knights in armor and their dames, very eminent and worshipful personages in their day, no doubt, but doomed to appear forever intrusive and impertinent within the precincts which Shakespeare has made his own. His renown is tyrannous, and suffers nothing else to be recognized within the scope of its material presence, unless illuminated by some side-ray from himself. The clerk informed me that interments no longer take place in any part of the church. And it is better so; for methinks a person of delicate individuality, curious about his burial-place, and desirous of six feet of earth for himself alone, could never endure to be buried near Shakespeare, but would rise up at midnight and grope his way out of the church-door, rather than sleep in the shadow of so stupendous a memory.

I should hardly have dared to add another to the innumerable descriptions of Stratford-on-Avon, if it had not seemed to me that this would form a fitting framework to some reminiscences of a very remarkable woman. Her labor, while she lived, was of a nature and purpose outwardly irreverent to the name of Shakespeare, yet, by its actual tendency, entitling her to the distinction of being that one of all his worshippers who sought, though she knew it not, to place the richest and stateliest diadem upon his brow. We Americans, at least, in the scanty annals of our literature, cannot afford to forget her high and conscientious exercise of noble faculties, which, indeed, if you look at the matter in one way, evolved only a miserable error, but, more fairly considered, produced a result worth almost what it cost her. Her faith in her own ideas was so genuine, that, erroneous as they were, it transmuted them to gold, or, at all events, interfused a large proportion of that precious and indestructible substance among the waste material from which it can readily be sifted.

The only time I ever saw Miss Bacon was in London, where she had lodgings in Spring Street, Sussex Gardens, at the house of a grocer, a portly, middle-aged, civil, and friendly man, who, as well as his wife, appeared to feel a personal kindness towards their lodger. I was ushered up two (and I rather believe three) pair of stairs into a parlor somewhat humbly furnished, and told that Miss Bacon would come soon. There were a number of books on the table, and, looking into them, I found that every one had some reference, more or less immediate, to her Shakespearian theory, — a volume of Raleigh's “History of the World,” a volume of Montaigne, a volume of Lord Bacon's letters, a volume of Shakespeare's plays; and on another table lay a large roll of manuscript, which I presume to have been a portion of her work. To be sure, there was a pocket-Bible among the books, but everything else referred to the one despotic idea that had got possession of her mind; and as it had engrossed her whole soul as well as her intellect, I have no doubt that she had established subtile connections between it and the Bible likewise. As is apt to be the case with solitary students, Miss Bacon probably read late and rose late; for I took up Montaigne (it was Hazlitt's translation) and had been reading his journey to Italy a good while before she appeared.