CHARLECOTE PARK: From the Library Jardine's Naturalist's Library

From the Library - Len Mullenger

THE SKETCH BOOK of GEOFFREY CRAYON, GENT.

By Washington Irving 5th edition, 2 volumes pub John Murray 1821

The sketch book is a series of illustrated tales by the American author, Washington Irving. The family trading business in America was in trouble following the 1814 War and Battle for New Orleans so in 1815 Washington emigrated to try his luck in the UK. By 1817 the family business was bankrupt. Wanting to make his living as a writer he wrote a series of short stories and thumbnail sketches, publishing them in the Sketch book under the pseudonym of Geofrey Crayon. The most famous of the short stories are Rip van Winkle and Sleepy Hollow. Irvine claimed the story of Rip van Winkle was found among the papers of Irving's fictional historian Diedrich Knickerbocker.He perpetrated a hoax by placing newspaper missing-person adverts seeking information on the writer Diedrich Knickerbocker who had gone missing. He finally posted one claiming to be from the hotel proprietor stating that if Knickerbocker did not return to pay his bill the proprietor would publish the novel that had been left behind.

However, the majority of the book dealt with England and country life. There is a whole chapter on Stratford which he visited several times and below is an extract dealing with his visit to Charlecote. The illustrations for Charlecote were by William Wells Quatremain whose illustrations of Stratford are still collected as postcards today. The book was very successful being continuously reprinted. Irving also published a five volume biography of George Washington completed shortly before his death.

I had a desire to see the old family seat of the Lucys at Charlecot, and to ramble through the park where Shakespeare, in company with some of the roisterers of Stratford, committed his youthful offence of deer-stealing. In this harebrained exploit we are told that he was taken prisoner and carried to the keeper's lodge, where he remained all night in doleful captivity. When brought into the presence of Sir Thomas Lucy his treatment must have been galling and humiliating; for it so wrought upon his spirit as to produce a rough pasquinade which was affixed to the park gate at Charlecot.*

This flagitious attack upon the dignity of the knight so incensed him that he applied to a lawyer at Warwick to put the severity of the laws in force against the rhyming deer-stalker. Shakespeare did not wait to brave the united puissance of a knight of the shire and a country attorney. He forthwith abandoned the pleasant banks of the Avon and his paternal trade; wandered away to London; became a hanger-on to the theatres; then an actor; and finally wrote for the stage; and thus, through the persecution of Sir Thomas Lucy, Stratford lost an indifferent wool-comber and the world gained an immortal poet. He retained, however, for a long time, a sense of the harsh treatment of the lord of Charlecot, and revenged himself in his writings, but in the sportive way of a good-natured mind. Sir Thomas is said to be the original of Justice Shallow, and the satire is slyly fixed upon him by the justice's armorial bearings, which, like those of the knight, had white luces+ in the quarterings.
* The following is the only stanza extant of this lampoon:

A parliament member, a justice of peace,
At home a poor scarecrow, at London an asse,
If lowsie is Lucy, as some volke miscalle it,
Then Lucy is lowsie, whatever befall it.
He thinks himself great;
Yet an asse in his state,
We allow by his ears but with asses to mate,
If Lucy is lowsie, as some volke miscalle it,
Then sing lowsie Lucy whatever befall it.

+ The luce is a pike or jack, and abounds in the Avon about
Charlecot.

Various attempts have been made by his biographers to soften and explain away this, early transgression of the poet; but I look upon it as one of those thoughtless exploits natural to his situation and turn of mind. Shakespeare, when young, had doubtless all the wildness and irregularity of an ardent, undisciplined, and undirected genius. The poetic temperament has naturally something in it of the vagabond. When left to itself it runs loosely and wildly, and delights in everything eccentric and licentious. It is often a turn up of a die, in the gambling freaks of fate, whether a natural genius shall turn out a great rogue or a great poet; and had not Shakespeare's mind fortunately taken a literary bias, he might have as daringly transcended all civil as he has all dramatic laws.

I have little doubt that, in early life, when running like an unbroken colt about the neighborbood of Stratford, he was to be found in the company of all kinds of odd anomalous characters, that he associated with all the madcaps of the place, and was one of those unlucky urchins at mention of whom old men shake their heads and predict that they will one day come to the gallows. To him the poaching in Sir Thomas Lucy's park was doubtless like a foray to a Scottish knight, and struck his eager, and as yet untamed, imagination as something delightfully adventurous.*
* A proof of Shakespeare's random habits and associates in
his youthful days may be found in a traditionary anecdote,
picked up at Stratford by the elder Ireland, and mentioned
in his "Picturesque Views on the Avon."

.........................................................................................................................

My route for a part of the way lay in sight of the Avon, which made a variety of the most fancy doublings and windings through a wide and fertile valley—sometimes glittering from among willows which fringed its borders; sometimes disappearing among groves or beneath green banks; and sometimes rambling out into full view and making an azure sweep round a slope of meadow-land. This beautiful bosom of country is called the Vale of the Red Horse. A distant line of undulating blue hills seems to be its boundary, whilst all the soft intervening landscape lies in a manner enchained in the silver links of the Avon.

After pursuing the road for about three miles, I turned off into a footpath, which led along the borders of fields and under hedgerows to a private gate of the park; there was a stile, however, for the benefit of the pedestrian, there being a public right of way through the grounds. I delight in these hospitable estates, in which every one has a kind of property—at least as far as the footpath is concerned. It in some measure reconciles a poor man to his lot, and, what is more, to the better lot of his neighbor, thus to have parks and pleasure-grounds thrown open for his recreation. He breathes the pure air as freely and lolls as luxuriously under the shade as the lord of the soil; and if he has not the privilege of calling all that he sees his own, he has not, at the same time, the trouble of paying for it and keeping it in order.

I now found myself among noble avenues of oaks and elms, whose vast size bespoke the growth of centuries. The wind sounded solemnly among their branches, and the rooks cawed from their hereditary nests in the tree-tops. The eye ranged through a long lessening vista, with nothing to interrupt the view but a distant statue and a vagrant deer stalking like a shadow across the opening.

There is something about these stately old avenues that has the effect of Gothic architecture, not merely from the pretended similarity of form, but from their bearing the evidence of long duration, and of having had their origin in a period of time with which we associate ideas of romantic grandeur. They betoken also the long-settled dignity and proudly-concentrated independence of an ancient family; and I have heard a worthy but aristocratic old friend observe, when speaking of the sumptuous palaces of modern gentry, that "money could do much with stone and mortar, but thank Heaven! there was no such thing as suddenly building up an avenue of oaks."

It was from wandering in early life among this rich scenery, and about the romantic solitudes of the adjoining park of Fullbroke, which then formed a part of the Lucy estate, that some of Shakepeare's commentators have supposed he derived his noble forest meditations of Jaques and the enchanting woodland pictures in "As You Like It." It is in lonely wanderings through such scenes that the mind drinks deep but quiet draughts of inspiration, and becomes intensely sensible of the beauty and majesty of Nature. The imagination kindles into reverie and rapture, vague but exquisite images and ideas keep breaking upon it, and we revel in a mute and almost incommunicable luxury of thought. It was in some such mood, and perhaps under one of those very trees before me, which threw their broad shades over the grassy banks and quivering waters of the Avon, that the poet's fancy may have sallied forth into that little song which breathes the very soul of a rural voluptuary

Unto the greenwood tree, Who loves to lie with me And tune his merry throat Unto the sweet bird's note, Come hither, come hither, come hither. Here shall he see No enemy, But winter and rough weather.

I had now come in sight of the house. It is a large building of brick with stone quoins, and is in the Gothic style of Queen Elizabeth's day, having been built in the first year of her reign. The exterior remains very nearly in its original state, and may be considered a fair specimen of the residence of a wealthy country gentleman of those days. A great gateway opens from the park into a kind of courtyard in front of the house, ornamented with a grassplot, shrubs, and flower-beds. The gateway is in imitation of the ancient barbacan, being a kind of outpost and flanked by towers, though evidently for mere ornament, instead of defence. The front of the house is completely in the old style with stone-shafted casements, a great bow-window of heavy stone-work, and a portal with armorial bearings over it carved in stone. At each corner of the building is an octagon tower surmounted by a gilt ball and weather-cock.

The Avon, which winds through the park, makes a bend just at the foot of a gently-sloping bank which sweeps down from the rear of the house. Large herds of deer were feeding or reposing upon its borders, and swans were sailing majestically upon its bosom. As I contemplated the venerable old mansion I called to mind Falstaff's encomium on Justice Shallow's abode, and the affected indifference and real vanity of the latter:

"Falstaff. You have a goodly dwelling and a rich. Shallow. Barren, barren, barren; beggars all, beggars all, Sir John:—marry, good air."

Whatever may have been the joviality of the old mansion in the days of Shakespeare, it had now an air of stillness and solitude. The great iron gateway that opened into the courtyard was locked, there was no show of servants bustling about the place; the deer gazed quietly at me as I passed, being no longer harried by the moss-troopers of Stratford. The only sign of domestic life that I met with was a white cat stealing with wary look and stealthy pace towards the stables, as if on some nefarious expedition. I must not omit to mention the carcass of a scoundrel crow which I saw suspended against the barn-wall, as it shows that the Lucys still inherit that lordly abhorrence of poachers and maintain that rigorous exercise of territorial power which was so strenuously manifested in the case of the bard.

After prowling about for some time, I at length found my way to a lateral portal, which was the every-day entrance to the mansion. I was courteously received by a worthy old housekeeper, who, with the civility and communicativeness of her order, showed me the interior of the house. The greater part has undergone alterations and been adapted to modern tastes and modes of living: there is a fine old oaken staircase, and the great hall, that noble feature in an ancient manor-house, still retains much of the appearance it must have had in the days of Shakespeare. The ceiling is arched and lofty, and at one end is a gallery in which stands an organ. The weapons and trophies of the chase, which formerly adorned the hall of a country gentleman, have made way for family portraits. There is a wide, hospitable fireplace, calculated for an ample old-fashioned wood fire, formerly the rallying-place of winter festivity. On the opposite side of the hall is the huge Gothic bow-window, with stone shafts, which looks out upon the courtyard. Here are emblazoned in stained glass the armorial bearings of the Lucy family for many generations, some being dated in 1558. I was delighted to observe in the quarterings the three white luces by which the character of Sir Thomas was first identified with that of Justice Shallow. They are mentioned in the first scene of the "Merry Wives of Windsor," where the justice, is in a rage with Falstaff for having "beaten his men, killed his deer, and broken into his lodge." The poet had no doubt the offences of himself and his comrades in mind at the time, and we may suppose the family pride and vindictive threats of the puissant Shallow to be a caricature of the pompous indignation of Sir Thomas.

"Shallow. Sir Hugh, persuade me not: I will make a Star Chamber matter of it; if he were twenty John Falstaffs, he shall not abuse Sir Robert Shallow, Esq.

Slender. Ay, and ratolorum too, and a gentleman born, master parson; who writes himself Armigero in any bill, warrant, quittance, or obligation, Armigero.

Slender. All his successors gone before him have done't, and all his ancestors that come after him may; they may give the dozen white luces in their coat....

Evans. It is not meet the council hear of a riot; there is no fear of Got in a riot; the council, hear you, shall desire to hear the fear of Got, and not to hear a riot; take your vizaments in that.

Near the window thus emblazoned hung a portrait, by Sir Peter Lely, of one of the Lucy family, a great beauty of the time of Charles the Second: the old housekeeper shook her head as she pointed to the picture, and informed me that this lady had been sadly addicted to cards, and had gambled away a great portion of the family estate, among which was that part of the park where Shakespeare and his comrades had killed the deer. The lands thus lost had not been entirely regained by the family even at the present day. It is but justice to this recreant dame to confess that she had a surpassingly fine hand and arm.

The picture which most attracted my attention was a great painting over the fireplace, containing likenesses of Sir Thomas Lucy and his family who inhabited the hall in the latter part of Shakespeare's lifetime. I at first thought that it was the vindictive knight himself, but the housekeeper assured me that it was his son; the only likeness extant of the former being an effigy upon his tomb in the church of the neighboring hamlet of Charlecot.*

The picture gives a lively idea of the costume and manners of the time. Sir Thomas is dressed in ruff and doublet, white shoes with roses in them, and has a peaked yellow, or, as Master Slender would say, "a cane-colored beard." His lady is seated on the opposite side of the picture in wide ruff and long stomacher, and the children have a most venerable stiffness and formality of dress. Hounds and spaniels are mingled in the family group; a hawk is seated on his perch in the foreground, and one of the children holds a bow, all intimating the knight's skill in hunting, hawking, and archery, so indispensable to an accomplished gentleman in those days.*

I regretted to find that the ancient furniture of the hall had disappeared; for I had hoped to meet with the stately elbow-chair of carved oak in which the country squire of former days was wont to sway the sceptre of empire over his rural domains, and in which it might be presumed the redoubled Sir Thomas sat enthroned in awful state when the recreant Shakespeare was brought before him. As I like to deck out pictures for my own entertainment, I pleased myself with the idea that this very hall had been the scene of the unlucky bard's examination on the morning after his captivity in the lodge. I fancied to myself the rural potentate surrounded by his body-guard of butler, pages, and blue-coated serving-men with their badges, while the luckless culprit was brought in, forlorn and chopfallen, in the custody of gamekeepers, huntsmen, and whippers-in, and followed by a rabble rout of country clowns. I fancied bright faces of curious housemaids peeping from the half-opened doors, while from the gallery the fair daughters of the knight leaned gracefully forward, eyeing the youthful prisoner with that pity "that dwells in womanhood." Who would have thought that this poor varlet, thus trembling before the brief authority of a country squire, and the sport of rustic boors, was soon to become the delight of princes, the theme of all tongues and ages, the dictator to the human mind and was to confer immortality on his oppressor by a caricature and a lampoon?

I was now invited by the butler to walk into the garden, and I felt inclined to visit the orchard and harbor where the justice treated Sir John Falstaff and Cousin Silence "to a last year's pippin of his own grafting, with a dish of caraways;" but I had already spent so much of the day in my ramblings that I was obliged to give up any further investigations. When about to take my leave I was gratified by the civil entreaties of the housekeeper and butler that I would take some refreshment—an instance of good old hospitality which, I grieve to say, we castle-hunters seldom meet with in modern days. I make no doubt it is a virtue which the present representative of the Lucys inherits from his ancestors; for Shakespeare, even in his caricature, makes Justice Shallow importunate in this respect, as witness his pressing instances to Falstaff:

"By cock and pye, Sir, you shall not away to-night..... I will not excuse you; you shall not be excused; excuses shall not be admitted; there is no excuse shall serve; you shall not be excused.... Some pigeons, Davy, a couple of short-legged hens; a joint of mutton; and any pretty little tiny kickshaws, tell 'William Cook.'"

I now bade a reluctant farewell to the old hall. My mind had become so completely possessed by the imaginary scenes and characters connected with it that I seemed to be actually living among them. Everything brought them as it were before my eyes, and as the door of the dining-room opened I almost expected to hear the feeble voice of Master Silence quavering forth his favorite ditty:

On returning to my inn I could not but reflect on the singular gift of the poet, to be able thus to spread the magic of his mind over the very face of Nature, to give to things and places a charm and character not their own, and to turn this "working-day world" into a perfect fairy-land. He is indeed the true enchanter, whose spell operates, not upon the senses, but upon the imagination and the heart. Under the wizard influence of Shakespeare I had been walking all day in a complete delusion. I had surveyed the landscape through the prism of poetry, which tinged every object with the hues of the rainbow. I had been surrounded with fancied beings, with mere airy nothings conjured up by poetic power, yet which, to me, had all the charm of reality. I had heard Jaques soliloquize beneath his oak; had beheld the fair Rosalind and her companion adventuring through the woodlands; and, above all, had been once more present in spirit with fat Jack Falstaff and his contemporaries, from the august Justice Shallow down to the gentle Master Slender and the sweet Anne Page. Ten thousand honors and blessings on the bard who has thus gilded the dull realities of life with innocent illusions, who has spread exquisite and unbought pleasures in my chequered path, and beguiled my spirit in many a lonely hour with all the cordial and cheerful sympathies of social life!

As I crossed the bridge over the Avon on my return, I paused to contemplate the distant church in which the poet lies buried, and could not but exult in the malediction which has kept his ashes undisturbed in its quiet and hallowed vaults. What honor could his name have derived from being mingled in dusty companionship with the epitaphs and escutcheons and venal eulogiums of a titled multitude? What would a crowded corner in Westminster Abbey have been, compared with this reverend pile, which seems to stand in beautiful loneliness as his sole mausoleum! The solitude about the grave may be but the offspring of an overwrought sensibility; but human nature is made up of foibles and prejudices, and its best and tenderest affections are mingled with these factitious feelings. He who has sought renown about the world, and has reaped a full harvest of worldly favor, will find, after all, that there is no love, no admiration, no applause, so sweet to the soul as that which springs up in his native place. It is there that he seeks to be gathered in peace and honor among his kindred and his early friends. And when the weary heart and failing head begin to warn him that the evening of life is drawing on, he turns as fondly as does the infant to the mother's arms to sink to sleep in the bosom of the scene of his childhood.

How would it have cheered the spirit of the youthful bard when, wandering forth in disgrace upon a doubtful world, he cast back a heavy look upon his paternal home, could he have foreseen that before many years he should return to it covered with renown; that his name should become the boast and glory of his native place; that his ashes should be religiously guarded as its most precious treasure; and that its lessening spire, on which his eyes were fixed in tearful contemplation, should one day become the beacon towering amidst the gentle landscape to guide the literary pilgrim of every nation to his tomb!