Delphi Complete Works of Nathaniel Hawthorne (Illustrated) (483 page)

Not very long afterwards, I happened to be passing the same venerable Cathedral, and heard a clang of joyful bells, and beheld a bridal party coming down the steps towards a carriage and four horses, with a portly coachman and two postilions, that waited at the gate. One parson and one service had amalgamated the wretchedness of a score of paupers; a Bishop and three or four clergymen had combined their spiritual might to forge the golden links of this other marriage-bond. The bridegroom's mien had a sort of careless and kindly English pride; the bride floated along in her white drapery, a creature, so nice and delicate that it was a luxury to see her, and a pity that her silk slippers should touch anything so grimy as the old stones of the churchyard avenue. The crowd of ragged people, who always cluster to witness what they may of an aristocratic wedding, broke into audible admiration of the bride's beauty and the bridegroom's manliness, and uttered prayers and ejaculations (possibly paid for in alms) for the happiness of both. If the most favorable of earthly conditions could make them happy, they had every prospect of it. They were going to live on their abundance in one of those stately and delightful English homes, such as no other people ever created or inherited, a hall set far and safe within its own private grounds, and surrounded with venerable trees, shaven lawns, rich shrubbery, and trimmest pathways, the whole so artfully contrived and tended that summer rendered it a paradise, and even winter would hardly disrobe it of its beauty; and all this fair property seemed more exclusively and inalienably their own, because of its descent through many forefathers, each of whom had added an improvement or a charm, and thus transmitted it with a stronger stamp of rightful possession to his heir. And is it possible, after all, that there may be a flaw in the title-deeds? Is, or is not, the system wrong that gives one married pair so immense a superfluity of luxurious home, and shuts out a million others from any home whatever? One day or another, safe as they deem themselves, and safe as the hereditary temper of the people really tends to make them, the gentlemen of England will be compelled to face this question.

CIVIC BANQUETS.

It has often perplexed one to imagine how an Englishman will be able to reconcile himself to any future state of existence from which the earthly institution of dinner shall be excluded. Even if he fail to take his appetite along with him (which it seems to me hardly possible to believe, since this endowment is so essential to his composition), the immortal day must still admit an interim of two or three hours during which he will be conscious of a slight distaste, at all events, if not an absolute repugnance, to merely spiritual nutriment. The idea of dinner has so imbedded itself among his highest and deepest characteristics, so illuminated itself with intellect and softened itself with the kindest emotions of his heart, so linked itself with Church and State, and grown so majestic with long hereditary customs and ceremonies, that, by taking it utterly away, Death, instead of putting the final touch to his perfection, would leave him infinitely less complete than we have already known him. He could not be roundly happy. Paradise, among all its enjoyments, would lack one daily felicity which his sombre little island possessed. Perhaps it is not irreverent to conjecture that a provision may have been made, in this particular, for the Englishman's exceptional necessities. It strikes me that Milton was of the opinion here suggested, and may have intended to throw out a delightful and consolatory hope for his countrymen, when he represents the genial archangel as playing his part with such excellent appetite at Adam's dinner-table, and confining himself to fruit and vegetables only because, in those early days of her housekeeping, Eve had no more acceptable viands to set before him. Milton, indeed, had a true English taste for the pleasures of the table, though refined by the lofty and poetic discipline to which he had subjected himself. It is delicately implied in the refection in Paradise, and more substantially, though still elegantly, betrayed in the sonnet proposing to “Laurence, of virtuous father virtuous son,” a series of nice little dinners in midwinter and it blazes fully out in that untasted banquet which, elaborate as it was, Satan tossed up in a trice from the kitchen-ranges of Tartarus.

Among this people, indeed, so wise in their generation, dinner has a kind of sanctity quite independent of the dishes that may be set upon the table; so that, if it be only a mutton-chop, they treat it with due reverence, and are rewarded with a degree of enjoyment which such reckless devourers as ourselves do not often find in our richest abundance. It is good to see how staunch they are after fifty or sixty years of heroic eating, still relying upon their digestive powers and indulging a vigorous appetite; whereas an American has generally lost the one and learned to distrust the other long before reaching the earliest decline of life; and thenceforward he makes little account of his dinner, and dines at his peril, if at all. I know not whether my countrymen will allow me to tell them, though I think it scarcely too much to affirm, that on this side of the water, people never dine. At any rate, abundantly as Nature has provided us with most of the material requisites, the highest possible dinner has never yet been eaten in America. It is the consummate flower of civilization and refinement; and our inability to produce it, or to appreciate its admirable beauty, if a happy inspiration should bring it into bloom, marks fatally the limit of culture which we have attained.

It is not to be supposed, however, that the mob of cultivated Englishmen know how to dine in this elevated sense. The unpolishable ruggedness of the national character is still an impediment to them, even in that particular line where they are best qualified to excel. Though often present at good men's feasts, I remember only a single dinner, which, while lamentably conscious that many of its higher excellences were thrown away upon me, I yet could feel to be a perfect work of art. It could not, without unpardonable coarseness, be styled a matter of animal enjoyment, because, out of the very perfection of that lower bliss, there had arisen a dream-like development of spiritual happiness. As in the masterpieces of painting and poetry, there was a something intangible, a final deliciousness that only fluttered about your comprehension, vanishing whenever you tried to detain it, and compelling you to recognize it by faith rather than sense. It seemed as if a diviner set of senses were requisite, and had been partly supplied, for the special fruition of this banquet, and that the guests around the table (only eight in number) were becoming so educated, polished, and softened, by the delicate influences of what they ate and drunk, as to be now a little more than mortal for the nonce. And there was that gentle, delicious sadness, too, which we find in the very summit of our most exquisite enjoyments, and feel it a charm beyond all the gayety through which it keeps breathing its undertone. In the present case, it was worth a heavier sigh, to reflect that such a festal achievement, — the production of so much art, skill, fancy, invention, and perfect taste, — the growth of all the ages, which appeared to have been ripening for this hour, since man first began to eat and to moisten his food with wine, — must lavish its happiness upon so brief a moment, when other beautiful things can be made a joy forever. Yet a dinner like this is no better than we can get, any day, at the rejuvenescent Cornhill Coffee-House, unless the whole man, with soul, intellect, and stomach, is ready to appreciate it, and unless, moreover, there is such a harmony in all the circumstances and accompaniments, and especially such a pitch of well-according minds, that nothing shall jar rudely against the guest's thoroughly awakened sensibilities. The world, and especially our part of it, being the rough, ill-assorted, and tumultuous place we find it, a beefsteak is about as good as any other dinner.

The foregoing reminiscence, however, has drawn me aside from the main object of my sketch, in which I purposed to give a slight idea of those public, or partially public banquets, the custom of which so thoroughly prevails among the English people, that nothing is ever decided upon, in matters of peace and war, until they have chewed upon it in the shape of roast-beef, and talked it fully over in their cups. Nor are these festivities merely occasional, but of stated recurrence in all considerable municipalities and associated bodies. The most ancient times appear to have been as familiar with them as the Englishmen of to-day. In many of the old English towns, you find some stately Gothic hall or chamber in which the Mayor and other authorities of the place have long held their sessions; and always, in convenient contiguity, there is a dusky kitchen, with an immense fireplace where an ox might be roasting at his ease, though the less gigantic scale of modern cookery may now have permitted the cobwebs to gather in its chimney. St. Mary's Hall, in Coventry, is so good a specimen of an ancient banqueting-room, that perhaps I may profitably devote a page or two to the description of it.

In a narrow street, opposite to St. Michael's Church, one of the three famous spires of Coventry, you behold a mediaeval edifice, in the basement of which is such a venerable and now deserted kitchen as I have above alluded to, and, on the same level, a cellar, with low stone pillars and intersecting arches, like the crypt of a cathedral. Passing up a well-worn staircase, the oaken balustrade of which is as black as ebony, you enter the fine old hall, some sixty feet in length, and broad and lofty in proportion. It is lighted by six windows of modern stained glass, on one side, and by the immense and magnificent arch of another window at the farther end of the room, its rich and ancient panes constituting a genuine historical piece, in which are represented some of the kingly personages of old times, with their heraldic blazonries. Notwithstanding the colored light thus thrown into the hall, and though it was noonday when I last saw it, the panelling of black-oak, and some faded tapestry that hung round the walls, together with the cloudy vault of the roof above, made a gloom, which the richness only illuminated into more appreciable effect. The tapestry is wrought with figures in the dress of Henry VI.'s time (which is the date of the hall), and is regarded by antiquaries as authentic evidence both for the costume of that epoch, and, I believe, for the actual portraiture of men known in history. They are as colorless as ghosts, however, and vanish drearily into the old stitch-work of their substance when you try to make them out. Coats-of-arms were formerly emblazoned all round the hall, but have been almost rubbed out by people hanging their overcoats against them or by women with dishclouts and scrubbing-brushes, obliterating hereditary glories in their blind hostility to dust and spiders' webs. Full-length portraits of several English kings, Charles II. being the earliest, hang on the walls; and on the dais, or elevated part of the floor, stands an antique chair of state, which several royal characters are traditionally said to have occupied while feasting here with their loyal subjects of Coventry. It is roomy enough for a person of kingly bulk, or even two such, but angular and uncomfortable, reminding me of the oaken settles which used to be seen in old-fashioned New England kitchens.

Overhead, supported by a self-sustaining power, without the aid of a single pillar, is the original ceiling of oak, precisely similar in shape to the roof of a barn, with all the beams and rafters plainly to be seen. At the remote height of sixty feet, you hardly discern that they are carved with figures of angels and doubtless many other devices, of which the admirable Gothic art is wasted in the duskiness that has so long been brooding there. Over the entrance of the hall, opposite the great arched window, the party-colored radiance of which glimmers faintly through the interval, is a gallery for minstrels; and a row of ancient suits of armor is suspended from its balustrade. It impresses me, too (for, having gone so far, I would fain leave nothing untouched upon), that I remember, somewhere about these venerable precincts, a picture of the Countess Godiva on horseback, in which the artist has been so niggardly of that illustrious lady's hair, that, if she had no ampler garniture, there was certainly much need for the good people of Coventry to shut their eyes. After all my pains, I fear that I have made but a poor hand at the description, as regards a transference of the scene from my own mind to the reader's. It gave me a most vivid idea of antiquity that had been very little tampered with; insomuch that, if a group of steel-clad knights had come clanking through the doorway, and a bearded and beruffed old figure had handed in a stately dame, rustling in gorgeous robes of a long-forgotten fashion, unveiling a face of beauty somewhat tarnished in the mouldy tomb, yet stepping majestically to the trill of harp and viol from the minstrels' gallery, while the rusty armor responded with a hollow ringing sound beneath, — why, I should have felt that these shadows, once so familiar with the spot, had a better right in St. Mary's Hall than I, a stranger from a far country which has no Past. But the moral of the foregoing description is to show how tenaciously this love of pompous dinners, this reverence for dinner as a sacred institution, has caught hold of the English character; since, from the earliest recognizable period, we find them building their civic banqueting-halls as magnificently as their palaces or cathedrals.

I know not whether the hall just described is now used for festive purposes, but others of similar antiquity and splendor still are. For example, there is Barber-Surgeons' Hall, in London, a very fine old room, adorned with admirably carved wood-work on the ceiling and walls. It is also enriched with Holbein's masterpiece, representing a grave assemblage of barbers and surgeons, all portraits (with such extensive beards that methinks one half of the company might have been profitably occupied in trimming the other), kneeling before King Henry VIII. Sir Robert Peel is said to have offered a thousand pounds for the liberty of cutting out one of the heads from this picture, he conditioning to have a perfect facsimile painted in. The room has many other pictures of distinguished members of the company in long-past times, and of some of the monarchs and statesmen of England, all darkened with age, but darkened into such ripe magnificence as only age could bestow. It is not my design to inflict any more specimens of ancient hall-painting on the reader; but it may be worth while to touch upon other modes of stateliness that still survive in these time-honored civic feasts, where there appears to be a singular assumption of dignity and solemn pomp by respectable citizens who would never dream of claiming any privilege of rank outside of their own sphere. Thus, I saw two caps of state for the warden and junior warden of the company, caps of silver (real coronets or crowns, indeed, for these city-grandees) wrought in open-work and lined with crimson velvet. In a strong-closet, opening from the hall, there was a great deal of rich plate to furnish forth the banquet-table, comprising hundreds of forks and spoons, a vast silver punch-bowl, the gift of some jolly king or other, and, besides a multitude of less noticeable vessels, two loving-cups, very elaborately wrought in silver gilt, one presented by Henry VIII., the other by Charles II. These cups, including the covers and pedestals, are very large and weighty, although the bowl-part would hardly contain more than half a pint of wine, which, when the custom was first established, each guest was probably expected to drink off at a draught. In passing them from hand to hand adown a long table of compotators, there is a peculiar ceremony which I may hereafter have occasion to describe. Meanwhile, if I might assume such a liberty, I should be glad to invite the reader to the official dinner-table of his Worship, the Mayor, at a large English seaport where I spent several years.

The Mayor's dinner-parties occur as often as once a fortnight, and, inviting his guests by fifty or sixty at a time, his Worship probably assembles at his board most of the eminent citizens and distinguished personages of the town and neighborhood more than once during his year's incumbency, and very much, no doubt, to the promotion of good feeling among individuals of opposite parties and diverse pursuits in life. A miscellaneous party of Englishmen can always find more comfortable ground to meet upon than as many Americans, their differences of opinion being incomparably less radical than ours, and it being the sincerest wish of all their hearts, whether they call themselves Liberals or what not, that nothing in this world shall ever be greatly altered from what it has been and is. Thus there is seldom such a virulence of political hostility that it may not be dissolved in a glass or two of wine, without making the good liquor any more dry or bitter than accords with English taste.