Volume 1 — BEN JONSON AND LINCOLN'S INN.

Our fancy to speak of books, and their writers and sellers, has led us aside from the area marked out by Mr. Thornbury for his own explorations, so we must return to bounds, within which we find Lincoln's-Inn Fields. These inns were originally established as places of entertainment, where pilgrims and other travellers were hospitably attended by the monks. The town houses of noblemen were also called inns, just as in Paris they were styled hostels. The inn in question derives its name from the Earl of Lincoln, Henry de Lacy, to whom it was granted by Edward I. Many eminent men have used chambers in Lincoln's Inn, since it became the resort {842} of legal students. Sir Thomas More had chambers there, and there Dr. Donne, the poetical divine, attempted to study law in his seventeenth year. Dr. Tillotson preached to the lawyers (with what effect is not told) in 1663, our own Archbishop Ussher in 1647. Sir Mathew Hale was at first a wild student of Lincoln's Inn, till reclaimed by the sight of a drunkard seized by a fit. Shaftesbury; Ashmole, the antiquary; Prynne, of pillory notoriety; Secretary Thurloe; Sir John Denham; George Wither, omitting mention of modern celebrities, all endeavored to penetrate the mysteries of law and equity in this long-enduring institution.

One of the most remarkable, though not the most reputable, of lawyers connected with Lincoln's Inn was Sir Edmund Saunders, who gave his aid to the crown while endeavoring, in 1683, to overthrow the charter of London. The following extract concerning him is taken from Granger: "Sir Edmund Saunders was originally a strolling beggar about the streets, without known parents or relations. He came often to beg scraps at Clement's Inn, where he was taken notice of for his uncommon sprightliness; and as he expressed a strong inclination to learn to write, one of the attorney's clerks taught him, and soon qualified him for a hackney writer. He took all opportunities of improving himself by reading such books as he borrowed from his friends; and in the course of a few years became an able attorney and a very eminent counsel. His practice in the Court of King's Bench was exceeded by none. His art and cunning was equal to his knowledge, and he gained many a cause by laying snares. If he was detected he was never put out of countenance, but evaded the matter with a jest, which he had always at hand. He was much employed by the king (Charles II.) against the city of London in the business of the Quo Warranto. His person was as heavy and ungain as his wit was alert and sprightly. He is said to have been a mere lump of morbid flesh. The smell from him was so offensive that people held their noses when he came into court. One of his jests on such occasions was, 'That none could say he wanted issue, for he had no less than nine on his back.'"

The literary students of the inn, as they sit in their lonely chambers, or converse with their comrades, Arthur Pendennis and Mr. Warrington, in the pleasant grounds, delight to fancy brave old Ben Jonson helping to raise the wall on the Chancery lane side, and reciting a passage from Homer. Whether Sutton or Camden sent him back to college to pursue his studies is not so certain. His fighting single-handed in Flanders in the sight of the two armies, and the subsequent carrying away of the "Spolia Opima" of his foeman, were in strict accordance with the practice of the heroes of his studies. His college life and his deeds in foreign fields were all over in his twenty-third year, 1597, when we find him a player and writer for the stage in London; his critics asserting that he walked the boards as if he were treading mortar. Poor Ben, with a countenance compared to a rotten russet apple, and described by himself as remarkable for a "mountain belly and a rocky face," was equally ragged in temper. Quarreling with a brother actor, he killed him in a duel in Hogsden Fields, and was brought very near the gallows-foot for his non-command of temper. He had not the gentle character nor the expansive intellect of his friend, the "Gentle Shakespeare," nor did his characters embrace entire humanity, nor did he possess the soaring and far-seizing imagination of his brother poet and player, but he more closely pictured the modes of society in which they moved, the social and politic features of the locality and the era; all those outward manifestations, in fact, that distinguish the intercourse, and the morals, and the character of this or that locality or time, from those of {843} its neighbors. Hence a better idea can be had of the scenic features of Old London, and the costumes, the idioms, and usages of its people at the end of the sixteenth and beginning of the seventeenth century, from the literary remains of Ben Jonson than from those of William Shakespeare. Aubrey remarked that "Shakespeare's comedies would remain wit as long as the English tongue is understood; while our present writers reflect so much upon particular persons and coxcombeties, that twenty years hence they will not be understood."

London was Ben Jonson's world; its people, such as they appeared to him, the whole human race. The humorists that he knew were reproduced with the utmost truth—and the class-modes and manners that came under his observation were sketched from and to the life. There was local truth of costume and character, but little generalization. Illustrative instances abound in all his plays and poems. In Elizabeth's time, Finsbury Fields were covered with trees and windmills. So we find Master Stephen ("Every Man in his Humor"), who dwells at Hogsden (Hoxton), despising the archers of Finsbury and the citizens that come a-ducking to Islington Ponds. "The Strand was the chief road for ladies to pass through in their coaches, and there Lafoole in the 'Silent Woman' has a lodging to watch when ladies are gone to the china houses or the exchange, that he may meet them by chance, and give them presents. The general character of the streets before the fire is not forgotten. In 'The Devil is an Ass' the lady and her lover speak closely and gently from the windows of two contiguous buildings. Such are a few of the examples of the local proprieties which constantly turn up in Jonson's dramas."

To those who accuse rare Ben of intemperate habits it is useless to object that he lashed intemperance and the other vices of his time as severely as the most rigid moralist could; there are too many instances extant of the sons of Satan correcting sin in their speeches and writings. However, the club at the Mermaid in Friday street to which he belonged, consisted of such men as we cannot suppose to be of intemperate habits, nor willing to cherish a noted drunkard. For Sir Walter Raleigh, Shakespeare, Beaumont, Fletcher, Selden, Cotton, Carew, Martin, Donne, flashes of wit, and sallies of imagination, and touches of genial humor, had more charms then beastly wallowing in liquor. Hear what Jonson himself says in his invitation to a friend to supper where canary, his darling liquor, was to flow:

It was to the middle aisle of the old cathedral of St. Paul's that Jonson and others like him resorted to obtain such wayward and grotesque characters as would take the attention of an audience. It was the favorite lounge at the time of coxcombs, bullies, adventurers, and cut-purses. Here a new man, wishing to be in the height of fashion, would bring his tailor, and set him to mark the garb of the foremost gallant in vogue. Country squires anxious for a varnishing of courtly polish, would be found there observing the dress and demeanor of the people of fashion, and afterward flinging away the produce of their good lands in entertainments shared with these envied darlings of the courtly goddess. Captain Bobadil, we may be certain, was met among the crowd at Paul's. Here it was that all those niceties of the mode which crop up through his plays were observed. In the "Midas" of Lily, quoted by Charles Knight in his "London," are found collected several of these distinctive marks of the courtier comme il faut:

"How will you be trimmed, sir? Will you have your beard like a spade {844} or a bodkin? A pent-house on your upper lip, or an alley on your chin? A low curl on your head like a bull, or dangling locks like a spaniel? Your mustachioes sharp at the end like shoemakers' awls, or hanging down to your mouth like goat's flakes? Your love-locks wreathed like a silken twist, or shaggy, to fall on your shoulder?"

Few dramatists in his or our days would venture to speak so fearlessly to his audience as honest Ben Jonson:

Our bard was not left to struggle with the hardships of an ordinary theatrical career. He was employed to compose the plots and verses of the stately and splendid masques in which Elizabeth, and Anne of Denmark, and her "Royal Doggie" delighted. Had space permitted, we should gladly have quoted some of the verses and stage directions of these court shows. Among the rest is an Irish masque in which Dennish, Donnell, Dermott, and Patrick come in their long glibbs and shaggy mantles to present their compliments to King Yamish, and congratulate him on the marriage of some lord or other. Having been roughly received by the janitors, they sounded their grievance aloud:

"Don.—Ish it te fashion to beate te imbashaters here? and knock 'hem o' te head phit te phoite stick?"

"Der.—Ant make ter meshage run out a ter mouthsh before tey shpeake vit te king?"

They announce their intention to dance as well as that of their masters, who as yet stand outside:

"Don.—But tey musht eene come, and daunch i' teyr mantles, and show tee how teye can foot te fading and te fadow, and te phip a dunboyne I trow."

"Der.—Tey will fight for tee, King Yamish, and for my mishtress tere." [Footnote: 203]

After much soft-sawder about their love and their loyalty to Shamus, six men and boys danced to bagpipes and other rude music. Then the Irish gentlemen danced in their mantles to the sound of harps; and one of them called on a bard to celebrate the fame of him who was to make Erin the world's wonder for peace and plenty:

Would he had done so! Ben was not so blind but that he could spy out some little defects in Solomon and his queen. As he could not apply his talents to their correction, he recompensed himself in unmerciful handling of court vices. Toward the end of James's reign he enjoyed a competent fortune, and owned an extensive library. Distress and illness succeeded; but Charles I. being made aware of his forlorn condition, granted him an additional pension, and that tierce of canary, whose successors have been drained by all poet-laureates since his day. A blue marble stone lies over his remains in the north aisle of Westminster Abbey. The epitaph, RARE BEN JONSON, was cut in the flag at the order and charge of Jack Young (afterward knighted). Eighteen-pence requited the sculptor.

Whether we have improved on the feats of artists of another kind, in Queen Anne's reign, is questionable. At Bartholomew Fair, in the reign of that good-natured sovereign, a girl, of ten years, walked backward up a sloping rope, driving a wheelbarrow behind her. {845} Scaramouch danced on the rope with two children, and a dog, in a wheelbarrow, and a duck on his head. Our authority leaves us in some doubt as to the relative positions of man, children, dog, duck, and wheel-barrow, and whether the duck took position on head of dog or man. The eighteenth century was inaugurated by an intelligent tiger picking the feathers from a fowl in such style as to elicit the hearty applause of a discerning public. Continental sovereigns of our own time prefer the stirring spectacle of men and horses gored by sharp horned bulls. The tiger merely removed the feathers from the skin of the dead fowl; the viscera of the living quadruped follow the thrust of the bull's horn.