Our Old Home: A Series of English Sketches. Hawthorne Nathaniel

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СКАЧАТЬ along the smooth gleam and shadow of the quiet stream, through a vista of willows that droop on either side into the water, we behold the gray magnificence of Warwick Castle, uplifting itself among stately trees, and rearing its turrets high above their loftiest branches. We can scarcely think the scene real, so completely do those machicolated towers, the long line of battlements, the massive buttresses, the high-windowed walls, shape out our indistinct ideas of the antique time. It might rather seem as if the sleepy river (being Shakespeare's Avon, and often, no doubt, the mirror of his gorgeous visions) were dreaming now of a lordly residence that stood here many centuries ago; and this fantasy is strengthened, when you observe that the image in the tranquil water has all the distinctness of the actual structure. Either might be the reflection of the other. Wherever Time has gnawed one of the stones, you see the mark of his tooth just as plainly in the sunken reflection. Each is so perfect, that the upper vision seems a castle in the air, and the lower one an old stronghold of feudalism, miraculously kept from decay in an enchanted river.

      A ruinous and ivy-grown bridge, that projects from the bank a little on the hither side of the castle, has the effect of making the scene appear more entirely apart from the every-day world, for it ends abruptly in the middle of the stream, – so that, if a cavalcade of the knights and ladies of romance should issue from the old walls, they could never tread on earthly ground, any more than we, approaching from the side of modern realism, can overleap the gulf between our domain and theirs. Yet, if we seek to disenchant ourselves, it may readily be done. Crossing the bridge on which we stand, and passing a little farther on, we come to the entrance of the castle, abutting on the highway, and hospitably open at certain hours to all curious pilgrims who choose to disburse half a crown or so toward the support of the earl's domestics. The sight of that long series of historic rooms, full of such splendors and rarities as a great English family necessarily gathers about itself, in its hereditary abode, and in the lapse of ages, is well worth the money, or ten times as much, if indeed the value of the spectacle could be reckoned in money's-worth. But after the attendant has hurried you from end to end of the edifice, repeating a guide-book by rote, and exorcising each successive hall of its poetic glamour and witchcraft by the mere tone in which he talks about it, you will make the doleful discovery that Warwick Castle has ceased to be a dream. It is better, methinks, to linger on the bridge, gazing at Caesar's Tower and Guy's Tower in the dim English sunshine above, and in the placid Avon below, and still keep them as thoughts in your own mind, than climb to their summits, or touch even a stone of their actual substance. They will have all the more reality for you, as stalwart relics of immemorial time, if you are reverent enough to leave them in the intangible sanctity of a poetic vision.

      From the bridge over the Avon, the road passes in front of the castle-gate, and soon enters the principal street of Warwick, a little beyond St. John's School-House, already described. Chester itself, most antique of English towns, can hardly show quainter architectural shapes than many of the buildings that border this street. They are mostly of the timber-and-plaster kind, with bowed and decrepit ridge-poles, and a whole chronology of various patchwork in their walls; their low-browed doorways open upon a sunken floor; their projecting stories peep, as it were, over one another's shoulders, and rise into a multiplicity of peaked gables; they have curious windows, breaking out irregularly all over the house, some even in the roof, set in their own little peaks, opening lattice-wise, and furnished with twenty small panes of lozenge-shaped glass. The architecture of these edifices (a visible oaken framework, showing the whole skeleton of the house, – as if a man's bones should be arranged on his outside, and his flesh seen through the interstices) is often imitated by modern builders, and with sufficiently picturesque effect. The objection is, that such houses, like all imitations of bygone styles, have an air of affectation; they do not seem to be built in earnest; they are no better than playthings, or overgrown baby-houses, in which nobody should be expected to encounter the serious realities of either birth or death. Besides, originating nothing, we leave no fashions for another age to copy, when we ourselves shall have grown antique.

      Old as it looks, all this portion of Warwick has overbrimmed, as it were, from the original settlement, being outside of the ancient wall. The street soon runs under an arched gateway, with a church or some other venerable structure above it, and admits us into the heart of the town. At one of my first visits, I witnessed a military display. A regiment of Warwickshire militia, probably commanded by the Earl, was going through its drill in the market-place; and on the collar of one of the officers was embroidered the Bear and Ragged Staff, which has been the cognizance of the Warwick earldom from time immemorial. The soldiers were sturdy young men, with the simple, stolid, yet kindly faces of English rustics, looking exceedingly well in a body, but slouching into a yeoman-like carriage and appearance the moment they were dismissed from drill. Squads of them were distributed everywhere about the streets, and sentinels were posted at various points; and I saw a sergeant, with a great key in his hand (big enough to have been the key of the castle's main entrance when the gate was thickest and heaviest), apparently setting a guard. Thus, centuries after feudal times are past, we find warriors still gathering under the old castle-walls, and commanded by a feudal lord, just as in the days of the King-Maker, who, no doubt, often mustered his retainers in the same market-place where I beheld this modern regiment.

      The interior of the town wears a less old-fashioned aspect than the suburbs through which we approach it; and the High Street has shops with modern plate-glass, and buildings with stuccoed fronts, exhibiting as few projections to hang a thought or sentiment upon as if an architect of to-day had planned them. And, indeed, so far as their surface goes, they are perhaps new enough to stand unabashed in an American street; but behind these renovated faces, with their monotonous lack of expression, there is probably the substance of the same old town that wore a Gothic exterior in the Middle Ages. The street is an emblem of England itself. What seems new in it is chiefly a skilful and fortunate adaptation of what such a people as ourselves would destroy. The new things are based and supported on sturdy old things, and derive a massive strength from their deep and immemorial foundations, though with such limitations and impediments as only an Englishman could endure. But he likes to feel the weight of all the past upon his back; and, moreover, the antiquity that overburdens him has taken root in his being, and has grown to be rather a hump than a pack, so that there is no getting rid of it without tearing his whole structure to pieces. In my judgment, as he appears to be sufficiently comfortable under the mouldy accretion, he had better stumble on with it as long as he can. He presents a spectacle which is by no means without its charm for a disinterested and unencumbered observer.

      When the old edifice, or the antiquated custom or institution, appears in its pristine form, without any attempt at intermarrying it with modern fashions, an American cannot but admire the picturesque effect produced by the sudden cropping up of an apparently dead-and-buried state of society into the actual present, of which he is himself a part. We need not go far in Warwick without encountering an instance of the kind. Proceeding westward through the town, we find ourselves confronted by a huge mass of natural rock, hewn into something like architectural shape, and penetrated by a vaulted passage, which may well have been one of King Cymbeline's original gateways; and on the top of the rock, over the archway, sits a small old church, communicating with an ancient edifice, or assemblage of edifices, that look down from a similar elevation on the side of the street. A range of trees half hides the latter establishment from the sun. It presents a curious and venerable specimen of the timber-and-plaster style of building, in which some of the finest old houses in England are constructed; the front projects into porticos and vestibules, and rises into many gables, some in a row, and others crowning semi-detached portions of the structure; the windows mostly open on hinges, but show a delightful irregularity of shape and position; a multiplicity of chimneys break through the roof at their own will, or, at least, without any settled purpose of the architect. The whole affair looks very old, – so old indeed that the front bulges forth, as if the timber framework were a little weary, at last, of standing erect so long; but the state of repair is so perfect, and there is such an indescribable aspect of continuous vitality within the system of this aged house, that you feel confident that there may be safe shelter yet, and perhaps for centuries to come, under its time-honored roof. And on a bench, sluggishly enjoying the sunshine, and looking into the street of Warwick as from a life apart, a few old men are generally to be seen, wrapped in long cloaks, СКАЧАТЬ