Folk-lore of Shakespeare - Thomas Firminger Thiselton Dyer (ereader iphone txt) 📗
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A story is related of Shakespeare promising spoons to one of Ben Jonson’s children, in a collection of anecdotes entitled “Merry Passages and Jests,” compiled by Sir Nicholas L’Estrange (MSS. Harl. 6395): “Shakespeare was godfather to one of Ben Jonson’s children, and after the christ’ning, being in a deepe study, Jonson came to cheere him up, and ask’t him why he was so melancholy. ‘No faith, Ben (sayes he), not I; but I have been considering a great while what should be the fittest gift for me to bestow upon my godchild, and I have resolv’d at last.’ ‘I pr’y thee, what?’ sayes he. ‘I’ faith, Ben, I’le e’en give him a douzen good Latin spoones, and thou shalt translate them.’” “Shakespeare,” says Mr. Thoms,[704] “willing to show his wit, if not his wealth, gave a dozen spoons, not of silver, but of latten, a name formerly used to signify a mixed metal resembling brass, as being the most appropriate gift to the child of a father so learned.” In Middleton’s “Chaste Maid of Cheapside,” 1620:
“2 Gossip. What has he given her? What is it, gossip?
3 Gossip. A fair, high-standing cup, and two great ’postle spoons, one of them gilt.”
And Beaumont and Fletcher, in the “Noble Gentleman” (v. 1):
I have an odd apostle spoon.”
The gossip’s feast, held in honor of those who were associated in the festivities of a christening, was a very ancient English custom, and is frequently mentioned by dramatists of the Elizabethan age. The term gossip or godsip, a Saxon word signifying cognata ex parte dei, or godmother, is well defined by Richard Verstegan, in his “Restitution of Decayed Intelligence.” He says: “Our Christian ancestors, understanding a spiritual affinity to grow between the parents and such as undertooke for the child at baptism, called each other by the name of godsib, which is as much as to say that they were sib together, that is, of kin together through God. And the childe, in like manner, called such his godfathers or godmothers.”
As might be expected, it is often alluded to by Shakespeare. Thus, in the “Comedy of Errors” (v. 1), we read:
Of you, my sons: and till this present hour
My heavy burthen ne’er delivered.
The duke, my husband, and my children both,
And you the calendars of their nativity,
Go to a gossip’s feast, and go with me;
After so long grief, such festivity!
And again, in “A Midsummer-Night’s Dream” (ii. 1), the mischievous Puck says:
In very likeness of a roasted crab;
And, when she drinks, against her lips I bob,
And on her wither’d dewlap pour the ale.”
And, once more, we find Capulet, in “Romeo and Juliet” (iii. 5), saying to the Nurse:
Utter your gravity o’er a gossip’s bowl;
For here we need it not.”
Referring to entertainments at christenings, we find the following in the “Batchelor’s Banquet,” 1603 (attributed to Dekker): “What cost and trouble it will be to have all things fine against the Christening Day; what store of sugar, biskets, comphets, and caraways, marmalet, and marchpane, with all kinds of sweet-suckers and superfluous banqueting stuff, with a hundred other odd and needless trifles, which at that time must fill the pockets of dainty dames,” by which it appears the ladies not only ate what they pleased, but pocketed likewise. Upon this and the falling-off of the custom of giving “apostle spoons” at the christening, we read in “Shipman’s Gossip,” 1666:
Eat more at christenings than bestow.
Formerly when they us’d to troul
Gilt bowls of sack, they gave the bowl;
Two spoons at least; an use ill kept;
’Tis well now if our own be left.”
Strype tells us that, in 1559, the son of Sir Thomas Chamberlayne was baptized at St. Benet’s Church, Paul’s Wharf, when “the Church was hung with cloth of arras, and after the christening were brought wafers, comfits, and divers banqueting dishes, and hypocras and Muscadine wine, to entertain the guests.”
In “Henry VIII.” (v. 4), the Porter says: “Do you look for ale and cakes here, you rude rascals?”
A term formerly in use for the name given at baptism was “Christendom,” an allusion to which we find in “All’s Well that Ends Well” (i. 1), where Helena says:
Of pretty, fond, adoptious christendoms
That blinking Cupid gossips,”
the meaning evidently being, a number of pretty, fond, adopted appellations or Christian names to which blind Cupid stands godfather. The expression is often used for baptism by old writers; and Singer[705] quotes from “King John” (iv. 1):
So I were out of prison, and kept sheep,
I should be as merry as the day is long.”
Steevens observes that, in the Puritanical times, it was usual to christen children with the names of moral and religious virtues—a practice to which allusion seems to be made in “The Tempest” (ii. 1) by Antonio:
So Taylor, the Water-Poet, in his description of a strumpet, says:
To be call’d Prudence, Temperance, Faith, or Grace.”
In days gone by a “chrisom” or “christom child” was one who had recently been baptized, and died within the month of birth, the term having originated in the “face-cloth, or piece of linen, put upon the head of a child newly baptized.” The word was formed from the chrism, that is, the anointing, which formed a part of baptism before the Reformation. Thus, in “Henry V.” (ii. 3), the hostess, Mrs. Quickly, means “chrisom child” in the following passage, where she speaks of Falstaff’s death: “’A made a finer end, and went away an it had been any christom child.” In a beautiful passage of Bishop Taylor’s “Holy Dying” (chap. i. sec. 2), this custom is thus spoken of: “Every morning creeps out of a dark cloud, leaving behind it an ignorance and silence deep as midnight, and undiscerned as are the phantoms that made a chrisom child to smile.” Referring to the use of the chrisom-cloth in connection with baptism, it appears that, after the usual immersion in water, the priest made a cross on the child’s head with oil, after which the chrisom was put on, the priest asking at the same time the infant’s name, and saying, “Receive this white, pure, and holy vestment, which thou shalt wear before the tribunal of our Lord Jesus Christ, that thou mayest inherit eternal life. Amen.” It was to be worn seven days; but after the Reformation, however, the use of oil was omitted, and the chrisom was worn by the child till the mother’s churching, when it was returned to the church. If the child died before the churching, it was buried in the chrisom, and hence it may be that the child itself was called a chrisom or chrisomer.[706] Thus, it will be seen that Dame Quickly simply compares the manner of Falstaff’s death to that of a young infant. In registers and bills of mortality we find infants alluded to under the term “Chrisoms.” Burn, in his “History of Parish Registers” (1862, p. 127), gives the subjoined entry from a register of Westminster Abbey: “The Princess Ann’s child a chrissome bu. in ye vault, Oct. 22, 1687.”
In Graunt’s “Bills of Mortality,” cited in Johnson’s Dictionary, we read: “When the convulsions were but were but few, the number of chrisoms and infants was greater.” The “bearing-cloth” was the mantle which generally covered the child when it was carried to the font. It is noticed in the “Winter’s Tale” (iii. 3), by the Shepherd, who, on the discovery of Perdita, says to the Clown: “Here’s a sight for thee: look thee, a bearing-cloth for a squire’s child! Look thee here; take up, take up, boy: open’t.” In Stow’s “Chronicle” (1631, p. 1039), we are told that about this time it was not customary “for godfathers and godmothers generally to give plate at the baptisme of children, but only to give ‘christening shirts,’ with little bands and cuffs, wrought either with silk or blue thread. The best of them, for chief persons, were edged with a small lace of black silk and gold, the highest price of which, for great men’s children, was seldom above a noble, and the common sort, two, three, or four, and six shillings a piece.”
[702] See Douce’s “Illustrations of Shakespeare,” p. 383; Brand’s “Pop. Antiq.,” 1849, vol. iii. pp. 44-46, 326.
[703] See Napier’s “Folk-Lore of West of Scotland,” 1879, pp. 34-40; Keightley’s “Fairy Mythology;” Brand’s “Pop. Antiq.,” 1849, vol. iii. pp. 73, 74.
[704] “Anecdotes and Traditions,” 1839, p. 3.
[705] “Shakespeare,” 1875, vol. iv. p. 314.
[706] Douce’s “Illustrations of Shakespeare,” 1859, pp. 299, 300; Nares’s “Glossary,” vol. i. p. 160; see Brand’s “Pop. Antiq.,” 1849, vol. ii. pp. 84, 85.
CHAPTER XIII. MARRIAGE.The style of courtship which prevailed in Shakespeare’s time, and the numerous customs associated with the marriage ceremony, may be accurately drawn from the many allusions interspersed through his plays. From these, it would seem that the mode of love-making was much the same among all classes, often lacking that polish and refined expression which are distinguishing characteristics nowadays. As Mr. Drake remarks,[707] the amatory dialogues of Hamlet, Hotspur, and Henry V. are not more refined than those which occur between Master Fenton and Anne Page, in the “Merry Wives of Windsor,” between Lorenzo and Jessica, in the “Merchant of Venice,” and between Orlando and Rosalind, in “As You Like It.” These last, which may be considered as instances taken from the middle class of life, together with a few drawn from the lower rank of rural manners, such as the courtship of Touchstone and Audrey, and of Silvius and Phœbe, in “As You Like It,” are good illustrations of this subject, although it must be added that, in point of fancy, sentiment, and simplicity, the most pleasing love-scenes in Shakespeare are those of Romeo and Juliet and of Florizel and Perdita.
The ancient ceremony of betrothing seems still to have been in full use in Shakespeare’s day. Indeed, he gives us several interesting passages upon the subject of troth-plight. Thus, in “Measure for Measure” (iii. 1), we learn that the unhappiness of the poor, dejected Mariana was caused by a violation of the troth-plight:
“Duke. She should this Angelo have married; was affianced to her by oath, and the nuptial appointed: between which time of the contract, and limit of the solemnity, her brother Frederick was wrecked at sea, having in that perished vessel the dowry of his sister. But mark how heavily this befell to the poor gentlewoman: there she lost a noble and renowned brother, in his love toward her ever most kind and natural; with him, the portion and sinew of her fortune, her marriage-dowry; with both, her combinate husband, this well-seeming Angelo.
Isabella. Can this be so? Did Angelo so leave her?
Duke. Left her in her tears, and dried not one of them with his comfort; swallowed his vows
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