But, taking leave of the court, let us proceed to discover the manners of the people, from contemporary authors and dramatists. Much is to be gleaned from the voluminous writings of Thomas Decker, whose pamphlets and plays, the Quarterly Review once said, would furnish a more complete view of the habits and customs of his contemporaries in vulgar and middle life than could easily be collected from all the grave annals of the times. His Seven Deadly Sins of London, published in 1606, is a mighty invective against the iniquity of the day. It has been well remarked in the introduction to Arber’s reprint of the work, how much the mind of the writer was imbued with the style of the old Hebrew prophets, and how sure he was that that style would find a response in the hearts of his readers. For instance, how like the ‘burden of the Word of the Lord’ is his apostrophe to London—‘O London, thou art great in glory, and envied for thy greatness. Thou art the goodliest of thy neighbours, but the proudest, the wealthiest, the most wanton.... Thou sit’st in thy gates heated with wines.’ In his account of the third deadly sin, he speaks of wines, Spanish and French, meeting in the cellar, conspiring together to lay the Englishman under the board. Perhaps his finest effort of prosopopæia is his impersonation of sloth, whom he represents as giving licences to all the vintners to ‘keepe open house, and to emptye their hogsheades to all commers, who did so, dyeing their grates into a drunkard’s blush (to make them knowe from gates of a prison) lest customers should reele away from them, and hanging out new bushes, that if men at their going out could not see the signe, yet they might not lose themselves in the bush.... And as drunkennesse when it least can stand, does best hold up ale-houses, so sloth is a founder of the alms-houses, ... and is a good benefactor to these last.’ To call attention to this author’s notices of such rules of drunkenness as Vpsy-Freeze, Crambo, Parmizant, &c., would be beside the present object; but the book will amply repay study, and serve as a commentary on Defoe’s Plague of London. Several other of his works bear upon the present theme, e.g. The Batchelor’s Banquet, Lanthorne and Candle Light, and English Villanies prest to Death.
A writer quite as voluminous, and equally with Decker a scourge of iniquity, was George Wyther (persistently called by so many—Hazlitt and Brand among the number—Wythers). In 1613 he brought out his satirical essays, Abuses Stript and Whipt, the truth and beauty of which, to his honour be it said, touched the heart of Charles Lamb, who observes:[121]
The game run down is coarse general vice, or folly as it appears in classes. A liar, a drunkard, a coxcomb, is stript and whipt.... To a well-natured mind, there is a charm of moral sensibility running through them. Wither seems everywhere bursting with a love of goodness, and a hatred of all low and base actions. At this day it is hard to discover what parts in the poem Abuses Stript could have occasioned the imprisonment of the author. Was vice in high places more suspicious than now?
Reference has already been made to the allusion in this work of Wither to the custom of Hock-tide. He ridicules the notion of such an observance and that of ales subserving the devotion of youth, and indignantly asks,—
What will they do, I say, that think to please
Their mighty God with such fond things as these?
Sure, very ill.
In this same work occurs an allusion to the then common practice of inserting toast into ale with nutmeg and sugar:—
Will he will drinke, yet but a draught at most,
That must be spiced with a nut-browne tost.
The origin of the word toast is much disputed, as is elsewhere observed, and no better account of it is forthcoming than that the word was taken from the toast which was put into the tankard, and which still floats in the loving cup. Hence the person named was the toast or savour of the wine, that which gives the draught piquancy.
Many other of the drinking customs of the day are criticised, but not all with censure. The ode to Christmas, for instance, contrasts strongly with his later puritanical sentiments. Neither sectarian gloom nor civil struggles had yet enveloped the author when he wrote,—
Drown sorrow in a cup of wine,
And let us all be merry.
Hark how the roofs with laughter sound!
Anon they’ll think the house goes round,
For they the cellars’ depth have found,
And there they will be merry,