In short, I can never read far in Spenser without taking a rest—as we farmers lean upon our spades, when the digging is in unctuous fat soil that lifts heavily.
And so I leave the matter,—with the "Faëry Queene" in my thought, and leaning on my spade.
CIVIC BANQUETS.
It has often perplexed me 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 stanch 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 master-pieces 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 drank, 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 or 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 lie 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 mediæval 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 dish-clouts 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 daïs, or elevated part of the floor, stands an antique chair of state, which more than one royal character is 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 door-way, 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 pages 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.