shot the deer, on his poaching exploits. There, too, was his tobacco-box; which proves that he was a rival smoker of Sir Walter Raleigh; the sword also with which he played Hamlet; and the identical lantern with which Friar Laurence discovered Romeo and Juliet at the tomb! There was an ample supply also of Shakespeare's mulberry-tree, which seems to have as extraordinary powers of self-multiplication as the wood of the true cross; of which there is enough extant to build a ship of the line.
The most favorite object of curiosity, however, is Shakespeare's chair. It stands in the chimney-nook of a small gloomy chamber, just behind what was his father's shop. Here he may many a time have sat when a boy, watching the slowly-revolving spit, with all the longing of an urchin; or, of an evening, listening to the crones and gossips of Stratford, dealing forth churchyard tales and legendary anecdotes of the troublesome times in England. In this chair it is the custom of everyone who visits the house to sit: whether this be done with the hope of imbibing any of the inspiration of the bard, I am at a loss to say; I merely mention the fact; and mine hostess privately assured me that, tho built of solid oak, such was the fervent zeal of devotees, that the chair had to be new-bottomed at least once in three years. From the birthplace of Shakespeare a few paces brought me to his grave. … We approached the church through the avenue of limes, and entered by a Gothic porch, highly ornamented with carved doors of massive oak. The interior is spacious, and the architecture and embellishments superior to those of most country churches. There are several ancient monuments of nobility and gentry, over some of which hang funeral escutcheons, and banners dropping piecemeal from the walls. The tomb of Shakespeare is in the chancel. The place is solemn and sepulchral. Tall elms wave before the pointed windows, and the Avon, which runs at a short distance from the walls, keeps up a low perpetual murmur. A flat stone marks the spot where the bard is buried. There are four lines inscribed on it, said to have been written by himself, and which have in them something extremely awful. If they are indeed his own, they show that solicitude about the quiet of the grave which seems natural to fine sensibilities and thoughtful minds:
"Good friend, for Jesus' sake, forbeare
To dig the dust inclosèd here.
Blessed be he that spares these stones,
And curst be he that moves my bones."
The inscription on the tombstone has not been without its effect. It has prevented the removal of his remains from the bosom of his native place to Westminster Abbey, which was at one time contemplated. A few years since also, as some laborers were digging to make an adjoining vault, the earth caved in, so as to leave a vacant space almost like an arch, through which one might have reached into his grave. No one, however, presumed to meddle with the remains so awfully guarded by a malediction; and lest any of the idle or the curious, or any collector of relics, should be tempted to commit depredations, the old sexton kept watch over the place for two days, until the vault was finished, and the aperture closed again. He told me that he had made bold to look in at the hole, but could see neither coffin nor bones; nothing but dust. It was something, I thought, to have seen the dust of Shakespeare.
I had now visited the usual objects of a pilgrim's devotion, but I had a desire to see the old family seat of the Lucy's at Charlecot, and to ramble through the park where Shakespeare, in company with some of the roisterers of Stratford, committed his youthful offense of deer-stealing. The old mansion of Charlecot and its surrounding park still remain in the possession of the Lucy family, and are peculiarly interesting from being connected with this whimsical but eventful circumstance in the scanty history of the bard. As the house stood at little more than three miles' distance from Stratford, I resolved to pay it a pedestrian visit, that I might stroll leisurely through some of those scenes from which Shakespeare must have derived his earliest ideas of rural imagery.
My route for a part of the way lay in sight of the Avon, which made a variety of the most fanciful doublings and windings through a wide and fertile valley; sometimes glittering from among willows, which fringed its borders; sometimes disappearing among groves, or beneath green banks; and sometimes rambling out into full view, and making an azure sweep around a slope of meadow land. This beautiful bosom of country is called the Vale of the Red Horse. A distant line of undulating blue hills seems to be its boundary, while all the soft intervening landscape lies in a manner enchained in the silver links of the Avon.
After pursuing the road for about three miles, I turned off into a foot-path, which led along the borders of fields and under hedgerows to a private gate of the park; there was a stile, however, for the benefit of the pedestrian; there being a public right of way through the grounds. I delight in these hospitable estates, in which everyone has a kind of property—at least as far as the foot-path is concerned. I now found myself among noble avenues of oaks and elms, whose vast size bespoke the growth of centuries. The wind sounded solemnly among their branches, and the rooks cawed from their hereditary nests in the tree tops. The eye ranged through a long lessening vista, with nothing to interrupt the view but a distant statue, and a vagrant deer stalking like a shadow across the opening.
I had now come in sight of the house. It is a large building of brick, with stone quoins, and is in the Gothic style of Queen Elizabeth's day, having been built in the first year of her reign. The exterior remains very nearly in its original state, and may be considered a fair specimen of the residence of a wealthy country gentleman of those days. A great gateway opens from the park into a kind of courtyard in front of the house, ornamented with a grass-plot, shrubs, and flower-beds. The gateway is in imitation of the ancient barbican; being a kind of outpost and flanked by towers; tho evidently for mere ornament, instead of defense. The front of the house is completely in the old style; with stone shafted casements, a great bow-window of heavy stone work, and a portal with armorial bearings over it, carved in stone. At each corner of the building is an octagon tower, surmounted by a gilt ball and weathercock.
The Avon, which winds through the park, makes a bend just at the foot of a gently sloping bank, which sweeps down from the rear of the house. Large herds of deer were feeding or reposing upon its borders; and swans were sailing majestically upon its bosom.
After prowling about for some time, I at length found my way to a lateral portal, which was the every-day entrance to the mansion. I was courteously received by a worthy old housekeeper, who, with the civility and communicativeness of her order, showed me the interior of the house. The greater part has undergone alterations, and been adapted to modern tastes and modes of living; there is a fine old oaken staircase; and the great hall, that noble feature in an ancient manor-house, still retains much of the appearance it must have had in the days of Shakespeare. The ceiling is arched and lofty; and at one end is a gallery, in which stands an organ. The weapons and trophies of the chase, which formerly adorned the hall of a country gentleman, have made way for family portraits. There is a wide hospitable fire-place, calculated for an ample old-fashioned wood fire, formerly the rallying place of winter festivity. On the opposite side of the hall is the huge Gothic bow-window, with stone shafts, which looks out upon the court-yard. Here are emblazoned in stained glass the armorial bearings of the Lucy family for many generations, some being dated in 1558. …
I regretted to find that the ancient furniture of the hall had disappeared; for I had hoped to meet with the stately elbow-chair of carved oak, in which the country Squire of former days was wont to sway the scepter of empire over his rural domains; and in which might be presumed the redoubted Sir Thomas sat enthroned in awful state, when the recreant Shakespeare was brought before him. As I like to deck out pictures for my entertainment, I pleased myself with the idea that this very hall had been the scene of the unlucky bard's examination on the morning after his captivity in the lodge. I fancied to myself the rural potentate, surrounded by his body-guard of butler, pages, and the blue-coated serving-men with their badges; while the luckless culprit was brought in, forlorn and chapfallen, in the custody of game-keepers, huntsmen, and whippers-in, and followed by a rabble rout of country clowns. I fancied bright faces of curious housemaids peeping from the half-opened doors; while from the gallery the fair daughters of the Knight leaned gracefully forward, eying the youthful prisoner
