( Originally Published 1920 )
By WASHINGTON IRVING.
Washington Irving, the author of this charming sketch, was born in New York April 3, 1783, and died at Irvington, N. Y., November 28, 1859. Among his other works are, the Life of Washington, the Life and Voyages of Columbus, the Conquest of Granada, and the Alhambra. This sketch remains a classic description of Westminster Abbey.
ON one of those sober and rather melancholy days in the latter part of autumn when the shadows of the morning and evening almost mingle together, and throw a gloom over the decline of the year, I passed several hours in rambling about Westminster Abbey. There was something congenial to the season in the mournful magnificence of the old pile, and as I passed its threshold it seemed like stepping back into the regions of antiquity and losing myself among the shades of former ages.
I entered from the inner court of Westminster School, through a long, low, vaulted passage that had an almost subterranean look, being dimly lighted in one part by circular perforations in the massive walls. Through this dark avenue I had a distant view of the cloisters, with the figure of an old verger in his black gown moving along their shadowy vaults, and seeming like a spectre from one of the neighboring tombs. The approach to the abbey through these gloomy monastic remains prepares the mind for its solemn contemplation. The cloisters still retain something of the quiet and seclusion of former days. The gray walls are discolored by the damps and crumbling with age; a coat of hoary moss has gathered over the inscriptions of the mural monuments, and obscured the death's head and other funeral emblems. The sharp touches of the chisel are gone from the rich tracery of the arches; the roses which adorned the keystones have lost their leafy beauty;everything bears the marks of the gradual dilapidations of time, which yet has something touching and pleasing in its very decay.
The sun was pouring down a yellow autumnal ray into the square of the cloisters, beaming upon the scanty plot of grass in the center and lighting up an angle of the vaulted passage with a kind of dusky splendor. From between the arcades, the eye glanced up to a bit of blue sky or a passing cloud, and beheld the sun-gilt pinnacles of the abbey towering into the azure heaven.
As I paced the cloisters, sometimes contemplating the mingled picture of glory and decay, and sometimes endeavoring to decipher the inscriptions on the tombstones which formed the pavement beneath my feet, my eye was attracted to three figures rudely carved in relief, but nearly worn away by the footsteps of many generations. They were the effigies of three of the early abbots; the epitaphs were entirely effaced, the names alone remained, having no doubt been renewed in later times. I remained some time musing over these casual relics of antiquity thus left like wrecks upon the distant shore of time, telling no tale but that such beings had been and had perished, teaching no moral but the futility of that pride which hopes still to exact some homage in its ashes and to live in an inscription. A little longer, and even these faint records will be obliterated, and the monument will cease to be a memorial. Whilst I was yet looking down upon the grave-stones I was aroused by the sound of the abbey clock, reverberating from buttress to buttress and echoing among the cloisters. It is almost startling to hear this warning of departed time sounding among the tombs and telling the lapse of the hour, which, like a billow, has rolled us onward towards the grave. I pursued my walk to an arched door opening to the interior of the abbey. On entering here the magnitude of the building breaks fully upon the mind, contrasted with the vaults and the cloisters. The eyes gaze with wonder at the clustered columns of gigantic dimensions, with arches springing from them to such an amazing height, and man wandering around their bases, shrunk to insignificance in comparison with his own handiwork. The spaciousness and the gloom of this vast edifice produce a profound and mysterious awe. We step cautiously and softly about, as if fearful of disturbing the hallowed silence of the tomb, while every footfall whispers along the walls and chatters among the sepulchres, making us more sensible of the quiet we have interrupted.
It seems as if the awful nature of the place presses down upon the soul and hushes the beholder into noiseless reverence. We feel that we are surrounded by the congregated bones of the great men of past times, who have filled history with their deeds and earth with their renown.
And yet it almost provokes a smile at the vanity of human ambition to see how they are crowded together and jostled in the dust; what parsimony is observed in doling out a scanty nook, a gloomy corner, a little portion of earth, to those whom, when alive, kingdoms could not satisfy, and how many shapes and forms and artifices are devised to catch the casual notice of the passenger, and save from forgetfulness for a few short years a name which once aspired to occupy ages of the world's thought and admiration.
I passed some time in the Poet's Corner, which occupies an end of one of the transepts or cross aisles of the abbey. The monuments are generally simple, for the lives of literary men can afford no striking themes for the sculptor. Shakespeare and Addison have statues erected to their memories, but the greater part have busts, medallions, and sometimes mere inscriptions. Notwithstanding the simplicity of these memorials, I have always observed that the visitors to the abbey remained longest about them. A kinder and fonder feeling takes the place of that cold curiosity or vague admiration with which they gaze on the monuments of the great and the heroic. They linger about these as about tombs of old friends and companions, for indeed there is something of that companionship between the author and the reader. Other men are known to posterity only through the medium of history, which is continually growing faint and obscure; but the intercourse between the author and his fellow man is ever new, active, and immediate. He has lived more for them than for himself; he has sacrificed surrounding enjoyments, and shut himself up from the delights of social life, that he might the more immediately commune with distant minds and distant ages. Well may the world cherish his renown, for it has been purchased not by deeds of violence and blood, but by the diligent dispensation of pleasure. Well may posterity be grateful to his memory, for he has left it an inheritance not of empty names and sounding actions, but whole treasures of wisdom, bright gems of thought, and golden veins of language.
From the Poet's Corner I continued my stroll towards that part of the abbey which contains the sepulchres of the kings. I wandered among what once were chapels, but which are now occupied by the tombs and monuments of the great. At every turn I met with some illustrious name or the cognizance of some powerful house renowned in history. As the eye darts into these dusky chambers of death it catches glimpses of quaint effigies-some kneeling in niches, as if in devotion; others stretched upon the tombs, with hands piously pressed together; warriors in armor, as if reposing after battle; prelates, with crosiers and mitres; and nobles in, robes and coronets, lying as it were in state. In glancing over this scene so strangely populous, yet where every form is so still and silent, it seems almost as if we were treading a mansion of that fabled city where every being had been suddenly transmuted to stone.
I paused to contemplate a tomb on which lay the effigy of a knight in complete armor. A large buckler was on one arm; the hands were pressed together in supplication upon the breast; the face was almost covered by the motion; the legs were crossed, in token of the warrior's having been engaged in the holy war. It was the tomb of a Crusader, of one of those military enthusiasts who so strangely mingled religion and romance, and whose exploits form the connecting link between fact and fiction, between history and the fairy tale. There is some-thing extremely picturesque in the tombs of these adventurers, decorated as they are with rude armorial bearings and Gothic sculpture. They comport with the antiquated chapels in which they are generally found; and in considering them the imagination is apt to kindle with the legendary associations, the romantic fiction, the chivalrous pomp and pageantry which poetry has spread over the wars for the sepulchre of Christ. They are the relics of times utterly gone by; of beings passed from recollection; of customs and manners with which ours have no affinity. They are like objects from some strange and distant land of which we have no certain knowledge, and about which all our conceptions are vague and visionary. There is something extremely solemn and awful about those effigies on Gothic tombs, extended as if in the sleep of death or in the supplication of the dying hour. They have an effect infinitely more impressive than the fanciful attitudes, the overwrought conceits, the allegorical groups which abound on mod-em monuments. I have been struck, also, with the superiority of many of the old sepulchral inscriptions. There was a noble way in former times of saying things simply, and yet saying them proudly; and I do not know an epitaph that breathes a loftier consciousness of family worth and honorable lineage than the one which affirms of a noble house that "all the brothers were brave and all the sisters virtuous."
In the opposite transept to the Poet's Corner stands a monument which is among the most renowned achievements of modem art, but which to me appears horrible rather than sublime. 1t is the tomb of Mrs. Nightingale, by Roubillac. The bottom of the monument is rep-resented as throwing open its marble doors, and a sheeted skeleton is starting forth. The shroud is falling from his fleshless frame as he launches his dart at his victim. She is sinking into her affrighted husband's arms, who strives with vain and frantic effort to avert the blow. The whole is executed with terrible truth and spirit; we almost fancy we hear the gibbering yell of triumph bursting from the distended jaws of the spectre. But why should we thus seek to clothe death with unnecessary terrors, and to spread horrors around the tomb of those we love? The grave should be surrounded with everything that might inspire tenderness and veneration for the dead, or that might win the living to virtue. It is a place not of disgust and dismay but of sorrow and meditation.
While wandering about these gloomy vaults and silent aisles, studying the records of the dead, the sound of busy existence from without occasionally reaches the ear-the rumbling of the passing equipage, the murmur of the multitude, or perhaps a light laugh of pleasure.
The contrast is striking with the deathlike repose around; and it has a strange effect upon the feelings thus to hear the surges of active life hurrying along and beating against the very walls of this sepulchre.
I continued in this way to move from tomb to tomb and from chapel to chapel. The day was gradually wearing away; the distant tread of loiterers about the abbey grew less and less frequent; the sweet-tongued bell was summoning to evening prayers; and I saw at a distance the choristers in their white surplices crossing the aisle and entering the choir. I stood before the entrance to Henry the Seventh's chapel. A flight of steps leads up to it through a deep and gloomy but magnificent arch. Great gates of brass, richly and delicately wrought, turn heavily upon their hinges as if proudly reluctant to admit the feet of common people into this most gorgeous of sepulchres.
On entering the eye is astonished by the pomp of architecture and the elaborate beauty of sculptured detail. The very walls are wrought into universal ornament, encrusted with tracery, and scooped into niches crowded with the statues of saints and martyrs. Stone seems, by the cunning labor of the chisel, to have been robbed of its weight and density, suspended aloft as if by magic, and the fretted roof achieved with the wonderful minuteness and airy security of a cobweb.
Along the sides of the chapel are the lofty stalls of the Knights of the Bath, richly carved of oak, though with the grotesque decorations of Gothic architecture. On the pinnacles of the stalls are affixed the helmets and swords and crests of the knights, and above them are suspended their banners, emblazoned with armorial bearings, and contrasting with the splendor of gold and purple and crimson with the cold gray fretwork of the roof. In the midst of this grand mausoleum stands the sepulchre of its founder-his effigy, with that of his queen extended on a sumptuous tomb-and the whole surrounded by a superbly wrought brazen railing.
There is a sad dreariness in this magnificence, this strange mixture of tombs and trophies, these emblems of living and aspiring ambition, close beside the mementos which show the dust and oblivion in which all must sooner or later terminate. Nothing impresses the mind with a deeper feeling of loneliness than to tread the silent and deserted scenes of former throng and pageantry. On looking round on the vacant stalls of the knights and their esquires, and on the rows of dusty but gorgeous banners, that were once borne before them, my imagination conjured up the scene when this hall was bright with the valor and beauty of the land, glittering with the splendor of jeweled rank and military array, alive with the tread of many feet and the hum of an admiring multitude. All had passed away; the silence of death had settled again upon the place interrupted only by the casual chirping of birds, which had found their way into the chapel and had built their nests among its friezes and pendants-sure sign of solitariness and desertion.
When I read the names inscribed upon the banners, they were those of men scattered far and wide about the world-some tossing upon distant seas; some under arms in distant lands; some mingling in the busy intrigues of courts and cabinets; all seeking to deserve one more distinction in this mansion of shadowy honors-the melancholy reward of a monument.
Two small aisles on each side of this chapel present a touching in-stance of the equality of the grave, which brings down the oppressor to a level with the oppressed and mingles the dust of the bitterest enemies together. In one is the sepulchre of the haughty Elizabeth; in the other is that of her victim, the lovely and unfortunate Mary. Not an hour in the day but some ejaculation of pity is uttered over the fate of the latter, mingled with indignation at her oppressor. The walls of Elizabeth's sepulchre continually echo with the sighs of sympathy heaved at the grave of her rival.
A peculiar melancholy reigns over the aisle where Mary lies buried. The light struggles dimly through the windows darkened by dust. The greater part of the place is in deep shadow, and the walls are stained and tinted by time and weather. A marble figure of Mary is stretched upon the tomb, round which is an iron railing, much corroded, bearing her national emblem-the thistle. I was weary with wandering and sat down to rest myself by the monument, revolving in my mind the chequered and disastrous story of poor Mary.
The sound of casual footsteps had ceased from the abbey, I could only hear, now and then, the distant voice of the priest repeating the evening service and the faint responses of the choir; these paused for a time, and all was hushed. The stillness, the desertion, the obscurity that were gradually prevailing around me gave a deeper and more solemn interest to the place;
For in the silent grave no conversation,
No joyful tread of friends, no voice of lovers, No careful father's counsel-nothing's heard, For nothing is, but all oblivion,
Dust and endless darkness.
Suddenly the notes of the deep-laboring organ burst upon the ear, falling with doubled and redoubled intensity, and rolling, as it were, in huge billows of sound. How well do their volume and grandeur ac-cord with this mighty building! With what pomp do they swell through its vast vaults, and breathe their awful harmony through these vast eaves of death, and make the silent sepulchre vocal ! And now they rise in triumphant acclamation, heaving higher and higher their accordant notes and piling sound on sound. And now they pause, and the soft voices of the choir break out into sweet gushes of melody; they soar aloft, and seem to play about these lofty vaults like the pure airs of heaven. Again the pealing organ heaves its thrilling thunders, compressing air into music, and rolling it forth upon the soul. What long-drawn cadences! What solemn sweeping concords! It grows more and more dense and powerful; it fills the vast pile and seems to jar the very walls-the ear is stunned-the senses are overwhelmed. And now it is winding up in full jubilee, it is rising from the earth to heaven; the very soul seems rapt away and floated upwards on this swelling tide of harmony.
I sat for some time lost in that kind of reverie which a strain of music is apt sometimes to inspire. The shadows of the evening were gradually thickening round me; the monuments began to cast a deeper and deeper gloom; and the distant clock again gave token of the slowly waning day.
I rose and prepared to leave the abbey. As I descended the flight of steps which led into the body of the building, my eye was caught by the shrine of Edward the Confessor, and I ascended the small stair-case that conducts to it, to take from thence a general survey of this wilderness of tombs. The shrine is elevated upon a kind of platform, and close around it are the sepulchres of various kings and queens. From this eminence the eye looks down between the pillars and funeral trophied to the chapels and chambers below, crowded with tombs, where warriors, prelates, courtiers and statesmen lie mouldering in their "beds of darkness." Close by me stood the great chair of coronation, rudely carved of oak in the barbarous taste of a remote and Gothic age. The scene seemed almost as if contrived with theatrical artifice to pro-duce an effect upon the beholder. Here was a type of the beginning and the end of human pomp and power; here it was literally but a step from the throne to the sepulchre. Would not one think that these incongruous mementos had been gathered together as a lesson to living greatness-to show it, even in the moment of its proudest exaltation, the neglect and dishonor to which it must soon arrive-how soon that crown which encircles its brow must pass away, and it must lie down in the dust and disgrace of the tomb, and be trampled upon by the feet of the meanest of the multitude. For, strange to tell, even the grave here is no longer a sanctuary. There is a shocking levity in some natures which leads them to sport with awful and hallowed things, and there are base minds which delight to revenge on the illustrious dead the abject homage and grovelling servility which they pay to the living. The coffin of Edward the Confessor has been broken open and his remains despoiled of their funeral ornaments; the sceptre has been stolen from the hand of the imperious Elizabeth; and the effigy of Henry the Fifth lies headless. Not a royal monument but bears some proof how false and fugitive is the homage of mankind. Some are plundered, some are mutilated, some covered with ribaldry and insult-all more or less outraged and dishonored.
The last beams of the day were now faintly streaming through the painted windows in the high vaults above me; the lower parts of the abbey were already wrapped in the obscurity of twilight. The chapels and aisles grew darker and darker. The effigies of the kings faded into shadows; the marble figures of the monuments assumed strange shapes in the uncertain light; the evening breeze crept through the aisles like the cold breath of the grave; and even the distant footfall of a verger, traversing the Poet's Corner, had something strange and dreary in its sound. I slowly retraced my morning's walk, and as I passed out at the portal of the cloisters, the door, closing with a jarring noise behind me, filled the whole building with echoes.
I endeavored to form some arrangement in my mind of the things that I had been contemplating, but found they were already falling into indistinctness and confusion. Names, inscriptions, trophies, had all become confounded in my recollection, though I had scarcely taken my foot off the threshold. What, thought I, is this vast assemblage of sepulchres but a treasury of humiliation-a huge pile of reiterated homilies on the emptiness of renown and the certainty of oblivion'? 1t is, indeed, the empire of death; his great shadowy palace where he sits in state, mocking at the relics of human glory and spreading dust and forgetfulness on the monuments of princes. How idle a boast, after all, is the immortality of a name ! Time is ever silently turning over his pages; we are too much engrossed by the story of the present to think of the characters and anecdotes that gave interest to the past; and each age is a volume thrown aside to be quickly forgotten. The idol of today pushes the hero of yesterday out of our recollection, and will in turn be supplanted by his successor of tomorrow. "Our fathers," says Sir Thomas Browne, "find their graves in our short memories, and sadly tell us how we may be buried in our survivors." History fades into fable; fact becomes clouded with doubt and controversy; the inscription moulders from the tablet; the statue falls from the pedestal. Columns, arches, pyramids, what are they but heaps of dust and sand, and their epitaphs but characters written in the dust? What is the security of a tomb or the perpetuity of an embalmment? The remains of Alexander the Great have been scattered to the wind, and his empty sarcophagus is now the mere curiosity of a museum. "The Egyptian mummies, which Cambyses or time has spared, avarice hath now consumed; Mizraim cures wounds, and Pharaoh is sold for balsams."
What then is to ensure this pile which now towers above me from sharing the fate of mightier mausoleums'? The time must come when its gilded vaults, which now spring so loftily, shall lie in rubbish beneath the feet; when instead of the sound of melody and praise the wind shall whistle through the broken arches and the owl hoot from its shattered tower; and the foxglove hang out its blossoms about the nameless urn, as if in mockery of the dead. Thus man passes away; his name passes from record and recollection; his history is as a tale that is told, and his very monument becomes a ruin.