The Biggest Curiosities of Literature. Disraeli IsaacЧитать онлайн книгу.
never have taken one another by the hand. In a preceding reign the fashion ran on square toes; insomuch that a proclamation was issued that no person should wear shoes above six inches square at the toes! Then succeeded picked-pointed shoes! The nation was again, in the reign of Elizabeth, put under the royal authority. "In that time," says honest John Stowe, "he was held the greatest gallant that had the deepest ruff and longest rapier: the offence to the eye of the one, and hurt unto the life of the subject that came by the other—this caused her Majestie to make proclamation against them both, and to place selected grave citizens at every gate, to cut the ruffes, and breake the rapiers' points of all passengers that exceeded a yeard in length of their rapiers, and a nayle of a yeard in depth of their ruffes." These "grave citizens," at every gate cutting the ruffs and breaking the rapiers, must doubtless have encountered in their ludicrous employment some stubborn opposition; but this regulation was, in the spirit of that age, despotic and effectual. Paul, the Emperor of Russia, one day ordered the soldiers to stop every passenger who wore pantaloons, and with their hangers to cut off, upon the leg, the offending part of these superfluous breeches; so that a man's legs depended greatly on the adroitness and humanity of a Russ or a Cossack; however this war against pantaloons was very successful, and obtained a complete triumph in favour of the breeches in the course of the week.
A shameful extravagance in dress has been a most venerable folly. In the reign of Richard II. their dress was sumptuous beyond belief. Sir John Arundel had a change of no less than fifty-two new suits of cloth of gold tissue. The prelates indulged in all the ostentatious luxury of dress. Chaucer says, they had "chaunge of clothing everie daie." Brantome records of Elizabeth, Queen of Philip II. of Spain, that she never wore a gown twice; this was told him by her majesty's own tailleur, who from a poor man soon became as rich as any one he knew. Our own Elizabeth left no less than three thousand different habits in her wardrobe when she died. She was possessed of the dresses of all countries.
The catholic religion has ever considered the pomp of the clerical habit as not the slightest part of its religious ceremonies; their devotion is addressed to the eye of the people. In the reign of our catholic Queen Mary, the dress of a priest was costly indeed; and the sarcastic and good-humoured Fuller gives, in his Worthies, the will of a priest, to show the wardrobe of men of his order, and desires that the priest may not be jeered for the gallantry of his splendid apparel. He bequeaths to various parish churches and persons, "My vestment of crimson satin—my vestment of crimson velvet—my stole and fanon set with pearl—my black gown faced with taffeta," &c.
Chaucer has minutely detailed in "The Persone's Tale" the grotesque and the costly fashions of his day; and the simplicity of the venerable satirist will interest the antiquary and the philosopher. Much, and curiously, has his caustic severity or lenient humour descanted on the "moche superfluitee," and "wast of cloth in vanitee," as well as "the disordinate scantnesse." In the spirit of the good old times, he calculates "the coste of the embrouding or embroidering; endenting or barring; ounding or wavy; paling or imitating pales; and winding or bending; the costlewe furring in the gounes; so much pounsoning of chesel to maken holes (that is, punched with a bodkin); so moche dagging of sheres (cutting into slips); with the superfluitee in length of the gounes trailing in the dong and in the myre, on horse and eke on foot, as wel of man as of woman—that all thilke trailing," he verily believes, which wastes, consumes, wears threadbare, and is rotten with dung, are all to the damage of "the poor folk," who might be clothed only out of the flounces and draggle-tails of these children of vanity. But then his Parson is not less bitter against "the horrible disordinat scantnesse of clothing," and very copiously he describes, though perhaps in terms and with a humour too coarse for me to transcribe, the consequences of these very tight dresses. Of these persons, among other offensive matters, he sees "the buttokkes behind, as if they were the hinder part of a sheap, in the ful of the mone." He notices one of the most grotesque modes, the wearing a parti-coloured dress; one stocking part white and part red, so that they looked as if they had been flayed. Or white and blue, or white and black, or black and red; this variety of colours gave an appearance to their members of St. Anthony's fire, or cancer, or other mischance!
The modes of dress during the thirteenth and fourteenth centuries were so various and ridiculous, that they afforded perpetual food for the eager satirist.
The conquests of Edward III. introduced the French fashions into England; and the Scotch adopted them by their alliance with the French court, and close intercourse with that nation.
Walsingham dates the introduction of French fashions among us from the taking of Calais in 1347; but we appear to have possessed such a rage for imitation in dress, that an English beau was actually a fantastical compound of all the fashions in Europe, and even Asia, in the reign of Elizabeth. In Chaucer's time, the prevalence of French fashions was a common topic with our satirist; and he notices the affectation of our female citizens in speaking the French language, a stroke of satire which, after four centuries, is not obsolete, if applied to their faulty pronunciation. In the prologue to the Prioresse, Chaucer has these humorous lines:—
Entewned in her voice full seemly,
And French she spake full feteously,
After the Scole of Stratford at Bowe: The French of Paris was to her unknowe.
A beau of the reign of Henry IV. has been made out, by the laborious Henry. They wore then long-pointed shoes to such an immoderate length, that they could not walk till they were fastened to their knees with chains. Luxury improving on this ridiculous mode, these chains the English beau of the fourteenth century had made of gold and silver; but the grotesque fashion did not finish here, for the tops of their shoes were carved in the manner of a church window. The ladies of that period were not less fantastical.
The wild variety of dresses worn in the reign of Henry VIII. is alluded to in a print of a naked Englishman holding a piece of cloth hanging on his right arm, and a pair of shears in his left hand. It was invented by Andrew Borde, a learned wit of those days. The print bears the following inscription:—
I am an Englishman, and naked I stand here,
Musing in my mind, what rayment I shall were;
For now I will were this, and now I will were that,
And now I will were what I cannot tell what.
At a lower period, about the reign of Elizabeth, we are presented with a curious picture of a man of fashion by Puttenham, in his "Arte of Poetry," p. 250. This author was a travelled courtier, and has interspersed his curious work with many lively anecdotes of the times. This is his fantastical beau in the reign of Elizabeth. "May it not seeme enough for a courtier to know how to weare a feather and set his cappe aflaunt; his chain en echarpe; a straight buskin, al Inglese; a loose à la Turquesque; the cape alla Spaniola; the breech à la Françoise, and, by twentie maner of new-fashioned garments, to disguise his body and his face with as many countenances, whereof it seems there be many that make a very arte and studie, who can shewe himselfe most fine, I will not say most foolish or ridiculous." So that a beau of those times wore in the same dress a grotesque mixture of all the fashions in the world. About the same period the ton ran in a different course in France. There, fashion consisted in an affected negligence of dress; for Montaigne honestly laments, in Book i. Cap. 25—"I have never yet been apt to imitate the negligent garb which is yet observable among the young men of our time; to wear my cloak on one shoulder, my bonnet on one side, and one stocking in something more disorder than the other, meant to express a manly disdain of such exotic ornaments, and a contempt of art."
The fashions of the Elizabethan age have been chronicled by honest John Stowe. Stowe was originally a tailor, and when he laid down the shears, and took up the pen, the taste and curiosity for dress was still retained. He is the grave chronicler of matters not grave. The chronology of ruffs, and tufted taffetas; the revolution of steel poking-sticks, instead of bone or wood, used by the laundresses; the invasion of shoe-buckles, and the total rout of shoe-roses; that grand adventure of a certain Flemish lady, who introduced the art of starching the ruffs with a yellow tinge into Britain: while Mrs. Montague emulated her in the royal favour, by presenting her highness the queen with a pair