The Ingoldsby Country: Literary Landmarks of the "Ingoldsby Legends". Charles G. HarperЧитать онлайн книгу.
than pre-eminently the Garden in the picturesque sense, certainly this country yields to none other in historic or literary interest. That coast where Cæsar and Augustine, easily first among the great personages of history, landed; this fertile county which contains the Metropolitan Cathedral of the Church of England; the neighbourhood of Rochester and Maidstone, linked with the literary activities of Charles Dickens, must needs hold the affections of Englishmen, irrespective of the physical and æsthetic attractions of scenery. But there is another great literary figure connected with Kent, both by birth and by reason of his having exploited many of its rural legends in his merry verse. Richard Harris Barham was born at Canterbury, and in his Ingoldsby Legends created an Ingoldsby Country, which he had already peopled with many notable characters before death cut him off in his prime. The capital of the Ingoldsby Country is Canterbury; its very heart and core is comprised within the district to the east of a line drawn due south from Whitstable to Canterbury, Denton, and Hythe; and its frontiers make an indeterminate line to the west, beyond Romney Marsh and Ashford. The whole north coast of Kent, including Sheppey, the Swale, and the littoral of the Thames and Medway, is part and parcel of Ingoldsby Land, whose isolated and far-off dependencies are found at Shrewsbury, the scene of "Bloudie Jack"; or Salisbury Plain, where the "Dead Drummer" is located; at Wayland Wood, near Wymondham, in Norfolk, where the legend of the "Babes in the Wood" belongs; and at Netley Abbey, the scene of a fine poem. London, too, has its Ingoldsby associations, duly set forth in these pages.
CHAPTER II
BARHAM: THE AUTHOR OF THE INGOLDSBY LEGENDS
There are coteries, circles inner and outer, in the world of letters, and there have always been. There are some in this time of ours whose members think they are of the giants whose memory the world will not willingly let die. There were other coterie when the nineteenth century was but newly come into its second quarter, when the period that is now known as Early Victorian was in the making, and when the Queen was young. The members of those literary brotherhoods are gone, each one to his place, and the memories of the most of them, of the books they wrote, the jokes they cracked, of their friendships and quarrels, are dim and dusty to-day. The taste in humour and pathos is not the taste of this time, which laughs at the pathos, and finds the humour, when not dull, merely spiteful and vindictive. When you rise from a perusal of Douglas Jerrold's wounding wit, you think him ungenerous and a cad, De Quincey's frolics merely elephantine, Hood's facilities dull, and Leigh Hunt's performances but journalism.
All this is but the foil to show the brilliant humour, the fun, and the truly pathetic note of Richard Harris Barham's writings to better effect. Time has breathed upon the glass through which we see the lives and performances of Barham's contemporaries, and has obscured our view of them; but the author of the Ingoldsby Legends remains, almost alone among that Early Victorian band, as acceptable to-day (nay, perhaps even more acceptable) than he was fifty years ago.
The Ingoldsby Legend will never be allowed to die. Indeed, we live in times when their admirable sanity might well be invoked as a counterblast to modern neurotic conditions, and a healthy revulsion from superstitious revivals. Written at that now historic time when the Ritualistic innovations and tendency towards Roman Catholicism of the new school of theology at Oxford were agitating English thought, they express the common-sense scorn of the healthy mind against the mystification and deceit of the religion that the Reformation pitched, neck and crop, out of England, close upon three hundred and seventy years ago, and for which the large-minded tolerance of to-day is not enough. Domination is its aim, but no mind that can enjoy the mirth and marvels of the Legends has any room for such ghostly pretensions, and their continued popularity is thus, by parity of reasoning, something of an assurance. The Ingoldsby Legends are included in the Index Expurgatorium of Rome.
Superfine critics have in recent years declared that Barham's fun has grown out of date, and that they cannot read him as of old. But your critic commonly speaks only for himself; and moreover, the superfine, who cannot read Dickens, for example, have been sadly flouted of late by the still increasing popular favour of that novelist.
It was in the fertile county of Kent that Barham was born, in the midst of a district that has ever been the cradle of Barhams. Eight miles to the south of the old Cathedral of Canterbury, and near by the Folkestone Road, there lies, secluded in a deep valley, an old-fashioned farmhouse, unpretending enough to the outward glance, but quaint and curious within. This is the old manor house of Tappington Everard, mentioned so often and so familiarly in the Ingoldsby Legend, and for many centuries the home of Richard Harris Barham's ancestors. "Tom Ingoldsby" himself was, indeed, born at Canterbury, near the Cathedral precincts, and first saw the world beneath the shadow of that great Church, of whose glories he was in after years to tell in his own peculiar and inimitable way. His father, made rich by hops, was a man of consideration at Canterbury, and filled an Aldermanic chair with all the dignity that comes of adipose tissue largely developed. He was, in fact and few words, a fat man, and it was probably in reference to him that Tom Ingoldsby, in later years, wrote of the "aldermanic nose" trumpeting in the Cathedral during service.
The Rev. Richard Harris Barham, the self-styled "Thomas Ingoldsby", claimed descent from the De Bearhams, anciently the FitzUrses, whose possessions extended round about Tappington for many miles of this fair county of Kent. He delighted to think that he was descended from one of those four knights who, on that dark December day of 1170, broke in upon the religious quiet of the Cathedral and slaughtered Becket in the north transept. When their crime was wrought the murderers fled, FitzUrse escaping to Ireland, where he is said to have taken the name of MacMahon, the Irish equivalent of his original patronymic, which was just the Norman-Latin for "Bear's Son".
He died an exile, leaving his Manor of Barham to his brother, who, so odious had the name of FitzUrse now become, changed it for an Anglicised variant, and called himself "De Bearham." Eventually the aristocratic prefix "De" fell out of use, and in course of time even Bearham became "Barham."
The Barhams held place and power here for centuries, giving their name to the village of Barham, which nestles, embowered in foliage, beneath the bleak and bare expanse of Barham Downs; their estates dropping from them little by little until, in the time of James I., the remaining property was alienated by a Thomas Barham, a nerveless, unworthy descendant of the fierce FitzUrses, who sold it to the Reverend Charles Fotherby, Archdeacon of Canterbury. Thus were the Barhams torn from their native soil and rendered landless.
The adjoining manor of Tappington, next Barham, had been held in 1272 by one Gerrard de Tappington, as one knight's fee. In the reign of Henry VIII. it was purchased by a certain John Boys, who died in 1544, when his son, William Boys, alienated a small portion of the demesne to a person named Verrier, and the manor, with the remainder of the demesne, to one Marsh, to whose descendants it passed until at length sold by Colonel Thomas Marsh to Mr. Thomas Harris, hopfactor of Canterbury, who died in 1729, and whose daughter and sole heiress had, by a singular freak of fate, married a John Barham, bringing him not only the old manor of Tappington, or Tapton Wood, as it has sometimes been styled, as her dower, but also some portions of the long-lost lands of those whom he claimed for ancestors, including the manors of Parmstead (called in olden times Barhamstead).
It will be noted that it was a John Barham—not necessarily one of the Barhams of Tappington—who thus secured the Harris heiress. Kent contains more than one family of the name, but let us hope, for the sake of sentiment, that all Barhams, of whatever district, descend from the original assassin. It would certainly have been a grievous thing to Tom Ingoldsby if he had been compelled to cherish a doubt of the blood-boltered genuineness of his own ancestry. We have, indeed, some slightly different versions of what became of the FitzUrse family. One tells us that a branch lingered long in the neighbourhood of Williton, in Somerset, under their proper name, which became successively corrupted into Fitzour, and Fishour, and at last assumed the common form of Fisher. This