Chapter 8

The "Falstaff" Inn is nearly opposite Gad's Hill Place, and dates probably from Queen Anne's time. It formerly had an old-fashioned swinging sign, on one side of which was painted Falstaff and the Merry Wives of Windsor. In its long sanded room there was a copy of Shakespeare's monument in Westminster Abbey. Fifty years ago about ninety coaches passed this inn daily.

In the garden at Gad's Hill Place Dickens had erected a Swiss chalet presented to him by Fechter, the actor. Here he did his writing "up among the branches of the trees, where the birds and butterflies fly in and out."

The occupiers of Gad's Hill Place since the novelist's death have been Charles Dickens, the younger, Major Budden, and latterly the Honourable F. W. Latham, who graciously opens certain of the apartments to visitors.

In the immediate neighbourhood of Rochester is Cobham, with its famous Pickwickian inn, "The Leather Bottle," where Mr. Tupman sought retirement from the world after the elopement of Miss Wardle with Alfred Jingle.

Dickens himself was very fond of frequenting the inn in company with his friends.

The visitor will have no need to be told that the ancient hostelry opposite the village church is the "Leather Bottle" in question, so beloved of Mr. Pickwick, since the likeness of that gentleman, painted vividly and in the familiar picturesque attitude, on the sign-board, loudly proclaims the fact. It should be one of the fixed _formulæ_ of the true Dickensian faith that all admirers of his immortal hero should turn in at the "Leather Bottle" at Cobham, and do homage to Pickwick in the well-known parlour, with its magnificent collection of Dickens relics, too numerous to enumerate here, but of great and varied interest, the present proprietor being himself an ardent Dickens enthusiast.

Here is a shrine, at once worthy, and possessed of many votive offerings from all quarters.

Dickens' personality, as evinced by many of his former belongings, which have found a place here, pervades the bar parlour. So, too, has the very spirit and sentiment of regard for the novelist made the "Leather Bottle's" genial host a marked man. He will tell you many anecdotes of Dickens and his visits here in this very parlour, when he was living at Higham.

The "mild and bitter," or the "arf and arf," is to-day no less pungent and aromatic than when Dickens and his friends regaled themselves amid the same surroundings.

It should be a part of the personal experience of every Dickens enthusiast to journey to the "unspoilt" village of Cobham and spend a half-day beneath the welcoming roof of the celebrated "Leather Bottle."

The great love of Dickens for Rochester, the sensitive clinging to the scenes of that happy, but all too short childhood at Chatham, forms an instance of the magnetic power of early associations.

"I have often heard him say," said Forster, "that in leaving the neighbourhood of Rochester he was leaving everything that had given his early life its picturesqueness or sunshine."

What the Lake District is to Wordsworthians, Melrose to lovers of Scott, and Ayr to Burns, Rochester and its neighbourhood is to Dickens enthusiasts throughout the English-speaking world.

The very subtlety of the spell in the former cases holds aloof many an average mortal who grasps at once the home thrusts, the lightly veiled satire, the poor human foibles, fads, and weaknesses in the characters of Dickens. The ordinary soul, in whom the "meanest flower that grows" produces no tears, may possibly be conscious of a lump in his throat as he reads of the death of Jo or Little Nell. The deaths of Fagin and Bill Sikes are, after all, a more native topic to the masses than the final exit of Marmion.

Not only so, but the very atmosphere of the human abodes, to say nothing of minute and readily identified descriptions of English scenery, permeates the stories of Dickens.

Gad's Hill at Higham can, to be sure, hardly be reckoned as a London suburb, but on the other hand it was, in a way, merely a suburban residence near enough thereto to be easily accessible.

Even in his childhood days Dickens had set his heart upon the possession of this house, which was even then known as Gad's Hill Place. His father, who at that time had not fallen upon his unfortunate state, had encouraged him to think that it might be possible, "when he should have grown to a man," did he but work hard.

At any rate Dickens was able to purchase the estate in 1856, and from that date, until his death in 1870, it was occupied by him and his family. Writing to Forster at this time, Dickens stated that he had just "paid the purchase-money for Gad's Hill Place" (£1,790). How Dickens' possession of the house actually came about is told in his own words, in a letter written to his friend, M. De Cerjet, as follows:

"I happened to be walking past (the house) a year or so ago, with my sub-editor of _Household Words_ (Mr. W. H. Wills), when I said to him: 'You see that house? It has always a curious interest for me, because when I was a small boy down in these parts, I thought it the most beautiful house (I suppose because of its famous old cedar-trees) ever seen. And my poor father used to bring me to look at it, and used to say that if ever I grew up to be a clever man perhaps I might own that house, or such another house. In remembrance of which, I have always, in passing, looked to see if it was to be sold or let, and it has never been to me like any other house, and it has never changed at all.' We came back to town and my friend went out to dinner. Next morning he came to me in great excitement, and said, 'It is written that you are to have that house at Gad's Hill. The lady I had allotted to take down to dinner yesterday began to speak of that neighbourhood. "You know it?" I said; "I have been there to-day." "Oh, yes," she said, "I know it very well; I was a child there in the house they call Gad's Hill Place. My father was the rector, and lived there many years. He has just died, has left it to me, and I want to sell it." So,' says the sub-editor, 'you must buy it, now or never!' I did, and hope to pass next summer there."

It is difficult to regard the numerous passages descriptive of places in Dickens' books without reverence and admiration. The very atmosphere appears, by his pen, to have been immortalized.

Even the incoherences of Jingle have cast a new cloak of fame over Rochester's Norman Cathedral and Castle!

"'Ah! fine place, glorious pile--frowning walls--tottering arches--dark nooks--crumbling staircases. Old Cathedral too--earthy smell--pilgrims' feet wore away the old steps--little Saxon doors--confessionals like money-takers' boxes at theatres--queer customers those monks--Popes and Lord Treasurers and all sorts of fellows, with great red faces and broken noses, turning up every day--buff jerkins too--matchlocks--sarcophagus-- fine place--old legends too--strange stories: capital,' and the stranger continued to soliloquize until they reached the Bull Inn, in the High Street, where the coach stopped."

A further description of the Cathedral by Dickens is as follows:

"A certain awful hush pervades the ancient pile, the cloisters, and the churchyard, after dark, which not many people care to encounter. The cause of this is not to be found in any local superstition that attaches to the precincts, but it is to be sought in the innate shrinking of dust with the breath of life in it from dust out of which the breath of life has passed; also in the ... reflection, 'If the dead do, under any circumstances, become visible to the living, these are such likely surroundings for the purpose that I, the living, will get out of them as soon as I can.'"

With Durdles and Jasper, from the pages of "Edwin Drood," also, one can descend into the crypt of the earlier Norman church, the same they visited by moonlight, when Durdles kept tapping the wall "just where he expected to disinter a whole family of 'old 'uns.'"

In numerous passages Dickens has truly immortalized what perforce would otherwise have been very insignificant and unappealing structures. The Bull Inn, most interesting of all, is unattractive enough as a hostelry. It would be gloomy and foreboding in appearance indeed, and not at all suggestive of the cheerful house that it is, did it but lack the association of Dickens.

No. 17 in the inn is the now famous bedroom of Mr. Pickwick, and the present coffee-room now contains many relics of Dickens purchased at the sale held at Gad's Hill Place after the author's death.

Chatham Lines, the meadows, the Cathedral and Castle, "Eastgate House," the Nuns' House of "Edwin Drood," "Restoration House," the "Satis House" of "Great Expectations," serve in a way to suggest in unquestionable manner the debt which Dickens laid upon Rochester and its surroundings.

"Eastgate House" is said to be the original of the home of Mr. Sapsea, the auctioneer and estate agent in "Edwin Drood."

The date of Eastgate House, 1591, is carved on a beam in one of the upper rooms. Dickens, in "Edwin Drood," alludes to Eastgate House as follows:

"In the midst of Cloisterham [Rochester] stands the 'Nuns' House,' a venerable brick edifice, whose present appellation is doubtless derived from the legend of its conventual uses. On the trim gate enclosing its old courtyard is a resplendent brass plate, flashing forth the legend: 'Seminary for young ladies: Miss Twinkleton.' The house-front is so old and worn, and the brass plate is so shining and staring, that the general result has reminded imaginative strangers of a battered old beau with a large modern eye-glass stuck in his left eye."

To-day there is noticeable but little change, and the charm of Rochester in literary association, if only with respect to Dickens, is far greater than many another city greater and more comprehensive in its scope.

In the opening scenes of the earlier work Dickens treated of Rochester, but the whole plot of his last novel, "Edwin Drood," is centred in the same city.

"For sufficient reasons, which this narrative ["Edwin Drood"] will itself unfold as it advances, a fictitious name must be bestowed upon the old Cathedral town. Let it stand in these pages as Cloisterham. It was once possibly known to the Druids by another name, and certainly to the Romans by another; and a name more or less in the course of many centuries can be of little moment in its dusty chronicles." Dickens describes it thus:

"An ancient city, Cloisterham, and no meet dwelling-place for any one with hankerings after the noisy world. A monotonous, silent city, deriving an earthy flavour throughout from its cathedral crypt, and so abounding in vestiges of monastic graves that the Cloisterham children grow small salad in the dust of abbots and abbesses, and make dirt-pies of nuns and friars; while every ploughman in its outlying fields renders to once puissant Lord Treasurers, Archbishops, Bishops, and such like, the attention which the Ogre in the story-book desired to render to his unbidden visitor, and grinds their bones to make his bread.... In a word, a city of another and a bygone time is Cloisterham, with its hoarse Cathedral bell, its hoarse rooks hovering about the Cathedral tower, its hoarser and less distinct rooks in the stalls far beneath."

For the Dickens pilgrim, the first landmark that will strike his eye will be the Corn Exchange, "with its queer old clock that projects over the pavement" ("Edwin Drood"). Watts' Charity, a triple-gabled edifice in the High Street, has become world-famous through Dickens' "Christmas Story." "Strictly speaking," he says, "there were only six poor travellers, but being a traveller myself, and being withal as poor as I hope to be, I brought the number up to seven."

The building is to be recognized both by the roof angles and the inscriptions on the walls, the principal one of which runs thus:

RICHARD WATTS ESQ.,

_by his Will, dated 22 Aug. 1579,_ _founded this Charity_ _for Six poor Travellers,_ _who not being Rogues or Proctors_ _may receive gratis for one night,_ _Lodging, Entertainment,_ _and Fourpence each._

Could good Richard Watts come forth some morning from his resting-place in the south transept over the way, he would have the pleasure of seeing how efficiently the trustees are carrying on their work.

The visitor, too, who desires to see the preparation for the coming evening's guests, may calculate on being no less "curtuoslie intreated" than the guests proper. In the little parlour to the left, as we enter from the street door, is the famous book containing the names and signatures of numerous celebrities whose curiosity has led them hither--Dickens, Wilkie Collins, and J. L. Toole amongst the number. From the kitchen is served out the meat for the supper, which consists of half a pound of beef, a pint of coffee, and half a loaf for each poor traveller.

In the south transept of Rochester Cathedral is a plain, almost mean, brass to Charles Dickens:

"CHARLES DICKENS. Born at Portsmouth, seventh of February, 1812.

"Died at Gadshill Place, by Rochester, ninth of June, 1870.

"Buried in Westminster Abbey. To connect his memory with the scenes in which his earliest and latest years were passed, and with the associations of Rochester Cathedral and its neighbourhood, which extended over all his life, this tablet, with the sanction of the Dean and Chapter, is placed by his Executors."

This recalls the fact that the great novelist left special instructions in his will: _"I conjure my friends on no account to make me the subject of any monument, memorial, or testimonial whatever. I rest my claims to the remembrance of my country upon my published works."_

It was in this transept that Charles Dickens was to have been laid to rest. The grave, in fact, had been dug, and all was ready, when a telegram came deciding that Westminster Abbey, and not Rochester, should be the long last home of the author.

Great interest attaches itself to Broadstairs, where Dickens lived upon returning from his journey abroad in company with his wife and "Phiz," in 1851. "Bleak House" is still pointed out here, and is apparently revered with something akin to sentiment if not of awe.

As a matter of fact, it is not the original of "Bleak House" at all, that particular edifice being situate in Hertfordshire, near St. Albans.

This is an excellent illustration of the manner in which delusive legends grow up on the smallest foundations. On the cliff overlooking the little pier and close to the coast-guard station, stands Fort House, a tall and very conspicuous place which Charles Dickens rented during more than one summer. This is now known as Bleak House because, according to a tradition on which the natives positively insist, "Bleak House" was written there. Unfortunately for the legend, it is the fact that, although "Bleak House" was written in many places,--Dover, Brighton, Boulogne, London, and where not,--not a line of it was written at Broadstairs.

Dickens' own description of Broadstairs was, in part, as follows:

"Half awake and half asleep, this idle morning in our sunny window on the edge of a chalk cliff in the old-fashioned watering-place to which we are a faithful resorter, we feel a lazy inclination to sketch its picture.

"The place seems to respond. Sky, sea, beach, and village, lie as still before us as if they were sitting for the picture. But the ocean lies winking in the sunlight like a drowsy lion--its glassy waters scarcely curve upon the shore--the fishing-boats in the tiny harbour are all stranded in the mud--our two colliers (our watering-place has a maritime trade employing that amount of shipping) have not an inch of water within a quarter of a mile of them, and turn, exhausted, on their sides, like faint fish of an antediluvian species. Rusty cables and chains, ropes and rings, undermost parts of posts and piles and confused timber defences against the waves, lie strewn about, in a brown litter of tangled seaweed and fallen cliff.

"In truth, our watering-place itself has been left somewhat high and dry by the tide of years. Concerned as we are for its honour, we must reluctantly admit that the time when this pretty little semi-circular sweep of houses tapering off at the end of the wooden pier into a point in the sea, was a gay place, and when the lighthouse overlooking it shone at daybreak on company dispersing from public balls, is but dimly traditional now. There is a '_bleak chamber_' in our watering-place which is yet called the Assembly 'Rooms.'...

"... We have a church, by the bye, of course--a hideous temple of flint, like a great petrified haystack....

"Other population than we have indicated, our watering-place has none. There are a few old used-up boatmen who creep about in the sunlight with the help of sticks, and there is a poor imbecile shoemaker who wanders his lonely life away among the rocks, as if he were looking for his reason--which he will never find. Sojourners in neighbouring watering-places come occasionally in flys to stare at us, and drive away again.

"... And since I have been idling at the window here, the tide has risen. The boats are dancing on the bubbling water: the colliers are afloat again; the white-bordered waves rush in; the children--

"'Do chase the ebbing Neptune, and do fly him When he comes back;'

the radiant sails are gliding past the shore, and shining on the far horizon; all the sea is sparkling, heaving, swelling up with life and beauty, this bright morning." ("Our Watering-Place.")

Another reference of Dickens to the Kent coast was in one of the _Household Words_ articles, entitled "Out of Season." The Watering-Place "out of season" was Dover, and the place without a cliff was Deal.

Writing to his wife of his stay there, he says:

"I did nothing at Dover (except for _Household Words_), and have not begun 'Little Dorrit,' No. 8, yet. But I took twenty-mile walks in the fresh air, and perhaps in the long run did better than if I had been at work."

One can hardly think of Deal or Dover without calling to mind the French coast opposite, often, of a clear day, in plain view.

In spite of Dickens' intimacies with the land of his birth, he had also a fondness for foreign shores, as one infers from following the scope of his writings.

Of Boulogne, he writes in "Our French Watering-Place" (_Household Words_, November 4, 1854):

"Once solely known to us as a town with a very long street, beginning with an abattoir and ending with a steamboat, which it seemed our fate to behold only at daybreak on winter mornings, when (in the days before continental railroads), just sufficiently awake to know that we were most uncomfortably asleep, it was our destiny always to clatter through it, in the coupé of the diligence from Paris, with a sea of mud behind, and a sea of tumbling waves before."

An apt and true enough description that will be recognized by many. Continuing, he says, also truly enough:

"But our French watering-place, when it is once got into, is a very enjoyable place."

To those to whom these racy descriptions appeal, it is suggested that they familiarize themselves with the "Reprinted Pieces," edited by Charles Dickens the younger, and published in New York in 1896, a much more complete edition, with explanatory notes, than that which was issued in London.

THE RIVER THAMES

Glide gently, thus for ever glide, O Thames! that other bards may see As lovely visions by thy side As now, fair river! come to me. O glide, fair stream, for ever so, Thy quiet soul on all bestowing, Till all our minds for ever flow As thy deep waters now are flowing.

WORDSWORTH...

Ever present in the minds and hearts of the true Londoner is the "majestic Thames;" though, in truth, while it is a noble stream, it is not so all-powerful and mighty a river as romance would have us believe.

From its source, down through the Shires, past Oxford, Berks, and Bucks, and finally between Middlesex, Surrey, and Essex, it ambles slowly but with dignity. From Oxford to Henley and Cookham, it is at its best and most charming stage. Passing Maidenhead, Windsor, Stains, Richmond, Twickenham, and Hammersmith, and reaching Putney Bridge, it comes into London proper, after having journeyed on its gladsome way through green fields and sylvan banks for a matter of some hundred and thirty miles.

At Putney Bridge and Hammersmith is the centre of the fishing section, and this was the background depicted by the artist who drew the wrapper for the first serial issue of "The Posthumous Papers of the Pickwick Club." Putney Church is seen in the distance, with its Henry VIII. Chapel, and in the foreground Mr. Pickwick is found dozing in his traditional punt,--that curious box, or coffin-like, affair, which, as a pleasure craft, is apparently indigenous to the Thames.

Above this point the river is still:

_... "The gentle Thames_ _And the green, silent pastures yet remain."_

Poets have sung its praises, and painters extolled its charms. To cite Richmond alone, as a locality, is to call up memories of Sir Joshua Reynolds, Walpole, Pope, Thomson, and many others whose names are known and famed of letters and art.

Below, the work-a-day world has left its stains and its ineffaceable marks of industry and grime, though it is none the less a charming and fascinating river, even here in its lower reaches. And here, too, it has ever had its literary champions. Was not Taylor--"the water poet"--the Prince of Thames Watermen?"

If swans are characteristic of the upper reaches, the waterman or the bargeman, assuredly, is of the lower. With the advent of the railway,--which came into general use and effective development during Dickens' day,--it was popularly supposed that the traffic of the "silent highway" would be immeasurably curtailed. Doubtless it was, though the real fact is, that the interior water-ways of Britain, and possibly other lands, are far behind "_la belle France_" in the control and development of this means of intercommunication.

There was left on the Thames, however, a very considerable traffic which--with due regard for vested rights, archaic by-laws and traditions, "customs of the port," and other limitations without number--gave, until very late years, a livelihood to a vast riverside population.

The change in our day from what it was, even in the latter days of Dickens' life, is very marked. New bridges--at least a half-dozen--have been built, two or three new tunnels, steam ferries,--of a sort,--and four railway bridges; thus the aspect of the surface of the river has perforce changed considerably, opening up new vistas and _ensembles_ formerly unthought of.

Coming to London proper, from "Westminster" to the "Tower," there is practically an inexhaustible store of reminiscence to be called upon, if one would seek to enumerate or picture the sights, scenes, and localities immortalized by even the authors contemporary with Dickens.

Not all have been fictionists,--a word which is used in its well meant sense,--some have been chroniclers, like the late Sir Walter Besant and Joseph Knight, whose contributions of historical résumé are of the utmost value. Others are mere "antiquarians" or, if you prefer, historians, as the author of "London Riverside Churches." Poets there have been, too, who have done their part in limning its charms, from Wordsworth's "Westminster Bridge," on the west, written at the beginning of the nineteenth century, to "A White-Bait Dinner at Greenwich," of Peacock, or "The Boy at the Nore," of Tom Hood, on the east.

When, in the forties, the new Parliament Houses were approaching their completed form, a new feature came into the prospect.