Part 4

EDMONTON, to whose long street we now come, has many titles to fame. John Gilpin may not afford the oldest of these, and he may be no more than the purely imaginary figure of a humorous ballad, but beside the celebrity of that worthy citizen and execrable horseman everything else at Edmonton sinks into obscurity.

"John Gilpin was a citizen Of credit and renown, A train-band captain eke was he Of famous London town."

Izaak Walton himself, of indubitable flesh and blood, forsaking his yard-measure and Fleet Street counter and tramping through Edmonton to the fishful Lea, has not made so great a mark as his fictitious fellow-tradesman, the draper of Cheapside.

Who has not read of John Gilpin's ride to Edmonton, in Cowper's deathless verse? Cowper, most melancholy of poets, made the whole English-speaking world laugh with the story of Gilpin's adventures. How he came to write the ballad it may not be amiss to tell. The idea was suggested to him at Olney, in 1782, by Lady Austen, who, to rouse him from one of his blackest moods, related a merry tale she had heard of a London citizen's adventures, identical with the verses into which he afterwards cast the story. He lay awake all that night, and the next morning, with the idea of amusing himself and his friends, wrote the famous lines. He had no intention of publishing them, but his friend, Mrs. Unwin, sent a copy to the _Public Advertiser_. Strange to say, it did not attract much attention in those columns, and it was not until three years later, when an actor, Henderson by name, recited the ballad at Freemasons' Hall that (as modern slang would put it) it "caught on." It then became instantly popular. Every ballad-printer printed, and every artist illustrated it; but the author remained unknown until Cowper included it in a collection of his works.

There are almost as many originals of John Gilpin as there are of Sam Weller. There used to be numbers of respectable and ordinarily dependable people who were convinced they knew the original of Sam Weller, in dozens of different persons and in widely-sundered towns, and the literary world is even now debating as to who sat as the model for Squeers. So far back as the reign of Henry the Eighth the ludicrous idea of a London citizen trying to ride horseback to Edmonton made people laugh, and on it Sir Thomas More based his metrical "Merry Jest of the Serjeant and the Frère." It would be no surprise to discover that Aristophanes or another waggish ancient Greek had used the same idea to poke fun at some clumsy Athenian, and that, even so, it was stolen from the Egyptians. Indeed, I have no doubt that the germ of the story is to be found in the awkwardness of one of Noah's sons in trying to ride an unaccustomed animal into the Ark.

The immediate supposititious originals of John Gilpin were many. Some identified him with a Mr. Beger, a Cheapside draper, who died in 1791, aged one hundred. Others found him in Commodore Trunnion, in _Peregrine Pickle_, and a John Gilpin lies in Westminster Abbey. The _Gentleman's Magazine_ in 1790, five years after Cowper's poem became the rage, records the death at Bath of a Mr. Jonathan Gilpin, "the gentleman who was so severely ridiculed for bad horsemanship under the title of 'John Gilpin.'" All accidental resemblances and odd coincidences, without doubt.

But if John had no corporeal existence, the Bell at Edmonton--at Upper Edmonton, to be precise--was a very real place, and, in an altered form, still is. Who could doubt of the man who ever saw the house? Is not the present Bell real enough, and, for that matter, ugly enough? and is not the picture of John, wigless and breathless, and his coat-tails flying, sufficiently prominent on the sign? The present building is the third since Cowper's time, and is just an ordinary vulgar London "public," standing at the corner of a shabby street (where there are _no_ trees), called, with horrible alliteration, "Gilpin Grove."

Proceed we onwards, having said sufficient of Gilpin. Off to the right hand turned old Izaak, to Cook's Ferry and the Bleak Hall Inn by the Lea, that "honest ale-house, where might be found a cleanly room, lavender in the windows, and twenty ballads stuck about the wall." Ill questing it would be that should seek nowadays for the old inn. Instead, down by Angel Road Station and the Lea marshes, you find only factories and odours of the Pit, horrent and obscene. We have yet to come to the kernel, the nucleus of this Edmonton. Here it is, at Lower Edmonton, at the end of many houses, in a left-hand turning--Edmonton Green; the green a little shorn, perhaps, of its old proportions, and certainly by no means rural. On it they burnt the unhappy Elizabeth Sawyer, the Witch of Edmonton, in 1621, with the full approval of king and council: Ahriman perhaps founding one of his claims to Jamie for that wicked deed. It was well for Peter Fabell, who at Edmonton deceived the devil himself, that he practised his conjuring arts before Jamie came to rule over us, else he had gone the way of that unhappy Elizabeth; for James was of a logical turn of mind, and would have argued the worst of one who could beat the Father of Lies at his own game. Peter flourished, happily for him, in the less pragmatical days of Henry the Seventh. We should call him in these matter-of-fact days a master of legerdemain, and he would dare pretend to no more; but he was honoured and feared in his own time, and lies somewhere in the parish church, his monument clean gone. On his exploits Elizabethan dramatists founded the play of the _Merry Devil of Edmonton_.

The railway and the tramway have between them played the very mischief with Edmonton Green and the Wash--

"... the Wash Of Edmonton so gay"--

that here used to flow athwart the road, and does actually still so flow, or trickle, or stagnate; if not always visible to the eye, at least making its presence obvious at all seasons to the nose. In the first instance, the railway planted a station and a level crossing on the highway, practically in the Wash; and then the Tramway Company, in order to carry its line along the road to Ponders End, constructed a very steeply rising road over the railway. Add to these objectionable details, that of another railway crossing over the by-road where Lamb's Cottage and the church are to be found, and enough will have been said to prove that the Edmonton of old is sorely overlaid with sordid modernity.

Charles Lamb would scarce recognise his Edmonton if it were possible he could revisit the spot, and it seems--the present suburban aspect of the road before us--a curious ideal of happiness he set himself: retirement at Edmonton or Ponder's End, "toddling about it, between it and Cheshunt, anon stretching on some fine Izaak Walton morning to Hoddesdon or Amwell, careless as a beggar, but walking, walking ever, till I fairly walked myself off my legs, dying walking."

Everyone to his taste, of course, but it does not seem a particularly desirable end. It is curious, however, to note that this aspiration was, in a sense, realised, for it was in his sixtieth year that, taking his customary walk along the London road one day in December 1834, he stumbled against a stone and fell, cutting his face. It seemed at the time a slight injury, but erysipelas set in a few days later, and on the twenty-seventh of the same month he died. It was but a fortnight before, that he had pointed out to his sister the spot in Edmonton churchyard where he wished to be buried.

Lamb's last retreat--"Bay Cottage" as it was named, and "Lamb's Cottage" as it has since been re-christened, "the prettiest, compactest house I ever saw," says he--stands in the lane leading to the church; squeezed in between old mansions, and lying back from the road at the end of a long narrow strip of garden. It is a stuccoed little house, curiously like Lamb himself, when you come to consider it: rather mean-looking, undersized, and unkempt, and overshadowed by its big neighbours, just as Lamb's little talents were thrown into insignificance by his really great contemporaries. The big neighbours of the little cottage are even now on the verge of being demolished, and the lane itself, the last retreat of old-world Edmonton, is being modernised; so that those who cultivate their Lamb will not long be able to trace these, his last landmarks. Already, as we have seen, the Bell has gone, where Lamb, "seeing off" his visitors on their way back to London, took a parting glass with them, stutteringly bidding them hurry when the c-cu-coach c-came in.

One of the most curious of literary phenomena is this Lamb worship. Dingy, twittering little London sparrow that he was, diligent digger-up of Elizabethan archaisms with which to tune his chirpings, he seems often to have inspired the warmest of personal admiration. As the "gentle Elia" one finds him always referred to, and a halo of romance has been thrown about him and his doings to which neither he nor they can in reality lay much claim. Romance flies abashed before the picture of Lamb and his sister diluting down the poet of all time in the _Tales from Shakespeare_: Charles sipping gin between whiles, and Mary vigorously snuffing. Nor was his wit of the kindly sort readily associated with the epithet "gentle." It flowed the more readily after copious libations of gin-and-water, and resolved itself at such times into the offensive, if humorous, personalities that were the stock in trade of early nineteenth-century witlings. His famous witticism at a card-party on one who had hands not of the cleanest ("If dirt were trumps, what a hand you'd have") must have been bred of the juniper berry. Stuttering and blue-lipped the next morning, he was an object of pity or derision, just according to the charity of those who beheld him. Carlyle, who knew Lamb in his latter days, draws him as he was, in one of those unmerciful pen-portraits he could create so well:--"Charles Lamb and his sister came daily once or oftener; a very sorry pair of phenomena. Insuperable proclivity to gin in poor old Lamb. His talk contemptibly small, indicating wondrous ignorance and shallowness, even when it was serious and good-mannered, which it seldom was, usually ill-mannered (to a degree), screwed into frosty artificialities, ghastly make-believe of wit, in fact more like 'diluted insanity' (as I defined it) than anything of real jocosity, humour, or geniality. A most slender fibre of actual worth in that poor Charles, abundantly recognisable to me as to others, in his better times and moods; but he was Cockney to the marrow; and Cockneydom, shouting 'glorious, marvellous, unparalleled in nature!' all his days had quite bewildered his poor head, and churned nearly all the sense out of the poor man. He was the leanest of mankind, tiny black breeches buttoned to the knee-cap, and no further, surmounting spindle-legs also in black, face and head fineish, black, bony, lean, and of a Jew type rather; in the eyes a kind of smoky brightness or confused sharpness; spoke with a stutter; in walking tottered and shuffled; emblem of imbecility bodily and spiritual (something of real insanity I have understood), and yet something too of human, ingenuous, pathetic, sportfully much enduring. Poor Lamb! he was infinitely astonished at my wife and her quiet encounter of his too ghastly London wit by a cheerful native ditto. Adieu, poor Lamb!"

Edmonton Church has lain too near London in all these years to have escaped many interferences, and the body of it was until recently piteous with the doings of 1772, when red brick walls and windows of the factory type replaced its ancient architecture. These have now in their turn been swept away, and good modern Gothic put in their stead, already densely covered with ivy. The ancient tower still rises grandly from the west end, looking down upon a great crowded churchyard; a very forest of tombstones. Near by is the grave of Charles and Mary Lamb, with a long set of verses inscribed upon their headstone.

There was once in this churchyard of Edmonton a curious epitaph on one William Newberry, ostler to the Rose and Crown Inn, who died in 1695 from the effects of unsuitable medicine given him by a fellow-servant acting as an amateur doctor. The stone was removed by some clerical prude--

"Hic jacet Newberry, Will Vitam finivet cum Cochiæ Pill Quis administravit? Bellamy, Sue Quantum quantitat nescio, scisne tu? Ne sutor ultra crepidam."

The feelings of Sue Bellamy will not be envied, but Sue, equally with William, has long reached beyond all such considerations, and the Rose and Crown of that day is no more. There is still, however, a Rose and Crown, and a very fine building it is, with eleven windows in line and wearing a noble and dignified air. It is genuine Queen Anne architecture; the older house being rebuilt only ten years after the ostler was cut off untimely, as may be seen by the tablet on its front, dated not only 1705, but descending to the small particular of actual month and day of completion.

X

THE tramway line, progressing through Edmonton in single track, goes on in hesitating fashion some little distance beyond Edmonton Green, and terminates in a last feeble, expiring effort on the open road, midway between Edmonton and Ponder's End; like the railhead of some African desert line halting on the edge of a perilous country. Where it ends there stands, solitary, a refreshment house, so like the last outpost of civilisation that the wayfarer whimsically wonders whether he had not better provision himself liberally before adventuring into the flats that lie so stark and forbidding before him.

It is indeed an uninviting waste. On it the gipsy caravans halt; here the sanguine speculative builder projects a street of cheap houses and generally leaves derelict "carcases" of buildings behind him; here the brick-maker and the market-gardener contend with one another, and the shooters of rubbish bring their convoys of dust, dirt, and old tins from afar. On the skyline ahead are factory chimneys, and to the east--the only gracious note in the whole scene--the wooded hills of Essex, across the malodorous Lea.

This desolate tract is bounded by the settlement of Ponder's End, an old roadside hamlet. "Ponder's End," says Lamb, "emblematic name, how beautiful!" Sarcasm that, doubtless, for of what it is emblematic, and where lies the beauty of either place or name, who shall discover? The name has a heavily ruminative or contemplative sound, a little out of key with its modern note. For even Ponder's End has been rudely stirred up by the pitchfork of progress and bidden go forward, and new terraces of houses and shops--no, not _shops_, nothing so vulgar; "business premises" if you please--have sprung up, and the oldest inhabitant is distraught with the changes that have befallen. Where he plodded in the mud there are pavements; the ditch into whose unsavoury depths he has fallen many a time when returning late from the old Two Brewers is filled up, and the Two Brewers itself has changed from a roadside tavern to something resplendent in plate-glass and brilliant fittings. Our typical ancient and his friends, the market-gardening folk and the loutish waggoners, are afraid to enter. Nay, even the name of the village or hamlet, or urban district, or whatever the exact slang term of the Local Government Board for its modern status may be, is not unlikely to see a change, for to the newer inhabitants it sounds derogatory to be a Ponder's Ender.

To this succeeds another strip of sparsely-settled land, and you think that here, at last, the country is gained. Vain thought! Enfield Highway, a populous mile-length, dispels all such ideas, and even Enfield Wash, where the travellers of old were content to be drenched in the frequent floods, so long as they actually escaped with their lives, is suburban and commonplace. The stretch of road between the Wash and Waltham Cross still goes by the shivery name of Freezywater.

Enfield Highway, like Ponder's End, was until quite recently stodged in sloughs, and resolutely old-world; almost as old world indeed as when, in 1755, Mr. Spencer, the Lord Spencer of a few years later, came up from the shires in great state with his bride. Their procession consisted of three chariots, each drawn by six horses and escorted by two hundred horsemen. At sight of this cavalcade the whole neighbourhood was up in arms. The timid fled, the Jacobites rejoiced and ran off to ring the church bells in a merry peal, while loyal folks and brave armed themselves with pitchforks, pokers, and spades; for all thought the Pretender had come again and was marching on London.

At Waltham Cross, formerly entered through a toll-gate, Middlesex is left behind and Hertfordshire gained. The name of Waltham Cross probably does not at this period inspire anyone with dread, but that was the feeling with which travellers approached it at any time between 1698 and 1780; for this was in all those years a neighbourhood where highwaymen robbed and slew with impunity. Here was the favourite lurk of those desperate disbanded soldiers who on the Peace of Ryswick, finding pay and occupation gone, banded together, and, building huts in the coverts of Epping Forest, came forth even in broad daylight, and, to the number of thirty, armed with swords and pistols, held up the traffic on this and the surrounding roads. Even when that formidable gang was disposed of by calling out the Dragoon Guards in a regular campaign against them, there were others, for in 1722 a London morning paper stated that the turnpike-men from Shoreditch to Cheshunt had been furnished with speaking-trumpets, "as well to give notice to Passengers as to each other in case any Highwaymen or footpads are out," and the satisfactory report is added, "we don't find that any robbery has been committed in that quarter since they have been furnished with them, which has been these two months." Was it not hereabouts, too, that Turpin first met Tom King, and, taking him for an ordinary citizen, proposed to rob him? Ay, and in that self-same Epping Forest, whose woodlands may even yet be seen, away to the right-hand, Turpin had his cave. Even so late as 1775 the Norwich stage was attacked one December morning by seven highwaymen, three of whom the guard shot dead. He would perhaps have finished the whole of them had his ammunition not failed and he in turn been shot, when the coach was robbed at leisure by the surviving desperadoes.

XI

IF the traveller does not know what to expect on approaching Waltham Cross, then the cross, standing in the centre of the road, must needs be a pleasant surprise to him, even though he presently discovers that they have done a great deal in recent times to spoil it; "they" meaning the usual pastors and masters, the furbishers and titivators of things ancient and worshipful, applying to such things their own little nostrums and programmes. But, woefully re-restored though it be, its crockets and pinnacles and panellings patched with a stone whose colour does not match with that of the old work, one can still find it possible to look upon it with reverence, for among the ancient wayside memorials of our storied land the beautiful Eleanor Crosses stand foremost, both for their artistic and their historic interest. More than any others, they hold the sentiment and the imagination of the wayfarer, and their architecture is more complex. The story that belongs to them is one long since taken to the warm hearts of the people, and cherished as among the most touching in all the history of the realm--a realm rich in stories of a peculiarly heart-compelling kind.

It is that of Eleanor of Castile, Queen of Edward the First, who accompanied him to Palestine in 1270, on his Crusade against the Infidel. History tells how, on the evening of June 17, 1272, the King was seated alone and unarmed in a tent of the camp before Acre. It was his birthday, but birthdays find scant celebration in the tented field, and Edward on that day was engaged in the sterner business of receiving proposals of surrender from the besieged. He had given audience to a messenger from the Emir of Jaffa, who, having delivered the letter he had brought, stood waiting. Bending low, in answering a question the King had put to him, he suddenly put his hand to his belt, as though to produce other letters; but, instead, drew a poisoned dagger and struck at the King with it. Edward endeavoured to shield himself, but received a deep wound in the arm; then, as the man endeavoured to strike again, giving him a kick that felled him to the ground, he wrenched away the would-be assassin's dagger and plunged it into his body. When the King's attendants came rushing in, the man was dead. Fortunate for him it was that he died so simply, for the imaginations of those who dispensed the rough justice of the time were sufficiently fertile to have devised many novel and exquisitely painful variations of torture for such an one.

The King's wound was serious, and although all the drugs and balsams in the limited pharmacopoeia of those times were administered, it grew worse. Then it was, according to the pretty story universally received, that the Queen, finding the efforts of physicians vain, sucked the poison from the wounded arm of her lord to such good purpose that he recovered, and sat his charger again within fifteen days.

Medical criticism on this recorded action of the poison could scarce fail of being destructive, and indeed it is not to be expected that the story of Eleanor of Castile would be left unassailed in these days, when history is treated scientifically, and when all the old and gracious stories are being explained away or resolved into something repellent and utterly commonplace. Modern historians have told us that William Tell is a myth, and that, consequently, the famous incident of the apple could never have occurred. Robin Hood, they say, was equally imaginary, or if any real person existed on whom that figure of endearing romance was built up, he had more the attributes of a footpad than those of the chivalrous outlaw those legends have made him. They would even take from us Dick Whittington and his cat. In fact, all these romantic people are classed with King Arthur, Jack the Giant Killer, and Little Red Riding Hood. It is not a little cruel thus to demolish these glamorous figures, but historians since Macaulay have been merciless. It is, therefore, not surprising to read that Eleanor, instead of being heroic was a very woman, and was led "weeping and wailing" from the scene when the surgeons declared that the King's hurt was incurable, unless the whole of the poisoned flesh were cut away. The cure, says an old chronicler, was effected by the surgeons, and the romantic story has in recent times been declared "utterly unworthy of credit."

Alas! too, for the gentle and tender character that has ever been ascribed to Eleanor of Castile; for we read that "though pious and virtuous, she was rather grasping," causing scandal by taking part with Jewish usurers in cozening Christians out of their estates. Ancient records, done on rolls of sheepskin in mediæval dog-Latin, and preserved in the Record Office for all men to see--and read if they can--tell how hard a landlord she was, and how Archbishop Peckham interfered on behalf of her unfortunate tenants, telling her that reparation for wrongs done must precede absolution.