As we come in by the great north entrance and pass between the row of statesmen, we must stop for a moment by the Canning group and notice the monument to the "loyall Duke of Newcastle," who lost a large fortune and became an exile from England on account of his devoted7 faithfulness to Charles I. The Duchess, who came of a family in which "all the brothers were valiant8 and all the sisters virtuous," was, in the Duke's eyes at least, a very "wise, witty9, and learned lady," though every one did not deem her so. Pepys, when he made her acquaintance, wrote: "She is a good, comely10 woman, but her dress is so antick, and her deportment so ordinary, that I did not like her at all. Nor did I hear her say anything that was worth hearing." It was curiosity, I suppose, that caused Pepys to stay at home one day "to read the history of my Lord of Newcastle, written by his wife." Certainly his criticisms were not favourable11. "It shows her to be a mad, conceited12, ridiculous woman," he said. "And he is an ass6 to suffer her to write what she writes to him and of him."
Perhaps the "loyall Duke" found his learned lady not always quite easy to restrain, for he is reported once to have declared to a friend, "Sir, a very wise woman may be a very foolish thing."
But she had better claims than her wit or wisdom to his love, as the inscription13 on her monument tells, for she proved herself to be "a louvinge carefull wife, who was with her lord all the time of his banishment14 and miseries15, and when he came home, never parted from him in all his solitary16 retirements17."
Round the west door, and underneath18 the statue of the younger Pitt, are a number of memorial monuments to men, many of whom lived and laboured in our own times. There is Lord John Russell, the great statesman, who throughout his life was true to the emblem19 and the motto of his house, which you will see on the pedestal—a mountain goat wending its way through dangerous precipices20, but never losing its footing. And there is General Gordon, true type of the happy warrior21, who lived for the poor, the needy22, and the oppressed, and who fell at his post in far Khartoum, faithful unto death. On the one side is a spot sometimes called the Little Poets' Corner, and here, under a window given by an American to the memory of George Herbert and Cowper, "both Westminster scholars, and both religious poets," we find statues or busts23 of Wordsworth; of the two Arnolds, Dr. Arnold, the schoolmaster, and his son Matthew Arnold, the poet, whose beautiful verses about his father, telling of his radiant vigour24, his buoyant cheerfulness, his strong soul, have inspired many a one struggling to be a leader, not a laggard25, in the march of life. Here also is Keble, another religious poet, some of whose hymns27, "Sun of my Soul" and "New every morning is the Love," are as well known to all of us as any poems in our language; and close by we find Maurice, the teacher and preacher who influenced so many young men to become knights28 of their own day; to war against all that was mean, or base, or false; to fight in the foremost rank for the wronged or the oppressed; to champion the unpopular cause, and defend the truth well-nigh forgotten. By those who loved him he was called the Prophet, because he stood, as it were, between God and man, because he looked beyond the present and the things that are seen, right into the hidden glories of the things eternal. Kingsley, too, lies here, the most famous of Maurice's disciples—the man who was scholar, poet, novelist, thinker, teacher, enthusiast29, and leader all in one; who roused his listeners to a sense of the duty that lay at their door; who taught them to love the beautiful things in nature even as they loved nature's God; who made them enthusiastic for all that was chivalrous30 and soul-stirring; who himself so loved all humanity that round his grave the highest in the land, gipsies from the country lanes, and white-faced, sweated toilers from the great cities, mourned side by side, this their great-hearted friend.
Fittingly in this group comes Henry Fawcett, the most knightly31 figure in modern politics. For though he became blind through an accident when he was twenty-five, he refused to let that turn him aside from his purpose, and threw himself all the more earnestly into public life. At first when he tried to go into Parliament he was beaten, the electors actually being afraid of a blind candidate, but gradually his speeches, which showed how much he thought and cared, and how intensely alive he was to the needs of the working classes, broke down this foolish prejudice, and once in the House he was loved as he was trusted by men of both parties. His monument is quite one of the most beautiful among the modern monuments, and one great authority has declared that "the exquisite32 little figures which adorn33 it are the best of their kind since the little angels were placed on the tomb of Queen Philippa."
In the south aisle2 of the choir34 is the monument of Sir Cloudesley Shovel35, which so annoyed Addison. And indeed it is rather hard on this British sailor, who worked his way up from the lowest rank till he became Commander-in-Chief of the Fleet, and was drowned in a shipwreck36 off the Isle3 of Stilly, to be handed down to posterity38, dressed, not in the uniform he loved and wore so honourably39, but in the armour40 of a Roman general!
Monuments to Doctor Isaac Watts41 the hymn26 writer and to John and Charles Wesley are here, and very appropriate is the Wesley inscription, "The whole world is my Parish," breathing as it does the great-hearted spirit of the Abbey.
Sir Godfrey Kneller, the only painter who has a monument in the Abbey, refused to be buried here, declaring he would not lie among fools, and he left money for a memorial to himself which was to be put up in Twickenham Church. But the place he had chosen had already been appropriated by Pope, who refused to give way, so that after all the monument had to be put up in Westminster, and Pope, by way of compensation, undertook to write the inscription, in which he declared that "Kneller was by Heaven, not by master taught."
Gilbert Thornburgh, a courtier, has a delightful42 Latin epitaph which states that
"He was always faithful
To his God, his Prince, and his Friends.
Formerly43 an earthly, now an Heavenly Courtier,
It shall be no more said in the Age to come,
Who must be good must leave the Court,
When such shining Piety44 as his shall appear there."
Some epitaphs are humorous, as when we read of one Francis Newman, a Fellow of All Souls College in Oxford45, who in 1649, "divested46 of Body was received among the seats of the Blessed Souls, and became truly a New-Man;" or of Sir John Fullerton, a courtier, who died "Fuller of Faith than of Feare, Fuller of Resolution than of Paines, Fuller of Honour than of Dayes."
Unconsciously humorous are the words on the tombstone of James Fox, who at the age of twelve fell ill of smallpox47 and took his flight to heaven. "He was a man even when a child, and a Hercules from his cradle; favoured with Beauty, Wisdom, and all Endowments of Mind and Body no less than were Adonis, Venus, and Apollo; a child of singular dutifulness and great sincerity48."
"Oh parents! pity his parents.
Oh posterity! reflect upon your loss!"
It was smallpox which caused the death both of Richard Boothey—who was "of manly49 judgment50 even in his youth, of so happy a memory as to be envied, a flower, more beautiful than the rest, cut off in the spring of life"—and of Mr. Thomas Smith, buried in the little cloisters51, "who through the spotted52 veil of smallpox rendered a pure unspotted soul to God, expecting but never fearing death."
More pathetic perhaps than any other is the little tablet in the cloisters which marks the grave of "Jane Lister, dear child," though almost as touching53 is the inscription which tells us of "Mary, daughter of William Green, more adorned54 with virtue55 than with high birth, who married William Bulmer, Gentleman, to whom she was no occasion of trouble except by leaving him at her death. She bore him one son, William, a youth of great genius, who was snatched away by too hasty death. His most tender mother chose to be buried near him, that she, though dead, might be united in death with him she so entirely56 loved while living." Right at the other end of the Abbey, in the Chapel4 of St. Erasmus, is the tomb of Mrs. Mary Kendall, which has these words for inscription:—
"She had great virtues57, and as great a desire of concealing58 them.
Was of a severe life, but of an easy conversation.
Courteous59 to all, yet strictly60 sincere.
Humble61 without meanness. Beneficent without ostentation62.
Devout63 without superstition64.
Those admirable qualities,
In which she was equalled by few of her sex, surpassed by none,
Rendered her in every way worthy65 of that close union and friendship
In which she lived with the Lady Katherine Jones."
And in the adjoining Chapel of St. Andrew is the heart-broken tribute of the Earl of Kerry, "to his affectionately beloved wife, Anastatia, the dearest, most loved, most faithful companion that ever blessed man, who for thirty-one years rendered him the happiest of mankind."
The last of our epitaphs must be that of Archbishop Boulter, who pulled a great many political strings67 in Ireland, and lived a very eventful life. But his inscription reveals us none of these things, and only describes a series of promotions68, for it relates that "He was born January the 4th, 1671: he was consecrated69 Bishop66 of Bristol 1718: he was translated to the Archbishoprick of Armagh in 1723, and from thence to Heaven, on Sep. 27, 1742."
Over Abbot Islip's Chapel is a chantry, now used for keeping the few wax effigies70 which remain. For, as you remember, it used to be the custom at royal funerals, or indeed at any important funerals, to carry the likeness71 of the dead man or woman before the coffin72; these painted effigies being made of boiled leather, wood, or wax, dressed up in the clothes of the person they represented. Only eleven of these remain, though at one time there must have been quite a collection of royal figures in the Abbey which were open to the public, gaze, and evidently left to the mercy of the public. Queen Elizabeth can still be seen, gorgeously dressed, but weary and sad-looking; Charles II. is there, and the beautiful Duchess of Richmond of the Stuart race, whose monument, with that of her husband, is in Henry VII.'s Chapel. Then there is the Duchess of Buckinghamshire, proud and pomp-loving, who insisted on seeing the canopy73 for her funeral hearse, that she might be sure it was magnificent enough, and who made her attendants promise that even when she became unconscious they would still stand in her presence. By her is her little son, and near her, her eldest74 son, who also died young. Queen Anne beams on us; William and Mary have the crown set between them, and he stands on a stool so as not to appear smaller than his wife. General Monk's armour is there, much the worse for wear; and Pitt, Earl of Chatham, is splendid in his Parliamentary robes. Nelson was put here from a very worldly point of view, for when he was buried in St. Paul's, such crowds went to see his grave, that Westminster Abbey was neglected, and as the pence of the sightseers were too valuable to be lost, it was decided75 that some memorial of the great hero must be placed in the Abbey to attract people back again. All the clothes except the coat, and certainly the hat, belonged to Nelson, but a waxwork76 effigy77 hardly seems a worthy monument to him in the place which he must have loved and honoured, nay78, must have dreamt of, when he cried to his men as he led them to attack, "Westminster Abbey, or glorious victory."
And now, leaving monuments, sleeping figures, epitaphs, inscriptions79, and effigies, come and stand for a moment on the steps leading up to the High Altar, that we may take our last look at the Abbey from what is perhaps the most interesting spot in it. For, as you will remember, it is in this part of the Church that the coronation service takes place, it is here that every sovereign of England has been crowned from the days of Harold onwards.
THE HIGH ALTAR. (SHEWING ABBOT WARE80'S PAVEMENT.)
THE HIGH ALTAR. (SHEWING ABBOT WARE'S PAVEMENT.)
The pavement inside the rails is made of the mosaics81 brought back from Rome by Abbot Ware in 1267, where he went to be duly confirmed in his office by the Pope; the pillars near the altar are on the very bases which were put there when Edward the Confessor built his church. Here are the tombs of Aymer de Valence, of Edmund Crouchback, Earl of Lancaster, and of Aveline his young wife, who as a bride had stood in front of the altar but a few months before her death in the year 1269. Opposite, King Sebert is said to lie; under the pavement rests Abbot Ware, with other of his successors, and Richard the Second's sad helpless face looks at us from his portrait with its fine background of tapestry82. The altar and the reredos which we see are both new, and just as the old frieze83 through in the Confessor's Chapel depicts84 scenes in the life of Edward, so the modern reredos gives us glimpses of Him in whose honour the Saxon king first raised these walls. From among the gold, four white figures stand out, "the four living creatures which have been thought worthy to stand round the central figure of our departing Master," as Dean Stanley described them when they were erected85. On the right stands St. Peter, patron saint of the Abbey, holding in one hand the keys, and in the other a book, on which is written the great truth, "God is no respecter of persons," and next to him is Moses, the first statesman and lawgiver, looking towards the buried statesmen in the Abbey.
On the left stands St. Paul, grasping in his hand that Sword of the Spirit which he had named as the weapon of the Christian86 warrior, and by him is David, the sweet singer of Israel, whose face is turned towards the Poets' Corner as though he would claim those sleeping there for his brethren.
Through the glass we catch a glimpse of the Chapel of the Kings, and all around is a network of slender arches fashioned by master-hands into forms of stately but perfect beauty. High above are the three Eastern Windows, though in the course of the years these have been so constantly repaired with any scraps87 of glass available, that the effect is rather confusing. But the figure of a thorn-crowned Christ stands out, and near to Him are Edward the Confessor and St. John the Evangelist.
Now turn to the west, look at the glade88 of arches stretching down the nave89, at the Statesmen's Corner on the right, where under the Rose Window Chatham's fine figure stands out almost with an air of proud satisfaction, and then towards the left to the monument of Oliver Goldsmith, and the more imposing90 memorial to the great Duke of Argyll, "an honest man, a constant friend, a general and an orator91." Two commanding statues of Campbell and Addison loom92 out in the half light, Campbell casting a shadow over the graves of Abbot Litlington, Owen Tudor, and Dean Benson, and hiding from our view the dignified93, thoughtful figure of William Shakespeare, who holds in his hands a scroll94 on which are those lines of his from the "Tempest":—
"The cloud-capt towers,
The gorgeous palaces,
The solemn temples,
The great globe itself,
Yea, all which it inherit
Shall dissolve,
And like the baseless fabric95 of a vision
Leave not a wreck37 behind."
Burns and Sir Walter Scott greet us from their niches96; Grote and Thirlwall, the truth-loving writers of history; Camden, the Westminster master and antiquarian; Garrick the actor, Handel the musician, all cluster around us as we look down the southern aisle; and we can just see at the end the newest addition to the building, a bronze memorial to John Ruskin, a great teacher and writer of our own day. Some words of his come to my mind at this moment, as applying in a very special sense to the Abbey: "The greatest glory of a building is not in its stones, nor in its gold. The glory is in its age, and in that deep sense of voicefulness, of stern watching, of mysterious sympathy, nay, even of approval or condemnation97, which we feel in walls that have long been washed by the passing waves of humanity.... It is in the golden stain of time that we are to look for the real light, and colour, and preciousness of architecture; and it is not until a building has assumed this character, till it has been entrusted98 with the fame and hallowed by the deeds of men, till its walls have been witnesses of suffering, and its pillars rise out of the shadows of death, that its existence, more lasting99 as it is than the natural objects of the world around it, can be gifted with even so much as those possess of language and of life. Therefore, when we build, let us think that we build for ever.... God has lent us the earth for our life; it is a great entail100. It belongs as much to those who are to come after us, and whose names are already written in the Book of Creation, as to us."
And surely, too, the Abbey leads our thoughts towards other temples, which it is ours to guard, to honour, and to make honourable101, temples not fashioned by human hands. Those old builders often worked in the dark; some corner, some piece was allotted102 to them, and into this they put all their skill, all their genius, caring little for fame or reward, knowing nothing of the whole plan which they would never live to see accomplished103. Only this was their task, to beautify the little part entrusted to them. And because they were faithful to this ideal, we, who gaze on their completed work, do grateful homage104 to those nameless craftsmen105, long since dead and forgotten. Nay more, we will make it our aim to labour as they laboured; to live not basely and selfishly in the Present, but nobly and truly, with the Future ever before our eyes; so that in days to come Englishmen shall still be able to say, "See! This our fathers did for us!" and generations, yet unborn, will deem that we were faithful to ourselves and to them.
The End
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1
aisles
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| n. (席位间的)通道, 侧廊 | |
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aisle
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| n.（教堂、教室、戏院等里的）过道，通道 | |
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isle
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| n.小岛，岛 | |
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chapel
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| n.小教堂，殡仪馆 | |
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chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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ass
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| n.驴；傻瓜，蠢笨的人 | |
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devoted
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| adj.忠诚的，忠实的，热心的，献身于...的 | |
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valiant
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| adj.勇敢的，英勇的；n.勇士，勇敢的人 | |
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witty
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| adj.机智的，风趣的 | |
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comely
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| adj.漂亮的，合宜的 | |
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favourable
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| adj.赞成的，称赞的，有利的，良好的，顺利的 | |
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conceited
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| adj.自负的，骄傲自满的 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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banishment
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| n.放逐，驱逐 | |
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miseries
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| n.痛苦( misery的名词复数 )；痛苦的事；穷困；常发牢骚的人 | |
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solitary
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| adj.孤独的，独立的，荒凉的；n.隐士 | |
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retirements
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| 退休( retirement的名词复数 )； 退职； 退役； 退休的实例 | |
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underneath
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| adj.在...下面，在...底下；adv.在下面 | |
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emblem
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| n.象征，标志；徽章 | |
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precipices
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| n.悬崖，峭壁( precipice的名词复数 ) | |
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warrior
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| n.勇士，武士，斗士 | |
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needy
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| adj.贫穷的，贫困的，生活艰苦的 | |
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busts
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| 半身雕塑像( bust的名词复数 )； 妇女的胸部； 胸围； 突击搜捕 | |
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vigour
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| （=vigor）n.智力，体力，精力 | |
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laggard
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| n.落后者；adj.缓慢的，落后的 | |
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hymn
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| n.赞美诗，圣歌，颂歌 | |
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hymns
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| n.赞美诗，圣歌，颂歌( hymn的名词复数 ) | |
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knights
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| 骑士； （中古时代的）武士( knight的名词复数 )； 骑士； 爵士； （国际象棋中）马 | |
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enthusiast
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| n.热心人，热衷者 | |
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chivalrous
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| adj.武士精神的；对女人彬彬有礼的 | |
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knightly
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| adj. 骑士般的 adv. 骑士般地 | |
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exquisite
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| adj.精美的；敏锐的；剧烈的，感觉强烈的 | |
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adorn
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| vt.使美化，装饰 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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shovel
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| n.铁锨，铲子，一铲之量；v.铲，铲出 | |
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shipwreck
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| n.船舶失事，海难 | |
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wreck
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| n.失事，遇难；沉船；vt.(船等)失事，遇难 | |
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posterity
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| n.后裔，子孙，后代 | |
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honourably
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| adv.可尊敬地，光荣地，体面地 | |
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armour
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| （=armor）n.盔甲；装甲部队 | |
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watts
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| （电力计量单位）瓦，瓦特( watt的名词复数 ) | |
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delightful
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| adj.令人高兴的，使人快乐的 | |
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formerly
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| adv.从前，以前 | |
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piety
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| n.虔诚，虔敬 | |
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Oxford
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| n.牛津（英国城市） | |
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divested
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| v.剥夺( divest的过去式和过去分词 )；脱去（衣服）；2。从…取去…；1。（给某人）脱衣服 | |
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smallpox
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| n.天花 | |
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sincerity
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| n.真诚，诚意；真实 | |
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manly
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| adj.有男子气概的；adv.男子般地，果断地 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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cloisters
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| n.（学院、修道院、教堂等建筑的）走廊( cloister的名词复数 )；回廊；修道院的生活；隐居v.隐退，使与世隔绝( cloister的第三人称单数 ) | |
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spotted
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| adj.有斑点的，斑纹的，弄污了的 | |
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touching
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| adj.动人的，使人感伤的 | |
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adorned
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| [计]被修饰的 | |
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virtue
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| n.德行，美德；贞操；优点；功效，效力 | |
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entirely
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| ad.全部地，完整地；完全地，彻底地 | |
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virtues
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| 美德( virtue的名词复数 )； 德行； 优点； 长处 | |
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concealing
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| v.隐藏，隐瞒，遮住( conceal的现在分词 ) | |
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courteous
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| adj.彬彬有礼的，客气的 | |
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strictly
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| adv.严厉地，严格地；严密地 | |
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humble
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| adj.谦卑的，恭顺的；地位低下的；v.降低，贬低 | |
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62
ostentation
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| n.夸耀，卖弄 | |
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63
devout
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| adj.虔诚的，虔敬的，衷心的 (n.devoutness) | |
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superstition
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| n.迷信，迷信行为 | |
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65
worthy
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| adj.(of)值得的，配得上的；有价值的 | |
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bishop
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| n.主教，（国际象棋）象 | |
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strings
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| n.弦 | |
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68
promotions
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| 促进( promotion的名词复数 )； 提升； 推广； 宣传 | |
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69
consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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70
effigies
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| n.（人的）雕像，模拟像，肖像( effigy的名词复数 ) | |
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likeness
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| n.相像，相似（之处） | |
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72
coffin
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| n.棺材，灵柩 | |
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canopy
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| n.天篷，遮篷 | |
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eldest
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| adj.最年长的，最年老的 | |
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decided
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| adj.决定了的，坚决的；明显的，明确的 | |
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76
waxwork
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| n.蜡像 | |
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effigy
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| n.肖像 | |
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78
nay
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| adv.不；n.反对票，投反对票者 | |
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79
inscriptions
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| （作者）题词( inscription的名词复数 )； 献词； 碑文； 证劵持有人的登记 | |
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80
ware
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| n.(常用复数)商品，货物 | |
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81
mosaics
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| n.马赛克( mosaic的名词复数 )；镶嵌；镶嵌工艺；镶嵌图案 | |
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82
tapestry
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| n.挂毯，丰富多采的画面 | |
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83
frieze
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| n.(墙上的)横饰带，雕带 | |
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84
depicts
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| 描绘，描画( depict的第三人称单数 )； 描述 | |
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85
ERECTED
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| adj. 直立的，竖立的，笔直的 vt. 使 ... 直立，建立 | |
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86
Christian
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| adj.基督教徒的；n.基督教徒 | |
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87
scraps
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| 油渣 | |
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88
glade
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| n.林间空地，一片表面有草的沼泽低地 | |
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nave
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| n.教堂的中部；本堂 | |
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90
imposing
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| adj.使人难忘的，壮丽的，堂皇的，雄伟的 | |
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orator
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| n.演说者，演讲者，雄辩家 | |
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92
loom
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| n.织布机，织机；v.隐现，(危险、忧虑等)迫近 | |
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dignified
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| a.可敬的，高贵的 | |
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94
scroll
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| n.卷轴，纸卷；(石刻上的)漩涡 | |
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95
fabric
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| n.织物，织品，布；构造，结构，组织 | |
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96
niches
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| 壁龛( niche的名词复数 )； 合适的位置[工作等]； （产品的）商机； 生态位（一个生物所占据的生境的最小单位） | |
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condemnation
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| n.谴责; 定罪 | |
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98
entrusted
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| v.委托，托付( entrust的过去式和过去分词 ) | |
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lasting
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| adj.永久的，永恒的；vbl.持续，维持 | |
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100
entail
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| vt.使承担，使成为必要，需要 | |
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101
honourable
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| adj.可敬的；荣誉的，光荣的 | |
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102
allotted
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| 分配，拨给，摊派( allot的过去式和过去分词 ) | |
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103
accomplished
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| adj.有才艺的；有造诣的；达到了的 | |
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104
homage
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| n.尊敬，敬意，崇敬 | |
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105
craftsmen
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| n. 技工 | |
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