My heart leapt to my lips when I beheld her. They framed her name, although I did not speak.
For her part, Polly looked up at me, and she was smiling. Then she waved her hand to me, a circle in the gloom. It was a regal wave. Like Queen Elizabeth. My poor waif, my child of shame, my bride of darkness, daughter of the night, and yet for me the fairest of erth kinne - she knew I watched her, and she smiled at me; she knew I saw her, and she waved to me.
On yonder hill there stands a creature.
My lemmon she shal be.
O Polly dear.
Naked, on her back, and in her white bed, Polly saluted me gaily and gravely. My heart bowed down.
* Measure for Measure, Act IV, Scene 1, lines 1-8. Fletcher's plagiarism occurs in his play The Bloody Brother.
* Antony and Cleopatra, Act II, Scene 2, lines 235-8.
Chapter Ninety Tom o' Bedlam's Song
Where Polly has been I don't know, but she brought me back a present.
It is a curious thing - an Aeolian harp. I never saw anything like it before.
Aeolus in Roman mythology was the god of the winds. This wind-harp is a box on which strings are stretched. You do not play it, but you let it play. Polly showed me how. You hang the harp in the window, or stand it up on the windowsill. The breeze passing freely over the taut gut strings produces a haunting, long-drawn chord, rising and falling. This music is for all the world like the cry of some coy young maid half-yielding to her lover.
Hark! The wind kindles the strings again. This simplest lute placed length-wise in the casement is now my constant companion. It is as if Dame Nature told her secrets on the strings of the human heart.
Life is other than what one writes. When I thanked Polly for her gift, and made bold to kiss her hand in token of my gratitude, she spun three times round like a sweet little dervish, and then asked would I like to know what it is about me that touches her. Remembering that the night before last I am certain she knew that I spied on her naked in her bed, I hesitated. But the dear child took my hesitation for compliance, and so whispered her approbation in my ear. It is - in the way I think and speak, in my whole manner, apparently (and this is one of the compliments which has moved me most in my whole life) - my simplicity.
A harp, though a world in itself, is but a narrow world in comparison with the world of a human heart. And tonight the music of my wind-harp is not all I hear. It is raining. The rain drips and gathers in the eaves. The sound of the rain in the eaves is like Jane's laughing.
I have a note in this box about Cordelia Annesley. Her story is soon told. She was the daughter of Sir Brian Annesley, a Kentish landowner who had been a Gentleman Pensioner to Queen Elizabeth. In the autumn of 1603 this poor fellow's two older daughters tried to have their father certified insane so as to get their hands on his estate. Their names were Lady Sandys and Lady Wildgoose. Cordelia, his youngest daughter, protested against this proposal, in a letter to Secretary of State Cecil. She urged, as an alternative, that a guardian should be appointed for her father. On Sir Brian's death the Wildgooses contested his will, but they failed in their attempt to stop Cordelia inheriting what was rightly hers. This woman became in 1608 the second wife of Mr W. H. - Sir William Hervey, widower of the dowager Countess of Southampton, Rizley's mother. I think Cordelia Annesley's story gave Mr Shakespeare some of his plot for King Lear.
I was the first Cordelia, of course. (John Spencer Stockfish was well-cast as Goneril.) My part contains only one hundred lines - forty in the first Act, sixty in the last. But my influence is felt throughout the play, and I believe beyond it. Mr Shakespeare played the part of Kent in the early performances - a role which much suited him, and also allowed him to be frequently in the wings directing what we did.
Notice the sound of the words NOTHING and PATIENCE in this play. King Lear rings with them, just as Othello is a kind of fugue on the word HONESTY. I never hear any of these words spoken but I think of Mr Shakespeare.
Reader, have you ever remarked that Cordelia and the Fool are never on the stage at the same time? This cunning of Mr Shakespeare's was quite deliberate. It permitted me to play both parts in the play. He had me cut out for a fool as well as a truth-teller. So that when Lear says And my poor Fool is hang'd he means not only his one honest daughter who truly loved him.
Let me tell you something strange. Just as I sometimes think that William Shakespeare dreamt me up that afternoon in Cambridge, creating me as I jumped down off the wall, so it has also occurred to me that in making me double the parts of Cordelia and the Fool he taught me the voice in which I have written this book you are reading. Did Mr Shakespeare know that I would one day write his Life? Of course not. But he must have heard in me the possibility.
In this my 90th box I have kept a poem of Mr S's that you will not know. It is a ballad sung by Edgar in King Lear. We used it to cover the noise of scene-shifting between the third and fourth scenes of Act II. For some reason it does not appear in the play as printed in the Folio. I suppose WS never wrote it down into his fair copy. He produced this song on the spot when we realised we needed it, saying it followed on naturally from Edgar's declaring Poor Turlygod! Poor Tom! / That's something yet: Edgar I nothing am, and his lines about becoming a Bedlam beggar. When Burbage said it was several verses too long for the time it took to change our scene from the wood to Kent in the stocks before Gloucester's castle, Mr Shakespeare scowled, then grinned, then scrunched up the offending stanzas and kicked them into the pit.
Here is the poem. It has no title, but I call it Tom o' Bedlam's Song:
From the hag and hungry goblin
That into rags would rend ye
All the spirits that stand by the naked man
In the Book of Moons defend ye!
That of your five sound senses
You never be forsaken
Nor wander from yourselves with Tom
Abroad to beg your bacon.
While I do sing 'Any food, any feeding,
Feeding, drink, or clothing'
Come dame or maid, be not afraid,
Poor Tom will injure nothing.
Of thirty bare years have I
Twice twenty been enraged,
And of forty been three times fifteen
In durance soundly caged
On the lordly lofts of Bedlam
With stubble soft and dainty,
Brave bracelets strong, sweet whips ding-dong,
With wholesome hunger plenty.
And now I sing, etc.
With a thought I took for Maudlin
And a cruse of cockle pottage
With a thing thus tall, sky bless you all,
I befell into this dotage.
I slept not since the Conquest,
Till then I never waked
Till the roguish boy of love where I lay
Me found and stripped me naked.
And now I sing, etc.
When I short have shorn my sowce face
And swigged my horny barrel
In an oaken inn I pound my skin
As a suit of gilt apparel.
The moon's my constant mistress
And the lonely owl my marrow,
The flaming drake and the night-crow make
Me music to my sorrow.
While I do sing, etc.
The palsy plagues my pulses
When I prig your pigs or pullen,
Your culvers take, or matchless make
Your chanticleer, or sullen.
When I want provant, with Humphrey
I sup, and when benighted
I repose in Paul's with waking souls
Yet never am affrighted.
But I do sing, etc.
I know more than Apollo,
For oft when he lies sleeping
I see the stars at bloody wars
And the wounded welkin weeping;
The moon embrace her shepherd
And the queen of Love her warrior,
While the first doth horn the star of the morn
And the next the heavenly Farrier.
While I do sing, etc.
The Gipsy Snap and Pedro
Are none of Tom's comradoes;
The punk I scorn and the cutpurse sworn
And the roaring-boys' bravadoes.
The meek, the white, the gentle,
Me handle, touch, and spare not,
But those that cross Tom Rhinoceros
Do what the panther dare not.
Although I sing, etc.
With an host of furious fancies
Whereof I am commander,
With a burning spear, and a horse of air
To the wilderness I wander.
By a knight of ghosts and shadows
I summoned am to tourney,
Ten leagues beyond the wild world's end -
Methinks it is no journey.
Yet will I sing 'Any food, any feeding,
Feeding, drink, or clothing'
Come dame or maid, be not afraid,
Poor Tom will injure nothing.
Reader, does this song trouble your memory? Does it make you feel that you have heard it somewhere before? Mr Shakespeare used to say that poetry is original not because it is new but because it is both new and old, something you seem to remember the first time you hear it. Poetry is original because it deals in origins. Something in poor Tom o' Bedlam's song reminds me of Adam. Something in poor Tom o' Bedlam's song reminds me of us all.
It is easy to clothe imaginary beings with our own thoughts and feelings. But to send ourselves out of ourselves, to think ourselves into the thoughts and feelings of beings in circumstances wholly and strangely different from our own, and yet make those beings remind us of us all - hoc labour, hoc opus! Who has achieved it? Only Shakespeare.