In these ‘African Eclogues’, as in the journalistic prose tales and articles Chatterton dashed off for money, and indeed in everything else he wrote during these last four months, one is continually coming across lines or whole passages which recall the reader – with a sudden frisson of horror and pity – to the situation Chatterton himself was in. The most terrible moment in ‘Narva and Mored’ is a single image which bubbles up in the seething flow of description for four lines, and then vanishes again without trace or explanation:
… Where the pale children of the feeble sun
In search of gold through every climate run,
From burning heat to freezing torments go
And live in all vicissitudes of woe …
But it is only in the last of the Rowley poems, ‘The Excelente Balade of Charitie’, that Chatterton seems to have produced a total equivalent of his condition, a complete symbolic enactment of his hopes and terrors. There is a superb equity in the fact that it was only Thomas Rowley, his double, his other self across three centuries, who could provide him with the material, the stance, and the final distancing to accomplish this most measured and beautiful and poignant of his works. The measuredness is particularly important. None of Chatterton’s subsequent critics or biographers seems to have realized just how unbalanced, how thoroughly peculiar Chatterton became in those first few weeks alone. The first two letters home are amusingly carried off, and reveal exactly the pride and rather disarming boastfulness one might have expected from him. The note is aptly struck in: ‘I get four guineas a month by one Magazine: shall engage to write a History of England, and other pieces, which will more than double that sum … I am quite familiar at the Chapter Coffee-House, and know all the geniuses there. A character is now unnecessary; an author carries his character in his pen.’ (That last remark is an interesting side-light on his use of personae at Bristol.)
But by the letter of May 14th, a kind of glittering wildness is coming over him: ‘Miss Rumsey, if she comes to London, would do well as an old acquaintance, to send me her address. – London is not Bristol. – We may patrole the town for a day, without raising one whisper, or nod of scandal. – If she refuses, the curse of all antiquated virgins light on her: may she be refused when she shall request! Miss Rumsey will tell Miss Baker, and Miss Baker will tell Miss Porter, that Miss Porter’s favoured humble, though but a young man, is a very old lover; and in the eight-and-fiftieth year of his age: but that, as Lappet says, is the flower of a man’s days; and when a lady can’t get a young husband, she must put up with an old bedfellow. I left Miss Singer, I am sorry to say it, in a very bad way; that is, in a way to be married. – But mum – Ask Miss Suky Webb the rest; if she knows, she’ll tell ye. – I beg her pardon for revealing the secret; but when the knot is fastened, she shall know how I came by it – Miss Thatcher may depend upon it, that, if I am not in love with her, I am in love with nobody else …’ And so on for another page or so, with Miss Love, Miss Cotton, Miss Broughton and Miss Watkins. It is still amusing stuff, but his imagination seems over-stimulated, the jokes and innuendoes and declarations spin out with a sort of exalted panic. It is also clear that he is very lonely, and he desperately hopes that Miss Rumsey will be coming to the city. A paragraph in the next letter, to his sister dated May 30th, ends with: ‘Humbly thanking Miss Rumsey for her complimentary expression, I cannot think it satisfactory. Does she, or does she not, intend coming to London? Mrs O’Coffin has not yet got a place; but there is not the least doubt but she will in a little time.’ The letter finished with a scrawled PS: ‘I am at this moment pierced through the heart by the black eye of a young lady, driving along in a hackney-coach – I am quite in love: If my love lasts ‘till that time, you shall hear of it in my next.’ It is throw-away, but rather revealing.
In these letters there is only one reference to Rowley (though several to St Mary Redcliff). It is an odd one. It shows that Rowley was on his mind, but it appears to be bidding him farewell as a companion. ‘As to Mr Barrett, Mr Catcott, Mr Burgum, &c., they rate literary lumber so low, that I believe an author, in their estimation, must be poor indeed! But here matters are otherwise; had Rowley been a Londoner, instead of Bristowyan, I could have lived by copying his works.’ In his characteristically ambiguous manner, Chatterton appears to be wondering if Rowley could in fact be turned into a Londoner: whether Rowley could survive outside the environment of medieval Bristol which created him, and could perhaps expand into more universal themes that would move far beyond the old localized settings. This is exactly what ‘The Balade of Charitie’ did do: there is no other Rowley poem with a more timeless setting and theme, and no other Rowley poem which has so finely absorbed the humane and observant style of Chaucer. The idea was to mature until July; a powerful island of calm amid Chatterton’s turmoil and uncertainty and distress.
Some time in June Chatterton left Shoreditch, and moved to the cheaper and seedier area of Holborn. He took an attic room in the second house along Brooke Street from the High Holborn end. It was an area of disrepute. Labourers from Ireland, criminals and prostitutes lived there. It was the home of the Cato Street conspiracy. Clergymen when they visited their flock in these streets were accompanied by bodyguards. Chatterton’s landlady was a Mrs Angel, a dressmaker. Dressmaking in that area was often synonymous with brothel keeping. Round the corner in Fox Court was where Richard Savage was born. Mr Cross kept his chemist shop on the corner. Even nowadays, with the pink neo-gothic edifice of the Prudential Insurance Building looming respectably along the right-hand side of the road, it is not a comforting street to be in. You cannot see enough sky.
In June the letters quickly began to get shorter. The one to his sister, dated June 19th, begins with a sudden sharpness. ‘Dear Sister, I have a horrid cold. – The relation of the manner of my catching it may give you more pleasure than the circumstance itself.’ His story tells of hanging out of his window in the middle of the night to listen to a drunken woman singing bawdy songs in the street below. It ends with a conclusion that seems, in the context, to have a fairly obvious double meaning. ‘However, my entertainment, though sweet enough in itself, has a dish of sour sauce served up in it; for I have a most horrible wheezing in the throat; but I don’t repent that I have this cold; for there are so many nostrums here, that ‘tis worth a man’s while to get a distemper, he can be cured so cheap.’ The man’s distemper referred to here is almost certainly some form of venereal disease.
Nineteenth-century scholarship has been prudishly silent on this point. As it was silent on Keats dosing himself with mercury for the same complaint. Not until Meyerstein’s book of 1930 was there any consideration of the likelihood that Chatterton might have caught venereal disease; although it was a very common and rather unremarkable fact of a young man’s life in the London of the time. Indeed, in the London of any young man’s time since Shakespeare. The matter would be quite insignificant if it were not for the entirely different light that it throws on the development of Chatterton’s drug-taking, and most important of all, in the actual circumstances of his death. There is only one authentic reference in this matter. It comes from Michael Lort, that shrewd scholar-investigator who had extracted a particularly interesting statement from the Reverend Catcott (see supra, p. 38), and whose manners were, according to Fanny Burney, ‘somewhat blunt and odd’. Michael Lort’s evidence is simply this: that he had cross-questioned the chemist Mr Cross, and ‘Mr Cross says he (Chatterton) had the Foul Disease which he would cure himself and had calomel and vitriol of Cross for that purpose. Who cautioned him against the too free use of these.’ It is tremendously significant. Chatterton ‘would cure himself’ – of course, that is in character. We know that Chatterton was fascinated by medical matters and had in the past borrowed many books on surgery from Barrett. He would look after himself; his pride, his hardness would demand it. Yet suppose things did not go quite according to plan? Suppose the disease, whatever its form, at first seemed merely to get worse; or suppose it disappe
ared and then recurred – which is often the case? Vitriol could be a long and very painful treatment, especially for someone of Chatterton’s age and in his difficult circumstances.
The crucial fact is, then, this: arsenic, in small regulated doses, could also be used as a more drastic cure for venereal disease; and opium could – rashly but understandably – be used as a pain-killer. Arsenic and opium simultaneously. The Coroner reported arsenic poisoning; Barrett the surgeon recorded evidence of opium, he assumed an overdose. If all these facts are true, then an entirely different picture begins to emerge. One is led to ask, is the tradition of 200 years quite wrong? Is this a case of suicide at all? Why, come to think of it, should Chatterton have left no suicide note, no Villonesque Last Will and Testament? (The only extant ‘Will’, as we have seen, was made four months previously, a device for escaping from Lambert’s.) Is it not possible, is it not really rather likely, that what happened on the night of the 24th of August was a tragic mistake, a terrible miscalculation? In fact did Chatterton ever surrender to his circumstances, to himself, to the soft Romantic gesture of Wallis’s painting? Did his angry courage ever break at all? These are difficult questions to answer. We may never have the evidence to answer them satisfactorily. The ambivalence may have gone with him into oblivion. But I think his death was a mistake.
If the inner life is doubtful to the end, Herbert Croft, the author of Love and Madness, discovered some vivid external impressions from his interviews with Chatterton’s last neighbours. The house where Chatterton lodged in Shoreditch was run by a plasterer and his wife, Mr and Mrs Walmsley. With them were two young relatives, a niece and a nephew. Also Mrs Ballance, whose acquaintance we have already made. After Mrs Ballance’s faux pas over ‘Tommy’, little seems to have passed between them. But Mrs Ballance had something to say about that silence too. ‘He would often look steadfastly in a person’s face, without speaking, or seeming to see the person, for a quarter of an hour or more, till it was quite frightful; during all this time (she supposes, from what she has since heard), his thoughts were gone about something else.’
The master of the household, Mr Walmsley, was less forthcoming. Yet a perfectly ordinary artisan’s opinion of a young poet who was to become the darling of the Romantics is not without what one might call sociological interest. ‘Mr Walmsley saw nothing of him, but that there was something manly and pleasing about him, and that he did not dislike the wenches.’ Chatterton would probably have been rather pleased with that description.
Mrs Walmsley, like all London landladies that ever were and ever will be, looked out for the more domestic virtues in her lodger; but was not without a streak of romance sweetly disguised in the depth of a doubtless ample bosom. She liked her young literary gentleman to have a bit of style. ‘Mrs Walmsley’s account is, that she never saw any harm of him – that he never mislisted her [“misled” her perhaps; or perhaps “mistressed” her?]; but was always very civil, whenever they met in the house by accident – that he would never suffer the room, in which he used to read and write, to be swept, because, he said, poets hated brooms.’ That seems rather to have tickled Mrs Walmsley, but she was certainly not going to admit it: ‘she told him she did not know any thing that poet folks were good for, but to sit in a dirty cap and gown in a garret, and at last to be starved.’ Secretly she may have even approved. ‘During the nine weeks he was at her house, he never stayed out after the family hours, except once, when he didn’t come home all night and had been, she heard, poeting a song about the streets.’ At which point Mrs Ballance rushes back into the breach to cover up for poor Tommy. ‘This night, Mrs Ballance says, she knows he lodged at a relation’s, because Mr W’s house was shut up when he came home.’
But that is only what the adults saw. Mrs Walmsley’s niece kept her eyes much wider open, and took something of a fancy to him; but she was puzzled by him, even slightly alarmed: ‘For her part, she always took him more for a mad boy than anything else, he would have such flights and vagaries – that, but for his face and her knowledge of his age, she should never have thought him a boy, he was so manly, and so much himself – that no women came after him, nor did she know of any connexion; but still, that he was a sad rake, and terribly fond of women, and would sometimes be saucy to her.’ His eating arrangements were peculiar too: ‘he ate what he chose to have with his relation (Mrs B) who lodged in the same house, but he never touched meat, and drank only water, and seemed to live on air.’ To that the nephew added: ‘he lived chiefly on a bit of bread, or a tart, and some water.’
The nephew, whose name Herbert Croft does not record, was probably the youngest in the house, younger even than Chatterton. For the first six weeks of Chatterton’s stay he shared a bedroom with him. ‘He used to sit up almost all the night, reading and writing … he (the nephew) was afraid to lie with him; for to be sure, he was a spirit, and never slept … he never came to bed till very late, sometimes three or four o’clock, and was always awake when he (the nephew) waked; and got up at the same time, about five or six – that almost every morning the floor was covered with pieces of paper not so big as sixpences, into which he had torn what he had been writing before he came to bed.’
The detail of the torn paper is interesting. It harks back to the Pyle Street schoolhouse where papers and parchments were scattered on tables and floors; it carries forward to the final scene in Brooke Street where the shredded papers were wrongly taken as evidence of a fit of despair. And it suggests so strongly and simply the immense inwardness and privacy which the act of composition, divided between himself and Rowley, had always contained for Chatterton: something so secretive it made him cover his tracks instinctively.
He gave no reason for quitting Shoreditch. ‘They found the floor of his rooms covered with little pieces of paper, the remains of his poetings, as they term it.’
In Brooke Street the track does run out. Croft never managed to trace Mrs Angel, his dress-making landlady. A certain Mrs Wolfe, a barber’s wife, who lived a few doors down, remembered one detail. ‘Mrs Angel told her, after his death, that, as she knew he had not eaten anything for two or three days, she begged he would take some dinner with her on the 24th of August; but he was offended at her expressions, which seemed to hint he was in want, and assured her he was not hungry.’ Somehow it rings true – one imagines how he would take offence. The other stories sound a bit like ingenious apocrypha. He was seen in a tavern drinking Shakespeare’s health in bad wine; he was seen in St Pancras churchyard reading the epitaphs; he was seen at the Brooke Street’s bakers being refused bread on tick.
Yet there is a grim and miraculous concordance between these final marginalia of his outward life, and the last and loveliest of Rowley’s visitations, ‘The Excelente Balade of Charitie’. In thirteen vivid and melodic stanzas, it tells of a poor ‘hapless pilgrim’ who has fallen on bad times and is now sick, poverty-stricken and destitute, his clothes threadbare and his body ravaged. He stands alone in a wide unlocated landscape, with a dark ponderous storm moving over the horizon towards him. ‘He had no housen theere, ne any convent nie.’ He shelters under a holm-oak. The storm breaks.
Liste! now the thunder’s rattling clymmynge sound
Cheves slowlie on, and then embollen clangs
Shakes the hie spyre, and losst, dispended, drown’d,
Still on the gallard eare of terrour hanges;
The windes are up; the lofty elmen swanges,
Agayn the levynne and the thunder poures,
And the full clouds are braste attenes in stonen showers.
By using the Rowley dialect and spelling with a wild freedom he had never before achieved, Chatterton here brings off one of the finest pieces of onomatopoeic poetry in the whole of English verse. It is quite unnecessary to know semantically what ‘clymmynge’ or ‘swangen’ mean; the sound, even the very look of the words tell you exactly what is happening, the power and terror of the storm.
The portrait of the pilgrim as he huddles under the oak is s
uperb. It glows with a kind of transcendental pity for all men who are outcast or broken. It is almost as if Rowley were describing Chatterton in a vision of his own; as if the roles had been reversed:
Look in his glommed face: his sprighte there scanne;
Howe woe-be-gone, howe withered, forwynd, deade!
Haste to thy church-glebe-house, ashrewd manne!
Haste to thy kiste, thy only dortoure bedde.
Cold, as the clay which will gre on thy hedde,
Is Charitie and Love among high elves:
Knightis and Barons live for pleasure and themselves.
[A few words are difficult here, but not very: ‘forwynd’ means sapless; ‘ashrewd’ means cursed by fortune; ‘kiste’ is a coffin; and ‘dortoure’ is obviously a dormitory or bedroom.]
A figure now appears through the blasting storm, ‘spurreynge his palfry oer the watery plain’. It is an Abbott, and he is described with Chaucerian accuracy and judgement: ‘His cope was all of Lincoln clothe so fine, with a gold button fastened neere his chynne’, and his horse’s head has been plaited with roses. The pilgrim begs for aid, the Abbott – with the solemn inevitability of the medieval ballad – rudely refuses him. (‘Varlet, replied the Abbatte, cease your dinne; This is no season almes and prayers to give; My porter never lets a faitour [tramp] in.’) And he spurs away.
Sidetracks Page 6
