Legend of Sleepy Hollow and Other Stories

by Washington Irving

  From Poets’ Comer I continued my stroll towards that part of the abbey which contains the sepulchres of the kings. I wandered among what once were chapels, but which are now occupied by the tombs and monuments of the great. At every turn I met with some illustrious name; or the cognizance of some powerful house renowned in history. As the eye darts into these dusky chambers of death, it catches glimpses of quaint effigies; some kneeling in niches, as if in devotion; others stretched upon the tombs, with hands piously pressed together; warriors in armour, as if reposing after battle; prelates with croziers and mitres; and nobles in robes and coronets, lying as it were in state. In glancing over this scene, so strangely populous, yet where every form is so still and silent, it seems almost as if we were treading a mansion of that fabled city, where every being had been suddenly transmuted into stone.

  I paused to contemplate a tomb on which lay the effigy of a knight in complete armour. A large buckler was on one arm; the hands were pressed together in supplication upon the breast; the face was almost covered by the morion; the legs were crossed in token of the warrior’s having been engaged in the holy war. It was the tomb of a crusader; of one of those military enthusiasts, who so strangely mingled religion and romance, and whose exploits form the connecting link between fact and fiction; between the history and the fairy tale. There is something extremely picturesque in the tombs of these adventurers, decorated as they are with rude armorial bearings and gothic sculpture. They comport with the antiquated chapels in which they are generally found; and in considering them, the imagination is apt to kindle with the legendary associations, the romantic fictions, the chivalrous pomp and pageantry which poetry has spread over the wars for the Sepulchre of Christ. They are the reliques of times utterly gone by; of beings passed from recollection; of customs and manners with which ours have no affinity. They are like objects from some strange and distant land, of which we have no certain knowledge, and about which all our conceptions are vague and visionary. There is something extremely solemn and awful in those effigies on gothic tombs, extended as if in the sleep of death, or in the supplication of the dying hour. They have an effect infinitely more impressive on my feelings than the fanciful attitudes, the overwrought conceits, and allegorical groups, which abound on modern monuments. I have been struck, also, with the superiority of many of the old sepulchral inscriptions. There was a noble way, in former times, of saying things simply, and yet saying them proudly; and I do not know an epitaph that breathes a loftier consciousness of family worth and honourable lineage, than one which affirms, of a noble house, that “all the brothers were brave, and all the sisters virtuous.”

  In the opposite transept to Poets’ Corner stands a monument which is among the most renowned achievements of modern art; but which, to me, appears horrible rather than sublime. It is the tomb of Mrs. Nightingale, by Roubillac. The bottom of the monument is represented as throwing open its marble doors, and a sheeted skeleton is starting forth. The shroud is falling from his fleshless frame as he launches his dart at his victim. She is sinking into her affrighted husband’s arms, who strives, with vain and frantic effort, to avert the blow. The whole is executed with terrible truth and spirit; we almost fancy we hear the gibbering yell of triumph, bursting from the distended jaws of the spectre.—But why should we thus seek to clothe death with unnecessary terrors, and to spread horrors round the tomb of those we love? The grave should be surrounded by every thing that might inspire tenderness and veneration for the dead; or that might win the living to virtue. It is the place, not of disgust and dismay, but of sorrow and meditation.

  While wandering about these gloomy vaults and silent aisles, studying the records of the dead, the sound of busy existence from without occasionally reaches the ear;—the rumbling of the passing equipage; the murmur of the multitude; or perhaps the light laugh of pleasure. The contrast is striking with the deathlike repose around: and it has a strange effect upon the feelings, thus to hear the surges of active life hurrying along and beating against the very walls of the sepulchre.

  I continued in this way to move from tomb to tomb, and from chapel to chapel. The day was gradually wearing away; the distant tread of loiterers about the abbey grew less and less frequent; the sweet tongued bell was summoning to evening prayers; and I saw at a distance the choristers, in their white surplices, crossing the aisle and entering the choir. I stood before the entrance to Henry the Seventh’s chapel. A flight of steps leads up to it, through a deep and gloomy, but magnificent arch. Great gates of brass, richly and delicately wrought, turn heavily upon their hinges, as if proudly reluctant to admit the feet of common mortals into this most gorgeous of sepulchres.

  On entering, the eye is astonished by the pomp of architecture, and the elaborate beauty of sculptured detail. The very walls are wrought into universal ornament, encrusted with tracery, and scooped into niches, crowded with the statues of saints and martyrs. Stone seems, by the cunning labour of the chisel, to have been robbed of its weight and density, suspended aloft, as if by magic, and the fretted roof achieved with the wonderful minuteness and airy security of a cobweb.

  Along the sides of the chapel are the lofty stalls of the Knights of the Bath, richly carved of oak, though with the grotesque decorations of gothic architecture. On the pinnacles of the stalls are affixed the helmets and crests of the knights, with their scarfs and swords; and above them are suspended their banners, emblazoned with armorial bearings, and contrasting the splendour of gold and purple and crimson, with the cold grey fretwork of the roof. In the midst of this grand mausoleum stands the sepulchre of its founder,—his effigy, with that of his queen, extended on a sumptuous tomb, and the whole surrounded by a superbly wrought brazen railing.

  There is a sad dreariness in this magnificence; this strange mixture of tombs and trophies; these emblems of living and aspiring ambition, close beside mementos which show the dust and oblivion in which all must sooner or later terminate. Nothing impresses the mind with a deeper feeling of loneliness, than to tread the silent and deserted scene of former throng and pageant. On looking round on the vacant stalls of the knights and their esquires; and on the rows of dusty but gorgeous banners that were once borne before them, my imagination conjured up the scene when this hall was bright with the valour and beauty of the land; glittering with the splendour of jewelled rank and military array; alive with the tread of many feet and the hum of an admiring multitude. All had passed away: the silence of death had settled again upon the place; interrupted only by the casual chirping of birds, which had found their way into the chapel, and built their nests among its friezes and pendants—sure signs of solitariness and desertion.

  When I read the names inscribed on the banners, they were those of men scattered far and wide about the world; some tossing upon distant seas; some under arms in distant lands; some mingling in the busy intrigues of courts and cabinets: all seeking to deserve one more distinction in this mansion of shadowy honours; the melancholy reward of a monument.

  Two small aisles on each side of this chapel present a touching instance of the equality of the grave; which brings down the oppressor to a level with the oppressed, and mingles the dust of the bitterest enemies together. In one is the sepulchre of the haughty Elizabeth, in the other is that of her victim, the lovely and unfortunate Mary. Not an hour in the day but some ejaculation of pity is uttered over the fate of the latter, mingled with indignation at her oppressor. The walls of Elizabeth’s sepulchre continually echo with the sighs of sympathy heaved at the grave of her rival.

  A peculiar melancholy reigns over the aisle where Mary lies buried. The light struggles dimly through windows darkened by dust. The greater part of the place is in deep shadow, and the walls are stained and tinted by time and weather. A marble figure of Mary is stretched upon the tomb, round which is an iron railing, much corroded, bearing her national emblem the thistle. I was weary with wandering, and sat down to rest myself by the monument, revolving in my mind the chequered and disastrous story of
poor Mary.

  The sound of casual footsteps had ceased from the abbey. I could only hear, now and then, the distant voice of the priest repeating the evening service, and the faint responses of the choir; these paused for a time, and all was hushed. The stillness, the desertion and obscurity that were gradually prevailing around, gave a deeper and more solemn interest to the place:For in the silent grave no conversation,

  No joyful tread of friends, no voice of lovers,

  No careful father’s counsel—nothing’s heard,

  For nothing is, but all oblivion,

  Dust and an endless darkness.

  Suddenly the notes of the deep labouring organ burst upon the ear, falling with doubled and redoubled intensity, and rolling, as it were, huge billows of sound. How well do their volume and grandeur accord with this mighty building! With what pomp do they swell through its vast vaults, and breathe their awful harmony through these caves of death, and make the silent sepulchre vocal!—And now they rise in triumphant acclamation, heaving higher and higher their accordant notes, and piling sound on sound.—And now they pause, and the soft voices of the choir break out into sweet gushes of melody; they soar aloft, and warble along the roof, and seem to play about these lofty vaults like the pure airs of heaven. Again the pealing organ heaves its thrilling thunders, compressing air into music, and rolling it forth upon the soul. What long drawn cadences! What solemn sweeping concords! It grows more and more dense and powerful—it fills the vast pile, and seems to jar the very walls—the ear is stunned—the senses are overwhelmed. And now it is winding up in full jubilee—it is rising from the earth to heaven—the very soul seems rapt away and floated upwards on this swelling tide of harmony!

  I sat for some time lost in that kind of reverie which a strain of music is apt sometimes to inspire: the shadows of evening were gradually thickening around me; the monuments began to cast deeper and deeper gloom; and the distant clock again gave token of the slowly waning day.

  I rose and prepared to leave the abbey. As I descended the flight of steps which lead into the body of the building, my eye was caught by the shrine of Edward the Confessor, and I ascended the small staircase that conducts to it, to take from thence a general survey of this wilderness of tombs. The shrine is elevated upon a kind of platform, and close around it are the sepulchres of various kings and queens. From this eminence the eye looks down between pillars and funeral trophies to the chapels and chambers below, crowded with tombs; where warriors, prelates, courtiers and statesmen lie mouldering in their “beds of darkness.” Close by me stood the great chair of coronation, rudely carved of oak, in the barbarous taste of a remote and gothic age. The scene seemed almost as if contrived, with theatrical artifice, to produce an effect upon the beholder. Here was a type of the beginning and the end of human pomp and power; here it was literally but a step from the throne to the sepulchre. Would not one think that these incongruous mementos had been gathered together as a lesson to living greatness?—to show it, even in the moment of its proudest exaltation, the neglect and dishonour to which it must soon arrive; how soon that crown which encircles its brow must pass away; and it must lie down in the dust and disgraces of the tomb, and be trampled upon by the feet of the meanest of the multitude. For, strange to tell, even the grave is here no longer a sanctuary. There is a shocking levity in some natures, which leads them to sport with awful and hallowed things; and there are base minds, which delight to revenge on the illustrious dead the abject homage and grovelling servility which they pay to the living. The coffin of Edward the Confessor has been broken open, and his remains despoiled of their funeral ornaments; the sceptre has been stolen from the hand of the imperious Elizabeth, and the effigy of Henry the Fifth lies headless. Not a royal monument but bears some proof how false and fugitive is the homage of mankind. Some are plundered; some mutilated; some covered with ribaldry and insult—all more or less outraged and dishonoured!

  The last beams of day were now faintly streaming through the painted windows in the high vaults above me: the lower parts of the abbey were already wrapped in the obscurity of twilight. The chapels and aisles grew darker and darker. The effigies of the kings faded into shadows; the marble figures of the monuments assumed strange shapes in the uncertain light; the evening breeze crept through the aisles like the cold breath of the grave; and even the distant footfall of a verger, traversing the Poets’ Corner, had something strange and dreary in its sound. I slowly retraced my morning’s walk, and as I passed out at the portal of the cloisters, the door, closing with a jarring noise behind me, filled the whole building with echoes.

  I endeavoured to form some arrangement in my mind of the objects I had been contemplating, but found they were already falling into indistinctness and confusion. Names, inscriptions, trophies, had all become confounded in my recollection, though I had scarcely taken my foot from off the threshold. What, thought I, is this vast assemblage of sepulchres but a treasury of humiliation; a huge pile of reiterated homilies on the emptiness of renown, and the certainty of oblivion! It is, indeed, the empire of death; his great shadowy palace; where he sits in state, mocking at the reliques of human glory, and spreading dust and forgetfulness on the monuments of princes. How idle a boast, after all, is the immortality of a name! Time is ever silently turning over his pages; we are too much engrossed by the story of the present, to think of the characters and anecdotes that gave interest to the past; and each age is a volume thrown aside to be speedily forgotten. The idol of today pushes the hero of yesterday out of our recollection; and will, in turn, be supplanted by his successor of tomorrow. “Our fathers,” says Sir Thomas Brown, “find their graves in our short memories, and sadly tell us how we may be buried in our survivors.” History fades into fable; fact becomes clouded with doubt and controversy; the inscription moulders from the tablet; the statue falls from the pedestal. Columns, arches, pyramids, what are they but heaps of sand; and their epitaphs, but characters written in the dust? What is the security of a tomb, or the perpetuity of an embalmment? The remains of Alexander the Great have been scattered to the wind, and his empty sarcophagus is now the mere curiosity of a museum. “The Egyptian mummies, which Cambyses or time hath spared, avarice now consumeth; Mizraim cures wounds, and Pharaoh is sold for balsams.”24

  What then is to insure this pile which now towers above me from sharing the fate of mightier mausoleums? The time must come when its gilded vaults, which now spring so loftily, shall lie in rubbish beneath the feet; when, instead of the sound of melody and praise, the wind shall whistle through the broken arches, and the owl hoot from the shattered tower—when the garish sun beam shall break into those gloomy mansions of death; and the ivy twine round the fallen column; and the fox glove hang its blossoms about the nameless urn, as if in mockery of the dead. Thus man passes away; his name perishes from record and recollection; his history is as a tale that is told, and his very monument becomes a ruin.

  NOTES CONCERNING WESTMINSTER ABBEY

  Toward the end of the sixth century when Britain, under the dominion of the Saxons, was in a state of barbarism and idolatry Pope Gregory the Great, struck with the beauty of some Anglo Saxon youths, exposed for sale in the Market place at Rome, conceived a fancy for the race and determined to send missionaries to preach the Gospel among these comely but benighted islanders. He was encouraged to this by learning that Ethelbert King of Kent and the most potent of the Anglo Saxon princes, had married Bertha a christian princess, only daughter of the King of Paris, and that she was allowed by stipulation, the full exercise of her religion.

  The shrewd Pontiff knew the influence of the sex in matters of religious faith. He forthwith dispatched Augustine a Roman Monk with forty associates to the Court of Ethelbert at Canterbury, to effect the conversion of the King and to obtain through him a foothold in the island.

  Ethelbert received them warily and held a conference in the open air; being distrustful of foreign priest craft, and fearful of spells and magic. They ultimately succeeded in maki
ng him as good a christian as his wife; the conversion of the King of course produced the conversion of his loyal subjects. The zeal and success of Augustine were rewarded by his being made archbishop of Canterbury and being endowed with authority over all the British churches.

  One of the most prominent converts was Segebert or Sebert, King of the East Saxons a nephew of Ethelbert. He reigned at London, of which Mellitus, one of the Roman Monks who had come over with Augustine was made bishop.

  Sebert, in 605, in his religious zeal founded a monastery by the river side to the west of the city on the ruins of a temple of Apollo, being in fact the origin of the present pile of Westminster Abbey. Great preparations were made for the consecration of the church which was to be dedicated to St. Peter. On the morning of the appointed day Mellitus the bishop proceeded with great pomp and solemnity to perform the ceremony. On approaching the edifice he was met by a fisherman who informed him that it was needless to proceed as the ceremony was over. The bishop stared with surprise when the fisherman went on to relate that the night before, as he was in his boat on the Thames St. Peter appeared to him and told him that he intended to consecrate the church himself that very night. The Apostle accordingly went into the church which suddenly became illuminated. The ceremony was performed in sumptuous style accompanied by strains of heavenly music and clouds of fragrant incense. After this the Apostle came onto the boat and ordered the fisherman to cast his net. He did so and had a miraculous draft of fishes; one of which he was commanded to present to the Bishop, and to signify to him that the Apostle had relieved him from the necessity of consecrating the church.