Forster. Bread, bread, one penny to buy a loaf of bread, for the tender mercy.
Rob. O me! my shame! I know that voice full well; I'll help thy wants, although thou curse me still. [He stands where he is unseen by his father.
Fors. Bread, bread, some Christian man send back Your charity to a number of poor prisoners. One penny for the tender mercy—[Robert puts in money. The hand of Heaven reward you, gentle sir! Never may you want, never feel misery; Let blessings in unnumbered measure grow, And fall upon your head, where'er you go.
Rob. Oh, happy comfort! curses to the ground First struck me; now with blessings I am crowned.
Fors. Bread, bread, for the tender mercy; one penny for a loaf of bread.
Rob. I'll buy more blessings: take thou all my store: I'll keep no coin and see my father poor.
Fors. Good angels guard you, sir; my prayers shall be, That Heaven may bless you for this charity.
Rob. If he knew me sure he would not say so: Yet I have comfort, if by any means I get a blessing from my father's hands.[65]
The prison of Ludgate was anciently considered to be not so much a place of confinement as a place of refuge, into which debtors threw themselves to escape from their creditors—"a keep, not so much of the wicked as of the wretched"—("non sceleratorum carcer, sed miserorum custodia"), as it is expressed in a Latin speech which was addressed by the inmates to King Philip of Spain, when he passed through the city, in 1554, and which the celebrated Roger Ascham was employed to compose. As it does not appear, however, that the persons who took up their abode here were allowed to come out again until they had discharged their debts, the distinction attempted to be drawn seems to be a somewhat shadowy one. A writer, nevertheless, quoted by Maitland, who in 1659 published a description of the house in which he had himself been for a long time a resident, expresses great indignation against the authorities for having "basely and injuriously caused to be taken down" the old inscription, affixed by Sir Stephen Forster, of Free Water and Lodging, "and set up another over the outward street door with only these words engraven: This is the Prison of Ludgate."[66] The prison of Ludgate stood on the south side of the street, and extended back till it almost joined a portion of the old London Wall, which ran nearly parallel to Ludgate Hill. About the year 1764 this wall is described as being eight feet and a half thick.[67] Bits of it (as before noticed) still remain in this neighbourhood.
At this gate a stop was put to the insurrection of Sir Thomas Wyatt against Queen Mary, at the time when her marriage with Philip was in contemplation. Sir Thomas was son of the poet who had been a friend of the Earl of Surrey, and a warm partisan of Anne Bullen. He led his forces up the Strand and Fleet Street in no very hopeful condition, after suffering a loss in his rear; and on arriving at Ludgate, found it shut against him, and strongly manned. The disappointment is said to have affected him so strongly, that he threw himself on a bench opposite the Bell-Savage Inn, and mourned the rashness of his hopes. He retired, only to find his retreat cut off at Temple Bar; and being summoned by a herald to submit, requested it might be to a gentleman; upon which his sword was received by a person of his own rank. He was beheaded. It is worth observing, that Mary, alarmed at this insurrection, had pretended, in a speech at Guildhall, that she would give up the marriage, provided it were seriously and properly objected to: she only called upon the citizens to stand by her against rebels. When the rebels, however, were put down, the marriage, though notoriously unpopular, was concluded.
The Bell-Savage is an inn of old standing. The name is now learnedly written over the front—Belle Sauvage. The old sign was a bell with a savage by it. Stow derived the name from Isabella Savage, who had given the house to the company of Cutlers; and most likely this was its origin; but as the inn was formerly one of those in which plays were acted, and as the players had dealings with romance, and sign painters varied their hieroglyphics according to the whim of the moment, Pennant might have reasonably found one derivation in the Spectator, without objecting to the other. A sight of the passage to which he refers will leave the immediate derivation beyond all doubt. "As for the Bell-Savage," says Addison (for the paper is his), "which is the sign of a Savage Man standing by a Bell, I was formerly very much puzzled upon the conceit of it, till I accidentally fell into the reading of an old romance translated out of the French; which gives an account of a very beautiful woman who was in a wilderness, and is called in the French la belle Sauvage; and is everywhere translated by our countrymen the Bell-Savage."[68] This was one of the inns at which the famous Tarlton used to perform. London has a modern look to the inhabitants; but persons who come from the country find as odd and remote-looking things in it as the Londoners do in York or Chester; and among these are a variety of old inns, with corridors running round the yard. They are well worth a glance from anybody who has a respect for old times. The play used to be got up in the yard, and the richer part of the spectators occupied "the galleries."[69]
The wall in which Lud-gate stood was the occasion of the hill's having two names, which is still the case, the upper part, between the Bell-Savage and St. Paul's Churchyard, being called Ludgate Street, and only the rest Ludgate Hill. This latter portion went anciently by the name of Bowyers' Row, no doubt from its being principally inhabited by persons of that trade. On Ludgate Hill lived the cobbler whom Steele mentions as a curious instance of pride.[70] He had a wooden figure of a beau, who stood before him in a bending posture, humbly presenting him with his awl, or bristle, or whatever else his employer chose to put in his hand, after the manner of an obsequious servant. Steele seems to have thought the man mad; otherwise the conceit would have been an agreeable one. Ludgate Street, as if to keep up and augment the didactic reputation of the neighbourhood, was not long since the head-quarters of the Society for the Diffusion of Knowledge, at least as far as regarded their publications. And, curiously enough, the house was next door to old "Newberry's."
Between Ludgate Hill and the Thames, in the district more properly retaining the name, was the monastery of the Black Friars, an order of Dominicans, in which parliaments were sometimes held. The Emperor Charles V. was lodged in it when he visited Henry VIII., in 1522; and in a hall of the same building, seven years after, the cause was tried between Henry and his queen, Catherine. Shakspeare has given us the opening scene. In Elizabeth's time, the desecrated tenements and neighbourhood of Blackfriars became the resort of the world of fashion—a court end of the city; and close at hand, on the site retaining the name of Play-house Yard, was the famous Theatre in Blackfriars, where Shakspeare's, Ben Jonson's, and Beaumont and Fletcher's plays were performed, and where many of them came out. It was what they called at that time a "private" theatre, the peculiarity of which is not exactly understood. All that is known of it is, that it was smaller than the public ones; but it was open to public admission. Perhaps a private theatre meant a theatre more select than the others, and frequented by politer company; for such, at any rate, the present one appears to have been. It is conjectured also to have been a winter theatre, and its performances took place by candlelight. The gallants and ladies of the courts of Elizabeth and James took their dinner at noon, and after riding or lute-playing till evening, went to their snug little theatre in the neighbourhood, to laugh or weep over the divine fancies of Shakspeare. Shakspeare himself must often have been on the spot; a certainty which an intellectual inhabitant will be