CHAPTER II
Table of Contents THE ANCIENT HISTORY OF INNS
Inns, hotels, public-houses of all kinds, have a very ancient lineage, but we need not in this place go very deeply into their family history, or stodge ourselves with fossilised facts at the outset. So far as we are concerned, inns begin with the Roman Conquest of Britain, for it is absurd to suppose that the Britons, whom Julius Cæsar conquered, drank beer or required hotel accommodation.
The colonising Romans themselves, of course, were used to inns, and when they covered Britain with a system of roads, hostelries and mere drinking-places of every kind sprang up beside them, for the accommodation and refreshment alike of soldiers and civilians. There is no reason to suppose that the Roman legionary was a less thirsty soul than the modern soldier, and therefore houses that resembled our beer-shops and rustic inns must have been sheer necessaries. There was then the bibulium, where the bibulous boozed to their hearts' content; and there were the diversoria and caupones, the inns or hotels, together with the posting-houses along the roads, known as mansiones or stabulia.
The bibulium, that is to say, the ale-house or tavern, displayed its sign for all men to see: the ivy-garland, or wreath of vine-leaves, in honour of Bacchus, wreathed around a hoop at the end of a projecting pole. This bold advertisment of good drink to be had within long outlasted Roman times, and indeed still survives in differing forms, in the signs of existing inns. It became the "ale-stake" of Anglo-Saxon and middle English times.
The traveller recognised the ale-stake at a great distance, by reason of its long pole-the "stake" whence those old beer-houses derived their name-projecting from the house-front, with its mass of furze, or garland of flowers, or ivy-wreath, dangling at the end. But the ale-houses that sold good drink little needed such signs, a circumstance that early led to the old proverb, "Good wine needs no bush."
On the other hand, we may well suppose the places that sold only inferior swipes required poles very long and bushes very prominent, and in London, where competition was great, all ale-stakes early began to vie with one another which should in this manner first attract the attention of thirsty folk. This at length grew to be such a nuisance, and even a danger, that in 1375 a law was passed that all taverners in the City of London owning ale-stakes projecting or extending over the king's highway "more than seven feet in length at the utmost," should be fined forty pence and be compelled to remove the offending sign.
We find the "ale-stake" in Chaucer, whose "Pardoner" could not be induced to commence his tale until he had quenched his thirst at one:
But first quod he, her at this ale-stake
I will bothe drynke and byten on a cake.
We have, fortunately, in the British Museum, an illustration of such a house, done in the fourteenth century, and therefore contemporary with Chaucer himself. It is rough but vivid, and if the pilgrim we see drinking out of a saucer-like cup be gigantic, and the landlady, waiting with the jug, a thought too big for her inn, we are at any rate clearly made to see the life of that long ago. In this instance the actual stake is finished off like a besom, rather than with a bush.
AN ALE-STAKE.
From the Louterell Psalter.
The connection, however, between the Roman garland to Bacchus and the mediæval "bush" is obvious. The pagan God of Wine was forgotten, but the advertisment of ale "sold on the premises" was continued in much the same form; for in many cases the "bush" was a wreath, renewed at intervals, and twined around a permanent hoop. With the creation, in later centuries, of distinctive signs, we find the hoop itself curiously surviving as a framework for some device; and thus, even as early as the reign of Edward the Third, mention is found of a "George-in-the-hoop," probably a picture or carved representation of St. George, the cognisance of England, engaged in slaying the dragon. There were inns in the time of Henry the Sixth by the name of the "Cock-in-the-Hoop"; and doubtless the representation of haughty cockerels in that situation led by degrees to persons of self-sufficient manner being called "Cock-a-hoop," an old-fashioned phrase that lingered on until some few years since.
In some cases, when the garland was no longer renewed, and no distinctive sign filled the hoop, the "Hoop" itself became the sign of the house: a sign still frequently to be met with, notably at Cambridge, where a house of that name, in coaching days a celebrated hostelry, still survives.
The kind of company found in the ale-stakes-that is to say, the beer-houses and taverns-of the fourteenth century is vividly portrayed by Langland, in his Vision of Piers Plowman. In that long Middle English poem, the work of a moralist and seer who was at the same time, beneath his tonsure and in spite of his orders, something of a man of the world, we find the virtuous ploughman reviewing the condition of society in that era, and (when you have once become used to the ancient spelling) doing so in a manner that is not only readable to moderns, but even entertaining; while, of course, as evidence of social conditions close upon six hundred years ago, the poem is invaluable.
We learn how Beton the brewster met the glutton on his way to church, and bidding him "good-morrow," asked him whither he went.
"To holy church," quoth he, "for to hear mass. I will be shriven, and sin no more."
"I have good ale, gossip," says the ale-wife, "will you assay it?" And so glutton, instead of going to church, takes himself to the ale-house, and many after him. A miscellaneous company that was. There, with Cicely the woman-shoemaker, were all manner of humble, and some disreputable, persons, among whom we are surprised to find a hermit. What should a hermit be doing in an ale-house? But, according to Langland's own showing elsewhere, the country was infested with hermits who, refusing restriction to their damp and lonely hermitages, frequented the alehouses, and only went home, generally intoxicated, to their mouldy pallets after they had drunk and eaten their fill and roasted themselves before the fire.
Here, then:
Cesse the souteresse[1] sat on the bench,
Watte the warner[2] and hys wyf bothe
Thomme the tynkere, and tweye of hus knaues,
Hicke the hakeneyman, and Houwe the neldere,[3]
Claryce of Cockeslane, the clerk of the churche,
An haywarde and an heremyte, the hangeman of Tyborne,
Dauwe the dykere,[4] with a dozen harlotes,
Of portours and of pyke-porses, and pylede[5] toth-drawers.
A ribibour,[6] a ratonere,[7] a rakyer of chepe,
A roper, a redynkyng,[8] and Rose the dissheres,
Godfrey of garlekehythe, and gryfin the walshe,[9]
An vpholderes an hepe.
All day long they sat there, boozing, chaffering, and quarrelling:
There was laughing and louring, and "let go the cuppe,"
And seten so till euensonge and son gen vmwhile,
Tyl glotoun had y-globbed a galoun and a Iille.
By that time he could neither walk nor stand. He took his staff and began to go like a gleeman's bitch, sometimes sideways and sometimes backwards. When he had come to the door, he stumbled and fell. Clement the cobbler caught him by the middle and set him on his knees, and then, "with all the woe of the world" his wife and his wench came to carry him home to bed. There he slept all Saturday and Sunday, and when at last he woke, he woke with a thirst-how modern that is, at any rate! The first words he uttered were, "Where is the bowl?"
A hundred and fifty years later than Piers Plowman we get another picture of an English ale-house, by no less celebrated a poet. This famous house, the "Running Horse," still stands at Leatherhead, in Surrey, beside the long, many-arched bridge that there crosses the river Mole at one of its most picturesque reaches. It was kept in the time of Henry the Seventh by that very objectionable landlady, Elynor Rummyng, whose peculiarities are the subject of a laureate's verse. Elynor Rummyng, and John Skelton, the poet-laureate who hymned her person, her beer, and her customers, both flourished in the beginning of the sixteenth century. Skelton, whose genius was wholly satiric, no doubt, in his Tunning (that is to say, the brewing) of Elynor Rummyng, emphasised all her bad points, for it is hardly credible that even the rustics of the Middle Ages would have rushed so enthusiastically for her ale if it had been brewed in the way he describes.
His long, rambling jingles, done in grievous spelling, picture her as a very ugly and filthy old person, with a face sufficiently grotesque to unnerve a strong man:
For her viságe
It would aswage
A manne's couráge.
Her lothely lere
Is nothyng clere,
But vgly of chere,
Droupy and drowsy,
Scuruy and lowsy;
Her face all bowsy,
Comely crynkled,
Woundersly wrynkled,
Lyke a rost pygges eare
Brystled wyth here.
Her lewde lyppes twayne,
They slauer, men sayne,
Lyke a ropy rayne:
A glummy...
