John groaned every time Bevan visited, but Bevan had promised to be a patron to Gideon. Bevan's will would generally be mentioned about the time in a meal when Parthenope served a quaking pudding or an almond tart. For over a decade, as his great-uncle gorged on the spiced Jukes cuisine, it was expected that Bevan would leave Gideon an inheritance. A bachelor for fifty years, he had had no other heir. Then with no warning he married Elizabeth Keevil, a printer's widow. From the moment they entered the marriage bed — or, as the Jukes always reckoned, from a couple of months beforehand — Bevan began prolifically fathering children of his own.
'Let him dine at his own table from now on!' snarled John, through a mouthful of 'Extraordinary Good Cake'. 'A little more ginger next time…?'
'I think not!' retorted Parthenope, tight-lipped. The set of her jaw was just like Gideon's.
Bevan politely kept away, especially after strong words passed between him and Parthenope. But once Gideon started to resist his father's plans, it was Bevan Bevan who added a fuse to the gunpowder by suddenly offering to pay for an apprenticeship with a printer his wife knew. John and Parthenope saw this as the ultimate treachery.
Robert Allibone, the printer, genuinely needed assistance with his business. Gideon was proposed to him by Bevan as a bright, honest boy who was keen to learn and would stay to a task. No mention was made of his troubled behaviour.
Bevan's intervention caused uproar. Gideon, of course, found it exciting to be at the centre of the quarrel. Parthenope had already spoiled two batches of buttered apple pudding, and John accidentally set fire to the house-of-easement in their yard while gloomily taking too many pipes of tobacco as he brooded. The half-built house-of-easement had never been in use, because it was a long-term project of the kind that remains a project. Nonetheless, John had been able to sit in the roofless structure enjoying quiet philosophy and flaunting at their neighbours, none of whom had one, the fact that the Jukes were constructing their own dunny. Now they must continue to throw their slops into the street and to have their nightsoil collected by sinister men with carts who tramped foul substances into the hall floorboards. John Jukes, who was only allowed to smoke out of doors, had to sit on an old molasses barrel, grimly contemplating the burnt ruin as he blamed Bevan for seducing Gideon to an alien trade.
Gideon complained rudely: 'It is the loss of the project that matters to you most!'
'You are an ill-mannered boy,' was his father's mild reply. 'Yet you are mine, dear child, and I must bear my disappointment.'
When Parthenope noticed that John's mole-coloured britches had been irretrievably singed in the blaze, another tempest started, during which Gideon stormed out of the house close to tears. That was when he ran into Richard Overton, a casual acquaintance with a yen for causing trouble, who told him that bit-parts were being offered in a court masque.
This was a fine way to offend everyone. The Jukes saw the devil in theatricals, and royal entertainments were the most perverted. As respectable traders, they solidly opposed the debauchery and idleness of courtiers; like many Londoners, they were even starting to oppose the King himself. These were the years when King Charles struggled to rule without a Parliament. His methods of financing himself grew ever more contentious. People in business viewed his ploys as interference. Even at thirteen, Gideon knew this. Royal monopolies were the sorest point. Whereas once patents had been granted only for new inventions, now all kinds of commodities were licensed only to royal favourites, who charged exorbitant prices and grabbed huge profits. Selling salt and soap had always been the prerogative of the grocers, so that rankled; beer was a staple and so was coal for Londoners. The City had also been outraged by Ship Money, the King's hard-hitting tax for the navy, not least because this tax was devised to finance a war about bishops, a war they disapproved of. John Jukes declaimed the cry of one Richard Chambers who had been imprisoned and fined for his part in a protest strike: 'Merchants are nowhere in the world so screwed and wrung as in England'..
'Screwed and wrung!' had chanted the Jukes sons, who had an ear for a catch-phrase.
The family also held Independent views in religion. They belonged to one of the puritan churches that lurked down every side street of the City parishes; Gideon was of course taken there every Sunday. John contributed to the fee of a radical weekly lecturer who was frequently in trouble with the Bishop of London for his unorthodox preaching. The Jukes believed in freedom of conscience and freedom of worship. People who never bowed the knee in church were sceptical of a civil ruler who expected his subjects to kneel to him. 'If God does not require ceremony, why should a king?' They feared that Charles Stuart, encouraged by his French wife, was trying to impose Catholic rituals upon them, and they hated it. They homed in on Queen Henrietta Maria as an object of hate because she loved theatre and masques. Theatres, every Londoner was certain (because it was true), were haunts of prostitutes and rakes.
So if there was one thing Gideon could do to upset his family, it was listening to Richard Overton and volunteering to take part in a masque — a masque, moreover, which the lawyers from the Inns of Court were to present to the King and Queen.
He had never acted before. Nevertheless, he came cheap, so he secured a very minor part as one of three dotterels, small quiet birds of the plover family. He was young and naive enough to be embarrassed when his two acting companions, slightly older boys, made jokes that among dotterels it was the female bird who engaged in displays while the male tended the nest.
Gideon's own sense of humour was more political; he was smiling satirically over the masque's title, which was The Triumph of Peace.
Rehearsals were brisk. During them, Gideon soon realised that he was a player in a work of numbing obsequiousness. The Triumph of Peace had been written by the popular poet James Shirley. It relied on spectacle rather than a fine script. All anybody wanted from it was flattery for the King, with gasps of delight at the rich costumes and at the complex engineering of the stage machinery.
The best talent in London contributed. The music was by the King's favourite composer William Lawes, his brother Henry Lawes, and Simon Ives, who excelled at glees and part-songs. The indoor stage sets were by the tireless Inigo Jones, architect, painter and emblematic publicist of the Stuart monarchy. The pageant's enormous cost included payment to a French costume-maker, brought out of retirement to stitch bird costumes, plus the cost of many sacks of feathers, acquired by this Frenchwoman at inflated prices from the canny feather-suppliers with whom she had long been in league.
For Gideon and his two companions she had produced padded suits sewn with hundreds of grey, white and russet feathers, costumes which had to be kept pulled up tight under the crotch, to make their legs look as long and thin as possible. The suits were held on by braces over the shoulders and were topped with heavy heads that had to be applied very carefully, or they ended up askew. In his feathered costume, Gideon had a fine, bright-chestnut padded belly marked with a distinctive white bar across his upper chest like a mayoral chain and prominent white eye stripes, joining on the back of the neck; after his headpiece was fixed, he could dip and raise its narrow beak, though at risk of breaking it.
Once inside, visibility was almost nil. He felt hot and claustrophobic, and the bird's head crushed down on his own with disconcerting pressure. Gideon began to experience regrets, but it was too late to back out.
Chapter Two — Whitehall: 2 February 1634
The blur of torchlight first became visible to the waiting crowds at Charing Cross. Spectators made out an occasional twinkle, then ranks of tarry flambeaux bobbed queasily in the darkness, finally filling the broad street with light. The horses and chariots made their slow, noisy way towards Whitehall Palace and the watching lords and ladies. A spectacular cast of players had spent hours preparing themselves in grand private mansions along the Strand and now they advanced towards the Banqueting House. Above the clatter of horses' hooves, a reedy shawm struggled to make its music heard in a hornpipe for frolic
king anti-masquers, who were to present low-life comedy interludes. They wore coats and caps of yellow taffeta, bedecked with red feathers, and were ushering Fancy, the first featured character, in multi-coloured feathers and with big bats' wings attached to his shoulders. This quaint figure led the way for numerous curiosities, who were celebrating a tricky moment in history.
The Triumph of Peace was being presented to a King who certainly ruled without conflict. He had dismissed his truculent Parliament six years before. Now, though, his independence had an end-date for he had made himself penniless. To set the moment in context, that year of 1634 would see the notorious witchcraft trials at Loudun, the first meeting of the Academie francaise, the opening of the Covent Garden piazza in London, and the charter for the Oxford University Press. North America was being colonised with permanent settlements. Europe, from Scandinavia to Spain, was a theatre of blood, rape and pillage in what would come to be known as the Thirty Years War. The previous year, Galileo Galilei had been tried in Rome and forced to recant his opinion that the earth went around the sun; he now languished in the prison where he would die. In London the world revolved around King Charles.
In England, without apparent irony, its ruling couple could be hailed in song by Shirley as
'… great King and Queen, whose smile
Doth scatter blessings through this Isle.'
The masque celebrated the King's and Queen's recent return from Scotland. There, causing as much offence as he possibly could to his strait-laced and suspicious Scottish subjects, King Charles had been crowned monarch of two kingdoms. He had worn ostentatious robes of white satin and had outraged the fierce Scottish Kirk by using a thoroughly Anglican ritual, conducted by a phalanx of English bishops in jewel-bright robes. This display was not designed to win the hearts of sober Presbyterians. Although always convinced of his personal charm, King Charles saw no reason to show diplomacy to mere subjects. Why should he? He was accustomed to uncritical praise — for instance, the nauseous blandishments he was about to hear in Shirley's masque, calling him 'the happiness of our Kingdom, so blest in the present government…'. Perhaps only lawyers could have endorsed this. Even some of those paying for the masque may have choked on it.
There were three kingdoms, in fact, some more blest than others. It was never thought necessary to have a coronation for the Irish, even to offend them. They were seen as savages, whose best land English monarchs and their favourites greedily plundered — more recently, an investment opportunity even to the well-off English middle classes. The Welsh skulked in a mere rocky principality; they were allowed the traditional honour of their own Prince of the Blood, even though, as was also traditional, they never saw their sovereign's eldest son. The Prince of Wales was not quite four years old and so not allowed to stay up to watch The Triumph of Peace. Peace would play little part in his early life.
On returning from Edinburgh, King Charles and his enormous entourage had been ceremonially welcomed back by the Lord Mayor and Aldermen of the City of London. Gideon had gone to watch. Borne in the civic procession was the traditional naked sword — which might be prophetic. The staged welcome, with bare-headed reverence from the leading citizens, colour, vibrancy, noise, and crowds of applauding onlookers penned behind street rails, had similarities to the masque which the flattering lawyers then offered at Whitehall. It may have helped the monarch to believe that life was one great pageant of admiration, with himself its adored centre. But the grudging boy in the dotterel-suit was starting to wonder.
Bulstrode Whitelocke, the go-getting lawyer who had arranged The Triumph of Peace, knew what he was about. The royal family lapped up such entertainments, oblivious to the obscene expense. This masque cost twenty thousand pounds, at a time when a well-to-do farmer with his own land might earn two or three hundred pounds a year and a cobbler was paid sixpence a day — but must supply his own thread. Apples were three for a penny and ribbon was ninepence a yard. You could buy a horse for two pounds, or a blind one for half as much. Brought up to know the value of money, Gideon goggled at this extravagance. Twenty thousand pounds lavished on one night's court entertainment could only mean enormous royal favour was expected in return. Would the King understand the bargain?
Gideon began to see why the Queen's love of such theatricals had attracted scabrous comment. As this procession was wending its colourful way along Whitehall to the Banqueting House, everything about it — including its staging on Candlemas, which was a Catholic feast day — looked like deliberate defiance against William Prynne, the puritan author of a fanatical tract called Histriomastix: the Players' Scourge (or Actor's Tragedy). Prynne had an obsessive hatred for the theatre. He denounced the Queen, who had shocked England by importing French actresses to take part in court masques, at a time when women did not appear on the stage. Worse, it was said that Henrietta Maria had scandalously danced in these masques herself.
William Prynne, who was a lawyer, had been tried in the hated Star Chamber, which ruled on censorship. He was sentenced to a ferocious fine, the pillory and prison; he was doggedly continuing his activities from jail and would eventually be tried a second time, have his ears lopped and his forehead branded 'SL' for Seditious Libeller. He was already deprived of his Oxford degree, and expelled from Lincoln's Inn, the very Inn whose more grovelling members had contributed to The Triumph of Peace.
Few of the satin-clad lords and ladies probably gave much thought to the imprisoned campaigner as the crowds gasped with delight at 'Jollity in a flame-coloured suit' and 'Laughter in a long coat of several colours, with laughing vizards on his breast and back, a cap with two grinning faces, and feathers between'. But as they stamped their cold feet outside in Whitehall, Lambert Jukes and his uncle were discussing Prynne sardonically. Bevan had an intimate connection with literature nowadays. Those who love books love free ones best of all. Through his new wife, the printer's widow, Bevan obtained reading material which — since the widow was extremely well-off — he had leisure to peruse.
'Have you read this Players' Scourge?' asked Lambert.
'Nobody has read it,' scoffed Bevan Bevan flatly. 'No man has a life long enough. We use this book to prop up a dilapidated court cupboard that has lost a foot. It is more than a thousand pages of bile! This is a mighty cube of invective, expelled like foul air from the posterior of one who professes never to visit the playhouse — '
'Difficult, when the theatres are closed due to plague.' Lambert sounded pleased to find this flaw.
Bevan eased his bulk, trying to get comfortable on his lame leg. He and Lambert were squeezed into a dark corner opposite the Horse Guards Yard, to which Bevan had led them by a back route up from the river, passing through the woodyard, coalyards, and other palace offices. 'They say Prynne's book is a very conduit of foul-mouthed, narrow-minded, fearsome flame-throwing spite which the crazed author has gathered over seven years — '
'And he calls the Queen a whore?' Lambert was always direct. From their position, they could see the tall windows of the Banqueting House; within its warmth, persons who called themselves quality were pressed against the glass panes, craning out at the spectacle. The King and Queen would be among that richly dressed throng. From time to time a jewel flashed on the white neck of one of the ladies, whose high-waisted gowns with puffed sleeves and snowflake collars were like costumes for fairies in just such a masque as they were preparing to watch.
'A notorious whore,' concurred Bevan.
'Not well advised!' Lambert sniggered.
As the torchlit procession continued past them, they watched many strange phenomena. To antique music representing birdsong, came a man-sized owl accompanied by a magpie, a jay, a crow and a kite. Struggling to spot their own bird, Lambert and Bevan made out three satyrs with their own torch-bearers — and finally what they were waiting for: the three dotterels. They expelled a roar of greeting, which they kept up until one of the high-stepping wildfowl turned slowly towards them.
Despite the winter night, inside the
dotterel's heavy costume, Gideon had sweat in his eyes. Adolescents like to hide, but this was far too uncomfortable. Striving to keep up with the parade, the young actor momentarily tripped over the long claws of his bird's feet. Bevan's derisive cheer had been unmistakable even through the muffling headpiece. Now he was for it. He knew that his great-uncle and his brother had tracked him down.
Gideon was wary of Bevan. Even the recent offer of a printing apprenticeship seemed a mysterious ploy of some kind. Gideon always felt there was something unsound about his great-uncle. And he was right. When civil war came, Bevan Bevan would be a Royalist. Bevan was stirring trouble now, even though he always insisted he was supportive of Gideon. The lad's rebellion would be exposed, to become family lore, occasioning many more furious arguments at home.
Third Dotterel was forced to acknowledge that he had been recognised; he lowered his delicate beak in a sad salute. Thoroughly despondent, he flapped his arms like wings and stepped on his way.
'So there he flies; we have done our duty' What duty? Gideon would have roared. 'To a tavern, Lambert!'
'Do we not wait, to fetch our fledgling home?'
'It will be morning before he obtains his release. Let him find his own way'
Lambert at least was beginning to regret landing the young scamp in more trouble. 'Oh you mean, let him answer to my mother on his own!' Lambert knew Bevan was frightened of Parthenope. 'We need not speak of it — '
'Too good to keep to ourselves!' replied Bevan cruelly.
Thick crowds prevented them from moving off immediately. They saw out the rest of the parade. Immediately after the dotterels tottered a fine mobile windmill, at which a fantastical knight and his squire tilted raggedly while they tried to avoid its whirling sails. Then the procession became more formal. Fourteen trumpeters cantered by with rich banners; next rode the marshal among forty attendants, all tricked out in coats and hose of scarlet, trimmed with silver lace; then a hundred mounted gentlemen passed, two abreast. Finally in the manner of a Roman Triumph, three decorated chariots bore along Peace, Law and Justice, queenly females all coruscating with stars and silver ornament, thrilling beneath the shadows and light of many torches.
Rebels and traitors Page 2