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 — Whitehalclass="underline" 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 frolicking 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.