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.
The King and Queen were so impressed, they sent out to request that the entire carnival be led right around the tiltyard at the far end of Whitehall, and brought back again for a second viewing. It was a chilly night and the crowds outside began to lose interest. As soon as they gained space to move, Bevan Bevan and Lambert Jukes took themselves off. They picked their way through the fresh horse-dung along to the Strand, then headed east, back to their own turbulent city parishes where they could enjoy a tankard in a tavern more at ease than here.
The masque participants finally dismounted outside the Banqueting House. Through his costume, Gideon could make out parts of the stark new classical building in three subtle shades of stonework, its harmonious Palladian style a cool contrast to the brightly painted beams and red brick of the rackety old Tudor buildings in Whitehall. Jostled by the other players and afraid his tail would be stepped on, he entered at the level of the Undercroft. The claws of his costume slipped on the stone, as he made his way up the easy flights of a broad stair. A tall doorway brought them into a magnificent two-storeyed hall, purposely designed for state receptions. Heat, braying voices, the stench of sweat and the cloying scent of rosewater assailed them. At the far end stood the King's canopied throne, flanked by the noblest gentlemen and ladies of the court. Lapdogs scampered about at will. Other courtiers, decorated with pockmarks and great pearls, lined the two side aisles, where splendid tapestries covered the tall window niches, pegged back on the street side to allow a view outside. Above, lesser spectators hung over the balcony which ran around the upper storey, including members of the Inns of Court who had fought the Lord Chamberlain for permission to see their own masque. The room, already warm from so many jostling bodies, was ablaze with lights, the glister of silver and gold tissue, and the sparkle of jewels. Only its ceiling was bare. Painted panels had been commissioned from Peter Paul Rubens, but they would not arrive from Holland until the following year.
The King and Queen, diminutive figures enthroned like dolls on their state dais, faced a specially constructed raised stage. During the masque, this would represent variously arbours, streets, a tavern, open countryside and clouds, with all the scene changes and spectacles wrought by cunning machinery.
Gideon was allowed to remove the head of his costume temporarily, and listen to the first scenes. Emerging red-faced, he found the proceedings hard to follow. To a grocer's son, it seemed completely alien. The script was tedious: anodyne exchanges which punctuated a strange mixture of clowning and dance. Presentations came and went, in a drama more remarkable for its ingenuity than its content. Moments of burlesque led into banal songs that would never be picked up and hummed on the streets; there were many dances and then a curiously stilted musical drama for Peace, Law and Justice.
Lacking the vigour of the old Ben Jonson masques which had once been played here, James Shirley's text was unworthy of the fine poet who wrote 'Death the Leveller'. His low-life comedy scenes were more spirited than his solemn allegories, but not much more. Wenches and wanton gamesters went into taverns and emerged drunk; thieves were apprehended by a constable; romping beggars and cripples attempted to cheat gentry, then threw away their crutches and danced. Shirley touched on controversy only with great care: 'Are these the effects of Peace?' asked Opinion (understandably perturbed); 'corruption rather.,' It was the only scathing comment. The King and Queen, who were still laughing at the cripples dancing, must have missed it.
Peace, according to this masque, did have the benefit of encouraging English inventiveness. Characters lined up to astonish the audience with fabulous ideas: a jockey brought a bridle that would cool overheated horses; a country fellow had devised a wondrous new threshing machine; a bearded philosopher with a furnace on his head could boil beef in a versatile steamer. There was an underwater chamber which allowed submariners to recover lost treasure from riverbeds, a physician with a hat full of carrots and a rooster on his fist had worked out how to fatten poultry with scraps, and a fortress to be built on Goodwin Sands would melt rocks. In a century where science was to make dramatic advances, this was the crazy side of science.
The three dotterels, Gideon presumed, were intended to illustrate country pleasures during times of plenty. Now they had their moment. Hastily donning his costume head again, Gideon scampered onto the stage. He hardly had time to be nervous. The trio of birds were chased around by three dotterel-catchers, who duly caught them with wires and cages, before they all scampered off to make room for the windmill and its jousting knight. Gideon experienced the gloom of an entertainer who knows the next act is bound to be more popular.
Soon afterwards, accompanied by solemn music, Peace, Law and Justice descended in gold chariots from stage clouds in the upper flats, three statuesque female deities wearing classical robes of green, purple and white satin. The ladies pronounced compliments to one another in curiously bad poetry before the entire cast moved towards the King and Queen and addressed Their Majesties with sanctimonious song. Gideon was at the back, so could barely glimpse the monarch.
The scene changed. The song changed, though not in quality. A finale was anticipated, yet the dance was interrupted by apparently real stagehands and costume-makers, whose dialogue was significantly more spirited than anything else in the pageant. Backstage, a small girl who was skipping about unattended shrieked with joy. Gideon Jukes had almost fallen over her as she stood below his line of sight, constricted as his vision was through the eyeholes. She pushed him aside, almost sick with excitement as actors playing a painter and a carpenter, a tailor's wife, a feather-maker's wife and an embroiderer's wife exchanged banter on stage. They represented ordinary people from a backstage world to which she had just been introduced by her somewhat frowsty grandmother. 'Juliane! Ou es-tu?' She was eight years old, and had been helping with the costumes, thrilled by the responsibility — but that night she was most entranced that she had seen the Queen.
The scene changed yet again. A representation of Morning Twilight glided onstage — a pale girl in a partly see-through costume, with whom Gideon was much taken. This brought the formal entertainment to its end. The Queen did dance with the masquers, proving her indifference to William Prynne's insults and delighting at least one small girl quite utterly!
Gideon felt shocked when Her Majesty danced. The rebel in him was out-rebelled. Any idea of running away from home to be a player evaporated. He would have to accept some other career.
So delighted with The Triumph of Peace was Henrietta Maria that she ordered it to be played all over again at Merchant Taylors Hall, where its anti-puritan message might reach larger numbers of people, especially the young. Third Dotterel would be forbidden by his parents from acting the second time. The small girl would not attend either, since her grandmother, always a game woman, wanted privacy to encourage a legal man called William Gadd, whom she had met at the first performance.
On that royal night at the Banqueting House, all the players and lawyers were taken afterwards to an enormous feast which lasted until daylight. Gideon was too sleepy to eat much. Next morning, Third Dotterel stumbled home to his mother with his bird's head under his arm, shedding feathers all the way from Ludgate Hill to Cheapside.
