Rebellion: The History of England from James I to the Glorious Revolution (8 page)

Sir Francis Bacon, observing the workings of the Jacobean court, once wrote that ‘all rising to great place is by a winding stair: and if there be factions, it is good, to side a man’s self, whilst he is in the rising’. Bacon therefore attached himself to Villiers. He told him that, as the king’s favourite, he should ‘remember well the great trust you have undertaken. You are as a continual sentinel, always to stand upon your watch to give him true intelligence.’

In the summer of this year Somerset, sensing numerous plots rising against him, drew up a general pardon for himself for offences which he may or may not have committed. It was said by his enemies, for example, that he had purloined some of the crown jewels. At a meeting of the council, held on 20 July, the king ordered the lord chancellor, Francis Bacon himself, to seal the pardon ‘at once, for such is my pleasure’. Bacon fell to his knees and begged him to reconsider. ‘I have ordered you to pass the pardon,’ James said as he walked out of the council chamber, ‘and pass it you shall.’ But as always he was hesitant and irresolute; the queen and other councillors argued against the decision which would allow Somerset to keep any of the jewels or other goods he might have taken from the king. It would set an unfortunate precedent. Eventually James left Whitehall without forming any certain decision.

This was only the beginning of Somerset’s woes. In the early autumn of 1615 reports began to emerge that Sir Thomas Overbury had been poisoned in the Tower. One of the minor accomplices, an apothecary’s boy, had fallen gravely ill and confessed to his part in the affair. It did not take long before the secret plot began to unravel. The lieutenant of the Tower was questioned. It was discovered that Richard Weston had been procured as the keeper of the prisoner. It was then revealed that he had been a servant of Mrs Turner. The trail now led in turn to Frances Carr, countess of Somerset, and to her husband.

The king, now thoroughly alarmed at a turn of events that might even touch the throne, asked his lord chief justice, Edward Coke, to make out a warrant against Somerset. Somerset remonstrated with James about this insult to his name and family. ‘Nay, man,’ the king exclaimed, ‘if Coke sends for
me
, I must go.’ He was supposed to have added, as the quondam favourite left his presence, ‘The devil take thee, I will never see thee mair.’

Coke conducted a thorough investigation, and eventually reported to the king that Frances Carr had in the past used sorcery both to estrange her previous husband, the earl of Essex, and to inveigle her new lover. He further revealed that she had procured three different types of poison to be administered to Overbury.

On 24 May 1616, the countess of Somerset stood in front of the grand jury at Westminster; she was dressed all in black, except for ruff and cuffs of white lawn. Some of her letters were read out in court, apparently of an obscene character; when the crowd of spectators pressed forward to gaze at the magic scrolls and images she had employed in the course of her secret work, a large ‘crack’ was heard from the wooden stage. The crowd now believed that the devil himself had come into the court and that the noise signalled his anger at the disclosure of his wiles. Panic and confusion followed that could not be quelled for a quarter of an hour. Witches and demons were still in the Jacobean air.

The countess pleaded guilty to the charge of murder, perhaps on the understanding that the king always favoured clemency to the members of the nobility. Her husband appeared on the following day and declared himself to be not guilty of the crime, but his judges did not believe him. Man and wife were sentenced to death. They were spared the final penalty on the orders of the king, and instead were taken to the Tower where they remained for almost six years. The exposure of their fraud and betrayal, their profligacy and hypocrisy, served only further to undermine the court and the status of the king whose intimate associates they once had been. Mrs Turner, condemned to death for her part in the poison plot, said of the king’s courtiers that ‘there is no religion in the most of them but malice, pride, whoredom, swearing and rejoicing in the fall of others. It is so wicked a place as I wonder the earth did not open and swallow it up.’

At the beginning of the spring of this year the heir apparent, Charles, in the garden of Greenwich Palace, turned a water-spout ‘in jest’ upon Villiers. The favourite was much offended. Whereupon in an unusual show of anger the king boxed his son’s ears, exclaiming that he had ‘a malicious and dogged disposition’. Villiers was now known to his sovereign as ‘Steenie’, a babyish rendition of St Stephen; the reference was to the fact that those who looked upon the face of the saint declared it to be the countenance of an angel. The angel would soon be in charge.

6

The vapours

The most colourful and compelling account of early Jacobean London can be found in
The Seven Deadly Sins of London
, published in 1607. It is a work, little more than a pamphlet, written by Thomas Dekker in a period of seven days with all the vivacity and immediacy of swift composition. Dekker himself was a playwright and pamphleteer of obscure life and uncertain reputation, but in these respects he does not differ from most writers of the time.

He announces, to the city, that ‘from thy womb received I my being, from thy breasts my nourishment’; in which case London must be judged a harsh nurse or mother. He complains that of all cities it is ‘the wealthiest, but the most wanton. Thou hast all things in thee to make thee fairest, and all things in thee to make thee foulest.’ At the time of James’s accession it had been the ‘only gallant and minion of the world’ but ‘hadst in a short time more diseases (than a common harlot hath) hanging upon thee’.

He paints the scene of the capital at midday where

in every street, carts and coaches make such a thundering as if the world ran on wheels: at every corner, men, women and children meet in such shoals, that posts are set up of purpose to strengthen the houses, lest with jostling one another they should shoulder them down. Besides, hammers are beating in one place, tubs hooping in another, pots clinking in a third, water tankards running at tilt in a fourth: here are porters sweating under burdens, there merchants’ men bearing bags of money, chapmen (as if they were at leap-frog) skip out of one shop into another, tradesmen (as if they were dancing galliards) are lusty at legs and never stand still: all are as busy as country attorneys at an assizes.

Yet the city takes on a different aspect at night. Dekker has a vision of London by candlelight, the companion ‘for drunkards, for lechers, and for prodigals’. This was the time when ‘mercers rolled up their silks and velvets: the goldsmiths drew back their plate, and all the city looked like a private playhouse when the windows are clapped down, as if some nocturnal or dismal tragedy were presently to be acted before all the tradesmen’. The bankrupt and felon had kept indoors for fear of arrest but, at night, ‘began now to creep out of their shells, and to stalk up and down the streets as uprightly, and with as proud a gait, as if they meant to knock against the stars with the crowns of their heads’.

The prosperous citizen who in the day ‘looked more sourly on his poor neighbours than he had drunk a quart of vinegar at a draught’ now sneaks out of doors and ‘slips into a tavern where either alone, or with some other that battles their money together, they so ply themselves with penny pots [of ale] … that at length they have not an eye to see withall, not a good leg to stand upon’. They reel into the night, have an altercation with a post on the way and end up in the gutter. Their apprentices, despite the oath of their indentures, ‘make their desperate sallies out and quick retires in’ with their pints. The three nocturnal pursuits of the city are drinking, dancing and dicing.

The prose of Thomas Dekker is crisp, strenuous and elliptical. He observes the Londoners at a bookstall in St Paul’s Churchyard ‘looking scurvily (like mules chomping upon thistles) on the face of a new book, be it never so worthy: and go (as ill favouredly) mewing away’. He notices the fact that the brothels of London have painted posts before them, and that their keepers always serve stewed prunes to their customers. He reports that the lattices for the windows of the alehouses are painted red. He observes the hackney men of Coleman Street, the butchers of Aldgate and the brokers of Houndsditch.

The dress of the Londoner ‘is like a traitor’s body that hath been hanged, drawn and quartered, and is set up in several places: his codpiece is in Denmark, the colour of his doublet and the belly in France: the wing and narrow sleeve in Italy: the short waist hangs over a Dutch butcher’s stall in Utrecht; his huge slops [hose for the legs] speaks Spanish: Polonia gives him the boots’. It is a typical complaint concerning London’s variegated fashions.

Dekker observes the disagreeable habits of other citizens. He alludes to the various ‘tobacconists, shuttle-cock makers, feather-makers, cobweb lawn weavers, perfumers’ as manifesting the qualities of ‘apishness’; each one is ‘a fierce, dapper fellow, more light-headed than a musician: as fantastically attired as a court jester: wanton in discourse: lascivious in behaviour; jocund in good company: nice in his trencher, and yet he feeds very hungrily on scraps of songs’.

Dekker abhors the common practice of marrying a young bride to a rich old man, ‘though his breath be ranker than a muck-hill, and his body more dry than a mummy, and his mind more lame than Ignorance itself’. He complains about London landlords ‘who for the building up of a chimney, which stands them not above thirty shillings, and for whiting the walls of a tenement, which is scarce worth the daubing, raise the rent presently (as if it were new put into the subsidy books) assessing it at three pounds a year more than ever it went for before’. This has all the bitterness of personal experience. Welcome to the world of Jacobean London.

Greed and avarice were also much on the mind of another Londoner. Ben Jonson’s
Bartholomew Fair
was first performed in the Hope Playhouse at the end of October 1614; it was a long play, of some three hours, and began at two in the afternoon. On that stage the essence of London was quiddified. The Hope was also used for bear-baiting, on which occasions the stage was removed, and in the induction Jonson compares the theatre to the venue of the fair itself, ‘the place being as dirty as Smithfield and as stinking every whit’. The stench of the dead or dying animals still lingered. The hazel nutshells and apple-cores might not have been swept away.
Bartholomew Fair
has the soul and substance of the Jacobean city somewhere within it. Its characters are the flesh and bone of London, in which all the people are merely players.

Canvas booths have been erected on the stage to give a simulacrum of the fair. A character comes on, and is soon joined by another, and then another, until a concourse of citizens is visible. They jeer, they swear, they laugh. They fight. They are obscene. They piss. They vomit. They cheat one another. A couple of them burst into song. Various plots and stories emerge only to fall back into the swelling tumult of the fair. Prostitutes and cutpurses rub against ballad-singers and tapsters.

Some of the characters adopt disguise, but in the end their true identities are revealed and their pretensions crossed or crushed. All authority is reviled. That is the way of the city. There is no real power except that of money, and no real considerations other than those of aggression and appetite. ‘Bless me!’ someone calls out. ‘Deliver me, help, hold me! The Fair!’ Mousetraps and ginger bread, purses and pouches, dolls and puppies, all are for sale. ‘What do you lack, gentlemen? What is’t you buy?’ All the world’s a fair. ‘Buy any new ballads? New ballads?’ A puppet show brings a conclusion to the play that has revealed London to be a panoply and a pageant, a prison and a carnival.

One of the guardian spirits of the fair is Ursla, the fat seller of ale and roast pig who is also a part-time bawd.

Ursla:
I am all fire and fat, Nightingale, I shall e’en melt away to the first woman, a rib, again, I am afraid. I do water the ground in knots as I go, like a great garden-pot, you may follow me by the Ss I make.

She has also a firm line in abuse.

Ursla:
You look as you were begotten atop of a cart in harvest-time, when the whelp was hot and eager. Go snuff after your brother’s bitch, Mistress Commodity.

In the words of the play, she has a hot coal in her mouth.

The other great character of the fair is Jonson’s parody of the puritan, Zeal-of-the-Land-Busy.

Busy:
Look not towards them, hearken not. The place is Smithfield, or the field of smiths, the grove of hobby horses and trinkets … They are hooks and baits, very baits, that are hung out on every side to catch you, and to hold you, as it were, by the gills, and by the nostrils, as the fisher doth …

He turns out to be, of course, an arrant voluptuary and hypocrite, amply confirming the suspicions that some people conceived of the godly in this period.

Jonson had said that he wished to present ‘deeds and language, such as men do use’. He knew of what he wrote. By his own report he was ‘brought up poorly’ in London and when his mother took a second husband, a master bricklayer, the small family moved to a house in a lane off the Strand. He attended an elementary school in the neighbourhood before Westminster School and may have been about to attend a college at Cambridge; shortage of funds, however, did not permit the move. Instead he took up his stepfather’s business of bricklaying, in which trade he laboured intermittently for some years. He later saw service in the Low Countries and, on his return to London, entered the world of theatre. So he was a child of the city, and
Bartholomew Fair
is his tribute to its teeming life.