Last week saw the launch of Andy Kesson’s brilliant new book John Lyly and Early Modern Authorship, which makes an eloquent and powerful case for both the quality of Lyly’s work and its importance to early modern literature as we understand it. It is full of fascinating insights into literary and print culture and commerce and I urge anyone who is interested in the period to read it.
Born in 1554, Lyly is best remembered today for Eupheus, the Anatomy of Wit his 1578 prose fiction which seems to have taken London and the court by storm. “All our ladies were then his scholars,” it was later said, “and that beauty at court which could not parley Euphuism was as little regarded as she which now there speaks not French.”
But that fashionable success has in many respects served to damn him for generation after generation of literary critics. Lyly would abandon prose and become arguably the most successful playwright of the 1580s, writing under the patronage of the Earl of Oxford for the boy companies at the Blackfriars and later at St Paul’s. His reputation though, more than most, suffers from his not being Shakespeare: in literary history Lyly is usually cast simply as a writer whose superficial popularity and wit was superseded by Shakespeare’s greater art. It reflects a dismally Darwinian approach to culture, to say the least; but it is one which Andy’s book is sure to help rectify.
I wasn’t able to make the launch – fittingly held at the Globe Theatre – but a couple of months ago Andy was kind enough to sit down with me over a coffee or two in Paddington for a wide-ranging discussion about Lyly and early modern culture.
ML: I was reading GK Hunter’s article on Lyly in the DNB before I came. I must have read it before but I was struck this morning by the thunderous snobbery of its tone. There’s a moment when Hunter talks about Lyly’s reputation towards the end of the sixteenth century and, to support his thesis that Lyly was no longer fashionable, he has to dismiss Lyly’s evident continuing popularity with the reading public by, essentially, dismissing the entire reading public itself. “Euphues continued to be reprinted (twenty editions of the two parts were printed before the end of the century), but its admirers were no longer at the top of the social scale.”
When you look at it, the way Hunter attempts to hide those twenty editions in parenthesis is sleight-of-hand of the lowest order.
AK: Lyly’s modern editors still say [that sort of thing] very frankly. Scholars of rhetoric say that sort of thing all the time. It’s being read; but it’s being read by the wrong sort of people. It is extraordinary.
ML: Why do you think they say that?
AK: Hunter says elsewhere that Lyly’s tragedy was that he descended into the market and made a fool of himself.
ML: Is it just academic snobbery?
AK: It’s a way of defending the literary canon that scholars prefer to sanction. I think the reason people say that sort of thing goes back to the nineteenth century. There’s a very clear reception process for Lyly. In 1632 Edward Blount edits six Lyly plays, the six core comedies, and writes a preface which claims how important Lyly was to the Elizabethan period.
Lyly is then essentially not read for a hundred years.
Few people would disagree that Shakespeare’s shadow has served to obscure a great number of superb plays and playwrights. But Thomas Middleton has a good case for being the most unjustly neglected of them all. I was delighted to discover, therefore, that Mercurius, the independent production company run by my friend Jenny Eastop, was planning to stage Middleton’s rarely performed 1608 comedy A Trick To Catch The Old One at the Rose Theatre this May.
Jenny kindly agreed to take time out from rehearsals to discuss the play, the production and Middleton’s reputation generally.
For those who don’t know about Mercurius, could you give me some background to the company and its aims?
After 20 years as a director, being given plays to direct, I had a list of my own choice of plays I wanted to direct and the only solution seemed to be to start my own company. So I set up Mercurius in 2012, launching the company with a collection of Chekhov’s Vaudeville sketches translated and adapted by Michael Frayn at the Brockley Jack. This was successful enough for us to transfer it to Jermyn Street Theatre in 2013 and return there with it, as a co-production with Jermyn Street, in January 2014. In between Mercurius also produced Moliere’s School for Wives in a great modern version by Neil Bartlett at The White Bear in 2013 which received two Offie (Off West End Award) nominations for Best Director for myself and Best Actor for the lead Tom Barratt. A Trick to Catch the Old One is the fifth outing for Mercurius and our first time at The Rose Playhouse which is a fascinating venue, being performed in and amongst the foundations of the 1587 Philip Henslowe playhouse.
What attracted you to A Trick To Catch The Old One?
I specialised in Renaissance Theatre at university and did my thesis on Thomas Middleton so I’ve always been fascinated by his very modern, satirical take on life and his vibrant language. I particularly like his city comedies and edited A Trick to Catch the Old One some years ago for the National Theatre Studio, workshopping it for an in-house performance with some of the National Theatre company which was a great experience and made me determined to direct a fully staged version one day. It’s taken a while but I was delighted to revisit the play and my edited version.
Can you tell me something about the production?
I have made some pretty drastic cuts to the text. Partly to reduce the size of the company and cut down on potentially confusing doubling and partly to reduce the length of the play, this version runs at 1 hour 25 minutes without an interval. The cuts have removed the subplot involving Dampit and Gulf (which is a shame as the play shows arguably the first alcoholic on stage) and the peripheral characters of Lucre’s wife and Hoard’s niece’s suitors and the battle to net her. In cutting it the play does lose a little of its texture but it focuses much more clearly on the wild central plot to pass the Courtesan off as a rich widow as it spins out of Witgood’s control. I’ve updated the play to the modern age but placed it in the late 1940s during the days of rationing and desperate black market dealings to bring out the power of money and the gullibility of those who pursue it running through society in an age when so many were in a desperate scramble to survive and prosper.
What attracted you to the space at The Rose?
There are some very interesting performance spaces in London but The Rose really does hold a trump card. I like the simplicity of the wooden three sided stage that means the production has to be plainly staged, allowing the power of the story and the experiences of the characters to be the central focus. I also like the intense atmosphere of the dark underground flooded ruins, it feels unlike any other stage space. But above everything is the very moving sense of creating something amongst the foundations of Philip Henslowe’s 1587 playhouse. It is hard not to feel the baton being passed down the generations of theatre when you see something at The Rose on the very site where so many of our greatest plays were first performed.
Middleton seems to be slowly receiving his due as a writer for the stage. What do you think is distinctive about his work?
I liked Middleton from when I first came across him for his very modern attitude to life and human relationships. He uses very direct language with little poetry and few similes. His city comedies in particular really do hold a clear mirror up to the everyday audience of his, and our, time. Alongside Jonson he presented vice and immorality on stage in order to comment on what was happening in society, but unlike Jonson’s more obvious use of grotesques he pursues a much more naturalistic, ironic tone. He never applauds immorality but neither does he roundly condemn it, in Women Beware Women Leantio explains his behaviour by claiming “though sin be death, I had died if I had not sinned”. Middleton seems to understand the difficulties and complications of life.
What challenges have you found in staging A Trick To Catch The Old One?
The joy of a Middleton play is how clear the language is, how naturalistic and believable the characters are and how modern the dilemmas that fox them so the challenges in staging it are no more difficult than with a modern play. The only real challenge is making sure we tell the story clearly enough so the audience can follow the twists and turns of the various fiendish plots.
Why do you think Middleton – and A Trick… in particular – has been neglected for so long?
Middleton was viewed suspiciously for many years because of his down-to-earth, direct approach to the way people live their lives. His serious plays were neglected because they had no grand sweeping sense of tragedy and the profound importance of what was happening to the characters. The Revenger’s Tragedy had its first production in centuries as late as 1966 because it was seen as too farcical to be taken seriously. But this is precisely why I like Middleton, he is almost Chekhovian in his acknowledgement of how ridiculous life can be and how something tragic to the person involved can seem unimportant farce to an onlooker. His comedies suffer similarly in not carrying a message about how we should judge the characters but simply presents them and their lives as normal.
For those who don’t know the play, what have they been missing?
Firstly the play is very funny. The plot is incredibly inventive and subverts lots of our expectations of how people will behave and what will be the outcome. It is satirical and ironic but contains at its heart a real warmth towards its characters, they’re conning each other viciously but in the end they are family and neighbours; however outrageously the characters behave it is hard to end up hating any of them.
The play is – very broadly – about the scrabble for status and financial security in a dog-eat-dog world of debt and deceit. Everyone is complicit; no-one is innocent. The Victorians, in particular, thought the play amoral. Is that your take on it too?
Middleton was seen as very immoral for a long time because he didn’t write messages of moral indignation into his plays and openly condemns no-one, he has no righteous characters who act as spokesmen for morality. His characters are realistic and drawn from the world the audience would know well, there are none of the stock comic characters of the time, the stage-usurer or greedy father/uncle are shown as real people here. At the end of the play bad behaviour goes unpunished and the revealing of foolishness is merely accidental, not done in order to bring anyone to a realisation of their folly. It would be easy to see this as Middleton embracing immorality and celebrating greed however his ironic detachment and dispassionate presentation of vice allow the audience to draw their own conclusions. The very realism of the characters brings home to the audience the acceptance of vice as normal and leads to powerful satire, arguably a more successful way of conveying a message than open indignation.
How difficult are the play’s sexual politics for contemporary audiences?
The women are seen as commodities to be chased for financial gain in the play, which could be uncomfortable if they weren’t very strong characters in their own right. The Courtesan revels in the power her supposed wealth gives her over her suitors and is as much, if not more, in control of the wild plots to get Witgood’s money and land back, she is in places the one driving Witgood on. Even Hoard’s Niece, chased by so many of the characters as a golden prize, sees a chance to use Hoard’s feast as her wedding dinner and seizes it to save money. The women use the only possession they have, their availability for marriage and sex, to give them real control over their destiny. Each of the characters use all means at their disposal to prosper, and at the end the women and men in the various marriages seem like well matched equals.
What are your ambitions for Mercurius?
At the moment I’m just really enjoying the chance to direct those plays on my list that have built up. In the near future I’m hoping to revive the production of School for Wives, possibly at Jermyn Street Theatre, and direct another Middleton City comedy. In the longer term I’d like to be able to get proper funding for Mercurius, either through subsidy or private sponsorship, to be able to extend our creative vision and be more artistically adventurous, something that needs a bigger budget than we have at present!
A Trick To Catch The Old One runs at the Rose Playhouse from 6th to 24th May. Please click here for more information and to book tickets.
If we think of time at all, it is as a dimension: something we travel through, an abstract and universal measure against which we mark our progress, and against which we are judged – from minute to minute, from hour to hour, from day to day, from birth to death. It dominates our lives; and like life under all tyrannies, we are so immersed in the ubiquity of its oppression we don’t notice the constraints. Where I sit now, I can see the time in three places. If I cared to, I could find it in four more without moving from my chair. The computer I am writing this on can, with a little effort, be made to measure time in micro-seconds.
I can think of no practical use for that level of knowledge; but it’s difficult not to feel the anxiety of its influence. Quick is good. Fast is better. Speed is everything. And most of us, I suspect, mark out our working days – and too much of our private lives – in the fine-sliced minutes of deadlines, alarms, appointments and schedules.
But the ability to dissect time in such detail is a relatively recent phenomenon; clocks didn’t have minute- or second-hands until the late 1600s. Hence there are no seconds in Shakespeare; and minutes are mostly metaphor. The shortest practical unit of time in his plays is the quarter hour, as in the length of time Lady Macbeth has been seen trying to scrub the imagined blood from her hands, or that Prince Hal boasts it would take him to learn how to speak like a tinker.
But what would it have been like to live in a world so heedless of the passage of time? One answer is that one’s relationship with it becomes far more subjective and personal. The Greeks recognized two kinds of time: chronos – the scientific measurement of its passage – which is the sense we have retained; and kairos. Kairos is more epiphanic, opportunistic and experiential; it was, and is, also the Greek word for weather.
Even Renaissance science had to resort to more ad hoc, human measures – a quality of experience we can savour in this weather-related story. Among the papers of Thomas Harriot, the English mathematician and sometime scientific advisor to Walter Ralegh, is the record of a rainy afternoon in his room up beneath the leads in Durham House, Ralegh’s magnificent London home on The Strand, overlooking the Thames. Presumably at a loose end, Harriot decided to calculate how much rain would have fallen in his room over a 24-hour period, were it not protected by the roof.
But he had no means of measuring the passage of minutes or seconds. So he used his pulse, assuming that each beat of his heart equated to a second.
This was poor science, of course. But I think it points to an understanding of the world which we can no longer share: time wasn’t only, or even principally, an external measure but also something to which our bodies, and our experience of our bodies, our sense of ourselves, could be wholly aligned.
There is a similar story about the counter-Reformation Cardinal and Jesuit, Robert Bellarmine. Bellarmine was one of the judges who sentenced Giordano Bruno to be burned at the stake, and was the man who told Galileo to abjure Copernicanism. But he was not in any sense anti-intellectual and had always had a deep personal interest in astronomy and science. He simply refused to accept that it couldn’t be reconciled with doctrine.
On one occasion, he set out to measure the speed of the sun’s rotation about the earth by sitting on a beach in western Italy – most likely in Calabria – and timing the sun set. With no means of measuring time, however, he fell back on an intensely familiar, regular, unvaried unit of time: the recitation of Psalm 51, the misere, ‘Have mercy upon me, Oh God…’ It is, I think, an acutely poignant image, the very measure of time he used embodying both the futility of his actions and the devotional passion of his certainties.
On some level, then, the emerging tension between chronos and kairos was also the struggle between empiricism and, for want of a better word, spirituality. It is not the right word: the shadow of these tensions fall across Henry IV. Prince Hal’s destiny, his royal inheritance, is the arrow of time pulling him forward towards history. Falstaff is all kairos, life in the moment, to whom the measure of minutes and hours is superfluous. “What a devil hast thou to do with the time of the day?” Hal asks him in their first scene. Falstaff – surely no-one’s idea of spiritual – has no answer.
But then, what is the answer to the demands of chronos?
The daily lives of catholics in England under Elizabeth I and James I have long been neglected by historians. True, much as been written about the various attempts against Elizabeth during her reign – most obviously the Babington ‘complotment’ which resulted in the execution of Mary, Queen of Scots – and, of course, the Gunpowder Plot against James I, which we still remember every November 5th. But did such outbursts of violence really reflect the views of the faithful? Was the government right to fear a catholic uprising against the Elizabethan settlement? How did catholics experience the narrowing of their rights and prospects over the course of Elizabeth’s reign? How did they reconcile their loyalty to Rome, to their faith, with the loyalty they owed to their country and its crown?
These and many other questions are addressed in Jessie Childs’ superb and groundbreaking new book, God’s Traitors: Terror and Faith in Elizabethan England. Childs charts the catholic experience of those decades through the turbulent history of the Vaux family, prominent landowners in Northamptonshire and by any measure a family of considerable status and means when Elizabeth came to the throne at the end of 1558.
While not sharing Elizabeth’s religion there seems every reason to suppose they and most other catholics viewed her accession with something approaching equanimity. There were some, no doubt, who viewed Elizabeth as illegitimate and the daughter of a whore to boot – Anne Boleyn was, to put it mildly, far from popular in the catholic community – but the future course of the English church was far from certain. Who knew if Elizabeth would live, for one thing? And what would happen if, as seemed likely, she married a catholic prince?
At the beginning of Elizabeth’s reign, then, there was little to genuinely trouble most consciences. As Childs’ points out, Elizabeth and most of her ministers had conformed under Mary I. They were no doubt aware of the irony of their position – and aware too – how could they not be? – that conformity was not the same as acquiescence. Certainly there were fines for non-attendance at church but there seems to have been little appetite on the part of the government to demand much beyond outward conformity. And even if they had wished to police religious orthodoxy more aggressively, they cannot have been assured of taking the country with them. In the early years of the reign, Sir William Cecil, for one, believed protestants to be in the minority in England.
Many, perhaps most catholics simply swallowed what reservations they had and did as the government and its new church required. Some bowed less willingly to the pressure and joined public acts of worship under the Elizabethan settlement while also hearing mass at home. Others families would divide their loyalties: the husband, who was the primary target of the penal laws, went to church and conformed while the wife stayed home and heard mass with their children.
Other schemes were pettier still, highlighting the depths of indignation felt – but also perhaps the triviality of the stakes. One wealthy recusant built his own chapel, which had its own entrance, within his local church; another would openly read a book during each sermon. Some ostentatiously kept their hats on while their fellow parishioners prayed for the queen; one simply blocked his ears with wool each time he went to church.
If the government was content to tolerate such transgressions in the belief that the old religion would slowly wither and die with the aging Marian priesthood it was soon to be disabused of such complacency. In short succession, the rising of the catholic Northern earls in 1569, the issue of the Papal bull Regnans in Excelsis in 1571 – which charged English catholics with the moral duty to overthrow Elizabeth – and the exposure the same year of the Ridolfi plot – which sought to put Thomas Howard, fourth duke Norfolk on the English throne alongside Mary, Queen of Scots by way of a Spanish army – made clear that the status quo was not a safe option. (Regnans in Excelsis was still being referenced as an example of what not to do by the Vatican in the 1930s as it considered its advice to catholics in Nazi Germany. I have written in more detail about the Ridolfi plot here.)
But then, what was safety?
In a sense, the catholic experience in England after Elizabeth’s accession is a kind of tragedy. There is an inevitability about it, with the actions of all parties, all actors inexorably leading to a tightening of the vice, a limiting of freedom, of room for manoeuvre, for the ordinary mass of catholic men and women. The lack of freedom was, by the end of the reign, quite literal: from 1593 a ‘statute of confinement’ forbade recusants – those who did not attend church – from traveling more than five miles from their homes without a licence.
Most of us quite happily lead lives of quiet contradiction on one level or another; it is part of our charm. No-one much asks us to account for ourselves or charges us with hypocrisy or deceit. But the activities of the English government and the catholic church alike – and of their most zealous adherents in particular – brought an impossible level of scrutiny to the lives of catholic England, and with it a bright and unforgiving spotlight on the contradictions of their position.
Thus, what had perhaps been a tolerable existence of mild dishonesty became a life of privation, evasion and fear. The English catholics were forced to choose: but the choice they were offered was not one with which they could live.
Not all of their brethren seemed to care about such dilemmas.
The arrival of Edmund Campion and Robert Persons in England in the summer of 1580 as the first members of the catholic church’s English mission transformed the terms of the debate.
If anyone had intended the two men to slip into England unnoticed, they clearly hadn’t briefed Campion and Persons about the matter. On their way from Rome they made speeches at Bologna and Milan and tried to provoke a disputation in Geneva. The two men – as many fellow English missionaries would after them – had a magniloquent sense of martyrdom and destiny. “It often happens that the first rank of a conquering army is knocked over,” Campion said, grandly. The military metaphor, had it reached Elizabeth’s ears, would hardly have soothed her concerns.
The mission to England claimed to be about religion, not politics. But the passion with which it was proclaimed in its early years made the distinction largely a semantic one. It was equivocation avant la lettre. At the very least, Campion and Persons challenged the laws of the land – that is, challenged the authority of Elizabeth I and her government. If they weren’t explicitly involved in plots to assassinate Elizabeth, as Burghley and others alleged, they certainly helped nurture a climate of thought, a culture of resistance, in which such acts became not just permissable but – eventually – necessary.
It was a difficult and delicate situation for the Catholics in England and most were still trying to find ways of easing their consciences through the thorns without shedding blood. As Childs shows, the line between low-level civil disobedience – or dissent – and sedition was a perilously fine one. Each bled into the other. And it was a line Campion and his successors in the English mission were determinedly oblivious to. The missionaries had all accepted the prospect of martyrdom; some clearly relished it. They were – as Campion himself noted – dead to the world already. Those they ministered to had made no such peace; but they had the choice foisted on them no matter what.
When Campion was captured, the government went out of its way to charge him with treason under the statutes dating from the reign of Edward III. That is, they wanted to ensure his crimes were seen as political, not theological. And that would continue to be the frame through which the state defined its actions.
In its simplest expression, this became known as the ‘bloody question’: in the event of an invasion, of war, whose side were you on? Would an English catholic choose God or Caesar, conscience or crown?
Lord Vaux was one of those accused of having aided Campion. But did that make him part of a catholic fifth column? Where did the dictates of conscience become seditious opposition? What were public protestations of loyalty to the queen worth if those making them also welcomed members of the English mission into their homes, succoured, fed and supported them? Where did treason begin?
Then as now, there is no simple answer.
Campion’s death did not deter other missionaries. Indeed, it may have encouraged some. But it raised the stakes for everyone, and dissimulation – casuistry and equivocation – became the calling card of the catholic mission, in the eyes of the English state at least. And these slippery intellectual practices – necessary though they were for those of tender conscience – also helped to further taint catholics trying to stay loyal to both God and Caesar, further eroding their apparent trustworthiness and straining the sense of faithfulness and honesty which made social cohesion possible.
One of the many insights Childs offers is into the role of women in supporting the mission, from the education of catholic children to the domestic organisation required to accommodate catholic ritual within the household and, of course, to hide wanted men. On one level, they had greater freedom than men precisely because they were so subjugated: they were highly unlikely to face the punishments faced by men, and were not legally liable to the same extent. But two members of the Vaux family – Eleanor and Anne Vaux – one widowed and the other unmarried – became central to the success of the mission. The irony of this – given that the missionaries were not meant to spend time with women, particularly unmarried ones – was lost on no-one, and Anne Vaux’s intense relationship with Henry Garnet seems to have caused as much consternation in Rome as it did in London. Its propriety was questioned by everyone, although Childs believes there was nothing untoward about it. It was, at heart, devotional – in every sense of the word.
It is through the courageous actions of women like Anne Vaux that Childs reveals most clearly the depths of faith and conscience that drove many English catholics to disobedience and brought nearly two hundred of them to the steps of the scaffold and the executioner’s knife. Every social norm in early modern England demanded conformity and submission to authority, whether within the family, within the local polity or within the state. And yet Anne and many others like her chose to reject that ‘fast-fettered’ life: the choice was both brave and desperate, but ultimately mortal peril was preferable to denying the immortal soul.
It isn’t possible in the space of a review to do justice to the breadth and depth of Childs’ research and insight; but they illuminate the entire landscape of English life. She demonstrates brilliantly how interpenetrated the communities of recusants, protestants and puritans were within the country as a whole and within each region and shire – and how, therefore, he crisis tainted everyone.
After all, the problems created by the catholics’ increasingly difficult and anomalous position in England were not merely those of conscience. There were also strains on every aspect of their status. Refusing to take an oath renouncing papal sovereignty meant that young catholic men could not graduate from university or hold office under the crown. They could not be magistrates or MPs or command the queen’s forces. For young men keen to advance themselves, loyalty to their faith condemned them to a life of passivity and impotence. It is no wonder, as Childs notes, that second generation recusants were more militant than their parents.
But the schism also played out in marriages and property transactions, in Parliament and on the bench. Class by class, individuals were bound by geographic, social and familial loyalties, by histories of friendship. Marriage, for example, was a key traditional means by which families established status, security and advancement, tying themselves into the hierarchy on which society was built. But recusancy and its after-effects tainted marriage prospects – and narrowed the pool of potential suitors for catholic and protestant alike. It diminished everyone, and weakened every bond. One casuist text recommended marrying below one’s social status over marrying a heretic: it is hard to stress how unthinkable such advice was to the sixteenth-century mind.
And then, of course, there were the fines, which would be impossibly steep by the end of the century. Lord Vaux ultimately forfeited two-thirds of his estate under 1587 legislation that made fines for recusancy cumulative. Sir Thomas Tresham died £11,500 in debt. He had paid some £8,000 in recusancy fines and the marriages of his daughters had cost him over £12,000.
It is worth remembering too, that those who would be required to raid catholic houses were usually neighbours and peers of the suspects, men who the family in question might well have entertained or done business with. The humiliation of such raids – and the sense of breached trust on both sides – must have run deep. Which is not to minimise the terror of such raids: large numbers of men – weapons in hand – poured through the house charged with destruction: tearing down walls, ripping up floorboards, stabbing at every cloth and cushion with dagger or sword. It was not just priests they were after: the furniture of ritual, religious texts, rosaries, agnus dei – everything sniffed of sedition.
Childs unfolds this secret world of priestholes and pseudonyms, of disguises and deceit with an expert eye for detail and an unerring sense of drama. And there is a current of almost psychological horror running through the book, no less in the terror of the hunted than in the tortures that awaited them. Perhaps it is useful to consider the experience of Elizabethan catholics as a whole as a kind or mental and moral torture: the contorted spaces that were built for the missionaries hidden between the skin and bones of each house might stand as a metaphor for the condition of being catholic in England.
And she is brilliant at teasing out the moral and social complexities of these lives. Lord Vaux had been imprisoned in the aftermath of Campion’s arrest and had spent some twenty months in the Fleet for refusing to answer questions about Campion and his mission under oath. The man who arranged for his release – to the extent of drafting Vaux’s submission to present to the queen – was Lord Burghley, as Sir William Cecil became. Why? We don’t really know. But the idea that loyalty to Rome – or Elizabeth for that matter – was the only loyalty that mattered to these men and women is a simplistic one. They regarded themselves as having duties to men of rank and status too; and the wide, all-pervasive networks of family and kinship were bonds of incalculable strength, the importance of which it is hard for us in our atomised world to understand. Everyone had conflicted loyalties; but it was only the catholics who were required to account for them.
It also reminds us that these great ideological struggles were also intensely personal. Burghley visited Vaux in his cell to discuss and arrange the latter’s submission and release. Later, when the Jesuit priest Garnet was in the Tower and being questioned about his role in the Gunpowder plot, he was questioned by Lord Salisbury – Burghley’s son Robert Cecil – and Lord Chief Justice Popham. Garnet and Popham jovially recalled meeting in the 1570s when Garnet had been considering a career in the law. Salisbury apologised to Garnet for making a salacious joke about his relationship with Anne Vaux, putting his arm around the priest’s shoulder as if asking for forgiveness.
The book is studded with moments of intense humanity like this, and they are unsettling because Childs’ sympathetic but acute portraits strip away any instinct we might have to judge these men and women for their choices. She shows us their divided souls, but she does not ask us to take sides.
Even the zeal of the missionaries served to hide complex motives and widely different personalities. At one end of the spectrum there was the handsome and charismatic John Gerard, who lived with the swagger of a gentleman, and a rich one at that, and struggled – manfully, one assumes – with the humility that ought to have suited his calling. Women fell over themselves to help him, he tells us in his autobiography. One Flemish woman learned English simply to be able to confess to him; two noble ladies almost fought each for the honour of kissing his feet in the Tower.
At the other, there was the little-remembered Thomas Lister who suffered from migraines, mood swings and claustrophobia among other neuroses. A priest with a fear of priest-holes must have been a trying companion for even the most saint-like of men.
This is a superlative, flawlessly written book, rich in its detailed evocation of the texture and fervour of the Catholic experience without ever losing sight of the moral and political crucible in which that experience was being tried. It is a joy to read and revelations abound, from the trade in ‘fresh green relics’ – that is the remains of the English martyrs – to the way that the English mission strayed into dramatic demonstrations of the power of their faith which made many fellow believers deeply uncomfortable. Childs’ description of an exorcism at Lord Vaux’s house in Hackney in the autumn of 1585 – which Anthony Babington, among others, was invited to witness – is one of the most extraordinary things I have ever read.
God’s Traitors: Terror and Faith in Elizabethan England superbly maps the trajectory of catholic England over fifty years and three generations. If we knew a little already about some of the better known figures – Campion, Southwell, Babington, Fawkes – there is much here that will make all of us re-evaluate the much-fabled tolerance of Elizabethan England and deepen our understanding of the English catholics’ long existential crisis of faith. Wise in her judgements and generous in her sympathies, Childs ensures we always see the activities of the Vaux family and its fellow travellers in the wider cultural and political context – teasing out references in Shakespeare and Jonson, for example – and she is as alert to alternate narratives and their possibilities as she is sensitive to the impossibility of the choices many were faced with. This is a book about saints and traitors, certainly; but above all it is about the strengths and frailties that made these people human. They have had to wait a long time, but at last they have found a historian who offers them both justice and dignity.
Further to my earlier review of the National Portrait Gallery exhibition, Elizabeth I and her people, I thought I’d just post two contrasting portraits of Ralegh. The first, on the left, is a Hilliard miniature from 1584. The second is a close-up photo I took of the 1588 portrait currently on display at the NPG. (My apologies for the slight lack of focus!)
My first thought when I saw the latter was: what a toll those four years at the heart of Elizabeth’s court had taken on him. One can read too much into these things, but if the earlier portrait seems to capture the brash confidence – arrogance, even – with which Ralegh was and is often associated, the later portrait suggests a man whose self-belief – for all the studied magnificence of his appearance – is not what it was.
Those whose interest lies outside the Tudor era could be forgiven for exasperation at the extent to which the long sixteenth century still dominates our nation’s cultural life. But the new exhibition at the National Portrait Gallery – Elizabeth I and Her People, which runs until January 5 2014 – is nevertheless good enough to excite the curiosity of even the most stubborn Tudor-phobe; and for those of us who find the period particularly fascinating, it is a delight.
The exhibition has been curated by Dr Tarnya Cooper, both chief curator and 16th-Century curator at the gallery. She is the author of the recent Citizen Portrait – Portrait Painting and the Urban Elite of Tudor and Jacobean England and Wales, 1540-1620, and her interest in the representation of lives outside the courtly elite is evidenced throughout.
Late Tudor England grew into an economic powerhouse, based on a flourishing mercantile culture, the increasing financial heft of the City of London and the political and religious stability – relatively speaking – of the Elizabethan state. And this middling sort, aspiring, ambitious, self-conscious, are superbly represented here.
A trio of portraits, for instance, reveals the Wittewronghele, family – father, mother and son – who established a prosperous brewing business in the capital. Thomas Gresham – arguably the most brilliant financier of the 16th century – is here. We see, too, the court portraitist George Gower, who chooses to be painted holding the tools of his trade – the brush and palette – rather than with something that might represent a claim on family title or another, more obviously self-aggrandising, social status. The times were changing. Trade itself was becoming respectable.
But beyond the portraiture, we also see something of the texture of people’s lives. There is some wonderful Tudor clothing here, from a seaman’s cloak to a superbly detailed woman’s waistcoat. And there is much, much more: a tankard inscribed with ‘Think and Thank’, surely the 16-century equivalent of ‘Keep Calm and Carry On’; a pristine set of drawing instruments; pins, without which many Tudor garments wear simply unwearable; an intricately carved ivory comb featuring the Judgement of Paris and David’s message to Bathsheba; and so on.
For many, perhaps, the portraits will still be the point, and one room is given over to those of Elizabeth herself, including Hilliard’s sumptuous ‘Ermine’ Portrait. Even here, though, the exhibition is careful to delineate between the kind of representations that would have been available to the different strata of society, from the full length paintings that hung in noble houses, through the more modest copies owned by members of the gentry, down to the portraits that every person in the country had access to. When Elizabeth I recalled the coinage early in her reign, she became the first English monarch to sit for the image that represented her on her currency: it was a powerful statement of intent.
There is, too, a room of portraits of courtiers and nobleman. Again, however, the exhibition goes beyond representations of mere power, to offer a more unconventional and human perspective on the way portraiture embodied a kind of power – but also a negotiation with it. Elizabeth Vernon, Countess of Southampton, appears in – in context – a shockingly private portrait of herself in a bedgown beside her dressing table. She had been one of Elizabeth’s maids of honour and her marriage to Shakespeare’s patron, Henry Wriothesley, the year before had caused controversy at court resulting in her banishment.
William Cecil, Lord Burghley, whose ward Wriothesley had been, had wanted him to marry his own daughter. He is pictured here, mostly likely in his lost palace at Theobalds in Essex, somewhat charmingly athwart a donkey among some strawberry plants, as if to plead with his queen for the quiet pleasure of a country life away from the explosive tensions and rivalries of the court.
Last but not least, Sir Walter Ralegh is here, in 1588 at the very height of his power and influence. The gallery’s restorers have revealed a hidden detail in the portrait: a sea beneath the sway of the moon. It was a trope Ralegh used often in describing his own, often tempestuous, relationship with Elizabeth and here it affirms his subjection to her. He looks, if truth be told, exhausted. And perhaps he was. The tumults of the Tudor era took their toll on winners and losers alike.