Note 30 — Chapter VIII

— Jardine, in his “Narrative,” p. 51, says that John Grant’s ancestors are described in several pedigrees as of Saltmarsh, in Worcestershire, and of Snitterfield, in Warwickshire; that Norbrook adjoined Snitterfield, though it is not now considered locally situate therein. Students of Shakespeare will be interested to learn that in the Parish of Snitterfield, near Grant’s ancestral home, the poet’s mother, Mary Arden — herself connected with the Throckmorton family — owned property. Moreover, through his mother, Shakespeare was distantly connected with several of the plotters. For Catesby and Tresham, as well as Lady Wigmore, of Lucton, Herefordshire, were all first cousins to Lady Mounteagle, who was a daughter of Sir Thomas Tresham. Sir Nicholas Throckmorton (the father of Francis Throckmorton, who was executed in the reign of Elizabeth) having three daughters whom he married to Sir William Catesby, Sir Thomas Tresham, and Sir William Wigmore. — See Jardine’s “Narrative of the Gunpowder Plot,” p. 11; also Foley’s “Records of the Jesuits in England” (Burns & Oates), vol. iv., p. 290.

Probably Shakespeare knew Grant personally, and not only Grant, but Catesby, Percy, the Winters (Robert and Thomas Winter were likewise akin to the Throckmortons), and Tresham. That the bard of Avon knew Lord Mounteagle, the associate of his friend and patron the Earl of Southampton, is even still more probable.

How is it that Shakespeare never in his writings sought to make political capital (as the sinister phrase goes) out of the Gunpowder Plot? For several reasons: first, his heart (if not his head) was with the ancient faith he had learned in the old Warwickshire home; secondly, his large humanity prompted him to sympathise with all that were oppressed. I hold that in this studied silence, this dignified reserve of Shakespeare, we may discern additional proof of the nobleness of the man, supposing that he knew personally any of the plotters. He would not kick friends that were down, when those friends were even traitors. He could not approve their action — far from it. He might have condemned with justice, and with the world’s applause. But upon himself a self-denying ordinance he laid, tempting as it must have been to him to perform the contrary, especially when we recollect the course then followed by his brother-poet — Jonson. But Shakespeare would not “take sword in hand” with the pretence of restoring “equality” between these wrong-doers and their country. He deemed that the ends of justice — exact, strict Justice — were met in “the hangman’s bloody hands” — “Macbeth,” 1606 — and that sufficed for him.

Since writing the above note I find it stated in “The Religion of Shakespeare,” by Henry Sebastian Bowden (Burns & Oates, 1899) — chiefly from the writings of that great Elizabethan scholar, the late Richard Simpson — that “among the chief actors in the so-called Gunpowder Plot were Catesby; the two Bates; John Grant, of Norbrook, near Stratford; Thomas Winter, Grant’s brother-in-law; all Shakespeare’s friends and benefactors” (p. 103); so that my conjecture is, belike, warranted that the poet knew Catesby, Winter, and Grant. Moreover, from the same work, it appears that Shakespeare, through the Ardens and Throckmortons, was connected by family marriages, not only with Catesby, the Winters, and Tresham, but distantly with the Earl of Southampton himself, who was a relative of Lord Mounteagle. Hence it is still more probable that Shakespeare knew Mounteagle personally.

Again, Shakespeare probably was present as one of the King’s players in 1604 at Somerset House, on the occasion of the Constable of Castile’s visit. — See Sidney Lee’s “Life of Shakespeare” (Smith & Elder), p. 233. — If this were so, then it is well-nigh certain that the poet must have there beheld Mounteagle, who would be one of the Lords then present, most probably in attendance on the Queen Consort. The festivities in honour of the Spanish Ambassador Extraordinary wound up with a magnificent banquet at the Palace of Whitehall, when the Earl of Southampton “danced a correnta” with the Queen. This was August 19th, 1604. — Cf. Churton Collins’s “Ephemera Critica” (Constable) as to religion of Shakespeare.