Читать книгу The First Iron Lady: A Life of Caroline of Ansbach - Matthew Dennison, Matthew Dennison - Страница 11

‘Halliballoo!’

Above the hubbub rose a single voice. On that dark December evening, the sound of a young woman singing soared above disarray. Above the noise of rain in nearby St James’s Park it lifted, above the dripping branches of lime trees planted in hundreds a decade ago by royal gardener Henry Wise.

Idlers heard it above the ‘racket of coxes! such a noise and halliballoo!’ in gaming dens and coffee houses.1 They heard it above the ‘Modern Midnight Conversation’ of boozy taverns shortly to be depicted by scourge of the age William Hogarth, above the ‘violent Fit[s] of Laughter’ in fashionable drawing rooms that novelist Sarah Fielding likened to ‘the Cackling of Geese, or the Gobbling of Turkeys’.2 Astringent as the sluice of ordure on wet cobbles, revoltingly inventoried by Jonathan Swift as ‘sweepings from butchers’ stalls, dung, guts, and blood,/Drowned puppies, stinking sprats, all drenched in mud,/Dead cats and turnip-tops’, her song trilled its defiant strain.3 Brightly, ‘despising doleful dumps’, it eclipsed the stamping hooves of horses, servants’ shuffling feet, hourly chimes from unlit churches.4 It rang clear above the clatter of packing cases, including the royal close stool entrusted to woman of the bedchamber Charlotte Clayton, above orders and counter orders and – unmistakeable in the broad London street – the sound of sobbing: ‘Over the Hills and Far Away’.

The Honourable Mary Bellenden was singing. Mary was a maid of honour, one of a group of high-spirited and decorative unmarried young women in attendance on Caroline, Princess of Wales. ‘The most perfect creature’, ‘smiling Mary, soft and fair as down’, ‘incontestably the most agreeable, the most insinuating, and the most likable woman of her time’, she was in flushed good looks tonight, singing in the shadows that skirted St James’s Palace.5 The same could not be said of her royal mistress. Two years previously, in one of his last excrescences as Poet Laureate, Nahum Tate had acclaimed flaxen-haired, inquisitive, plain-speaking Caroline as ‘adorned with every grace of person and of mind’.6 As the rank, wet December darkness enfolded princess and attendants in its clammy grip, she appeared anything but.

Loyal Mary sang for Caroline, an angry song of protest. ‘Over the Hills and Far Away’ was a rallying cry for Jacobites, those pro-Stuart opponents of Britain’s new Hanoverian monarchy; later, Mary Bellenden would be painted by portraitist Charles Jervas in the character of Mary, Queen of Scots. Caroline, of course, was herself a key player in the usurping dynasty. On 2 December 1717 she too played her part as victim.

Her father-in-law – for three years George I, elector of Hanover since 1698 and a man accustomed to obedience – had expelled her husband George Augustus from his rickety, brick-built palace following a footling argument about the choice of a royal godparent. In a satirical age, such septic dysfunctionalism was a boon to the writers of ballads and broadsheets. To the king’s chagrin, Caroline had chosen to accompany her husband into ignominy. ‘You may not only hope to live but Thrive, If with united hearts and hands you live,’ promised an engraving called ‘The Happy Marriage’, published in 1690, and throughout her marriage Caroline had done her best to present a united front.7 Surprised and displeased, the king shrugged his shoulders, comfortable in the apartments of his bald and red-faced German mistress overlooking the palace gardens. In the words of a ballad called ‘An Elegy upon the Young Prince’, ‘Both the Son and’s Spouse,/He left ’em no/Where else to go,/But turn’d ’em out on’s House’.8

No royal guards attended prince and princess in their hasty flit. The doors of the palace were closed against them, the Chapel Royal too, their attendance at court forbidden and every special act of deference suspended. Still the choleric and implacable monarch protested at his inability under British law to halt their payments from the civil list. Even Caroline’s children, a baby of three weeks and three daughters ranging in age from four to eight, were prevented from accompanying her in this hour of disgrace. They remained abed within the palace. The king had ‘[taken] his grey goose quill/And dip’t it o’er in gall’, a balladeer wrote. His sentence was comprehensive:

Take hence yourself, and eke your spouse,

Your maidens and your men,

Your trunks, and all your trumpery,

Except your children.9

Where the royal couple took their unhappy caravanserai was the house of Henry d’Auverquerque, Earl of Grantham. Since February, this slow-witted loyalist, his character dominated by ‘gluttony and idleness, … a good stomach and a bad head, … stupidity and ennui’, had served as Caroline’s lord chamberlain, the highest-ranking officer of her household.10

Up St James’s Street the convoy jolted. Across Piccadilly to Grantham House in Dover Street it wound its way. Servants followed separately, in the glimmering illumination of the new round glass street lamps, lit only on moonless nights, that marvelling visitors to the city likened to ‘little Suns of the Night’.11 The Duke of Portland described the party on arrival as ‘in the utmost grief and disorder, the Prince cried for two hours, and the Princess swooned several times’.12 Caroline had given birth only weeks earlier, an event, in the words of one phlegmatic diarist, ‘which occasioned great joy for the present, but proved of short duration’.13 Following months of escalating tension, the baby’s christening was the battleground on which king and prince collided. By 2 December neither Caroline’s strength nor her nerves had recovered from birth or baptism. Besides the daughters she entrusted to governesses on that darkest evening, she left behind her in the care of his wetnurse her baby son.

Caroline’s friend, the Countess of Bückeburg, recalled the anguish of their parting: ‘The poor Princess went into one faint after another when her weeping little Princesses said goodbye.’14 Caroline had told the king that she valued her children ‘not as a grain of sand compared to [her husband]’, but there was more of bravado than truth in the statement.15 None of the family would recover from the fissure wrought that winter night. Before the spring was out, the baby Caroline left behind her ‘kick’d up his heels and died’.16 He was killed by ‘convulsions’, water on the brain, a cyst on his tiny heart; each internal organ was swollen, distended, angrily inflamed. The miracle was that he had survived so long.17 That this looked bad for the king was cold comfort for a grief-stricken Caroline. ‘That which, in our more liberal age, would be considered as bare invective and scurrility, was the popular language of those times,’ wrote Lord Hailes, looking back in 1788.18 In this instance scurrility rose up in Caroline’s defence. Doggerel commended her suffering; it condemned the king’s heartlessness: ‘Let Baby cry/Or Lit [sic] it die/Own Mother’s Milk deny’d,/He no more car’d/How poor thing far’d.’19

‘Over the Hills and Far Away’ sang beautiful Mary Bellenden, and rain and darkness engulfed her song. The king she meant to upbraid was not listening, and the royal gaggle’s short journey, undertaken pell-mell on foot in view of a hastily convened sympathetic crowd, soon carried them out of earshot. In Lord Grantham’s house, smaller than their apartments in St James’s Palace, prince and princess were forced to share a bedroom. Such intimacy, and confines of space, prevented any ceremonial in their rising or retiring to bed, the complex rigmarole of bedchamber staff, of basins and ewers proffered on bended knee, shifts, chemises, gloves, fans and shoes presented or withdrawn by attendants greedy for the privilege: the ritualised posturing of baroque monarchy. Instead ‘Higgledy-piggledy they lay/And all went rantam scantam.’20

To his father, the prince dispatched the tersest of notes. ‘I have just obeyed your Majesty’s orders, having left St James’s. The Princess goes along with me, and our Servants shall follow with all imaginable Expedition.’21 No response was requested or forthcoming.

‘I am so sorry for our dear Princess of Wales that I shed tears for her yesterday,’ her closest correspondent wrote.22 As a measure of his distress, George Augustus succumbed to a feverish ‘inflammatory distemper, with bumps in his face somewhat like a rash’. Doctors treated Caroline for fainting fits and violent throat pains.23 For all its brevity, her journey from familiar certainties, beginning with a walk in the dark, was a big one. Her life encompasses its share of new beginnings and abrupt severances.