
The family also held Independent views in religion. They belonged to one of the puritan churches that lurked down every side street of the City parishes; Gideon was of course taken there every Sunday. John contributed to the fee of a radical weekly lecturer who was frequently in trouble with the Bishop of London for his unorthodox preaching. The Jukes believed in freedom of conscience and freedom of worship. People who never bowed the knee in church were sceptical of a civil ruler who expected his subjects to kneel to him. 'If God does not require ceremony, why should a king?' They feared that Charles Stuart, encouraged by his French wife, was trying to impose Catholic rituals upon them, and they hated it. They homed in on Queen Henrietta Maria as an object of hate because she loved theatre and masques. Theatres, every Londoner was certain (because it was true), were haunts of prostitutes and rakes.
So if there was one thing Gideon could do to upset his family, it was listening to Richard Overton and volunteering to take part in a masque — a masque, moreover, which the lawyers from the Inns of Court were to present to the King and Queen.
He had never acted before. Nevertheless, he came cheap, so he secured a very minor part as one of three dotterels, small quiet birds of the plover family. He was young and naive enough to be embarrassed when his two acting companions, slightly older boys, made jokes that among dotterels it was the female bird who engaged in displays while the male tended the nest.
Gideon's own sense of humour was more political; he was smiling satirically over the masque's title, which was The Triumph of Peace.
Rehearsals were brisk. During them, Gideon soon realised that he was a player in a work of numbing obsequiousness. The Triumph of Peace had been written by the popular poet James Shirley. It relied on spectacle rather than a fine script. All anybody wanted from it was flattery for the King, with gasps of delight at the rich costumes and at the complex engineering of the stage machinery.
