The Gunpowder Plot and Lord Mounteagle's Letter, Being a Proof, with Moral Certitude, of the Authorship of the Document: Together with Some Account of the Whole Thirteen Gunpowder Conspirators, Including Guy FawkesSpink, Henry
History
The Gunpowder Plot and Lord Mounteagle's Letter, Being a Proof, with Moral Certitude, of the Authorship of the Document: Together with Some Account of the Whole Thirteen Gunpowder Conspirators, Including Guy Fawkes
Spink, Henry
Gunpowder Plot, 1605; Monteagle, William Parker, Baron, 1574 or 1575-1622
[Footnote A: “_The Life of Archbishop Usher_” by Barnard (1656), however,
does not bear out the statement of the Author of the Article on “Usher” in
the “_National Dictionary of Biography_.” For Barnard says that the Jesuit
who debated at Drayton, in Northamptonshire, with Archbishop Usher, was
called “Beaumond,” but that his real name was Rookwood, and that he was a
brother of Ambrose Rookwood, the Gunpowder plotter. The debate was
arranged by Lord Mordaunt (afterwards the Earl of Peterborough), to the
end that his wife, the Lady Mordaunt, a daughter of the Earl of
Nottingham, might become convinced of the soundness of the exacting claims
of the Church of Rome. The upshot was that not only was the Lady Mordaunt
_not_ convinced, but that the Lord Mordaunt himself became a Protestant!
The topics for discussion were:——Transubstantiation, Invocation of Saints,
Images, and the Visibility of the Church. According to Barnard, Beaumond
at the third day of meeting sent to excuse himself, saying, “That all the
arguments he had framed within his own head, and thought he had them as
perfect as his _‘Pater noster_,’ he had forgotten and could not recover
them again; that he believed it was the just judgment of God upon him thus
to desert him in the defence of His cause for the undertaking of himself
to dispute with a man of that eminency and learning without the licence of
his superior.”
If it were a Rookwood, probably it was Robert (S.J.)]
[Footnote 140:——The “_Oliver Cromwell_,” by John Morley (Macmillan, 1900),
contains a picture of Usher, taken from the original portrait by Sir Peter
Lely, in the National Portrait Gallery. The face is one of great keenness
and power.]
[Footnote 141:——“Style” in handwriting is its genius, its ethos, its air,
its aroma, its active, its essential principle. “Style is the man.”]
[Footnote 142:——See the Rev. John Gerard’s published fac-simile.]
[Footnote 143:——“Shift off,” no doubt, is meant as “_The Kings Book_”
gives it. (I should like to say that a gentleman, a member of Trinity
College, Cambridge, the Rev. Edmond Nolan, B.A., suggested to me in
August, 1900, when I had the pleasure of meeting him in York, that
probably “shift of” was really “shift off.”)]
[Footnote 144:——This enigmatical sentence partook of the nature of a
clever sleight of mental strategy or of a skilful manœuvre of mental
tactics. In the case of a man of Oldcorne’s combination of the mystical
and the practical, it is probable that there would be wheels within
wheels, and depths below depths, which are beyond the reach of us ordinary
mortals to detect or to fathom. But all this mystery would tend to grip
hold of the attention of the reader by compelling him to peruse and weigh
the document again and again, and so would tend to beat its warning
message into his brains, and so impel beneficent action.]
Public-domain text, read in full here on John Shaqi.
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