The Trial of Charles Steward

WILLIAM G. CARPENTER is the author of Eþandun (Beavers Pond Press, 2020), which depicts King Alfred’s struggle with the pagan Danes in 878 AD.  Available from Amazon, Itasca Books Distribution and www.williamgcarpenter.com

This is an excerpt from a poem-in-progress on the English Civil War. Previous sections have been published in Expansive Poetry On Line and The Brazen Head. [1] 

The Trial of Charles Steward

A-riding through the rain on miry roads,
Harrison fetched the king to Windsor Castle,
where Hamilton met him, kneeling in the mud. 
That very day, the Commons formed a committee
to stipulate how to proceed against him. 
When Charles shunned Feilding-Denbigh’s last-ditch offer –
his crown for bishops’ lands and the royal veto –
the army council stripped him of his state
and let him dine alone and read his Shakespeare. 
The Commons passed, and sent the Lords, a bill
for a High Court of Justice for to try him. 
The Lords denounced the Commons’ treason charge
as lawless and absurd.  Said Feilding-Denbigh,
named a judge, “I’d rather be torn in pieces
than take part in so infamous a business.” 
Whence the Commons espoused the army’s notion,
originating, plainly, with the Levellers, 
that the people being the source of all just power,
its acts alone were law, sans king or Lords. 
 
Late-coming Oliver eschewed the Council,
meeting instead with Widdrington and Whitelocke,
with Lenthall and Rich-Warwick, to explore
ways other than the officers’ Agreement. 
He asked the Duke of Hamilton at Windsor
to say who had invited him to invade –
Charles, LG Browne, remains of the Eleven? 
No answer was forthcoming from the Scot. 
O.C. disliked fixing a term for Parlament
and thought Charles might be spared, his trial deferred
till after those of other malefactors,
Hamilton, Rich-Holland, Goring-Norwich,
Owen, Lingen, Dyve, and Hastings-Loughborough. 
As ever, Cromwell waited on the Lord. 
 
But when Charles rebuffed Feilding-Denbigh’s mission
as envoy of a clutch of glorious peers –
and the Commons and the army rose together
in calling for the trial of the tyrant –
then Oliver discerned the hand of God
in His clear witnessings and dispensations,
albeit the Holy Ghost had not yet singed him. 
He mused, when added late to the committee
charged to draft the ordinance for the trial,
“Only the greatest traitor in the world –
the greatest rebel – would dare carry on
a plan to try the king for capital crimes. 
But God’s providence has cast us upon it –
myself can but submit.  God bless your counsels,
though I am not provided to give mine.” 
 
The act to frame the High Court of Justice
(which Rushworth called an ordinance of attainder)
alleged a wicked design by Charles Steward
to raze our ancient laws and liberties
and in their place to plant an arbitrary
and tyrannical state – the which design
Charles Steward had maintained with fire and sword,
levying war against the Parlament,
wasting the public wealth, and murdering thousands. 
Some seven score MPs and officers,
citizens, City magistrates, and lawyers
were named to be commissioners and judges. 
 
Fifty or so attended the first meeting
(the Lord General’s last) in the Painted Chamber. 
Fewer met next session, and the next,
and fewer still the next, when Serjeant Bradshaw
declined, at first, the unwanted dignity,
unwanted but rewardful, of Lord President. 
Cooke, Aske, and Dorislaus would draft the charges –
Steele had fallen suddenly, sadly ill. 
Despite the fervor for a large indictment
reaching back to James’ suspicious death,
the court kept out the bulk of Charles’ misdoings,
save those of substituting will for law
and levying war against the Parlament.
 
Harrison and Peter led the train
that ferried Charles in bitter cold from Windsor. 
The trial commenced in vast Westminster Hall
sub Second Richard’s oaken hammer beams,
where Strafford had been tried, and years before,
Frances Howard, Essex’ sometime countess,
for murdering Sir Thomas Overbury. 
Led in by Hacker’s thirty halberdiers,
Charles eyed the Lord President where he sat
in crimson chair, behind a crimson cushion,
and eyed the great sanhedrin of commissioners
to either side, on rows of scarlet benches. 
A mace and sword lay on the Turkey carpet
that decked the table where the clerks awaited. 
Charles turned to view the gentry in the galleries,
Axtell’s musketeers, the thousand groundlings,
then settled on the velvet chair provided,
and rose, and sat again.  Silence commanded,
Bradshaw declared the Commons had empowered
that court to make inquisition for blood. 
 
When Cooke commenced to speak, Charles sought to stay him,
rapping him on the shoulder with his stick –
a harmless battery – whose silver head
fell to the floor, beyond poor Herbert’s reach. 
Charles stooped to fetch it.  Cooke preferred the charge,
which a clerk then read, from Charles’s fell design
to substitute his private will for law,
to the dire raising of his wind-blown standard
at Nottingham, to the great fights at Edgehill,
Brentford, Caversham, Gloucester, Newbury, Cropredy,
Bodmin, Newbury, Leicester, and Naseby Field,
where many thousand free people were slain,
to the mad outbursts of the present year. 
Charles listened sternly, till he scoffed aloud
at “tyrant, traitor, murderer, and public
enemy to the Commonwealth of England.” 
Bradshaw then demanding Charles’s answer,
Charles held the ground he’d seized from the beginning –
that court had no authority to try him. 
 
Repeatedly, the court asked Charles to plead
guilty or not guilty to the charge –
this, repeatedly, he refused to do. 
Repeatedly, he asked whence came their power –
repeatedly was told, the people of England. 
This Charles Steward sturdily denied.
First, no earthly court could try a king,
his crown having come to him from God. 
He reigned not by consent but by descent,
lawful descent, above a thousand years. 
Second, no law provided for such trial
by Parlament – the Commons being none,
lacking king and peers and judicial powers. 
To answer, to submit to usurpation,
was counter to his duty as their king. 
The court, said Bradshaw, overruled his demurrer,
and barred him from persisting in such reasons. 
“Show me the court where reason is not heard,”
said Charles.  Bradshaw said, “The Commons of England.” 
That second day, he ordered Charles’ default. 
 
Despite default, the court chose a committee
of colonels and MPs to hear the witnesses. 
Some thirty testified that day and Thursday,
including gentlemen and husbandmen,
a yeoman, and men standing for the trades
of ironmonger, painter, maltster, weaver,
cordwainer, barber-surgeon, vintner, scrivener,
and soldier.  They had seen the king himself
in helmet, armor back and front, sword drawn
at or near the several battlefields
where thousands on both sides had spilt their blood. 
He’d countenanced the cruelty of his men
in plundering and cutting on their prisoners. 
Later, whilst he treated on the Isle of Wight,
he’d schemed to bring an Irish host to England. 
The witnesses avowed their depositions
in open court held in the Painted Chamber. 
Thus Charles was not judged solely pro confesso,
as men had been in the old Star Chamber days. 
 
The court reconvening to sentence Charles,
he asked for leave to address both his Houses
in the Painted Chamber, as much concerning peace. 
Bradshaw was scarlet-gowned for the day’s business
and wore as before his high-crowned, steel-lined hat. 
Charles too was covered, as all times before. 
Bradshaw said twas but a more delay
and denial of the forum’s jurisdiction,
but Charles denied denying jurisdiction,
though owning he could not acknowledge it. 
 
“Have we hearts of stone?” asked Colonel Downes,
seated back of Bradshaw, “are we men?” 
Downes’ neighbors on the bancs, Cawley and Walton,
and O.C. just below, essayed to calm him,
but Downes stood up and asked for an adjournment,
which Bradshaw ordered, leading the commissioners
to the Court of Wards.  There O.C. and others
angrily chided Downes for “a peevish man”
who “knew not that the court now had to do
with the hardest-hearted man that lived on Earth.” 
Said Cromwell, “He would fain save his old master.” 
Downes went apart and wept.  The court returning,
Bradshaw said twould brook no more delays,
and answered Charles’ objections to its powers. 
 
Briefly, the king’s deeds spoke not of peace. 
Nor were our kings superior to the laws
that often-summoned Parlaments enacted,
the king’s task being to administer justice. 
The people kept the right to bridle kings,
as peers had nobly done in the Barons’ Wars,
every nation furnishing suchlike precedents,
including Charles’s native land of Scotland. 
His grandmother Mary was set aside,
as in England, Edward Two and Richard Two. 
The people set them up and took them down –
the people, not descent, made English kings. 
Truly, Charles was a tyrant and a traitor
who’d fouled the land by shedding guiltless blood. 
Bradshaw prayed the Lord might mend his heart
and make him sensible of his miscarriages,
then, refusing further to hear from Charles,
who all along had disavowed the court,
ordered the clerk (Broughton) to read the sentence:
 
which was that Charles Steward be put to death
by the severing of his head from his body. 
The whole court rose to acknowledge the sentence. 
Charles was led out.  No rioting erupted,
save calls for “Justice!” and “God save the king!” 
Two ladies had cried out against the trial,
one of whom was said to be Lady Fairfax. 
Charles rode in a sedan chair back to Whitehall,
hid from view by soldiers lining King Street. 
No force of reformadoes rose for him,
no turbulent apprentices from London,
nor those who’d marched to disband Fairfax’ army,
nor those who’d risen up against the excise,
nor those who loved the Book of Common Prayer. 
 
On Sunday he was carried to St. James’s,
where Juxon preached and prayed with him all day,
the king excluding others from his presence. 
Cromwell would not have judged him so hard-hearted
had he seen with what feeling he gave his daughter,
when the children visited him on Monday,
his Hooker, Andrewes, and Laud contra Fisher. 
 
“Remember” was the king’s last word to Juxon
up on the freezing platform outside Whitehall. 
He’d likewise urged Elizabeth to remember
his last words to his sons and to his lady. 
Glancing at the sword, he’d said in court
he did not fear “the bill” – he now made good
that piece of bravery.  Charles had always dared
to plant one footstep, then the next – to face
the thunder of the guns, the gusting lead,
and the blind, smoking countenance of Mars
transpierced by stabbing red and yellow fires. 
Before he stepped from James’s Banqueting House,
he took a bite of manchet and some claret. 
 
High above the Parlamentarian troopers
who held back the crowd from the black-draped scaffold,
Charles made his last defense to those nearby,
the colonels, clerks, and executioners,
styling himself anew the people’s martyr,
defender of their wealth and liberties,
who had defied the tyrannous usurpers –
he who’d raised forced loans and so-called ship money,
who’d jailed his Parlamentary opponents,
dissolved the Houses for eleven years,
who’d mutilated Bastwick, Prynne, and Burton,
persecuted godly folk in their churches,
and lastly levied war against the Houses,
scheming to bring in foreign arms to best them. 
 
When the bright axe from the Tower struck its blow –
unlike the flurry needed to quell Mary –
one cried aloud, “Behold the head of a traitor!”
A huge groan, twas said, broke from the crowd,
as if Dagon had crushed them in the temple –
so sunk were they, were we, in fond idolatry,
illumining one small, obstinate prince
with borrowed glimmers from our Lord and King. 
Hacker’s troopers swiftly cleared the streets. 

[1] “Parlament” was Milton’s preferred spelling, as being more faithful to the word’s Late Latin origin. Steward is not a spelling error.

Utopias

ELIZABETH HURST was born in Los Angeles and has lived in San Francisco for many years. She likes poetry, alchemy, horror and politics

UTOPIAS

Is there any way that they can work well

Or are they merely maps to hell,

Satanic annexes come to settle

Among us. Tossed into the kettle

Of fish, a barracuda always slips

Among them and then it madly rips

Apart this school of innocent trust

And so hatred hardens to a crust

As they arm themselves with fanatic

Dogma that sadly won’t stay static

But fatally moves into the very worst

That we can imagine. We’ve been cursed

By our conception of vengeful God,

With ferocious judgment in the sod

That will inescapably receive us.

But hungry bacteria raise no fuss

As they return flesh to embracing earth

To unite us with this green sphere’s girth

As we soften and rot, rolled round and round

With the vast utopia underground.

Two poems by Lee Evans

LEE EVANS lives in Bath, Maine after having retired from the Maryland State Archives and the Bath YMCA. He has self-published thirteen books of poetry which are available on Amazon and Lulu.com

SIGNATURE REQUIRED

My van is parked idling in your driveway,

To keep the heater running and protect

Its fragile cargo from the winter wind.

I step up to your door and sharply rap

With one hand, holding gently in the other

The Valentine’s bouquet your lover bought

By phoning up his local florist shop.

You hesitate and wonder who it is.

While waiting patiently as you peek through

The curtains (it’s a dangerous neighborhood),

I count the fragile flowers I have brought:

(Sometimes they’re broken in the close-packed truck)

One dozen long stemmed roses in a vase.

Red petals, fresh, naively innocent,

Nestled in fern dotted with Baby’s Breath

And framed with purple status. So lovely,

Yet soon to lose their bloom in a few days –

To be bagged up and set out on the curb,

Manhandled by the trashman, hauled away.

Capture the moment.” Customers consent

To our Sales Contract with no guarantee

That moment lasts forever. Never mind,

Let’s take our contracts with a grain of salt,

Our flowers with the atmosphere they breathe.

Look at these snowflakes as they freeze and cling

To the crimson petals and the Baker’s fern!

I wonder if you know what you sign for

When you scribble your name on my clipboard?

Well, I’m not employed to ask such questions.

Anyway, it’s time for me to hit the road;

There’s not too many hours of daylight left

To gather signatures for these bouquets.

Have a good evening, or what’s left of it.

TIDAL POOL

We gazed into a pool left by the tide;

Crouching together, close enough to see,

Apart enough to share its mystery.

Our dim reflections trembled with the sky,

Where periwinkles crept before our eyes

Beneath the liquid weight of their clear world,

And phytoplankton scurried in the whirl

Of their routines against the flow of time.

It was as though we crouched above ourselves,

And stared straight through our bodies into space

Upwards, towards an element that held

All creatures in the field of its embrace—

All while the waves devoured the shifting shoals

And stony shore alike, as on they rolled.

Two poems by Clarence Caddell

CLARENCE CADDELL is a poet currently dwelling in the Riverina district. His second collection, Broken Words, will be published with Bonfire Books later this year. 

AKRASIA

Yes, I will break my cigarette butts open

To roll another, dirty trembling fingers

Acting before my subject soul assents;

And I will contact one I put my hope in

Before and yet once more because she lingers

A likelihood, although I have more sense.

MY CONSCIENCE

My conscience only lightly seared, I bite

And forth comes blood of no salvific power;

And forth it oozes through each day and night,

So that I feel the constant need to shower.

Margaret: A Vision – A response to ‘The Pearl’

P R PINSON studied Philosophy at New York University. He now lives in Tbilisi, Georgia

This poem came about when I went to translate ‘The Pearl,’ a Middle English poem of the 14th century. I did not, in fact, complete that translation – instead, I produced what I here present, which borrows a great deal from ‘The Pearl’ – indeed, owes everything to it – yet is not, in the end, recognizably ‘The Pearl.’ This poem tells quite another story and envisions quite another ‘lady,’ and I have used the Spenserian stanza where the Pearl Poet employed his own spectacular 12-line invention. I wish to acknowledge the influence of The Pearl, so as to encourage anyone who would read this poem to go read its father-superior.

Margaret: A Vision

Two gates the silent house of Sleep adorn;

Of polish’d ivory this, that of transparent horn:

True visions thro’ transparent horn arise;

Thro’ polish’d ivory pass deluding lies.

                  Dryden’s Aeneid

I

Come the ides of August, where Margaret lay,

     A wild hand soweth gromwell ‘mid the thorn;

     Each wind beareth spice – in gallant array –

     Or Afric balms which might her crown adorn:

     This wonderment did ease my heart forlorn,

     Whene’er I’d lay me on that summer grave

     And drowse on summers past – through eve,

                                                          through morn –

     And on what graces her three summers gave,

‘Till Sorrow would come calling, as master to slave.

II

Dreams oft found me there I shall never tell –

     (Portents, whispers, visitations of light – )

     For such might be the conjury of Hell;

     For devils may come clothed in beauties bright

     To dim with vain visions our inborn sight.

     Heed ye then what the holy fathers say,

     In reticence thy soul is kept upright.

     And yet – one dream I shan’t so cast away

For I would more fear the judgement on Judgement Day.

 III

That dream came dropping from the noontide sun,

     Anon my senses enfolded in flame;

     Methought at last those harrowed days were done,

     And with them the sorrow and body lame,

     Yet what it was by fire I then became

     I know not—but for wit, all was abyss.

     To none that Adam hath imparted name –

     (Nor that his angel) – can I liken this:

 The terror was beyond all terror – the bliss, bliss.

 IV

And so[1] arrested I endured what seemed

     An age—yea, of an end I did despair—

    ‘Till sudden light across that chasm teemed

     And made of Nullity a middle air:

     I found me standing in a garden fair,

     Quickened as though a lazar from the pit;

     And as such a one, thus freed of all care,

     Would thence like Solomon in temples sit,

So gazed I on blossoms, as if the Holy Writ:

V

The paeony, the daffodil, the rose,

     The lily trembling in her lily bed;

     And the branches above like Cupid bows

     Poised in a gamble for Selene’s head[2],

     Ever to drop petals of crimson red,

     Which fell to earth yet nowhere fell to rot –

     Aye, deathless is a garden of the dead,

     Ne held mortmain, nor a burial plot:

As the first garden, made good – by a ghost begot.

VI

I wandered then the way those blossoms led:

     Eastward they tilted towards morning light;

     And eastward the brooks through the bow’rs fed

     Riverways arambling in threefold flight

     To a silvern city beyond the night,

     Wherein sat the Dawn as upon a throne –

     Rising but to bless, as the bishop might,

     Then back retiring to a court unknown,

Yet even so hidden, did pierce the very stone.

 VII

Thither I went—to seek the morningtide –

     But the way was lost in a wildered place

     Where thistle and thorn ruled the riverside

     And made me to stumble to my disgrace;

     Unreadied then to meet the maiden face –  

     Phantom across the water – tending me:

     A damozel she seemed, in vestal lace,

     Processioning as in an obsequy . . .

And in her eyes I saw my love’s – O Lord, ’twas she:

VIII

Margaret, the child, in full blossom of years,

     Ladied as none but a dreamer may see,

     With eyes like holy wells, freshened by tears,

     And comeliness a moonwhite fleur-de-lis.

   “Margaret,” quoth I, “how may I reach thee?

     A river doth divide us where I would.”

     To which the River – as upon decree –

     Began to rage before the place I stood,

And gone was the damozel to the darksome wood.

IX

A dreamer who then knew himself to dream,

     I, so emboldened, sought a wilful way –

     (To leap for my lady – and cross the stream,

     From thence to seek her – or, finding her, stay – )

     But found me waking to the August day

     Wherethrough I’d slept – and lo, despite a rain,

     Which did the shepherds and their flocks dismay

     And desolate the seedling summer grain . . .

 ‘Twas a goodly penance

 for a wandering swain.

P.R. PINSON studied Philosophy at New York University. He now lives in Tbilisi, Georgia


[1] I.e. thus; in the manner just described

[2]Endymion’s lover – the Moon

The Curse

A J DALTON is a London-based poet. This is his first appearance in The Brazen Head

The Curse

I’d always been nice

to Sheila, at least

I hadn’t ignored her

like the others or whispered

about how she was warty

under her raggedy dress


I liked her smile, mostly

not the queasy one she wore in church

or her over-grin when the weather turned

–just the one she let me see

when the wind blew our hair up

or a bird incredibly came at my call


Yet the seasons turned too quickly

and I was paired with the trader’s girl

to help her father’s business

yes, for that alone I betrayed my love

and I shunned her like the rest

till she left forlornly for the surrounding woods


Then the animals started to sicken

and the crops withered with a blight

till the people began to starve

–save me, I seemed alright

as death darkened every home

I was all alone


Our village was still and silent

abandoned and undone

I didn’t have the air to breathe

yet the end was still denied me

I mouthed and moaned to the louring sky

in dumb appeal that I might die


Only then the figure came

to hear me beg forgiveness

so I saw that smile of hers again

just the one she let me see:

and Sheila leaned in close, murmuring so sadly

of the things that might have been.

Music from around the sphere

River Dove by Gordon Hatton. Wikimedia Commons

On my first listen to Kenneth Hesketh’s Hände Music for Piano (Paladino Music) I could not get the image of a river out of my mind. Not just any river, but the River Dove as it winds through Dovedale in Derbyshire. There are fast flowing torrents, shallow rapids, gently flowing over rocks and around stepping-stones. On consulting the excellent sleeve notes, I see that Hesketh has composed Uncoiling the River. Clearly, flowing water is an influence on his compositional style. It rumbles, splashes, ebbs and flows. The pieces are performed by Hesketh’s friend and collaborator, Clare Hammond. There is both virtuosity and empathy evident in the playing, with subtle use of pedals and piano strings to add to the palette of sounds.

I listened with my study windows open, and birdsong floated into the pauses sand silences. Chorales and Kolam is a particular highlight with composer and performer seemingly merged in harmonic unison.

“Both Hesketh and I share a certain frenetic mental energy,” says Hammond. Quite so, but there are profound contemplations amidst the frenzy. Hesketh and Hammond are a formidable pairing. A symbiotic, sonic experience.

Map of South America in 1593, by Gerard de Jode

In contrast to the fast flows and gentle streams is Vibrant Rhythms, with Bolivian pianist Jose Navarro-Silberstein demonstrating the full range of South American rhymes and rhythms. Argentinian composer Alberto Ginastera’s Suite de Danzas Criollas sets us on a South American journey making extravagant use of zamba, chacarera and malambo folk dances alongside Bartok and Stravinsky. An exciting mix of cultures and styles.  The playing is assured without being flamboyant.

We travel across regions of Brazil in Heitor Villa-Lobos’ Cicolo brasileiro. If one can imagine Debussy playing a samba you get the sense of this particular sonic landscape. Tiny rhythms seem to dance in the sultry air in these virtuosic movements.

The real highlight for me is the interpretations of fellow Bolivian composer Marvin Sandi, where folk tunes meet polytonality. These four short pieces seem to belong to a sound world of their own. Sandi gave up music for philosophy eventually. On the evidence of these pieces he really could have combined both disciplines to great and lasting effect.

The CD closes with the precise waltzes of Robert Schumann, where wild and impulsive pieces give way to dreamy singing. There is a balletic tonality which encouraged me to go en pointe in my well-worn slippers.

‘West Coast of Ireland’ by Robert Henri West, 1913

The Devil’s Dream is a new release on the Metier label by Irish composer Sean Doherty. It is an outstanding work exploring Donegal fiddle traditions where “the tunes are as stark as the bogland and the bowing as jagged as the cliffs,” according to the accompanying notes. This is vast, swirling music for a dense and dowdy landscape – the music of quiet resistance and brutal victory. Somehow there is both defiance and acceptance. It is both uncomfortable and deeply inspiring. Do yourself a favour and spend an hour immersed in this stunning performance by the Sonoro Quartet and the wonderful soprano, Dr. Sylvia O’Brien.  

Kenneth Hesketh, Hände – Music for Piano, Clare Hammond, Paladino Music, PMR0137

Vibrant Rhythms, Works by Ginastera, Villa-Lobos, Sandi and Schumann, Jose Navaroo-Silberstein, Genuin, GEN23845

The Devil’s Dream, Chamber music by Sean Doherty, Sonoro Quartet, Metier, Mex 77135