The Mirror & the Light (Thomas Cromwell, #3)

by Hilary Mantel

It is her bloodline they admire, the inheritance from her Spanish mother Katherine. For the sad little girl herself, they care much less; and when I see Mary, he thinks, I will tell her so. Her safety does not lie that way, with men who live on fantasies of the past.

‘Those who conquer England will get their sins remitted.

He wears linen shirts so fine you can read the laws of England through them. He has a green velvet coat that was made for him last year and sent down to Wolf Hall; he has a riding coat of deep purple; he has his robe from the last coronation, a darkish crimson in which, said one of Anne’s ladies, he looked like a travelling bruise. If clothes make the man, he is made; but no one ever said, even when he was young, ‘Tommaso looks handsome today.’ They only said, ‘You’ve got to be up early to get ahead of that squat English bastard.’ You can’t even say he looks well on a horse. He just looks useful on a horse. He gets in the saddle and he goes somewhere. He sets an ambling pace, but he is there before anyone else.

He would not die for his furniture. But he understands Margherita—always supposing the story to be true. Our possessions outlast us, surviving shocks that we cannot; we have to live up to them, as they will be our witnesses when we are gone. In this room are the goods of people who can no longer use them. There are books his master Wolsey gave him. On the bed, the quilt of yellow turkey satin under which he slept with Elizabeth, his wife. In a chest, her carved image of the Virgin is cradled in a quilted cap. Her jet rosary beads are curled inside her old velvet purse. There is a cushion cover on which she was working a design, a deer running through foliage. Whether death interrupted her or just dislike of the work, she had left her needle in the cloth. Later some other hand—her mother’s, or one of her daughters’—drew out the needle; but around the twin holes it left, the cloth had stiffened into brittle peaks, so if you pass your finger over the path of her stitches—the path they would have taken—you can feel the bumps, like snags in the weave. He has had the small Flanders chest moved in here from next door, and her furred russet gown is laid up in spices, along with her sleeves, her gold coif, her kirtles and bonnets, her amethyst ring, and a ring set with a diamond rose. She could stroll in and get dressed. But you cannot make a wife out of bonnets and sleeves; hold all her rings together, and you are not holding her hand.

Wolsey always said, work out what people want, and you might be able to offer it; it is not always what you think, and may be cheap to supply.

They have to hide from themselves, or they would be dazzled by their own light. Once you know this, you can begin to erect those face-saving barriers, screens behind which adjustments can take place, corners for withdrawal, open spaces in which to turn and reverse. There is a smooth pleasure in the process, a gratifying expertise, but there is a price too: a bilious aftertaste, a jaundiced fatigue.

‘I have read the gospel, but not followed it,’ George said. ‘I think I have hardly understood it. If I had done so, I would be a living man as you are. I should have lived quiet, away from the court. And disdained the world, its flatteries. I should have eschewed all vanities, and laid aside ambition.’ ‘Yes,’ he said, ‘but we never do it. None of us. We have all read the sermons. We could write them ourselves. But we are vain and ambitious all the same, and we never do live quiet, because we rise in the morning and we feel the blood coursing in our veins and we think, by the Holy Trinity, whose head can I stamp on today? What worlds are at hand, for me to conquer? Or at the least we think, if God made me a crewman on his ship of fools, how can I murder the drunken captain, and steer it to port and not be wrecked?’

It is he who is the bad poet. His lines go thump and flop. Me/see. Too/do. Thing/bring. Flip-flap, they go, pit-pat.

If you marvel at your good fortune, you should marvel in secret: never let people see you.

The cardinal, in his days as master of the realm, had spoken of God as if He were a distant policy adviser from whom he heard quarterly: gnomic in his pronouncements, sometimes forgetful, but worth a retainer on account of his experience. At times he sent Him special requests, which the less well-connected call prayers; and always, until the last months of his life, God fell over himself to make sure Tom Wolsey had what he wanted. But then he prayed, Make me humble; God said, Sir, your request comes too late.

He broods. He will stand up each one of his men against Norfolk’s—cooks or clerks or masons. He will stand up himself, against the duke. Norfolk has tenants, but he has cash. If the duke has ancient blood, he has stomach. If the duke is an impregnable fortress, then he is a siege engine, he is God’s catapult, he is the Warwolf; he is the trebuchet and the mangonel, crashing boulders into the walls and chucking body parts over them. People will tell him that the duke’s walls are unbreachable, like the walls of Caerphilly, like Maynooth. But he believes there is no fortress that cannot be undermined or betrayed from within. He doesn’t want Norfolk dead. He wants him alive and conformable. He wants him grateful.

No: these are the complaints of small landowners, and men who don’t like to pay their taxes. Men who want to be petty kings in their shires, who want the women to curtsey as they pass through the marketplace. I know these paltry gods, he thinks. We had them in Putney. They have them everywhere.

But he says, no, no, I must get to this, it won’t wait; but then he rests his head on his hand and perhaps dozes, and he is now here, now there: now lit by the tentative flicker from the hearth, now by the sunlight on the water of the Thames at Lambeth, forty-odd years back: but what is forty years, in the life of a river?

The middle of the tree we call the crown. We take out any shoots that are frictious against each other, those that are growing backwards, inwards, any way they shouldn’t. We thin the new shoots and as we cut we are aiming for the shape of a goblet. When the balance is right, we clip the shoots, cutting back to an outward-facing bud. By three in the afternoon, though sweat is running in channels inside our jerkins, our gloved hands are stiff as clods and our voices in the air are faint, like birdsong in a distant paradise. We say, all done lads, and we get under cover and warm our hands

But of course, he thinks, it is usual for a son to fear his father, it is the way the world is made. ‘I tried to be a tender father to you. I never once struck you.’ ‘You were too busy to strike me.’ ‘Well,’ he says, ‘I suppose I could have delegated it. Come in. The wind is getting up.’

Can you make a new England? You can write a new story. You can write new texts and destroy the old ones, set the torn leaves of Duns Scotus sailing about the quadrangles, and place the gospels in every church. You can write on England, but what was written before keeps showing through, inscribed on the rocks and carried on floodwater, surfacing from deep cold wells. It’s not just the saints and martyrs who claim the country, it’s those who came before them: the dwarves dug into ditches, the sprites who sing in the breeze, the demons bricked into culverts and buried under bridges; the bones under your floor. You cannot tax them or count them. They have lasted ten thousand years and ten thousand before that. They are not easily dispossessed by farmers with fresh leases and law clerks who adduce proof of title. They bubble out of the ground, wear away the shoreline, sow weeds among the crops and erode the workings of mines.

‘Oh, I don’t think she will,’ the child Katherine Howard says. ‘She has heard that the king’s first wife was divorced because she kept asking God to pardon him, using a loud voice in Latin. And that he killed Anne Boleyn because she gossiped and shrieked. And that his third wife was beloved because she hardly talked at all. Therefore she aims to imitate Jane. Only not die.’

We councillors think we are men of vision and learning, we gravely delineate our position, set forth our plans and argue our case far into the night. Then some little girl sweeps through and upsets the candle and sets fire to our sleeve; leaves us slapping ourselves like madmen, trying to save our skin. It rankles with me, that some sneak thief like Riche should best me; that a fool like Polo should hole my boat, and a dolt like Lisle should drown me. Perhaps some people will say I have died for the gospel, as More died for the Pope. But most will not think me a martyr for anything, except the great cause of getting on in life.