Wolf Hall (25 page)

He asks the priest if his elder daughter can be buried with her copybook, in which she has written her name: Anne Cromwell. The priest says he has never heard of such a thing. He is too tired and angry to fight.

His daughters are now in Purgatory, a country of slow fires and ridged ice. Where in the Gospels does it say “Purgatory”?

Tyndale says, now abideth faith, hope and love, even these three; but the greatest of these is love.

Thomas More thinks it is a wicked mistranslation. He insists on “charity.” He would chain you up, for a mistranslation. He would, for a difference in your Greek, kill you.

He wonders again if the dead need translators; perhaps in a moment, in a simple twist of unbecoming, they know everything they need to know.

Tyndale says, “Love never falleth away.”

October comes in. Wolsey presides, as usual, over the meetings of the king's council. But in the law courts, as Michaelmas term opens, writs are moved against the cardinal. He is charged with success. He is charged with the exercise of power. Specifically, he is charged with asserting a foreign jurisdiction in the king's realm—that is to say, with exercising his role as papal legate. What they mean to say is this: he is
alter rex
. He is, he has always been, more imperious than the king. For that, if it is a crime, he is guilty.

So now they swagger into York Place, the Duke of Suffolk, the Duke of Norfolk: the two great peers of the realm. Suffolk, his blond beard bristling, looks like a pig among truffles; a florid man, he remembers, turns my lord cardinal sick. Norfolk looks apprehensive, and as he turns over the cardinal's possessions, it is clear that he expects to find wax figures, perhaps of himself, perhaps with long pins stuck through them. The cardinal has done his feats by a compact with the devil; that is his fixed opinion.

He, Cromwell, sends them away. They come back. They come back with further and higher commissions and better signatures, and they bring with them the Master of the Rolls. They take the Great Seal from my lord cardinal.

Norfolk glances sideways at him, and gives him a fleeting, ferrety grin. He doesn't know why.

“Come and see me,” the duke says.

“Why, my lord?”

Norfolk turns down his mouth. He never explains.

“When?”

“No hurry,” Norfolk says. “Come when you've mended your manners.”

It is October 19, 1529.

ALL HALLOWS
1529

 

Halloween: the world's edge seeps and bleeds. This is the time when the tally-keepers of Purgatory, its clerks and jailers, listen in to the living, who are praying for the dead. At this time of year, with their parish, he and Liz would keep vigil. They would pray for Henry Wykys, her father; for Liz's dead husband, Thomas Williams; for Walter Cromwell, and for distant cousins; for half-forgotten names, long-dead half sisters and lost stepchildren.

Last night he kept the vigil alone. He lay awake, wishing Liz back; waiting for her to come and lie beside him. It's true he is at Esher with the cardinal, not at home at the Austin Friars. But, he thought, she'll know how to find me. She'll look for the cardinal, drawn through the space between worlds by incense and candlelight. Wherever the cardinal is, I will be.

At some point he must have slept. When daylight came, the room felt so empty it was empty even of him.

All Hallows Day: grief comes in waves. Now it threatens to capsize him. He doesn't believe that the dead come back; but that doesn't stop him from feeling the brush of their fingertips, wing tips, against his shoulder. Since last night they have been less individual forms and faces than a solid aggregated mass, their flesh slapping and jostling together, their texture dense like sea creatures, their faces sick with an undersea sheen.

Now he stands in a window embrasure, Liz's prayer book in hand. His daughter Grace liked to look at it, and today he can feel the imprint of her small fingers under his own. These are Our Lady's prayers for the canonical hours, the pages illuminated by a dove, a vase of lilies. The office is Matins, and Mary kneels on a floor of checkered tiles. The angel greets her, and the words of his greeting are written on a scroll, which unfurls from his clasped hands as if his palms are speaking. His wings are colored: heaven-blue.

He turns the page. The office is Lauds. Here is a picture of the Visitation. Mary, with her neat little belly, is greeted by her pregnant cousin, St. Elizabeth. Their foreheads are high, their brows plucked, and they look surprised, as indeed they must be; one of them is a virgin, the other advanced in years. Spring flowers grow at their feet, and each of them wears an airy crown, made of gilt wires as fine as blond hairs.

He turns a page. Grace, silent and small, turns the page with him. The office is Prime. The picture is the Nativity: a tiny white Jesus lies in the folds of his mother's cloak. The office is Sext: the Magi proffer jeweled cups; behind them is a city on a hill, a city in Italy, with its bell tower, its view of rising ground and its misty line of trees. The office is None: Joseph carries a basket of doves to the temple. The office is Vespers: a dagger sent by Herod makes a neat hole in a shocked infant. A woman throws up her hands in protest, or prayer: her eloquent, helpless palms. The infant corpse scatters three drops of blood, each one shaped like a tear. Each bloody tear is a precise vermilion.

He looks up. Like an afterimage, the form of the tears swims in his eyes; the picture blurs. He blinks. Someone is walking toward him. It is George Cavendish. His hands wash together, his face is a mask of concern.

Let him not speak to me, he prays. Let George pass on.

“Master Cromwell,” he says, “I believe you are crying. What is this? Is there bad news about our master?”

He tries to close Liz's book, but Cavendish reaches out for it. “Ah, you are praying.” He looks amazed.

Cavendish cannot see his daughter's fingers touching the page, or his wife's hands holding the book. George simply looks at the pictures, upside down. He takes a deep breath and says, “Thomas. . . ?”

“I am crying for myself,” he says. “I am going to lose everything, everything I have worked for, all my life, because I will go down with the cardinal—no, George, don't interrupt me—because I have done what he asked me to do, and been his friend, and the man at his right hand. If I had stuck to my work in the city, instead of hurtling about the countryside making enemies, I'd be a rich man—and you, George, I'd be inviting you out to my new country house, and asking your advice on furniture and flower beds. But look at me! I'm finished.”

George tries to speak: he utters a consolatory bleat.

“Unless,” he says. “Unless, George. What do you think? I've sent my boy Rafe to Westminster.”

“What will he do there?”

But he is crying again. The ghosts are gathering, he feels cold, his position is irretrievable. In Italy he learned a memory system, so he can remember everything: every stage of how he got here. “I think,” he says, “I should go after him.”

“Please,” says Cavendish, “not before dinner.”

“No?”

“Because we need to think how to pay off my lord's servants.”

A moment passes. He enfolds the prayer book to himself; he holds it in his arms. Cavendish has given him what he needs: an accountancy problem. “George,” he says, “you know my lord's chaplains have flocked here after him, all of them earning—what?—a hundred, two hundred pounds a year, out of his liberality? So, I think . . . we will make the chaplains and the priests pay off the household servants, because what I think is, what I notice is, that his servants love my lord more than his priests do. So, now, let's go to dinner, and after dinner I will make the priests ashamed, and I will make them open their veins and bleed money. We need to give the household a quarter's wages at least, and a retainer. Against the day of my lord's restoration.”

“Well,” says George, “if anyone can do it, you can.”

He finds himself smiling. Perhaps it's a grim smile, but he never thought he would smile today. He says, “When that's done, I shall leave you. I shall be back as soon as I have made sure of a place in the Parliament.”

“But it meets in two days . . . How will you manage it now?”

“I don't know, but someone must speak for my lord. Or they will kill him.”

He sees the hurt and shock; he wants to take the words back; but it is true. He says, “I can only try. I'll make or mar, before I see you again.”

George almost bows. “Make or mar,” he murmurs. “It was ever your common saying.”

Cavendish walks about the household, saying, Thomas Cromwell was reading a prayer book. Thomas Cromwell was crying. Only now does George realize how bad things are.

Once, in Thessaly, there was a poet called Simonides. He was commissioned to appear at a banquet, given by a man called Scopas, and recite a lyric in praise of his host. Poets have strange vagaries, and in his lyric Simonides incorporated verses in praise of Castor and Pollux, the Heavenly Twins. Scopas was sulky, and said he would pay only half the fee: “As for the rest, get it from the Twins.”

A little later, a servant came into the hall. He whispered to Simonides; there were two young men outside, asking for him by name.

He rose and left the banqueting hall. He looked around for the two young men, but he could see no one.

As he turned back, to go and finish his dinner, he heard a terrible noise, of stone splitting and crumbling. He heard the cries of the dying, as the roof of the hall collapsed. Of all the diners, he was the only one left alive.

The bodies were so broken and disfigured that the relatives of the dead could not identify them. But Simonides was a remarkable man. Whatever he saw was imprinted on his mind. He led each of the relatives through the ruins; and pointing to the crushed remains, he said, there is your man. In linking the dead to their names, he worked from the seating plan in his head.

It is Cicero who tells us this story. He tells us how, on that day, Simonides invented the art of memory. He remembered the names, the faces, some sour and bloated, some blithe, some bored. He remembered exactly where everyone was sitting, at the moment the roof fell in.