Bring Up the Bodies (19 page)

‘Sir,' Rafe says. ‘I have been wanting to ask. Is that your new hat?'

‘No,' he says gravely. ‘It is the hat of the ambassador of Spain and the Empire. Would you like to try it on?'

A commotion at the door. It is Christophe. He cannot enter in the ordinary way; he treats doors as his foe. His face is still black from the bonfire. ‘A woman is here for you, sir. Very urgent. She will not be sent away.'

‘What manner of woman?'

‘Quite old. But not so old you would kick her downstairs. Not on a cold night like this.'

‘Oh, for shame,' he says. ‘Wash your face, Christophe.' He turns to Rafe. ‘An unknown woman. Am I inky?'

‘You'll do.'

In his great hall, waiting for him by the light of sconces, a lady who lifts her veil and speaks to him in Castilian: Maria, Lady Willoughby, once Maria de Salinas. He is aghast: how is this possible, he asks, she has come alone from her house in London, at night, in the snow?

She cuts him short. ‘I come to you in desperation. I cannot get to the king. There is no time to lose. I must have a pass. You must give me a paper. Or when I arrive at Kimbolton they will not let me in.'

But he switches her to English; in any dealings with Katherine's friends, he wants witnesses. ‘My lady, you cannot travel in this weather.'

‘Here.' She fumbles for a letter. ‘Read this, it is from the queen's physician, his own hand. My mistress is in pain and afraid and alone.'

He takes the paper. Some twenty-five years ago, when Katherine's entourage had first arrived in England, Thomas More had described them as hunchbacked pygmies, refugees from Hell. He cannot comment; he was still out of England himself, and far from the court, but it sounds like one of More's poetic exaggerations. This lady came a little later; she was Katherine's favourite; only her marriage to an Englishman had parted them. She was beautiful then, and now, a widow, she is beautiful still; she knows it and will use it, even when she is shrinking with misery and blue with cold. She swirls out of her cloak, and gives it to Rafe Sadler, as if he stood there for that purpose. She crosses the room and takes his hands. ‘Mother of God, Thomas Cromwell, let me go. You will not refuse me this.'

He glances at Rafe. The boy is as immune to Spanish passion as he might be to a wet dog buffeting the door. ‘You must understand, Lady Willoughby,' Rafe says coolly, ‘that this is a family matter, not even a council matter. You may beseech Master Secretary all you like, but it is for the king to say who visits the dowager.'

‘Look, my lady,' he says. ‘The weather is filthy. Even if it thaws tonight, it will be worse up-country. I cannot guarantee your safety, even if I give you an escort. You might fall from your horse.'

‘I will walk there!' she says. ‘How will you stop me, Master Secretary? Keep me in chains? Will you have your black-faced peasant tie me up and lock me in a closet till the queen is dead?'

‘You are ridiculous, madam,' Rafe says. He seems to feel some need to step in and protect him, Cromwell, from women's wiles. ‘It is as Master Secretary says. You cannot ride in this weather. You are no longer young.'

Under her breath she utters a prayer, or curse. ‘Thank you for your gallant reminder, Master Sadler, without your advice I might have thought myself sixteen. Ah, do you see, I am an Englishwoman now! I know how to say the opposite of what I mean.' A shadow of calculation crosses her face. ‘The cardinal would have let me go.'

‘Then what a pity he is not here to tell us about it.' But he takes the cloak from Rafe, places it around her shoulders. ‘Go, then. I see you are determined. Chapuys is riding up there with a pass, so perhaps…'

‘I am sworn to be on the road at dawn. God turn his back on me, if I am not. I shall outpace Chapuys, he is not impelled as I am.'

‘Even if you get there…it is a harsh country and the roads barely worth the name. You might reach the castle itself and have a fall. Even under the walls.'

‘What?' she says. ‘Oh, I see.'

‘Bedingfield has his orders. But he could not leave a lady in a snowdrift.'

She kisses him. ‘Thomas Cromwell. God and the Emperor will requite you.'

He nods. ‘I trust in God.'

She sweeps out. They can hear her voice raised in enquiry: ‘What are these strange mounds of snow?'

‘I hope they do not tell her,' he says to Rafe. ‘She is a papist.'

‘One never kisses me like that,' Christophe complains.

‘Perhaps if you washed your face,' he says. He looks keenly at Rafe. ‘You would not have let her go.'

‘I would not,' Rafe says stiffly. ‘The ruse would not have occurred to me. And even if it had…no, I would not, I would have been afraid to cross the king.'

‘That's why you will thrive and live to be old.' He shrugs. ‘She will ride. Chapuys will ride. And Stephen Vaughan will watch them both. Are you coming tomorrow morning? Bring Helen and her daughters. Not the baby, it's too cold. We are going to have a fanfare, Gregory says, and then trample the papal court into the ground.'

‘She loved the wings,' Rafe says. ‘Our little girl. She wants to know if she can wear them every year.'

‘I don't see why not. Till Gregory has a daughter big enough.'

They embrace. ‘Try to sleep, sir.'

He knows Brandon's words will go round in his head when that head touches the pillow. ‘When it comes to the affairs of nations you cannot deal, you are not fit to talk to princes.' Useless to swear vengeance on Duke Dripping Pan. He will undo himself, and perhaps for good this time, shouting around Greenwich that Henry is a cuckold. Surely even an old favourite cannot get away with that?

Besides, Brandon's right. A duke can represent his master at the court of a foreign king. Or a cardinal; even if he is low-born like Wolsey, his office in the church dignifies him. A bishop like Gardiner; he may be of dubious provenance, but by his office he is Stephen Winchester, incumbent of England's richest see. But Cremuel remains a nobody. The king gives him titles that no one abroad understands, and jobs that no one at home can do. He multiplies offices, duties pile on him: plain Master Cromwell goes out at morning, plain Master Cromwell comes in at night. Henry had offered him the Lord Chancellor's post; no, don't disturb Lord Audley, he had said. Audley does a good job; Audley, in fact, does as he's told. Perhaps, though, he should have agreed? He sighs, at the thought of wearing the chain. You cannot, surely, be both Lord Chancellor and Master Secretary? And he will not give up that post. It doesn't matter if it gives him a lesser status. It doesn't matter if the French don't comprehend. Let them judge by results. Brandon can make a racket, unreproved, near the royal person; he can slap the king on the back and call him Harry; he can chuckle with him over ancient jests and tilt-yard escapades. But chivalry's day is over. One day soon moss will grow in the tilt yard. The days of the moneylender have arrived, and the days of the swaggering privateer; banker sits down with banker, and kings are their waiting boys.

Last thing, he opens the shutter to say good night to the Pope. He hears a drip from a drainage spout above, he hears the deep groan as snow slides across the tiles above him, and falls in a clean sheet of white that for a second obliterates his view. His eyes follow it; with a little puff like white smoke, the fallen snow joins the trodden slush on the ground. He was right about the wind on the river. He draws the shutter closed. The thaw has begun. The great spoiler of souls, with his conclave, is left dripping in the dark.

 

At New Year he visits Rafe in his new house at Hackney, three storeys of brick and glass by St Augustine's church. On his first visit at summer's end, he had noted everything in place for Rafe's happy life: pots of basil on the kitchen sills, garden plots seeded and the bees in their hives, the doves in their cote and the frames in place for the roses that will climb them; the pale oak-panelled walls gleaming in expectation of paint.

Now the house is settled, bedded in, scenes from the gospels glowing on the wall: Christ as fisher of men, a startled steward tasting the good wine at Cana. In an upper room reached by the steep steps from the parlour, Helen reads Tyndale's gospel as her maids sew: ‘…by grace are ye saved.' St Paul may not suffer a woman to teach, but it is not exactly teaching. Helen has put off the poverty of her early life. The husband who beat her is dead, or gone so far away that we count him dead. She can become Sadler's wife, a rising man in Henry's service; she can become a serene hostess, a learned woman. But she cannot lose her history. One day the king will say, ‘Sadler, why do you not bring your wife to court, is she very ugly?'

He will interrupt: ‘No sir; very beautiful.' But Rafe will add, ‘Helen is lowly born and does not know court manners.'

‘Why did you wed her?' Henry will demand. And then his face will soften: Ah, I see, for love.

Now Helen takes his hands and wishes him a continuance of good fortune. ‘I pray to God every day for you, for you were the origin of my happiness when you took me into your house. I pray him send you health and good luck and the king's listening ear.'

He kisses her and holds her close as if she were his daughter. His godson is howling in the next room.

On Twelfth Night the last marzipan moon is eaten up. The star is taken down, Anthony supervising. Its wicked points are fitted into their sleeves, and it is carried carefully to its store room. The peacock wings sigh into their linen shroud, and are hung on their peg behind the door.

Reports come from Vaughan that the old queen is better. Chapuys thinks so well of her that he is on the road back to London. He found her wasted, so weak that she could not sit up. But now she is eating again, taking comfort in the company of her friend Maria de Salinas; her gaolers were forced to admit this lady, after she suffered an accident under the very walls.

But later he, Cromwell, will hear of how on the evening of 6 January – just about the time, he thinks, that we were seeing our Christmas into store – Katherine grew restless. She felt herself failing, and during the night she told her chaplain that she would like to take communion: asking anxiously, what hour is it now? It is not yet four o'clock, he told her, but in case of urgency, the canonical hour can be advanced. Katherine waits it out, lips moving, a holy medal folded in her palm.

She will die that day, she says. She has studied death, many times anticipated it, and she is not shy at its approach. She dictates her wishes about her burial arrangements, which she does not expect to be observed. She asks for her household to be paid off, her debts to be settled.

At ten in the morning a priest anoints her, touching the holy oil to her eyelids and lips, her hands and feet. These lids will now seal and not reopen, she will neither look nor see. These lips have finished their prayers. These hands will sign no more papers. These feet have finished their journey. By noon her breathing is stertorous, she is labouring to her end. At two o'clock, light cast into her chamber by the fields of snow, she resigns from life. As she draws her last breath, the sombre forms of her keepers close in. They are reluctant to disturb the aged chaplain, and the old women shuffling from her bedside. Before they have washed her, Bedingfield has put his fastest rider on the road.

 

8 January: the news arrives at court. It filters out from the king's rooms then runs riot up staircases to the rooms where the queen's maids are dressing, and through the cubby holes where kitchen boys huddle to doze, and along lanes and passages through the breweries and the cold rooms for keeping fish, and up again through the gardens to the galleries and bounces up to the carpeted chambers where Anne Boleyn sinks to her knees and says, ‘At last God, not before time!' The musicians tune up for the celebrations.

Anne the queen wears yellow, as she did when she first appeared at court, dancing in a masque: the year, 1521. Everyone remembers it, or they say they do: Boleyn's second daughter with her bold dark eyes, her speed, her grace. The fashion for yellow had started among the wealthy in Basle; for a few months, if a draper could get hold of it, he could make a killing. And then suddenly it was everywhere, in sleeves and hose and even hair-bands for those who couldn't afford more than a sliver. By the time of Anne's debut it had slid down the scale abroad; in the domains of the Emperor, you'd see a woman in a brothel hoisting her fat dugs and tight-lacing her yellow bodice.

Does Anne know this? Today her gown is worth five times the one she wore when her father was her only banker. It is sewn over with pearls, so that she moves in a blur of primrose light. He says to Lady Rochford, do we call it a new colour, or an old colour come back? Will you be wearing it, my lady?

She says, I don't think it suits any complexion, myself. And Anne should stick to black.

On this happy occasion, Henry wants to show off the princess. You would think such a small child – she is now almost two and a half – would be looking about her for her nurse, but Elizabeth chuckles as she is passed hand-to-hand by the gentlemen, scuffing up their beards and batting at their hats. Her father bounces her in his arms. ‘She looks forward to seeing her little brother, don't you, dumpling?'

There is a stir from the courtiers; all Europe knows Anne's condition, but it is the first time it has been mentioned in public. ‘And I share her impatience,' the king says. ‘It's been long enough to wait.'

Elizabeth's face is losing its baby roundness. Hail Princess Ferret Face. The older courtiers say they can see the king's father in her, and his brother, Prince Arthur. She has her mother's eyes though, busy and full in their orbits. He thinks Anne's eyes beautiful, though best when they gleam with interest, as a cat's do when she sees the whisk of some small creature's tail.

The king seizes back his darling and coos to her. ‘Up to the sky!' he says, and tosses her up, then swoops her down and plants a kiss on her head.