Loe raamatut: «Wolf Hall & Bring Up the Bodies: RSC Stage Adaptation - Revised Edition»

Notes on Characters

Hilary Mantel

Thomas Cromwell

Elizabeth Cromwell

Cardinal Archbishop Thomas Wolsey

King Henry VIII

Anne Boleyn

Katherine of Aragon

Princess Mary

Stephen Gardiner

William Warham, Archbishop of Canterbury

Thomas Cranmer, Incoming Archbishop of Canterbury

Thomas More

Rafe Sadler

Harry Percy

Christophe

Thomas Howard, Duke of Norfolk

Charles Brandon, Duke of Suffolk

Eustache Chapuys

Sir Henry Norris

Sir William Brereton

Mark Smeaton

George Boleyn, Lord Rochford

Francis Weston

Sir Thomas Boleyn

Thomas Wyatt

Gregory Cromwell

Jane Boleyn, Lady Rochford

Mary Boleyn

Elizabeth, Lady Worcester

Mary Shelton

Sir John Seymour

Jane Seymour

Edward Seymour

Sir William Kingston, Constable of the Tower

The Calais Executioner

THOMAS CROMWELL

You are the man with the slow resting heartbeat, the calmest person in any room, the best man in a crisis. You are a robust, confident, centred man, and your confidence comes from the power you have in reserve: your Putney self, ready to be unleashed, like an invisible pit bull. No one knows where you have been, or who you know, or what you can do, and these areas of mystery, on which you cast no light, are the source of your power. When you are angry, which is rare, you are terrifying.

Your date of birth is unknown (nobody noticed) but you are in your forties during the action of these plays and about fifty at the time of Anne Boleyn’s fall. Your father was a blacksmith and brewer, the neighbour from Hell to the townsfolk of Putney, a heavy drinker and prone to violence. Your mother’s name is unknown. You don’t say much about your past, but you tell Thomas Cranmer, ‘I was a ruffian in my youth.’ Whatever this statement reveals or conceals, you have a lifelong sympathy with young men who have veered off-course.

At about the age of fifteen you vanish abroad. You join the French Army and speak French. You go into the household of a Florentine banker and speak Italian. You set up in the wool trade in Antwerp and speak Flemish and also Spanish, the language of the occupying power. You come home to London: and who are you? You’re a man who speaks the language of the occupying power. Traces of the blacksmith’s boy are almost invisible. The rough diamond is polished. You have seen at least one battle at close quarters, a calamitous defeat for your side; it’s enough to turn you against war. You have seen childhood poverty and modest prosperity and you know all about what money can buy. You have learned from every situation you have been in. You are flexible, pragmatic and shrewd, with a streak of sardonic humour. You are widely read, understand poetry and art. Somewhere on the road you found God. Your exact views (like much about you) remain unknown. But you are a reformer and your religious feelings are strong and genuine.

On the other hand… you’re quite prepared to torture someone, if reasons of State demand it and the King agrees. (You probably don’t torture Mark Smeaton.) You are a natural arbitrator and negotiator, preferring a settlement to a fight, but if pushed – as you are by the Boleyns in 1536 – you are ingenious and ruthless.

You marry Elizabeth Wykys, a prosperous widow with connection in the wool trade. You have three children. You take up the law and go to work for Cardinal Wolsey, looking after his business affairs. You help him raise the funds for Cardinal College (which is now Christchurch) by closing or amalgamating a group of small monasteries, work which equips you for the mighty programme of Church reorganisation you will soon undertake for Henry.

You and Wolsey are close. When he falls from favour, you are the only person who remains completely loyal. Much about you is equivocal, but this is not. You get yourself a seat in the Commons, and through his long winter in exile at Esher you attend every sitting, trying to talk out the charges that have been brought against him. You expend effort and your own money. When he goes north, you remain in London looking after his interests. You warn him that the way to survive is to retire into private life. But, though he listens to you on most matters, in this instance he doesn’t. His loss is devastating to you. Ten years later, you are still defending his good name: though Wolsey, a corrupt papist, ought to have been everything you hate.

You first come to Henry’s notice when Wolsey’s empire has to be pulled apart. Henry does not think he has many true friends and is touched by your loyalty to the Cardinal. You become his unofficial adviser long before you are sworn in to the Council. Your promotion causes predictable outrage, not just because of your humble background but because you are still known as the Cardinal’s man. To save everyone embarrassment, it is proposed you adopt a coat of arms from another, more respectable family called Cromwell. But you refuse. You are not ashamed of your background; you don’t talk about it, but you don’t conceal it either. In fact, you never apologise, and never explain. (And when you get your own coat of arms, you incorporate a motif from Wolsey’s arms, so that it flies in the faces of his old enemies for years to come.)

When your wife (and two little daughters) die, you do not marry again. This, for the time, is unusual. We don’t know your reasons. You have women friends; this is not understood, for example, by the Duke of Norfolk, who tells you that he never had a conversation with his own daughter until she was about twenty years of age, and was perplexed to find that she had ‘a good wit.’

Your household at Austin Friars, as you progress in the King’s service, is transformed, extended, rebuilt, into a great ministerial household, a power centre, cosmopolitan and full of young men who are there to gain promotion. You take on the people written off elsewhere, the wild boys who are on everybody’s wrong side, and make them into useful workers. You are an administrative genius, able to plan and accomplish in weeks what would take other people years. You are good at delegating and your instructions are so precise that it’s difficult to make a mistake. You extend the secretary’s role so that it covers most of the business of State; you know what happens in every department of Government. Your ideas are startlingly radical, but mostly they are beaten off by a conservative Parliament. At the centre of a vast network of patronage, you have a steady tendency to grow rich. You are generous with your money, a patron of artists, writers and scholars, and of your own troupe of actors, ‘Lord Cromwell’s Men’. The kitchen at Austin Friars feeds two hundred poor Londoners daily. All the same, you are a focus of resentment. The aristocracy don’t like you on principle, and the ordinary people don’t like you either. In the opinion of the era, there’s something unnatural about what you’ve achieved. In the north they think you’re a sorcerer.

Much of your myth is ill-founded. You do not control a vast spy network. You do not throw elderly monks into the road; in fact, you give them pensions. You are not the dour man of Holbein’s portrait but (witnesses say) lively, witty and eloquent. You have a remarkable memory, and are credited with knowing the entire New Testament by heart. Your particular distinction is this: you are a big-picture man who also sees and takes care of every detail.

Apart from your intellectual ability, your greatest asset is that you manage to get on with the most unlikely people. You are affable, gregarious, and amazingly plausible. You easily convince people you are on their side, when common sense should suggest different. You tie people to you by favours rather than by fear, and so they don’t easily see what a grip you’ve taken. People open their hearts to you. They tell you all sorts of things. But you tell them nothing.

What do you really think of Henry? No one knows. You don’t seem to feel the warmth towards him that Wolsey did, but you respect his abilities and you serve him because he is the focus of good order and keeps the country together. Dealing with him on a day-to-day basis needs tact and patience. You are optimistic and resilient, and believe there’s hope even for the bigoted and the terminally stubborn. Those who are on the inside track with you have their interests protected, and you take trouble to help out those in difficulties. But those who cross you are likely to find that you have been out by night and silently dug a deep pit beneath their career plans.

Your weakness is that you do not head up a faction or an interest group and have no power base of your own; you depend completely on the King’s favour. You are resented by the old nobility, and you are destroyed when your two implacable enemies, Norfolk and Gardiner, manage to make common cause. But by then, you have reshaped England, and even the reign of the furiously papist Mary can’t undo your work; you have given too many people a stake in your remodelled society.

ELIZABETH CROMWELL

You were the daughter of Henry Wykys, a prosperous wool trader, and were first married to Thomas Williams, a yeoman of the guard, and then to Cromwell. Your family were connected to Putney and may have been Welsh in origin. You have three children, Gregory, Anne and Grace. You die in one of the epidemics of ‘sweating sickness’ that sweep the country in the late 1520s, and your daughters follow you. You are a member of a close family and your sister, mother and brother-in-law continue to live at Austin Friars for many years.

We know nothing about you, so we can only say, ‘women like you’. City wives were usually literate, numerate and businesslike, used to managing a household and a family business in cooperation with their husbands. In Wolf Hall I make you a ‘silk woman’, with your own business, like the wife of Cromwell’s friend Stephen Vaughan, who supplied Anne Boleyn’s household with small but valuable articles made of silk braid: cauls for the hair, ties for garments. Cromwell watches you weave one of these braids, fingers moving so fast that he can’t follow the action. He asks you to slow down and show him how it’s done. You say that if you slowed down and stopped to think you wouldn’t be able to do it. He remembers this when he is deep into the coup against Anne Boleyn.

CARDINAL ARCHBISHOP THOMAS WOLSEY

You are, arguably, Europe’s greatest statesman and greatest fraud. You are also a kind man, tolerant and patient in an age when these qualities are not necessarily thought virtues.

You are not quite the enormous scarlet cardinal of the (posthumous) portrait. You are more splendid than stout, a man of iron constitution who has survived the ‘sweating sickness’ six times. You are a cultured Renaissance prince, as grand and worldly as any Italian cardinal. Renowned for the speed at which you travel, you are capable of an unbroken twelve-hour stint at your desk, ‘all which season my lord never rose once to piss, nor yet to eat any meat, but continually wrote his letters with his own hands…’ Your household observes you with awe, as does the known world. You hope you might be Pope one day, but think it would be more convenient if you could bring the papacy to Whitehall; you wouldn’t want to give up your palaces or your place next to your own monarch, and anyway you could probably run Christendom in your spare time.

You are the son of a prosperous butcher and grazier, and your family seem to have known how extraordinary you were, because they sent you to Oxford, where you took your first degree at fifteen and where you were known as ‘the boy bachelor’. The Church is the route to advancement for the poor boy. And your route is paved with gold. You acquire influential patrons and enter the service of Henry VII.

When Henry VIII came to the throne you were ready to take much of the burden off the young back, and the Prince was glad to let you carry it. You have real esteem and affection for the young Henry, and he loves you for your personal warmth as well as your unique abilities. You are not only Lord Chancellor but the Pope’s permanent legate in England. So your concentration of power, foreign and domestic, lay and clerical, is probably greater than that wielded by any individual in English history, kings and queens excepted. You are more than the King’s minister, you are the ‘alternative king’, ostentatious and very rich; suave, authoritative, calm; an ironist, worldly-wise, unencumbered by too much ideology. You never simply walk, you process: your life is a spectacle, a huge performance mounted for the benefit of courtiers and kings. You are acting, particularly, when you’re angry: after the performance, you shrug and laugh.

Until the point where this story starts, you have been able to solve almost every problem that’s faced you. You are so sure of yourself, that your unravelling is total and unexpected and tragic.

When Henry first asks for an annulment of his marriage, you are confident that you will be able to secure it. But the politics of Europe turn against you, and you find yourself trapped, faced with an impatient, angry monarch, and between two women who hate you: Katherine of Aragon, who has always been jealous of your influence with the King, and Anne Boleyn, who resents you because, before the King set his heart on her, you frustrated the good marriage she intended to make. You are astonished by the extent of the enmity you have aroused (or at least, you say you are) and, like everyone else, you are baffled by the King’s conduct; he wants you banished, then he offers to make peace, then he wants you banished.

For a year your enemies at Court are nervous that the King will reinstate you. No one is capable of assuming your role in Government, and Henry quickly learns this. When you are packed off to the north of England, you do not behave like a man in disgrace. You draw both the gentry and the ordinary people into your orbit, and soon you are living like a great prince again, and writing to the powers of Europe to ask them to help you regain your status. When these letters are intercepted, you are arrested and set out to London to face treason charges.

Soon after your arrest you have what sounds like a heart attack, followed by an intestinal crisis which leads to catastrophic bleeding. There are rumours that you have poisoned yourself. You are forced to continue the journey, and die at Leicester Abbey. Your body is shown to the town worthies so that no one can claim that you have survived and escaped, to set up opposition to Henry in Europe. It is the kind of precaution usually taken for a prince. Even dead, you spook your opponents. Your tomb – which you have been designing for twenty years, with the help of Florentine artists – is taken apart bit by bit and elements find their way all over Europe. At St Paul’s, Lord Nelson occupies your marble sarcophagus, rattling around like a dried pea.

KING HENRY VIII

Let’s think of you astrologically, because your contemporaries did. You are a native of Cancer the Crab and so never walk a straight line. You go sideways to your target, but when you have reached it your claws take a grip. You are both callous and vulnerable, hard-shelled and inwardly soft.

You are a charmer and you have been charming people since you were a baby, long before anyone knew you were going to be King. You were less than four years old when your father showed you off to the Londoners, perched alone on the saddle of a warhorse as you paraded through the streets.

Even as a child you behaved more like a king than your elder brother did. Arthur was dutiful and reserved, always with your father, whereas you were left with the women, a bonny, boisterous child, able to command attention. You were only ten when your brother married the Spanish Princess Katherine, but when you danced at the wedding, all eyes were on you.

At Arthur’s sudden death, your mother and father are plunged into deep grief and dynastic panic. It’s by no means sure that, were your father also to die now, you would come to the throne as the second Tudor; no one wants rule by a child. But your father battles on for a few more years, and you step into Arthur’s role gladly, an understudy who will play the part much better than the original cast member. Later, do you feel some guilt about this?

You are eighteen when you become King, a ‘virtuous prince’, seemingly a model for kingship; you are intellectually gifted, pious, a linguist, a brilliant sportsman, able to write a love song or compose a mass. Almost at once, you marry your brother’s widow and you execute your father’s closest advisers. The latter action is a naked bid for popularity, and it ought to give warning of the seriousness of your intent. Still, early in your reign you put more effort into hunting and jousting than to governing, with a bit of light warfare thrown in. You prefer to look like a king than be a king, which is why you let Thomas Wolsey run the country for you.

You are sexually inexperienced and will always be sexually shy; you don’t like dirty jokes. You have a few liaisons, but they are low-key and discreet. You never embarrass Katherine, who is too grand to display any jealousy, though she is too much in love with you not to care. However, you cosset and promote your illegitimate son, Henry Fitzroy (a son you can acknowledge, as his mother was unmarried). Fitzroy has his own household, so is not part of the daily life of the Court, but is loaded with honours.

You are approaching forty when this story starts, five years younger than Thomas Cromwell. You are not ageing particularly well; still trim, still good-looking, you remain a superb athlete and jouster, but in an effort to hang on to your youth you have taken to collecting friends who are a generation younger than you, lively young courtiers like Francis Weston.

Your manner is relaxed, rather than domineering. You are highly intelligent, quick to grasp the possibilities of any situation. You expect to get your own way, not just because you are a king but because you are that sort of man. When you are thwarted, your charm vanishes. You are capable of a carpet-chewing rage, which throws people because it is so unexpected, and because you will turn on the people closest to you. But most of the time you like to be liked; you have no fear of confronting men, though you don’t seek confrontation, but you will not confront a woman, so you are run ragged between Katherine and Anne, trying to placate one and please the other. Unlike most men of your era, you truly believe in romantic love (though, of course, not in monogamy). It is an ideal for you. You were in love with Katherine when you married her and when you fall in love with Anne Boleyn you feel you must shape your life around her. Likewise, when Jane Seymour comes along…