‘I shall surprise her, sir.’ Switching into English, the young man indicates his feet. He is wearing soft shoes, such as one might wear indoors. ‘She never sees the sword. I have put it there, in the straw. I shall distract her. She will not see from where I come.’
‘But you will show me.’
The man shrugs. ‘If you like. Are you Cremuel? They told me you are in charge of everything. In fact they joke to me, saying, if you faint because she is so ugly, there is one who will pick up the sword, his name is Cremuel and he is such a man, he can chop the head off the Hydra, which I do not understand what it is. But they say it is a lizard or serpent, and for each head that is chopped two more will grow.’
‘Not in this case,’ he says. Once the Boleyns are done, they are done.
The weapon is heavy, needing a two-handed grip. It is almost four foot in length: two inches broad, round at the tip, a double edge. ‘One practises, like this,’ the man says. He whirls like a dancer on the spot, his arms held high, his fists together as if he were gripping the sword. ‘Every day one must handle the weapon, if only to go through the motions. One may be called at any time. We do not kill so many in Calais, but one goes to other towns.’
‘It is a good trade,’ Christophe says. He wants to handle the sword, but he, Cromwell, does not want to let go of it yet.
The man says, ‘They tell me I may speak French to her and she will understand me.’
‘Yes, do so.’
‘But she will kneel, she must be informed of this. There is no block, as you see. She must kneel upright and not move. If she is steady, it will be done in a moment. If not, she will be cut to pieces.’
He hands back the weapon. ‘I can answer for her.’
The man says, ‘Between one beat of the heart and the next it is done. She knows nothing. She is in eternity.’
They walk away. Christophe says, ‘Master, he has said to me, tell the women that she should wrap her skirts about her feet when she kneels, in case she falls bad and shows off to the world what so many fine gentlemen have already seen.’
He does not reprove the boy for his coarseness. He is crude but correct. And when the moment comes, it will prove, the women do it anyway. They must have discussed it among themselves.
Francis Bryan has appeared beside him, steaming inside a leather jerkin. ‘Well, Francis?’
‘I am charged that as soon as her head is off I ride with the news to the king and Mistress Jane.’
‘Why?’ he says coldly. ‘Do they think the headsman might in some way fail?’
It is almost nine o’clock. ‘Did you eat any breakfast?’ Francis says.
‘I always eat my breakfast.’ But he wonders if the king did. ‘Henry has hardly spoken of her,’ Francis Bryan says. ‘Only to say he cannot see how the whole thing occurred. When he looks back on the last ten years, he cannot understand himself.’
They are silent. Francis says, ‘Look, they are coming.’
The solemn procession, through Coldharbour Gate: the city first, aldermen and officials, then the guard. In the midst of them the queen with her women. She wears a gown of dark damask and a short cape of ermine, a gable hood; it is the occasion, one supposes, to hide the face as much as possible, to guard the expression. That ermine cape, does he not know it? It was wrapped around Katherine, he thinks, when I saw it last. These furs, then, are Anne’s final spoils. Three years ago when she went to be crowned, she walked on a blue cloth that stretched the length of the abbey – so heavy with child that the onlookers held their breath for her; and now she must make shift over the rough ground, picking her way in her little lady’s shoes, with her body hollow and light and just as many hands around her, ready to retrieve her from any stumble and deliver her safely to death. Once or twice the queen falters, and the whole procession must slow; but she has not stumbled, she is turning and looking behind her. Cranmer had said, ‘I do not know why, but she thinks there is still hope.’ The ladies have veiled themselves, even Lady Kingston; they do not want their future lives to be associated with this morning’s work, they do not want their husbands or their suitors to look at them and think of death.
Gregory has slipped into place beside him. His son is trembling and he can feel it. He puts out a gloved hand and rests it on his arm. The Duke of Richmond acknowledges him; he stands in prominent view, with his father-in-law Norfolk. Surrey, the duke’s son, is whispering to his father, but Norfolk gazes straight ahead. How has the house of Howard come to this?
When the women strip the queen of her cape she is a tiny figure, a bundle of bones. She does not look like a powerful enemy of England, but looks can deceive. If she could have brought Katherine to this same place, she would have. If her sway had continued, the child Mary might have stood here; and he himself of course, pulling off his coat and waiting for the coarse English axe. He says to his son, ‘It will be but a moment now.’ Anne has given alms out as she walks, and the velvet bag is empty now; she slips her hand inside it and turns it inside out, a prudent housewife’s gesture, checking to see that nothing is thrown away.
One of the women stretches out a hand for the purse. Anne passes it without looking at her, then moves to the edge of the scaffold. She hesitates, looks over the heads of the crowd, then begins to speak. The crowd as one sways forward, but can only shuffle by inches towards her, every man with his head lifted, staring. The queen’s voice is very low, her words barely heard, her sentiments the usual ones on the occasion: ‘…pray for the king, for he is a good, gentle, amiable and virtuous prince…’ One must say these things, as even now the king’s messenger might come…
She pauses…But no, she has finished. There is nothing more to say and not more than a few moments left of this world. She takes in a breath. Her face expresses bewilderment. Amen, she says, amen. Her head goes down. Then she seems to draw herself together, to control the tremor that has seized her entire body from head to foot.
One of the veiled women moves to her side and speaks to her. Anne’s arm shakes as she raises it to lift off her hood. It comes easily, no fumbling; he thinks, it cannot have been pinned. Her hair is gathered in a silk net at the nape of her neck and she shakes it out, gathers up the strands, raising her hands above her head, coiling it; she holds it with one hand, and one of the women gives her a linen cap. She pulls it on. You would not think it would hold her hair, but it does; she must have rehearsed with it. But now she looks about as if for direction. She lifts the cap half off her head, puts it back. She does not know what to do, he sees she does not know if she should tie the cap’s string beneath her chin – whether it will hold without fastening or whether she has time to make a knot and how many heartbeats she has left in the world. The executioner steps out and he can see – he is very close – Anne’s eyes focus on him. The Frenchman bobs to his knees to ask pardon. It is a formality and his knees barely graze the straw. He has motioned Anne to kneel, and as she does so he steps away, as if he does not want contact even with her clothes. At arm’s length, he holds out a folded cloth to one of the women, and raises a hand to his eyes to show her what he means. He hopes it is Lady Kingston who takes the blindfold; whoever it is, she is adept, but a small sound comes from Anne as her world darkens. Her lips move in prayer. The Frenchman waves the women back. They retreat; they kneel, one of them almost sinks to the ground and is propped up by the others; despite the veils one can see their hands, their helpless bare hands, as they draw their own skirts about them, as if they were making themselves small, making themselves safe. The queen is alone now, as alone as she has ever been in her life. She says, Christ have mercy, Jesus have mercy, Christ receive my soul. She raises one arm, again her fingers go to the coif, and he thinks, put your arm down, for God’s sake put your arm down, and he could not will it more if – the executioner calls out sharply, ‘Get me the sword.’ The blinded head whips around. The man is behind Anne, she is misdirected, she does not sense him. There is a groan, one single sound from the whole crowd. Then a silence, and into t
hat silence, a sharp sigh or a sound like a whistle through a keyhole: the body exsanguinates, and its flat little presence becomes a puddle of gore.
The Duke of Suffolk is still standing. Richmond too. All others, who have knelt, now get to their feet. The executioner has turned away, modestly, and already handed over his sword. His assistant is approaching the corpse but the four women are there first, blocking him with their bodies. One of them says fiercely, ‘We do not want men to handle her.’
He hears young Surrey say, ‘No, they have handled her enough.’ He says to Norfolk, my lord, take your son in charge, and take him away from this place. Richmond, he sees, looks ill, and he sees with approval how Gregory goes to him and bows, friendly as one young boy can be to another, saying, my lord, leave it now, come away. He does not know why Richmond did not kneel. Perhaps he believes the rumours that the queen tried to poison him, and will not offer her even that last respect. With Suffolk, it is more understandable. Brandon is a hard man and owes Anne no forgiveness. He has seen battle. Though never a bloodletting like this.
It seems Kingston did not think further than the death, to the burial. ‘I hope to God,’ he, Cromwell says to no one in particular, ‘that the constable has remembered to have the flags taken up in the chapel,’ and someone answers him, I think so, sir, for they were levered up two days ago, so her brother could go under.
The constable has not helped his reputation these last few days, though he has been kept in uncertainty by the king and, as he will admit later, he had thought all morning that a messenger might suddenly arrive from Whitehall, to stop it: even when the queen was helped up the steps, even to the moment she took off her hood. He has not thought of a coffin, but an elm chest for arrows has been hastily emptied and carried to the scene of the carnage. Yesterday it was bound for Ireland with its freight, each shaft ready to deal separate, lonely damage. Now it is an object of public gaze, a death casket, wide enough for the queen’s little body. The executioner has crossed the scaffold and lifted the severed head; in a yard of linen he swaddles it, like a newborn. He waits for someone to take the burden. The women, unassisted, lift the queen’s sodden remains into the chest. One of them steps forward, receives the head, and lays it – no other space – by the queen’s feet. Then they straighten up, each of them awash in her blood, and stiffly walk away, closing their ranks like soldiers.
That evening he is at home at Austin Friars. He has written letters into France, to Gardiner. Gardiner abroad: a crouching brute nibbling his claws, waiting for his moment to strike. It has been a triumph, to keep him away. He wonders how much longer he can do it.
He wishes Rafe were here, but either he is with the king or he has gone back to Helen in Stepney. He is used to seeing Rafe most days and he cannot get used to the new order of things. He keeps expecting to hear his voice, and to hear him and Richard, and Gregory when he is at home, scuffling in corners and trying to push each other downstairs, hiding behind doors to jump on each other, doing all those tricks that even men of twenty-five or thirty do when they think their grave elders are not nearby. Instead of Rafe, Mr Wriothesley is with him, pacing. Call-Me seems to think someone should give an account of the day, as if for a chronicler; or if not that, that he should give an account of his own feelings. ‘I stand, sir, as if upon a headland, my back to the sea, and below me a burning plain.’
‘Do you, Call-Me? Then come in from the wind,’ he says, ‘and have a cup of this wine Lord Lisle sends me from France. I do usually keep it for my own drinking.’
Call-Me takes the glass. ‘I smell burning buildings,’ he says. ‘Fallen towers. Indeed there is nothing but ash. Wreckage.’
‘But it’s useful wreckage, isn’t it?’ Wreckage can be fashioned into all sorts of things: ask any dweller on the sea shore.
‘You have not properly answered on one point,’ Wriothesley says. ‘Why did you let Wyatt go untried? Other than because he is your friend?’
‘I see you do not rate friendship highly.’ He watches Wriothesley take that in.
‘Even so,’ Call-Me says. ‘Wyatt I see poses you no threat, nor has he slighted or offended you. William Brereton, he was high-handed and offended many, he was in your way. Harry Norris, young Weston, well, there are gaps where they stood, and you can put your own friends in the privy chamber alongside Rafe. And Mark, that squib of a boy with his lute; I grant you, the place looks tidier without him. And George Rochford struck down, that sends the rest of the Boleyns scurrying away, Monseigneur will have to scuttle back to the country and sing small. The Emperor will be gratified by all that has passed. It is a pity the ambassador’s fever kept him away today. He would like to have seen it.’
No he would not, he thinks. Chapuys is squeamish. But you ought to get up from your sickbed if you need to, and see the results you have willed.
‘Now we shall have peace in England,’ Wriothesley says.
A phrase runs through his head – was it Thomas More’s? – ‘the peace of the hen coop when the fox has run home’. He sees the scattered carcasses, some killed with one snap of the jaw, the rest bitten and shredded as the fox whirls and snaps in panic as the hens flap about him, as he spins around and deals death: the remnants then to be sluiced away, the mulch of scarlet feathers plastered over the floor and walls.
‘All the players gone,’ Wriothesley says. ‘All four who carried the cardinal to Hell; and also the poor fool Mark who made a ballad of their exploits.’
‘All four,’ he says. ‘All five.’
‘A gentleman asked me, if this is what Cromwell does to the cardinal’s lesser enemies, what will he do by and by to the king himself?’
He stands looking down into the darkening garden: transfixed, the question like a knife between his shoulderblades. There is only one man among all the king’s subjects to whom that question would occur, only one who would dare pose it. There is only one man who would dare question the loyalty he shows to his king, the loyalty he demonstrates daily. ‘So…’ he says at last. ‘Stephen Gardiner calls himself a gentleman.’
Perhaps, caught in the little panes which distort and cloud, Wriothesley sees a dubious image: confusion, fear, emotions that do not often mark Master Secretary’s face. Because if Gardiner thinks this, who else? Who else will think it in the months and years ahead? He says, ‘Wriothesley, surely you don’t expect me to justify my actions to you? Once you have chosen a course, you should not apologise for it. God knows, I mean nothing but good to our master the king. I am bound to obey and serve. And if you watch me closely you will see me do it.’
He turns, when he thinks it is fit for Wriothesley to see his face. His smile is implacable. He says, ‘Drink my health.’
III
Spoils
LONDON, SUMMER 1536
The king says, ‘What happened to her clothes? Her headdress?’
He says, ‘The people at the Tower have them. It is their perquisite.’
‘Buy them back,’ the king says. ‘I want to know they are destroyed.’
The king says, ‘Call in all the keys that admit to my privy chamber. Here and elsewhere. All the keys to all the rooms. I want the locks changed.’
There are new servants everywhere, or old servants in new offices. In place of Henry Norris, Sir Francis Bryan is appointed chief of the privy chamber, and is to receive a pension of a hundred pounds. The young Duke of Richmond is appointed Chamberlain of Chester and North Wales, and (replacing George Boleyn) Warden of the Cinque Ports and Constable of Dover Castle. Thomas Wyatt is released from the Tower and granted a hundred pounds also. Edward Seymour is promoted Viscount Beauchamp. Richard Sampson is appointed Bishop of Chichester. The wife of Francis Weston announces her remarriage.
He has conferred with the Seymour brothers on the motto Jane should adopt as queen. They settle on, ‘Bound to Obey and Serve’.
They try it out on Henry. A smile, a nod: perfect contentment. The king’s blue eyes are serene. Through the autumn of this year, 1536, in glass windows, in carvi
ngs of stone or wood, the badge of the phoenix will replace the white falcon with its imperial crown; for the heraldic lions of the dead woman, the panthers of Jane Seymour are substituted, and it is done economically, as the beasts only need new heads and tails.
The marriage is swift and private, in the queen’s closet at Whitehall. Jane is found to be the king’s distant cousin, but all dispensations are granted in proper form.
He, Cromwell, is with the king before the ceremony. Henry is quiet, and more melancholy that day than any bridegroom ought to be. He is not thinking about his last queen; she is ten days dead and he never speaks of her. But he says, ‘Crumb, I don’t know if I will have any children now. Plato says that a man’s best offspring are born when he is between thirty years and thirty-nine. I am past that. I have wasted my best years. I don’t know where they have gone.’
The king feels he has been cheated of his fate. ‘When my brother Arthur died, my father’s astrologer predicted that I should enjoy a prosperous reign and father many sons.’
You’re prosperous at least, he thinks: and if you stick with me, richer than you can ever have imagined. Somewhere, Thomas Cromwell was in your chart.
The debts of the dead woman now fall to be paid. She owes some thousand pounds, which her confiscated estate is able to meet: to her furrier and her hosier, her silkwomen, her apothecary, her linen draper, her saddler, her dyer, her farrier and her pinmaker. The status of her daughter is uncertain, but for now the child is well provided with gold fringing for her bed, and with caps of white and purple satin with gilt trim. The queen’s embroiderer is owed fifty-five pounds, and one can see where the money went.
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