Wolf Hall and Bring Up The Bodies. Hilary Mantel

without protest, into his arms. Against his shoulder she tumbles at once into sleep, her arms flung around his neck, the crown of her head tucked beneath his chin. ‘Now, Anne,’ he says, ‘we must take Grace to bed, because she is little. I know you are not ready to sleep yet, but you must go in beside her, because she may wake and feel cold.’

      ‘I may feel cold,’ Anne says.

      Mercy walks before him to the children’s room. Grace is put down without waking. Anne cries, but she cries in silence. I’ll sit with them, Mercy says: but he says, ‘I will.’ He waits until Anne’s tears stop flowing, and her hand slackens in his.

      These things happen; but not to us.

      ‘Now let me see Liz,’ he says.

      The room – which this morning was only their bedroom – is lively with the scent of the herbs they are burning against contagion. They have lit candles at her head and feet. They have bound up her jaw with linen, so already she does not look like herself. She looks like the dead; she looks fearless, and as if she could judge you; she looks flatter and deader than people he has seen on battlefields, with their guts spilled.

      He goes down, to get an account of her deathbed; to deal with the household. At ten this morning, Mercy said, she sat down: Jesu, I am so weary. In the middle of the day’s business. Not like me, is it? she’d said. I said, it’s not like you, Liz. I put my hand to her forehead, and I said, Liz, my darling … I told her, lie down, get to bed with you, you have to sweat this out. She said, no, give me a few minutes, I’m dizzy, perhaps I need to eat a little something, but we sat down at the table and she pushed her food away …

      He would like her to shorten her account, but he understands her need to tell it over, moment by moment, to say it out loud. It is like a package of words she is making, to hand to him: this is yours now.

      At midday Elizabeth lay down. She was shivering, though her skin burned. She said, is Rafe in the house? Tell him to go and find Thomas. And Rafe did go, and any number of people went, and they didn’t find you.

      At half past twelve, she said, tell Thomas to look after the children. And then what? She complained her head ached. But nothing to me, no message? No; she said she was thirsty. Nothing more. But then Liz, she never did say much.

      At one o’clock, she called for a priest. At two, she made her confession. She said she had once picked up a snake, in Italy. The priest said it was the fever speaking. He gave her absolution. And he could not wait, Mercy said, he could not wait to get out of the house, he was so afraid he might take the contagion and die.

      At three in the afternoon, she declined. At four, she put off the burden of this life.

      I suppose, he says, she will want to be buried with her first husband.

      Why should you think that?

      Because I came more lately. He walks away. There is no point in writing the usual directions about mourning clothes, beadsmen, candles. Like all the others touched by this sickness, Liz must be buried quickly. He will not be able to send for Gregory or call the family together. The rule is for the household to hang a bunch of straw outside the door as sign of infection, and then restrict entry for forty days, and go abroad as little as possible.

      Mercy comes in and says, a fever, it could be any fever, we don’t have to admit to the sweat … If we all stayed at home, London would come to a standstill.

      ‘No,’ he says. ‘We must do it. My lord cardinal made these rules and it would not be proper for me to scant them.’

      Mercy says, where were you anyway? He looks into her face; he says, you know Little Bilney? I was with him; I warned him, I said he will jump into the fire.

      And later? Later I was learning Polish.

      Of course. You would be, she says.

      She doesn’t expect to make sense of it. He never expects to make any better sense of it than it makes now. He knows the whole of the New Testament by heart, but find a text: find a text for this.

      Later, when he thinks back to that morning, he will want to catch again that flash of her white cap: though when he turned, no one was there. He would like to picture her with the bustle and warmth of the household behind her, standing in the doorway, saying, ‘Tell me when you are coming home.’ But he can only picture her alone, at the door; and behind her is a wasteland, and a blue-tinged light.

      He thinks of their wedding night; her trailing taffeta gown, her little wary gesture of hugging her elbows. Next day she said, ‘That’s all right then.’

      And smiled. That’s all she left him. Liz who never did say much.

      For a month he is at home: he reads. He reads his Testament, but he knows what it says. He reads Petrarch whom he loves, reads how he defied the doctors: when they had given him up to fever he lived still, and when they came back in the morning, he was sitting up writing. The poet never trusted any doctor after that; but Liz left him too fast for physician’s advice, good or bad, or for the apothecary with his cassia, his galingale, his wormwood, and his printed cards with prayers on.

      He has got Niccolò Machiavelli’s book, Principalities; it is a Latin edition, shoddily printed in Naples, which seems to have passed through many hands. He thinks of Niccolò on the battlefield; of Niccolò in the torture chamber. He feels he is in the torture chamber but he knows that one day he will find the door out, because it is he who has the key. Someone says to him, what is in your little book? and he says, a few aphorisms, a few truisms, nothing we didn’t know before.

      Whenever he looks up from his book, Rafe Sadler is there. Rafe is a slight boy, and the game with Richard and the others is to pretend not to see him, and say, ‘I wonder where Rafe is?’ They are as pleased with this joke as a bunch of three-year-olds might be. Rafe’s eyes are blue, his hair is sandy-brown, and you couldn’t take him for a Cromwell. But still he is a tribute to the man who brought him up: dogged, sardonic, quick on the uptake.

      He and Rafe read a book about chess. It is a book printed before he was born, but it has pictures. They frown over them, perfecting their game. For what seems like hours, neither of them makes a move. ‘I was a fool,’ Rafe says, a forefinger resting on the head of a pawn. ‘I should have found you. When they said you weren’t at Gray’s Inn, I should have known you were.’

      ‘How could you have known? I’m not reliably where I shouldn’t be. Are you moving that pawn, or just patting it?’

      ‘J’aboube.’ Rafe snatches his hand away.

      For a long time they sit gazing at their pieces, at the configuration which locks them in place. They see it coming: stalemate. ‘We’re too good for each other.’

      ‘Perhaps we ought to play against other people.’

      ‘Later. When we can wipe out all-comers.’

      Rafe says, ‘Ah, wait!’ He seizes his knight and makes it leap. Then he looks at the result, aghast.

      ‘Rafe, you are foutu.’

      ‘Not necessarily.’ Rafe rubs his forehead. ‘You might yet do something stupid.’

      ‘Right. You live in hope.’

      Voices murmur. Sunlight outside. He feels he could almost sleep, but when he sleeps Liz Wykys comes back, cheerful and brisk, and when he wakes he has to learn the lack of her all over again.

      From a distant room a child is crying. Footsteps overhead. The crying stops. He picks up his king and looks at the base of it, as if to see how it is made. He murmurs, ‘J’adoube.’ He puts it back where it was.

      Anne Cromwell sits with him, as the rain falls, and writes her beginner’s Latin in her copy book. By St John’s Day she knows all common verbs. She is quicker than her brother and he tells her so. ‘Let me see,’ he says, holding out his hand for her book. He finds that she has written her name over and over, ‘Anne Cromwell, Anne Cromwell …’

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