When he leaves the cardinal, he is miserably angry. When he thinks back to his earlier life – that boy half- dead on the cobbles in Putney – he feels no tenderness for him, just a faint impatience: why doesn't he get up? For his later self – still prone to getting into fights, or at least being in the place where a fight might occur – he feels something like contempt, washed with a queasy anxiety. That was the way of the world: a knife in the dark, a movement on the edge of vision, a series of warnings which have worked themselves into flesh. He has given the cardinal a shock, which is not his job; his job, as he has defined it at this time, is to feed the cardinal information and soothe his temper and understand him and embellish his jokes. What went wrong was an accident of timing only. If the cardinal had not moved so fast; if he had not been so edgy, not knowing how he could signal to him to be less despotic to Boleyn. The trouble with England, he thinks, is that it's so poor in gesture. We shall have to develop a hand signal for ‘Back off, our prince is fucking this man's daughter.’ He is surprised that the Italians have not done it. Though perhaps they have, and he just never caught on.
In the year 1529, my lord cardinal newly disgraced, he will think back to that evening.
He is at Esher; it is the lightless, fireless night, when the great man has gone to his (possibly damp) bed, and there is only George Cavendish to keep his spirits alive. What happened next, he asked George, with Harry Percy and Anne Boleyn?
He knew the story only in the cardinal's chilly and dismissive rendition. But George said, ‘I shall tell you how it was. Now. Stand up, Master Cromwell.’ He does it. ‘A little to the left. Now, which would you like to be? My lord cardinal, or the young heir?’
‘Oh, I see, is it a play? You be the cardinal. I don't feel equal to it.’
Cavendish adjusts his position, turning him imperceptibly from the window, where night and bare trees are their audience. His gaze rests on the air, as if he were seeing the past: shadowy bodies, moving in this lightless room. ‘Can you look troubled?’ George asks. ‘As if you were brooding upon mutinous speech, and yet dare not speak? No, no, not like that. You are youthful, gangling, your head drooping, you are blushing.’ Cavendish sighs. ‘I believe you never blushed in your life, Master Cromwell. Look.’ Cavendish sets his hands, gently, on his upper arms. ‘Let us change roles. Sit here. You be the cardinal.’
At once he sees Cavendish transformed. George twitches, he fumbles, he all but weeps; he becomes the quaking Harry Percy, a young man in love. ‘Why should I not match with her?’ he cries. ‘Though she be but a simple maid –’
‘Simple?’ he says. ‘Maid?’
George glares at him. ‘The cardinal never said that!’
‘Not at the time, I agree.’
‘Now I am Harry Percy again. “Though she be but a simple maid, her father a mere knight, yet her lineage is good –”’
‘She's some sort of cousin of the king's, isn't she?’
‘Some sort of cousin?’ Cavendish again breaks up his role, indignant. ‘My lord cardinal would have their descent unfolded before him, all drawn up by the heralds.’
‘So what shall I do?’
‘Just pretend! Now: her forebears are not without merit, young Percy argues. But the stronger the boy argues, the more my lord cardinal waxes into a temper. The boy says, we have made a contract of matrimony, which is as good as a true marriage …’
‘Does he? I mean, did he?’
‘Yes, that was the sense of it. Good as a true marriage.’
‘And what did my lord cardinal do there?’
‘He said, good God, boy, what are you telling me? If you have involved yourself in any such false proceeding, the king must hear of it. I shall send for your father, and between us we will contrive to annul this folly of yours.’
‘And Harry Percy said?’
‘Not much. He hung his head.’
‘I wonder the girl had any respect for him.’
‘She didn't. She liked his title.’
‘I see.’
‘So then his father came down from the north – will you be the earl, or will you be the boy?’
‘The boy. I know how to do it now.’
He jumps to his feet and imitates penitence. It seems they had a long talk in a long gallery, the earl and the cardinal; then they had a glass of wine. Something strong, it must have been. The earl stamped the length of the gallery, then sat down, Cavendish said, on a bench where the waiting-boys used to rest between orders. He called his heir to stand before him, and took him apart in front of the servants.
‘“Sir,”’ says Cavendish, ‘“thou hast always been a proud, presumptuous, disdainful and very unthrift waster.” So that was a good start, wasn't it?’
‘I like,’ he says, ‘the way you remember the exact words. Did you write them down at the time? Or do you use some licence?’
Cavendish looks sly. ‘No one exceeds your own powers of memory,’ he says. ‘My lord cardinal asks for an accounting of something or other, and you have all the figures at your fingertips.’
‘Perhaps I invent them.’
‘Oh, I don't think so.’ Cavendish is shocked. ‘You couldn't do that for long.’
‘It is a method of remembering. I learned it in Italy.’
‘There are people, in this household and elsewhere, who would give much to know the whole of what you learned in Italy.’
He nods. Of course they would. ‘But now, where were we? Harry Percy, who is as good as married, you say, to Lady Anne Boleyn, is standing before his father, and the father says …?’
‘That if he comes into the title, he would be the death of his noble house – he would be the last earl of Northumberland there ever was. And “Praise be to God,” he says, “I have more choice of boys …” And he stamped off. And the boy was left crying. He had his heart set on Lady Anne. But the cardinal married him to Mary Talbot, and now they're as miserable as dawn on Ash Wednesday. And the Lady Anne said – well, we all laughed at the time – she said that if she could work my lord cardinal any displeasure, she would do it. Can you think how we laughed? Some sallow chit, forgive me, a knight's daughter, to menace my lord cardinal! Her nose out of joint because she could not have an earl! But we could not know how she would rise and rise.’
He smiles.
‘So tell me,’ Cavendish says, ‘what did we do wrong? I'll tell you. All along, we were misled, the cardinal, young Harry Percy, his father, you, me – because when the king said, Mistress Anne is not to marry into Northumberland, I think, I think, the king had his eye cast on her, all that long time ago.’
‘While he was close with Mary, he was thinking about sister Anne?’
‘Yes, yes!’
‘I wonder,’ he says, ‘how it can be that, though all these people think they know the king's pleasure, the king finds himself at every turn impeded.’ At every turn, thwarted: maddened and baffled. The Lady Anne, whom he has chosen to amuse him, while the old wife is cast off and the new wife brought in, refuses to accommodate him at all. How can she refuse? Nobody knows.
Cavendish looks downcast because they have not continued the play. ‘You must be tired,’ he says.
‘No, I'm just thinking. How has my lord cardinal …’ Missed a trick, he wants to say. But that is not a respectful way to speak of a cardinal. He looks up. ‘Go on. What happened next?’
In May 1527, feeling embattled and bad-tempered, the cardinal opens a court of inquiry at York Place, to look into the validity of the king's marriage. It's a secret court; the queen is not required to appear, or even be represented; she's not even supposed to know, but all Europe knows. It is Henry who is ordered to appear, and produce the dispensation that allowed him to marry his brother's widow. He does so, and he is confident that the court will find the document defective in some way. Wolsey is prepared to say that the marriage is open to doubt. But he does not know, he tells Henry, what the legatine court can do for him, beyond this preparatory step; since Katherine, surely, is bound to appeal to Rome.
