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Скачать книгу Wolf Hall & Bring Up The Bodies: Two-Book Edition

Wolf Hall & Bring Up The Bodies: Two-Book Edition

Язык: Английский
Год издания: 2018 год
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Cardinal Campeggio, papal envoy.

John Fisher, Bishop of Rochester, legal adviser to Katherine of Aragon.

Thomas Cranmer, Cambridge scholar, reforming Archbishop of Canterbury, succeeding Warham.

Hugh Latimer, reforming priest, later Bishop of Worcester.

Rowland Lee, friend of Cromwell, later Bishop of Coventry and Lichfield.

In Calais

Lord Berners, the Governor, a scholar and translator.

Lord Lisle, the incoming Governor.

Honor, his wife.

William Stafford, attached to the garrison.

At Hatfield

Lady Bryan, mother of Francis, in charge of the infant princess, Elizabeth.

Lady Anne Shelton, Anne Boleyn’s aunt, in charge of the former princess, Mary.

The ambassadors

Eustache Chapuys, career diplomat from Savoy, London ambassador of Emperor Charles V.

Jean de Dinteville, an ambassador from Francis I.

The Yorkist claimants to the throne

Henry Courtenay, Marquis of Exeter, descended from a daughter of Edward IV.

Gertrude, his wife.

Margaret Pole, Countess of Salisbury, niece of Edward IV.

Lord Montague, her son.

Geoffrey Pole, her son.

Reginald Pole, her son.

The Seymour family at Wolf Hall

Old Sir John, who has an affair with the wife of his eldest son Edward.

Edward Seymour, his son.

Thomas Seymour, his son.

Jane, his daughter: at court.

Lizzie, his daughter, married to the Governor of Jersey.

William Butts, a physician.

Nikolaus Kratzer, an astronomer.

Hans Holbein, an artist.

Sexton, Wolsey’s fool.

Elizabeth Barton, a prophetess.

Family Trees (#uf7307396-9243-5305-82f0-03e2a6bb319f)

Epigraph (#uf7307396-9243-5305-82f0-03e2a6bb319f)

‘There are three kinds of scenes, one called the tragic, second the comic, third the satyric. Their decorations are different and unalike each other in scheme. Tragic scenes are delineated with columns, pediments, statues and other objects suited to kings; comic scenes exhibit private dwellings, with balconies and views representing rows of windows, after the manner of ordinary dwellings; satyric scenes are decorated with trees, caverns, mountains and other rustic objects delineated in landscape style.’

VITRUVIUS, De Architectura, on the theatre, c.27BC

These be the names of the players:

PART ONE (#uf7307396-9243-5305-82f0-03e2a6bb319f)

I Across the Narrow Sea Putney, 1500 (#uf7307396-9243-5305-82f0-03e2a6bb319f)

‘So now get up.’

Felled, dazed, silent, he has fallen; knocked full length on the cobbles of the yard. His head turns sideways; his eyes are turned towards the gate, as if someone might arrive to help him out. One blow, properly placed, could kill him now.

Blood from the gash on his head – which was his father’s first effort – is trickling across his face. Add to this, his left eye is blinded; but if he squints sideways, with his right eye he can see that the stitching of his father’s boot is unravelling. The twine has sprung clear of the leather, and a hard knot in it has caught his eyebrow and opened another cut.

‘So now get up!’ Walter is roaring down at him, working out where to kick him next. He lifts his head an inch or two, and moves forward, on his belly, trying to do it without exposing his hands, on which Walter enjoys stamping. ‘What are you, an eel?’ his parent asks. He trots backwards, gathers pace, and aims another kick.

It knocks the last breath out of him; he thinks it may be his last. His forehead returns to the ground; he lies waiting, for Walter to jump on him. The dog, Bella, is barking, shut away in an outhouse. I’ll miss my dog, he thinks. The yard smells of beer and blood. Someone is shouting, down on the riverbank. Nothing hurts, or perhaps it’s that everything hurts, because there is no separate pain that he can pick out. But the cold strikes him, just in one place: just through his cheekbone as it rests on the cobbles.

‘Look now, look now,’ Walter bellows. He hops on one foot, as if he’s dancing. ‘Look what I’ve done. Burst my boot, kicking your head.’

Inch by inch. Inch by inch forward. Never mind if he calls you an eel or a worm or a snake. Head down, don’t provoke him. His nose is clotted with blood and he has to open his mouth to breathe. His father’s momentary distraction at the loss of his good boot allows him the leisure to vomit. ‘That’s right,’ Walter yells. ‘Spew everywhere.’ Spew everywhere, on my good cobbles. ‘Come on, boy, get up. Let’s see you get up. By the blood of creeping Christ, stand on your feet.’

Creeping Christ? he thinks. What does he mean? His head turns sideways, his hair rests in his own vomit, the dog barks, Walter roars, and bells peal out across the water. He feels a sensation of movement, as if the filthy ground has become the Thames. It gives and sways beneath him; he lets out his breath, one great final gasp. You’ve done it this time, a voice tells Walter. But he closes his ears, or God closes them for him. He is pulled downstream, on a deep black tide.

The next thing he knows, it is almost noon, and he is propped in the doorway of Pegasus the Flying Horse. His sister Kat is coming from the kitchen with a rack of hot pies in her hands. When she sees him she almost drops them. Her mouth opens in astonishment. ‘Look at you!’

‘Kat, don’t shout, it hurts me.’

She bawls for her husband: ‘Morgan Williams!’ She rotates on the spot, eyes wild, face flushed from the oven’s heat. ‘Take this tray, body of God, where are you all?’

He is shivering from head to foot, exactly like Bella did when she fell off the boat that time.

A girl runs in. ‘The master’s gone to town.’

‘I know that, fool.’ The sight of her brother had panicked the knowledge out of her. She thrusts the tray at the girl. ‘If you leave them where the cats can get at them, I’ll box your ears till you see stars.’ Her hands empty, she clasps them for a moment in violent prayer. ‘Fighting again, or was it your father?’

Yes, he says, vigorously nodding, making his nose drop gouts of blood: yes, he indicates himself, as if to say, Walter was here. Kat calls for a basin, for water, for water in a basin, for a cloth, for the devil to rise up, right now, and take away Walter his servant. ‘Sit down before you fall down.’ He tries to explain that he has just got up. Out of the yard. It could be an hour ago, it could even be a day, and for all he knows, today might be tomorrow; except that if he had lain there for a day, surely either Walter would have come and killed him, for being in the way, or his wounds would have clotted a bit, and by now he would be hurting all over and almost too stiff to move; from deep experience of Walter’s fists and boots, he knows that the second day can be worse than the first. ‘Sit. Don’t talk,’ Kat says.

When the basin comes, she stands over him and works away, dabbing at his closed eye, working in small circles round and round at his hairline. Her breathing is ragged and her free hand rests on his shoulder. She swears under her breath, and sometimes she cries, and rubs the back of his neck, whispering, ‘There, hush, there,’ as if it were he who were crying, though he isn’t. He feels as if he is floating, and she is weighting him to earth; he would like to put his arms around her and his face in her apron, and rest there listening to her heartbeat. But he doesn’t want to mess her up, get blood all down the front of her.

When Morgan Williams comes in, he is wearing his good town coat. He looks Welsh and pugnacious; it’s clear he’s heard the news. He stands by Kat, staring down, temporarily out of words; till he says, ‘See!’ He makes a fist, and jerks it three times in the air. ‘That!’ he says. ‘That’s what he’d get. Walter. That’s what he’d get. From me.’

‘Just stand back,’ Kat advises. ‘You don’t want bits of Thomas on your London jacket.’

No more does he. He backs off. ‘I wouldn’t care, but look at you, boy. You could cripple the brute in a fair fight.’
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