Great post. And thanks for posting that last painting. I was wondering which one it might be.
I think this section may have my favorite scenes of the 3 books. I remember reading the tower scene the first time and it struck me just as much this time. Same with the family gathering in the garden. There's so much woven into both of those scenes. I appreciate the pieces you pulled out for us.
I was struck also by the two 'families' - the King and Jane with Mary and Meg Douglas, and then Cromwell and his 'boys' and Helen. I know which one I'd prefer.
"He makes his first draft; it is hard for him, to become the king's daughter." This line and the whole writing scene was so real I could hear all Mantel's experience as a writer, the input from other's, the effort to not write as oneself -- which in the end is not possible.
And Gregory, always there with the dubious compliments.
Yes, my favorite scene of the week, too! It's so rich to me because Cromwell is so tender towards women and children, which is not true of most of the other men in the story. But I suppose reckoning with his difficulty to become Mary is also a kindness? He doesn't over-simplify it and make her flat; he really considers her voice. (Maybe I'm just stretching this scene to match my fondness for Cromwell!)
Thank you for these fascinating notes on another dramatic section.
I really liked the phrase "knowing but not consenting to know" in Cromwell's memory of Katherine’s reaction to Henry leaving her. It seemed apt that he advises Mary to adopt a similar deliberate ignorance when betraying Katherine’s memory in her letter of submission to Henry: "She need not read it. In fact, she must not, as she may need to repudiate it later."
I also enjoyed how unsettled Cromwell was by the sight of Mary unpinning her hair to ease her throbbing scalp, & I loved the rare happy family moment as Jane and Mary - both so easy to underestimate! - walked together 'like sisters'.
I loved the garden scene when I first read it, and I love it even more now after you have drawn some more observations from it Simon. Cromwell sitting peacefully with his family, the inclusion of Helen, the gentle ribbing his boys give him. If we could just leave it here...Yes there is a boastfulness to him, but I can't help thinking he has worked for what he has, it has never been handed him to him on plate. Mantel has made Cromwell such a relatable person and this scene is part of that.
Gorgeous post, as ever. I love the idea of Cromwell as Daedalus, and that he might imagine he is keeping his own “minotaur” locked up. An ambitious notion.
Yes, Henry as monster is apt. Even Crumb sees him that way. I also love that Cromwell is aware of his own cleverness, by imagining himself as Daedalus.
If we're in Arcadia, watch out for Pan...I love reading Salvage. So much happens, its like a novel all on its own. Very much enjoying all the art references this time too. Hilary really knew how to add substance to her storytelling.
Just a note that Gethsemane was not where Jesus and the disciples had the last supper, but rather where they went to pray after they ate. I'm not sure if that makes any difference to the metaphor.
Thanks Simon. I thought the famous painting, Et Arcadia Ego, was after this time.
Two little moments I loved:
When Cromwell tells Lady Shelton that henry thinks Anne slept with a hundred men and she replies that the King could not be "amy ordinary cuckold."
And when his spy, the boy Matthew, catches Cromwell's eye, and Cromwell thinks to himself that he has to tell Matthew not to do that because women notice these little things.
I am enjoying all the references to wings throughout the whole trilogy. If TC were a close reader of these books he would perhaps be less keen to declare his own wings. In these books they are always subject to death and decay. From the children’s Christmas wings that became so damaged, to the plunging falcons and now Icarus… TC is also rising too high and too close to the sun. What goes up…
Thank you Simon for your fabulous notes, as always.
Great post. And thanks for posting that last painting. I was wondering which one it might be.
I think this section may have my favorite scenes of the 3 books. I remember reading the tower scene the first time and it struck me just as much this time. Same with the family gathering in the garden. There's so much woven into both of those scenes. I appreciate the pieces you pulled out for us.
These are two of my favourite scenes as well. So richly evocative.
I was struck also by the two 'families' - the King and Jane with Mary and Meg Douglas, and then Cromwell and his 'boys' and Helen. I know which one I'd prefer.
"He makes his first draft; it is hard for him, to become the king's daughter." This line and the whole writing scene was so real I could hear all Mantel's experience as a writer, the input from other's, the effort to not write as oneself -- which in the end is not possible.
And Gregory, always there with the dubious compliments.
Yes, my favorite scene of the week, too! It's so rich to me because Cromwell is so tender towards women and children, which is not true of most of the other men in the story. But I suppose reckoning with his difficulty to become Mary is also a kindness? He doesn't over-simplify it and make her flat; he really considers her voice. (Maybe I'm just stretching this scene to match my fondness for Cromwell!)
Thank you for these fascinating notes on another dramatic section.
I really liked the phrase "knowing but not consenting to know" in Cromwell's memory of Katherine’s reaction to Henry leaving her. It seemed apt that he advises Mary to adopt a similar deliberate ignorance when betraying Katherine’s memory in her letter of submission to Henry: "She need not read it. In fact, she must not, as she may need to repudiate it later."
I also enjoyed how unsettled Cromwell was by the sight of Mary unpinning her hair to ease her throbbing scalp, & I loved the rare happy family moment as Jane and Mary - both so easy to underestimate! - walked together 'like sisters'.
Yeah, and Henry taking the diamond back from Mary and putting it in his pocket! He is allowed to be spontaneously beneficent, but Jane isn't.
I loved the garden scene when I first read it, and I love it even more now after you have drawn some more observations from it Simon. Cromwell sitting peacefully with his family, the inclusion of Helen, the gentle ribbing his boys give him. If we could just leave it here...Yes there is a boastfulness to him, but I can't help thinking he has worked for what he has, it has never been handed him to him on plate. Mantel has made Cromwell such a relatable person and this scene is part of that.
Yes, this feels like the moment I most want to stop time. A happy moment, but the more I read it I can see the shadows.
Shall we stop here??? But 'et in arcadia ego' I suppose. There's no outrunning it.
Yes. Let's leave them all in the garden. A job well-done.
I started the next section with such dread.
Your explanations of the mythology and inclusion of the paintings enriched this passage no end.
Thank you!
Gorgeous post, as ever. I love the idea of Cromwell as Daedalus, and that he might imagine he is keeping his own “minotaur” locked up. An ambitious notion.
Yes, Henry as monster is apt. Even Crumb sees him that way. I also love that Cromwell is aware of his own cleverness, by imagining himself as Daedalus.
If we're in Arcadia, watch out for Pan...I love reading Salvage. So much happens, its like a novel all on its own. Very much enjoying all the art references this time too. Hilary really knew how to add substance to her storytelling.
Damn it is so rich. Most of these references passed me by on previous readings, so it has been great to fill it all in this time around.
Thanks Simon, brilliant post as always.
Just a note that Gethsemane was not where Jesus and the disciples had the last supper, but rather where they went to pray after they ate. I'm not sure if that makes any difference to the metaphor.
Ah thanks Andrea! I will need to correct that. In my mind, the last supper is always a sunkissed picnic, which is clearly but biblically accurate!
That does sound lovely!
Thanks Simon. I thought the famous painting, Et Arcadia Ego, was after this time.
Two little moments I loved:
When Cromwell tells Lady Shelton that henry thinks Anne slept with a hundred men and she replies that the King could not be "amy ordinary cuckold."
And when his spy, the boy Matthew, catches Cromwell's eye, and Cromwell thinks to himself that he has to tell Matthew not to do that because women notice these little things.
The two paintings are from the next century, but the phrase and its meaning is from Virgil and is used in the 16thC.
I meant to say you confirmed what I thought. And i never understood before the memento mori meaning.
Terrific post.
Thanks June!
Opps.
Amazing how Tolstoy recreates the horror of war with such broad strokes.
True, but I think you meant to comment on the W&P post!
https://footnotesandtangents.substack.com/p/borodino
One of my favourite Caravaggios.
I am enjoying all the references to wings throughout the whole trilogy. If TC were a close reader of these books he would perhaps be less keen to declare his own wings. In these books they are always subject to death and decay. From the children’s Christmas wings that became so damaged, to the plunging falcons and now Icarus… TC is also rising too high and too close to the sun. What goes up…
Thank you Simon for your fabulous notes, as always.