“Talk to me before you believe anything!”, Thomas Cromwell (played by Mark Rylance) tells his monarch and master Henry VIII (played by Damien Lewis) in a pivotal scene in the penultimate episode of the BBC adaptation of The Mirror and the Light, the 900-page third act in Hilary Mantel’s acclaimed Tudor drama. It is the last of their candid exchanges before the criticism from his enemies becomes deafening and Cromwell is seized, stripped of his offices of state and taken into custody.
For nearly a decade, Cromwell, has strived to speak the truth to his all-mighty monarch. It has set him apart from all those packed into the palace antechambers and pitching for a seat on the king’s council: aristocrats who were there by hereditary right, churchmen because of their office and favourites whose rise invariably was as fast as their fall.
Shrewd realpolitik was why Cromwell’s assent to the top seemed unstoppable and the reason Henry grew to like him. “By St Loy, this man has stomach, this man has gall!,” the now-ailing king recalls, in Peter Straughan’s script, of his first impression. Establishing the facts of the matter, however uncomfortable for whichever party, remained this self-taught lawyer’s stock-in-trade. But by 1540 Henry lacked the bodily strength and mental self-assurance to accept them anymore. “I have changed, Thomas. You, not so much.”
