Philippa Gregory - The Boleyn Inheritance

This is no empty threat in Cleves today. This is a man who locked up his own father. I think he is quite capable of imprisoning me. And if I cried at the door, would anyone let me out?

Master Holbein indicates to me with one curt nod of his head that I can leave my seat and my sister can take my place. I am not allowed to look at my portrait. None of us may see what he sends to the king in England. He is not here to flatter us, nor paint us as beauties. He is here to sketch as accurate a representation as his genius can produce, so that the King of England can see which of us he would like, as if we were Flanders mares coming to the English stallion at stud.

Master Holbein, who leans back as my sister bustles forward, takes a fresh sheet of paper, examines the point of his pastel crayon. Master Holbein has seen us all, all the candidates for the post of Queen of England. He has painted Christina of Milan and Louise of Guise, Marie of Vendôme and Anne of Guise. So I am not the first young woman whose nose he has measured with his crayon held at arm’s length and one eye squinting. For all I know, there will be another girl after my sister Amelia. He may stop off in France on his way home to England to scowl at another simpering girl and capture her likeness and delineate her faults. There is no point in my feeling demeaned, like a piece of fustian laid out for the pattern, by this process.

“Do you not like being painted? Are you shy?” he asked me gruffly as my smile faded when he looked at me like a piece of meat on the cook’s draining slab.

I did not tell him what I felt. There is no sense in offering information to a spy. “I want to marry him,” was all I said. He raised an eyebrow.

“I just paint the pictures,” he remarked. “You had better tell your desire to his envoys, Ambassadors Nicholas Wotton and Richard Beard. No point telling me.”

I sit in the window seat, hot in my best clothes, constricted by a stomacher pulled so tight that it took two maids hauling on the laces to get it knotted, and I will have to be cut free when the picture is finished. I watch Amelia put her head on one side and preen and smile flirtatiously at Master Holbein. I hope to God that he does not like her. I hope to God that he does not paint her as she is, plumper, prettier than me. It does not really matter to her whether or not she goes to England. Oh! It would be a triumph for her, a leap from being the youngest daughter of a poor duchy to Queen of England, a flight that would lift her and our family and the whole nation of Cleves. But she does not need to get away as I need to get away. It is not a matter of need for her, as it is for me. I might almost say: desperation.

I have agreed not to look at Master Holbein’s painting, and so I do not look. One thing is true of me: if I give my word on something, I keep it, although I am only a girl. Instead, I look out of the window, into the courtyard of our castle. The hunting horns sound in the forest outside, the great barred gate swings open, the huntsmen come in, my brother at their head. He glances up to the window and sees me before I can duck back. At once I know that I have irritated him. He will feel that I should not be at the window, where I can be seen by anyone in the castle yard. Although I moved too fast for him to see me in any detail, I feel certain that he knows that I am tightly laced and that the square neckline of my gown is low cut, though a muslin neck piece covers me to my very chin. I flinch from the scowl that he shoots up to the window. Now he is displeased with me, but he will not say so. He will not complain of the gown that I could explain, he will complain of something else, but I cannot yet know what it will be. All I can be sure of is that sometime today or tomorrow, my mother will call me to her room, and he will be standing behind her chair, or turned away, or just entering the door, as if it were nothing to do with him at all, as if he were quite indifferent, and she will say to me, in tones of deep disapproval: “Anne, I hear that you have…” and it will be something that happened days ago, which I have quite forgotten, but which he will have known and saved up until now, so that I am in the wrong, and perhaps even punished, and he will not say a word about seeing me sitting in the window, looking pretty, which is my real offense against him.

When I was a little girl, my father used to call me his falke, his white falcon, his gyrfalcon, a hunting bird of the cold northern snows. When he saw me at my books or at my sewing, he would laugh and say, “Oh, my little falcon, mewed up? Come away and I shall set you free!” and not even my mother could stop me running from the schoolroom to be with him.

I wish now, I so wish now, that he could call me away again.

I know that my mother thinks I am a foolish girl, and my brother thinks worse; but if I were Queen of England, the king could trust me with my position, I would not break into French fashions or Italian dances. They could trust me, the king could trust his honor to me. I know how important is a man’s honor, and I have no desire to be anything but a good girl, a good queen. But I also believe that however strict the King of England, I would be allowed to sit in the window of my own castle. Whatever they say of Henry of England, I think he would tell me honestly if I offended him, and not order my mother to beat me for something else.

Now let me see, what do I have?

I have a small gold chain from my long-dead mother that I keep in my special jewelry box, sadly empty but for this one chain; but I am certain to get more. I have three gowns, one of them new. I have a piece of French lace sent by my father from Calais. I have half a dozen ribbons of my own. And, more than anything else, I have me. I have me, glorious me! I am fourteen today, imagine that! Fourteen! Fourteen, young, nobly born though, tragically, not rich; but in love, wonderfully in love. My lady grandmother the duchess will give me a gift for my birthday, I know she will. I am her favorite, and she likes me to look well. Perhaps some silk for a gown, perhaps a coin to buy lace. My friends in the maids’ chamber will give me a feast tonight when we are supposed to be asleep; the young men will tap their secret signal on the door, and we will rush to let them in and I will cry, “Oh, no!” as if I wanted it to be just girls alone, as if I am not in love, madly in love, with Francis Dereham. As if I haven’t spent all day just longing for tonight, when I shall see him. In five hours from now I will see him. No! I have just looked at my grandmother’s precious French clock. Four hours and forty-eight minutes.

Forty-seven minutes.

Forty-six. I really am amazed at how devoted I am to him, that I should actually watch a clock tick down the time until we are together. This must be a most passionate love, a most devoted love, and I must be a girl of really unusual sensitivity to feel this deeply.

Forty-five; but it’s dreadfully boring, just waiting, now.

I haven’t told him how I feel, of course. I should die of embarrassment if I had to tell him myself. I think I may die anyway, die for love of him. I have told no one but my dearest friend Agnes Restwold, and sworn her to secrecy on pain of death, on pain of a traitor’s death. She says she will be hanged and drawn and quartered before she tells anyone that I am in love. She says she will go to the block like my cousin Queen Anne before she betrays my secret. She says they will have to pull her apart on the rack before she tells. I have told Margaret Morton as well, and she says that death itself would not make her tell, not if they were to fling her in the bear pit. She says they could burn her at the stake before she would tell. This is good because it means that one of them is certain to tell him before he comes to the chamber tonight, and so he will know that I like him.

I have known him for months now, half a lifetime. At first I only watched him but now he smiles and says hello to me. Once he called me by name. He comes with all the other young men of the household to visit us girls in our chamber, and he thinks he is in love with Joan Bulmer, who has eyes like a frog; if she were not so free with her favors, no man would ever look twice at her. But she is free, very free indeed; and so it is me whom he does not look twice at. It isn’t fair. It’s so unfair. She is a good ten years older than me and married, and so she knows how to attract a man, whereas I have much still to learn. Dereham is more than twenty as well. They all think of me as a child; but I am not a child, and I will show them. I am fourteen, I am ready for love. I am ready for a lover, and I am so in love with Francis Dereham that I will die if I don’t see him at once. Four hours and forty minutes.

But now, from today, everything must be different. Now that I am fourteen, everything is certain to change. It has to, I know it will. I shall put on my new French hood, and I shall tell Francis Dereham that I am fourteen and he will see me as I truly am: a woman now, a woman of some experience, a woman grown; and then we shall see how long he stays with old froggy face when he could come across the room to lie in my bed instead.

He’s not my first love, it is true; but I never felt anything like this for Henry Manox and if he says I did, then he is a liar. Henry Manox was well enough for me when I was a girl just living in the country, a child really, learning to play the virginal and knowing nothing of kissing and touching. Why, when he first kissed me, I didn’t even like it very much, and begged him to stop, and when he put his hand up my skirt, I was so shocked I screamed aloud and cried. I was only eleven years old; I couldn’t be expected to know the pleasures of a woman. But I know all about that now. Three years in the maids’ chamber have taught me every little wile and play that I need. I know what a man wants, and I know how to play him, and I know when to stop, too.