He says, “No ruler in the history of the world has ever been able to afford a war. They’re not affordable things. No prince ever says, ‘This is my budget, so this is the kind of war I can have.’ You enter into one and it uses up all the money you’ve got, and then it breaks you and bankrupts you.”

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He stands by a window. A flock of starlings settles among the tight black buds of a bare tree. Then, like black buds unfolding, they open their wings; they flutter and sing, stirring everything into motion, air, wings, black notes in music. He becomes aware that he is watching them with pleasure: that something almost extinct, some small gesture toward the future, is ready to welcome the spring; in some spare, desperate way, he is looking forward to Easter, the end of Lenten fasting, the end of penitence. There is a world beyond this black world. There is a world of the possible. A world where Anne can be queen is a world where Cromwell can be Cromwell. He sees it; then he doesn’t. The moment is fleeting. But insight cannot be taken back. You cannot return to the moment you were in before.

It may be that the whole phenomenon of monarchy is irrational, but that doesn't mean that when we look at it we should behave like spectators at Bedlam. Cheerful curiosity can easily become cruelty. It can easily become fatal. We don't cut off the heads of royal ladies these days, but we do sacrifice them, and we did memorably drive one to destruction a scant generation ago. History makes fools of us, makes puppets of us, often enough. But it doesn't have to repeat itself.

Thomas More says that the imperial troops, for their enjoyment, are roasting live babies on spits. Oh, he would! says Thomas Cromwell. Listen, soldiers don’t do that. They’re too busy carrying away everything they can turn into ready money.

But it is no use to justify yourself. It is no good to explain. It is weak to be anecdotal. It is wise to conceal the past even if there is nothing to conceal. A man’s power is in the half-light, in the half-seen movements of his hand and the unguessed-at expression of his face. It is the absence of facts that frightens people: the gap you open, into which they pour their fears, fantasies, desires.

Norfolk approaches him. He stands far too close. His eyes are bloodshot. Every sinew is jumping. He says, “Substitute nothing, you misbegotten—” The duke stabs a forefinger into his shoulder. “You…person,” he says; and again, “you nobody from Hell, you whore-spawn, you cluster of evil, you lawyer.”

More pats his arm. “Have you no plans to marry again, Thomas? No? Perhaps wise. My father always says, choosing a wife is like putting your hand into a bag full of writhing creatures, with one eel to six snakes. What are the chances you will pull out the eel?”

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