The Comet’s Omen and the Cost of Power: Johane’s Fear vs. Cromwell’s Pragmatism
Plot Beats
The narrative micro-steps within this event
Cromwell and Johane lie in bed after making love, but Johane is distant. Cromwell offers her a present, sensing her unease. He presses her to reveal what's bothering her.
Johane expresses her worries about Cromwell's bill, which takes power from the Bishops and makes Henry head of the church. She fears the potential consequences, citing Elizabeth Barton's prophecies and the ominous appearance of a comet.
Johane expresses concern for James Bainham, a barrister arrested for handing out the gospel in English. She fears he may be tortured and give names. Cromwell dismisses the threat, saying More already knows his name.
Who Was There
Characters present in this moment
Feigned calm masking deep anxiety about the moral implications of his actions, with a surface-level irritation at Johane’s fears and the interruption from Wyatt’s arrest.
Cromwell lies in bed with Johane, initially attempting to deflect her concerns with a dismissive offer of a gift. As the conversation escalates, he rolls onto his back, staring at the ceiling, his body language betraying a mix of defensiveness and irritation. When the commotion below interrupts, he hastily wraps a nightgown around himself and rushes downstairs, his pragmatic demeanor shifting to alert urgency as he addresses the news of Tom Wyatt’s arrest.
- • To reassure Johane and deflect her concerns about the religious bill and its consequences, maintaining his image of control.
- • To quickly address the political fallout of Tom Wyatt’s arrest, ensuring his own position remains secure.
- • That omens and prophecies are superstitious nonsense, and that his reforms are justified by pragmatism and necessity.
- • That the suffering of individuals like James Bainham is an unfortunate but necessary cost of political progress.
Calm and slightly amused by the situation, with a surface-level confusion that quickly resolves into clarity. His emotional state is one of detached observation, enjoying the momentary chaos but not deeply invested in its stakes.
Gregory stands in the hall, speaking to a servant when Cromwell rushes downstairs. He initially appears confused by Cromwell’s assumption that Thomas More is involved in Wyatt’s arrest, quickly clarifying the situation with a mix of factual reporting and light-hearted teasing. His tone is matter-of-fact but carries an undercurrent of amusement at Cromwell’s reaction.
- • To accurately relay the news of Tom Wyatt’s arrest to Cromwell, ensuring he understands the situation clearly.
- • To lightly tease Cromwell about his role as Wyatt’s de facto father, adding a moment of levity to the tense atmosphere.
- • That Cromwell’s involvement in Wyatt’s life is a source of both responsibility and amusement.
- • That the political machinations of the court are a constant source of intrigue, but not something to be taken too seriously in the moment.
Frustrated and likely embarrassed by his arrest, but confident that Cromwell will intervene on his behalf, given their relationship.
Tom Wyatt is mentioned as having been arrested for breaking windows in Westminster. He is not physically present in the scene but is referenced as requesting Cromwell’s intervention to secure his release. His presence is felt through the commotion his arrest causes and the need for Cromwell to address the situation.
- • To secure his release from custody, relying on Cromwell’s political influence.
- • To avoid the consequences of his reckless actions, which could damage his standing at court.
- • That Cromwell will prioritize his well-being and use his political connections to resolve the situation.
- • That his actions, while reckless, are not sufficiently serious to warrant long-term consequences.
Neutral; the servant is simply performing their duty without any personal stake in the situation.
A servant is briefly seen in the hall, speaking to Gregory about Tom Wyatt’s arrest. The servant’s role is purely functional, relaying information without emotional investment or personal commentary.
- • To accurately and promptly relay the news of Tom Wyatt’s arrest to Gregory (and by extension, Cromwell).
- • To ensure the information reaches the appropriate parties without delay or distortion.
- • That their role is to facilitate communication within the household, regardless of the content or urgency of the message.
- • That the political or personal implications of the news are not their concern.
Elizabeth Barton (the Nun of Kent) is referenced by Johane as a prophetess whose dire prophecies—including the warning that Henry …
King Henry VIII is referenced indirectly through Cromwell’s mention of the king’s astronomer and Johane’s discussion of the religious bill …
King John is referenced by Johane as a historical figure under whose reign the comet last appeared, accompanied by catastrophic …
Objects Involved
Significant items in this scene
Cromwell’s nightgown serves as a practical prop that underscores the haste and urgency of the moment. After the commotion below interrupts his conversation with Johane, Cromwell snatches the nightgown and wraps it around himself as he rushes downstairs. The nightgown is a symbol of his transition from private vulnerability (in Johane’s bedroom) to public authority (addressing the political crisis in the hall). Its hasty donning reflects his pragmatic nature—he prioritizes action over modesty, a trait that aligns with his broader approach to power and reform.
Cromwell’s religious bill is the central ideological catalyst of this event, though it is never physically present in the scene. Johane accuses Cromwell of authoring it, framing it as a direct challenge to the Church’s authority by stripping power from the Bishops and making Henry VIII the head of the Church. The bill symbolizes the moral and political tensions at the heart of the scene, representing Cromwell’s pragmatism and Johane’s fears about divine retribution. Its absence as a physical object makes it all the more potent—a looming, abstract force that drives the emotional conflict between Cromwell and Johane.
Location Details
Places and their significance in this event
The hall in Austin Friars is the public space where the political crisis unfolds. It is here that Gregory and the servant first relay the news of Tom Wyatt’s arrest, and where Cromwell arrives, hastily wrapped in his nightgown, to address the situation. The hall serves as a hub of information and action, connecting the private upstairs (where Cromwell and Johane’s conflict plays out) to the broader world of court politics. Its functional role is to facilitate communication and decision-making, though its atmosphere is one of urgency and slight chaos.
The narrow indoor staircase in Austin Friars serves as a transitional space where Cromwell moves from the private vulnerability of Johane’s bedroom to the public urgency of the hall below. The staircase is confined and dimly lit, amplifying the household’s tensions and the sense of haste. Cromwell’s descent down the stairs, clutching his nightgown, symbolizes his shift from personal to political engagement. The staircase acts as a threshold, marking the end of one moment (the emotional confrontation with Johane) and the beginning of another (addressing the political crisis).
Johane’s bedroom in Austin Friars is the intimate, confined space where the emotional and ideological conflict between Cromwell and Johane unfolds. The room is dimly lit by candlelight, creating an atmosphere of vulnerability and secrecy. The tangled sheets and Johane’s turned back signal physical and emotional distance, while the flickering candlelight casts long shadows, amplifying the tension. This space traps the characters in their raw conflict, making their fears and ambitions inescapable. The bedroom serves as a microcosm of their relationship—private, intense, and fraught with unresolved tensions.
Organizations Involved
Institutional presence and influence
The Royal Court of England is the ultimate source of the political crisis that interrupts Cromwell and Johane’s conversation. Though not physically present in the scene, its influence is felt through the news of Tom Wyatt’s arrest and the broader context of Henry VIII’s marital and religious upheavals. The court’s volatile nature—driven by Henry’s desires and the factional rivalries of his advisors—creates a sense of urgency and instability. Cromwell’s role as a key advisor is highlighted by his immediate reaction to the news, as he shifts from personal vulnerability to political action. The court’s demands are inescapable, pulling Cromwell away from the emotional confrontation with Johane and back into the realm of power and strategy.
The Church of England is the institutional backdrop against which Cromwell’s religious bill is framed. Though not physically present in the scene, its influence is pervasive, shaping Johane’s fears and Cromwell’s defensiveness. The bill in question seeks to strip power from the Bishops and make Henry VIII the head of the Church, a move that Johane interprets as heretical and morally dangerous. The Church’s authority is challenged by Cromwell’s reforms, and Johane’s invocation of Elizabeth Barton’s prophecies and the comet serves as a reminder of the spiritual consequences of defying its traditions. The organization’s involvement is discursive, but its ideological weight is undeniable.
Narrative Connections
How this event relates to others in the story
"Wyatt's arrest prompts Cromwell to look into Wyatt's past with Anne."
"Wyatt's arrest prompts Cromwell to look into Wyatt's past with Anne."
"Wyatt's arrest prompts Cromwell to look into Wyatt's past with Anne."
"Johane's expressing her worries about the religious reform parallels Gardiner warning Cromwell about opposition in the House of Lords."
"Johane's expressing her worries about the religious reform parallels Gardiner warning Cromwell about opposition in the House of Lords."
"Johane's expressing her worries about the religious reform parallels Gardiner warning Cromwell about opposition in the House of Lords."
Key Dialogue
"JOHANE: *This bill of yours... taking power from the Bishops, making Henry head of the church... Aren’t you afraid?*"
"THOMAS CROMWELL: *Of what?*"
"JOHANE: *There’s a girl called Elizabeth Barton making prophecies. They call her the Holy Maid. She’s saying that Henry will only reign for a year if he marries Anne. And there’s a new star. By the moon.*"
"THOMAS CROMWELL: *It’s not a star. It’s a comet. I am reliably informed by the king’s astronomer.*"
"JOHANE: *The last time it appeared was under King John and the cattle stopped breeding, and the grass stopped growing and the birds fell out of the sky.*"
"THOMAS CROMWELL: *Well, if that starts to happen I’m sure we can reverse our policy.*"
"JOHANE: *They’ve arrested a barrister called James Bainham. You know him, don’t you?*"
"THOMAS CROMWELL: *Yes. He’s a good man.*"
"JOHANE: *He was handing out the gospel in English... What if they torture Bainham? What if he gives names?*"
"THOMAS CROMWELL: *What’s that to me? Thomas More already knows my name.*"