Richard Riche's Pen

The napkin, stained with the Devil’s black spittle, is a relic of Barton’s supposed encounter with Satan. She describes it as 'black, with the stench of hell, something rotting,' and reveals that Dom Edwards holds it for 'offerings.' The napkin serves as physical proof of her prophecies, a tangible link to the supernatural that unsettles the interrogators. Its existence implicates Barton in heresy and suggests a network of believers who monetize her visions, amplifying the threat she poses to the Tudor court.

The napkin, stained with the Devil’s spittle and described as ‘black, with the stench of hell,’ is a symbolic relic central to Barton’s claims of divine visions. She mentions it as evidence of her encounter with the Devil, tying it to Dom Edwards, who ‘has it’ for display to donors. The napkin’s existence—rotten, stinking, and untouchable—reinforces the supernatural threat Barton poses. It is not just an object but a tangible manifestation of her prophecies, a physical link to the infernal realm she describes. Its mention in the interrogation serves to unnerve the court, grounding her claims in a grotesque, visceral reality.

Richard Riche’s pen is a physical manifestation of his frustration and the court’s intellectual limitations. When Barton invokes Wolsey’s soul, Riche hurls the pen down in disgust, its clatter punctuating the room’s rising tension. The pen symbolizes the court’s inability to contain Barton’s words—her prophecies are intangible, while his legal tools are useless. The pen’s discard is a moment of raw emotion, exposing the court’s vulnerability.

The napkin stained with the Devil’s spit is mentioned by Barton as a relic of her encounter with Satan. She describes it as black and stinking, a physical manifestation of her divine visions. While not physically present in the room, its existence is invoked to lend credibility to her prophecies and to implicate Dom Edwards as a custodian of her relics. The napkin serves as a narrative device, reinforcing the supernatural stakes of the interrogation and the broader conflict between faith and politics.