狼厅

Henry VIII and Anne Boleyn pop out for a stroll in ‘Wolf Hall’ (Pic: BBC)This Sunday (April 5), the recent BBC of Hilary Mantel's Wolf Hall and Bring Out the Bodies comes to PBS, starring Mark Rylance and Demian Lewis. It's the story of Thomas Cromwell, a lawyer and former mercenary from a poor background who ended up becoming an advisor first to Cardinal Thomas Wolsey, and then to Henry VIII. And in doing so became one of the most powerful men in England.It's particularly auspicious moment in British history, as Thomas becomes involved in Henry's attempts to legally dissolve his marriage to Catherine of Aragon, woo Anne Boleyn and sire a male heir. And in doing so, create a permanent rift between the English church's break and Rome, which is set against the background of protestant reforms, and leads directly to Henry's dissolution of the monasteries, claiming all the treasures found for this own coffers."Voila! The King of England will be a bachelor."Wolf Hall is a fascinating fictionalized account of a man who historians have often decried as cold, scheming and vicious.So before it all kicks off, here are ten useful snippets of information you may wish to get clear before immersing yourself in all the political shenanigans and dark, candlelit corridors:1. Almost nothing of note happens in a place called Wolf Hall. Actually, Wolfhall (or Wulfhall) is the site of a manor house, home of the Seymour family in Burbage, Wiltshire. The family's daughter Jane would go on to become Henry's third wife.2. Wolf Hall is mentioned in the Domesday Book as Ulfela, an Anglo-Saxon name, and it will have been a small village; a meeting point between several farmsteads. This later became Ulfhall and then Wulfhall. So the Seymour manor house was not named Wolf Hall, it was built in Wolfhall.3. There is a Cromwell family tie to Wolfhall too, as Cromwell's son Gregory later married Elizabeth Seymour, sister of Jane and (like Jane) one of the servants in Anne Boleyn's household.4. The original manor house at Wolfhall was a medieval timber-framed manor house with a long gallery, a 'Little Court', a 'Broad Chamber', a chapel, a kennel for hounds, and a tower (which was pulled down in 1569).5. Henry stayed there in 1535, during his marriage to Anne Boleyn, which may have been when he first began to pitch woo at Jane Seymour.6. He was not the first reigning monarch to use Wolfhall as a staging post. Edward I visited in 1302, on a journey across Wiltshire between Marlborough Castle to Ludgersall Castle.7. Although Thomas Cromwell was instrumental in clearing the way for Henry to marry Anne Boleyn, it was his skill as a match-maker that later caused his fall from grace. Having arranged the marriage between Henry and his fourth wife, the German princess Anne of Cleves, Cromwell was surprised to discover Henry did not take to Anne at all, and in fact had the marriage annuled on the grounds that it had not been consummated. He was later arrested for treason.8. The title of the book, and therefore the TV series, uses the name of the Seymour home as an atmospheric hint that we are in the realm of the Latin expression homo homini lupus, or "Man is wolf to man". In other words, this is a dog-eat-dog world, which Henry at the head of the pack.9. By 1571, the manor house at Wolfhall lay derelict, as the family had moved to nearby Tottenham House, taking some of the materials to build their new home. It was used for servants quarters for a while, and finally demolished in 1723. Some elements did survive into the early 20th century, including a barn which was said to have played host both to a wedding feast for Henry and Jane, and a subsequent feast just for Henry when he revisited after Jane died. But that burned down in the 1920s.10. There was a Victorian railway junction with the name of Wolf Hall, but that's gone now. However, there is still a dairy farm that uses the name转载自10 Little-Known Facts About the Real Wolf HallP.S.From WikipediaEpisodes TitleEpisode 1. "Three Card Trick"Episode 2. "Entirely Beloved"Episode 3. "Anna Regina"Episode 4. "The Devil's Spit"Episode 5. "Crows"Episode 6. "Master of Phantoms"

那么好，现在开始谈狼厅。

很幸运的是，我把科目三已经通过了，历时五十天，这的确我得说是一件不太容易的事情。

现在就还差一个科目四了，科目四本来这周是可以考的，但是由于学校办公室人员说什么“科三的成绩还没有发到学校之类的原因”，便阻止我约考科目四，无妨，再等一周也无妨。

考完科三之后，这两天我看了看《狼厅》这部剧，还有《叶问4》这部电影。

顺便和森一起打发了很多时光。

《狼厅》不错，背景放在刚刚迈出的欧洲中世纪社会，视角瞄向了英国皇室以朝廷中以克伦威尔等为代表的上流社会，共刻画了皇帝、皇后、废后、红衣教主、大法官乃至铁匠、女仆、乐童等相对较低等级的人物。

第二任皇后是否有罪，有网友倾向于认为是完全没有罪的——虽然我认为完全没有罪似乎也不太可能，但是话说回来这里到底有罪还是没有罪已经不重要了，毕竟“欲加之罪何患无辞”

153X年，大明嘉靖年间，皇帝一言九鼎，辅佐他的是史上著名奸臣严嵩，就是用处女给他暖被暖脚的那个。

此时在弹丸小国英格兰，国王亨利8世正为无继承人而烦恼，他与凯瑟琳结婚20年，生产5次，只养活一个玛丽公主（未来的英格兰女王，拥有血腥玛丽之称号），其余均夭折，凯瑟琳已失去生育能力。

玛丽公主和凯瑟琳王后凯瑟琳是西班牙阿拉贡王国的公主，3岁时就许配给英格兰王位继承人亚瑟，1501年结婚，但是5个月后 亚瑟 去世了，他的弟弟成为王位继承人，11岁时，亨利和 17岁的凯瑟琳 订婚，并在 亨利 年满18岁时成婚。

西方国家，男人只能娶一个，但可以有N个情妇，只是她们的后代没有继承权。

亨利想废王后另娶年轻貌美的 诺福克公爵之侄女 安妮-博林，而教廷不同意，此时教皇是 尤利乌斯二世，凯瑟琳的外甥——神圣罗马帝国皇帝查理五世 。

在离婚法庭上，有人污蔑王后非完璧， 凯瑟琳 当众辩称，自己虽然与 亚瑟 结婚5个月，但仍然是处女，并声称 亨利 行房时已经判定，随后羞愤离去。

亨利权力真的不大，莫尔这个赤裸裸的卖国贼，都无法立即揪出午门斩首，或者金瓜击脑。

非得开法庭，让这家伙在众多看客面前发布反动言论，最离谱的是，竟然有刁民在法庭上念出国王器小活差的故事，引发观众哄堂大笑。

最终 亨利 通过强行修宪的方法，与教廷决裂， 1534年，亨利和议会通过了《至尊法案》、《继承法》、《叛国法》等法案，建立英国国教 ，任命自己为英格兰宗教领袖，随后流放凯瑟琳，娶了安妮-博林。

Anne这角色演得好，人长得漂亮白净就不多提了，这强大气场，这快捷语速，这坚毅目光，将急于上位的心情体现得淋漓尽致，可惜她也多次流产，应该是穿着不当，贵族男人们都是穿厚皮草，而妇女们都是露出上半身，让半球，明显受凉了。

贵族妇女的日常：组团绣花这帮贵族妇女，每天就是围坐一起绣花，没有麻将的生活真枯燥。

Anne也太不检点了，竟然主动给国王带了无数个绿帽子，失败在所难免，你唯一的依靠和成功之路，就是不断和国王交配，密切注意保胎。

克伦威尔则全程苦大仇深脸，谈不上什么演技。

亨利8世 一共娶了6位王后，第一部娶了2位。

后来他娶了 珍·西摩 ， 诞下一子，是为爱德华（未来的爱德华六世） 。

狼厅，应该就是指 西摩 家族的住宅。

珍·西摩 生下 爱德华 后2周去世，在克伦威尔的牵线下，亨利娶了 德意志克里维斯公国的安妮 ，但是2人关系不好，新婚之夜没有圆房，然后离婚娶了 安妮的侍女凯瑟琳-霍华德 ，为此砍了克伦威尔的头。

但是有人举报 凯瑟琳-霍华德 不是处女，于是奸夫和 凯瑟琳 均被砍头。

（是时候引入太监这个伟大的制度了）最后亨利又娶了一位凯瑟琳，31岁的 凯瑟琳·帕尔 ，曾经结婚2次。

这个女子一直陪伴亨利到他死去。

亨利 留下的著名文学作品：《Green sleeves》 ，绿袖子 Alas my love,you do me wrongTo cast me offdiscourteouslyFor I have lovedyou all so longDelighting inyour companyGreensleeves wasall my joyGreensleeves wasmy delightGreensleeves wasmy heart of goldAnd who but myLady GreensleevesI have beenready at your handTo grantwhatever you would craveI have bothwaged life and landYour love andgood will for to haveThou couldstdesire no earthly thingBut still thouhadst it readilyThy music stillto play and singAnd yet thouwouldst not love meGreensleeves nowfarewell adieuGod I pray to prospertheeFor I am stillthy lover trueCome once againand love me。

他给很多女子写了很多情书，流传下来的不少。

对于这段历史，我知之甚少，唯一于两三年前，有涉猎 The Other Boleyn Girl(另一个波琳家的女孩) 英文原著。

因为是原著，对于眼花缭乱的未知的形容词名词，我都懒于一一查证，只读了个大概。

故，此篇小评，仅从我个人感受出发，略谈一二。

该6集迷你剧，以主人公Thomas Cromwell (托马斯·克伦威尔) 的视角， 呈现了 Henry VIII (英王亨利八世) 第一次废后风波。

Cromwell 追随的原主公 Thomas Wolsey (托馬斯·沃尔西) —— 时任大法官，国王首席顾问，因未能如亨利八世所愿，与罗马教廷成功协商英王的离婚请愿，骤然失宠，同时被英王与仇家驱往苦寒之地。

Wolsey 颓然失势，大厦将倾，身边仅留Cromwell 一忠臣不离不弃。

为向英王求情以期主公重获帝心，Cromwell 前往宫廷，会见帝王， 而Wolsey则发往谪迁之地。

Cromwell 不愧为Wolsey 的得力谋臣，他极快地获得了帝王的喜爱，为主公谋得了些许补助。

同时，Cromwell 也得到了自己敌人，英王的情妇以及欲结婚对象——Anne Boleyn (安‧波林) 的召见。

Cromwell 获得了未来王后的喜爱，并领了新差。

正当Cromwell 疲于两边周转时，噩耗袭来，英王以叛国罪逮捕 Wolsey, 欲押往伦敦塔，而 Wolsey 却在途中因病过世。

Cromwell 得知后大为悲痛，却将哀恸深埋于心，赴往英王的宴会。

宴席上，权臣为了庆祝昔日权宦 Wolsey的坠亡，特排了话剧，将 Wolsey恶意丑化魔改。

Cromwell 掩于人群中，将所有饰演者的脸深深烙印心中。

为抱旧主大仇，Cromwell 决心加入下议院，逐步攀登，接近帝王。

Cromwell 如愿得到了帝君的喜爱，并委以重任。

Cromwell 修立法案，使亨利成功废后并迎娶新后。

英王对新后十分宠爱，然好景不长。

新后始终未能为英王诞下王子，随着母族干政，权倾朝野，英王逐渐失去了耐心。

英王授意Cromwell 协助自己，废黜新后。

Cromwell 展开调查，成功发现新后与多人通奸，其中甚至包括她的亲兄弟。

Cromwell 将通奸者一一捕获，发现他们与深埋记忆中仇人的脸庞逐渐重合。

最后，新后被问斩，Cromwell 得以赴命。

———————————————————————————————-—————————————第一集，初始的黑底白字，在古朴的琴声下，历史的肃穆感向我铺面袭来。

在断断续续哀婉的琴声后，有一刹那的寂静，我纳罕着，期待着；随即，画面陡然转变，正片开始，主题曲 Wolf Hall 倏然奏响。

伊始印象最深的，就是这部剧肃穆沉重的背景音乐，和忧郁暗沉的影片色调。

鉴于对历史了解甚少，无法评说是否真实还原历史。

但就个人观感，我愿意相信，这样的历史是真实的。

我愿意相信，那个时代人们的衣着生活是那样的，那样的朴素乏陋，又因着几百年岁月的浸染，显的端庄神圣。

我像一个窥探者，透着历史沙漏中的间隙，得以窥见，千百年前，一代权臣的蛰伏，破出，与展翅。

我也如撒旦，透过人面人心与人行，得以知晓人内心深处的欲望与黑暗。

分享Debbie Wiseman的单曲《Wolf Hall》:https://y.music.163.com/m/song/31192013/?userid=304436804(来自@网易云音乐)

http://www.theguardian.com/commentisfree/2015/jan/22/thomas-cromwell-fixer-wolf-hall?CMP=share_btn_fbCromwell, the fixers’ fixer: a role model for our timesMartin KettleThomas Cromwell is the politician of the moment. We seem entranced by him. How cunning and deep he is. How clever and calculating. With what skill he acquires, husbands and uses his power. How precise he is in his judgment of when to speak and when to stay silent, when to watch and when to act, absolutely ruthlessly if need be.We are a nation hooked on Cromwell, as a result of Hilary Mantel’s novels. And now perhaps in even greater numbers than before, thanks to the BBC’s dramatisation of Wolf Hall that began this week, whose centrepiece is Mark Rylance’s Cromwell: the outsider who mesmerisingly watches, plots and thinks his way into the heart of the English Tudor state.On one level, the current national embrace of Cromwell is easy to explain. The Tudors are box office. And Cromwell was a big Tudor figure. Mantel’s books expertly draw the reader into Cromwell’s reflective world, where his words are the tip of an iceberg of unspoken feelings and thoughts. After just one episode, Rylance’s portrayal is already a masterpiece of suggestion, tempting us to overlook Shakespeare’s advice that there’s “no art to find the mind’s construction in the face”It is sometimes implied that Mantel’s reimagining of Cromwell has overturned the way we see the reign of Henry VIII. But this shows what short memories we all have. This is not the first time in English history that Cromwell’s stock has been so high. After his death, many Elizabethans saw him as a heroic martyr to the English protestant cause. And after the second world war Professor GR Elton – uncle of Ben – placed him on a very different pedestal at the heart of what he called the Tudor revolution in government.Elton’s Cromwell was the man who blew away the medieval system of government based on the king’s household. He replaced it with a departmental bureaucracy that was the forerunner of the modern constitutional state. In Elton’s judgment, Cromwell was “the most remarkable revolutionary in English history”, and his intellect “the most successfully radical instrument at any man’s disposal in the 16th century”. Mantel’s Cromwell owes much to Elton’s heroic reinvention.Yet Cromwell, even in the Elton-Mantel version, is a very improbable hero for our times. Cromwell’s essential attraction is his mastery of statecraft, his ability to identify a political goal and achieve it unerringly but pragmatically. He is unsentimental, cold-blooded, secular, and ruthless. He is a master of detail and of small moves in the service of larger ones. It is not clear whether Cromwell ever read Machiavelli, but there have been few leaders in English or British political history who better embodied Machiavellian ideas. In short, he is the sum of much that the modern era dislikes, or affects to dislike, in its politicians.What is even more unlikely about Cromwell’s place in the sun, as Mantel’s readers and viewers will know, is that he was an enemy of a man who in so many ways is the sum of everything that the modern era admires, or affects to admire. Thomas More remains the incarnation of individual conscience, of rising above the quotidian, and doing the morally right thing in difficult and dangerous times. It is no surprise that in postwar Britain, it was More, especially as embodied by Paul Scofield in A Man for All Seasons, who ruled the Tudor roost.By rights, More ought to be the man for our season too. He is pre-emenintly the Tudor politician who embodies sticking to firm principles, upholding moral authority and obeying the dictates of conscience. He refuses to do the politically convenient thing because he believes it is wrong – and pays with his life. Not for him Cromwell’s cynical survive-the-day relativism. If anyone is the man for an age that feels tarnished by illegal wars, mistreated by the power of corporations and banks, betrayed by MPs’ expenses, demeaned by the banality of modern politics, it is surely More.And yet our age has embraced not pious, high-minded More, but aspirational, crafty Cromwell, who stands for everything we say we dislike about modern politics and statecraft. It is a very odd disjunction. It could simply be that we all love a costume drama with great actors. But it could also suggest there is some hope for politics yet.Politicians could hardly suffer from lower esteem than they do at the moment. A survey published this week by the Edelman PR company confirms the overwhelmingly negative picture of the past few years, with trust in the doldrums, and with the reputations of government, business and media all flatlining. “People are desperate for honesty and fair play,” the report concludes. This is one reason why support for the established political parties is so low and why a proportion of the electorate is now embracing parties that offer easy answers to complex and difficult real problems.Cromwell stands against all that. He stands for the art of politics, not for fantasy politics. It has often been said, including by RA Butler, who chose the phrase for the title of his memoirs, that politics is the art of the possible. I prefer Robin Cook’s characterisation that politics is also the art of the impossible. Cromwell was the vindication of that view – and his distant and later relative Oliver wasn’t bad at the game either. Cromwell knew precisely where he was trying to get, and he was pretty effective about getting there.There is no point requiring every politician to have Cromwell’s gifts. It would be a scary political scene if they did. But there is a great deal of point in valuing and celebrating the statecraft and the political calculation that Cromwell mastered so well. Honesty and fair play are all very well, but effectiveness and continued support count for more in the end.I read somewhere that the late Caroline Benn, wife of Tony, thought that political leaders fell into three categories: , which she called pedestrians, fixers or madmen. Allocating British prime ministers to the three categories is an entertaining exercise, especially if you remember that no category has all the virtues or all the vices. Tony Benn, apparently, was confident that if he had become prime minister he would have been one of the madmen.I like fixers. The pedestrians frustrate me. The madmen frighten me. True, fixers aren’t always the best politicians. But the best politicians are almost always good fixers. Think Lloyd George or Franklin Roosevelt. And Cromwell, a fixers’ fixer, is right up there too. As long as we understand that knowing what you want is utterly useless unless you also know how to get it, then politics will have a storied future as well as a storied past.

我抱着很高的期望来看这剧的。

结果发现剧情就是亨利八世换老婆，到第5/6集基本就是cat fight，mock trial，津津乐道的断头台啥的。

上一部很喜欢的伊丽莎白迷你剧，也是这范儿。

大概用连续剧来演宗教改革神马的，确实没人看？

我错了，不该把这剧认作历史剧。

其实它是个肥皂剧。

不过肥皂剧真的很华丽啊，各种戏骨啊，各种细节考究啊，背景音乐很给力。

Damian Lewis每次出场都好帅啊，直接忽视国王陛下本人的各种渣本性。

帧帧都是伦勃朗，英剧的步调和美剧很不同，主演诠释了一位刻板聪明，以卑微的身份而立足于皇室，即使一直被当枪使，却能打出自己的一片天地的牛人。

就是由于表情一直刻板，而使得每个眼神和微表情都是戏，很欣赏这个演员。

不觉得最后突出主角的复仇是在简单化主角，我觉得这正对应了剧里别人对他的信仰的怀疑。

一直贯穿着一些宗教的内容，有人说他是路德派，宗教改革阶段对于人来说肯定充满了各种矛盾。

主角虽没有否认过肯定过任何说法，而且也留存着改革派的圣经，也都读过，看得出很感兴趣，但他的信仰在最后做了交代。

他尊敬的主教，他的上帝，他带着复仇的情绪审判了那些 他觉得背叛了的人。

至于他非常识时务的不对改革派做评价并且感兴趣，那是一个聪明人，在面对命运，面对那个时代最好的选择吧。

随着与西班牙关系的恶化，亨利八世对于自己的婚姻问题日益不满。

到1527年，他的王后阿拉贡的凯瑟琳已年逾40，只有一个女儿玛丽而无男嗣，都铎王朝的王统面临断绝的危险。

这时亨利八世爱上了在法国宫廷受过教育，倾向宗教改革的贵妇安娜?波琳，便决心离婚再娶。

按教会法规，国王的婚姻问题必须由罗马教皇批准，方为合法，亨利八世便向罗马教皇克雷芒七世提出请求。

但教皇此时完全受制于查理五世，阿拉贡的凯瑟琳是查理五世的姨母，所以教皇使用各种手段，拒不批准亨利八世的离婚。

国内的旧贵族和教会人士也对离婚案持反对态度。

指靠罗马教廷和教俗旧贵族解决这个问题，显已全然无望。

在此关头，亨利八世毅然改弦易辙，转向全国要求改革的乡绅与资产阶级等阶层寻求支持，于1529年10月罢免了民愤极大的沃尔西，并在11月召开议会，开始实行宗教改革。

　　 　　　　宗教改革引起了国内外反改革势力的强烈反对。

教皇将亨利八世开除教籍，神圣罗马帝国威胁要入侵和断绝贸易。

亨利八世审时度势，依靠全国民族情绪和新兴资产阶级力量的支持，进行强硬反击。

他宣称:“那怕教皇开除教籍一万次，我也不在乎。

我要向所有的国王证明，教皇的力量是多么微不足道。

”“西班牙人要是来的话，就别想回了。

”“弗兰德尔若没有英国贸易，就只有垮台。

”他利用法国与西班牙的矛盾，在一些问题上取得法国国王支持，并与一些信奉路德教的德意志诸侯结盟。

亨利八世在国内加强镇压，1534年议会通过“叛逆法”，规定凡是用言论、文字、行动诬蔑国王为异端、裂教者、暴君等恶名者，不承认国王是教会首领者，否认国王婚姻合法者，均为叛逆，罪当处死。

依此法案，杀掉了一大批反改革的教士，托马斯?莫尔也因不承认议会有权进行宗教改革，而被处死。

但同时，一些信仰各种改革教派的人，也作为“异端”被处火刑。

　　　　随着宗教改革运动的深入，巩固国家统一成为迫切的问题。

当时封建旧贵族在靠近苏格兰的北部地区，威尔士和西部边区及爱尔兰的英占区，仍有着强大的割据势力。

他们勾结教皇与西班牙反对改革，阴谋暴乱。

1536—1537年北方的旧贵族和教会势力利用农民的不满，掀起了名为“求恩巡礼”的叛乱，向南进军，要求取消一切改革，并惩办改革派。

亨利八世依靠改革派广大群众的支持，坚决镇压，杀掉废掉了一批北方旧贵族，成立由改革派主持的“北方法院”进行统治。

在威尔士和西部边区，则成立了由改革派主持的“威尔士边区法院”，惩办了大批不法的旧贵族，推行英国的行政司法制度。

议会于1536年和1543年通过法案，把威尔士正式并入英国。

由于改革派取得的成就，1536年的议会法案规定，国内原有的一切封建特权区必须在国王的名义下治理，实行统一的行政司法制度。

从此，国内的封建割据基本被消灭。

1536—1537年，亨利八世还镇压了爱尔兰英占区旧贵族的反改革叛乱，派改革派人士为代表进行统治，他自己于1541年兼称爱尔兰国王。

1538—1539年，亨利八世以勾结教皇的罪名，杀掉了最后一批约克王朝王族，至此据地自雄的旧贵族基本被清除掉。

　　　　宗教改革运动，尤其是没收大批修道院地产，带来了深刻的社会经济变革。

王室由于财政需求和谋求政治支持，把大批地产转卖或赠送给新贵族和工商业资产阶级，使这些新兴势力发财致富，成为宗教改革的既得利益者。

他们大搞圈地，提高地租，赶走佃户，造成大批农民流离失所，社会秩序动荡不安。

1531年和1536年议会通过法案，用肉刑、奴隶劳动和处死等血腥手段，残酷镇压流浪者。

惩办流浪者、安置劳动力、征救济税、维持治安，管理地方行政司法事务的权力，则交给由乡绅担任的治安法官和教区职员，使他们取代教俗封建主，成为中央在地方上实行统治的工具。

本剧从Thomas Cromwell的角度讲述了Anne Boleyn从上台到上断头台的历史，需要对英国历史有一定了解程度才能看得比较明白。

我在看《另一个波琳家的女孩》的时候，就觉得电影为了追求讲述波琳姐妹故事的传奇性，太过强调爱恨情仇和个人的影响力，将帝国之命运置于姐妹花的角色美貌自然是太过幼稚。

《狼厅》则向我们揭示君主制政治个人情欲、宗教信仰和党派斗争交织的复杂性。

我对《狼厅》所描绘的亨利八世统治下的英国社会和政坛最大的印象就是人的兽性。

群众在看两次断头的时候的表现就像当年北平菜市场斩戊戌六君子时群众的反应一样，不但愚蠢，更表现出一种嗜血性。

议会权贵在几次审判的时候（Kahterin of Aragon, Thomas More, Anne Boleyn）那种喧嚣狂躁的表现，像围在将死的动物身边徘徊的秃鹫。

而亨利八世在决定了要抛弃断头皇后另立新后以求能诞下子嗣后，他和波琳皇后以及公主殿下在一起的画面中一点都不阖家欢乐，他直盯盯地看着母女，用手掏了掏牙缝里的肉屑，极像要咬死猎物的猛兽。

所以说，群众是无情之人，议员是无情之人，国王是无情之人。

克伦威尔在一群群人之间周旋，演员用比较收的表演，像是一面镜子一样反映出了一幅政坛的浮世绘。

除了全剧的克伦威尔，我最喜欢的两段表演，是克伦威尔和Thomas Moore在伦敦塔的周旋和皇后上断头台的那两段，演员做了非常精彩的诠释。

另外我比较喜欢的设定，是克伦威尔，这个忠于自己的master，即使在他失势之后依然衷心耿耿的有情之人如何变成一个设计逼死皇后的无情之人的。

克伦威尔在剧的前半部分还是比较温情的，忠心地帮助失势主教、和自己妻子和女儿的互动也比较友爱。

但在自己和女儿相继死亡、主教被逼死之后，克伦威尔的视野就基本上转到了政治活动上来。

他慢慢地收到亨利八世的宠爱，接近了权利的中心，步步高升，在遵从皇帝懿旨处理并赐死自己尊敬的Thomas More的时候才发现自己已经无法后退了。

亨利直接帮他戳穿了现实：你觉得我是因为你的人格魅力而重用你的吗？

我就是要你去帮我办这些“棘手”的事。

所以在后面亨利和他的交谈中明确表现出后悔和安波琳结婚的时候，他很清楚的了解到，"Henry wants to divorce her... I have to push her (to death)."亨利八世需要一个无情之人来帮助他做无情之事，比如帮助他和皇后离婚，那么他就要揭发皇后和多人通奸（我们在剧中从来没看到有任何证据真的能证明皇后偷情了），那么他就要想尽办法威逼利诱“情夫们”认供，制造证据。

他需要设计皇后偷情，做无情之事，好让皇帝做那个无辜之人，有情有义的perfect prince。

至于皇后是否真的偷情了？

Doesn't matter anymore. 我们可以看到演员在开头演绎克伦威尔的时候还比较放，虽然是个谨慎之人，但还开得起玩笑、唱的出小调，到最后亨利拥抱他庆祝砍掉波琳皇后脑袋的时候，他的眼神你已经读不出来什么信息了。

另一方面，他“陷害”的基本上都是当年还是主教的人，报仇又是一个有情的举动，使得克伦威尔的人格更加的复杂化，组成了我们所见到的这样一个有情与无情之人。

　I am no history buff and haven't read the book(yet) and I basically know nothing about the history of Tudor England except that the king had many wives......however I was hooked after watching the first episode Three Card Trick and the second episode Entirely Beloved was even better but I think I need to re-watch them with subtitles to fully understand the plots...so here's my spoiler-free review. 　　 　　Though I knew people might dislike the dark visual effect. I for one absolutely love director Peter Kosminsky's shooting style with hand-held cameras and using only natural (candle/fire) light for night scenes. It's rare to do a television series(especially historical period drama) like that but the gloom does make the show feel more authenticity. 　　 　　Both Mark Rylance and Damian Lewis gave brilliant, nomination-deserving performance. Mark Rylance will surely be a serious Emmy (& Bafta)contender for best actor in a leading role this year and probably win. I'm biased obviously but I have to say it’s Damian Lewis who really steals the show every single time he appears. 　　 　　Wolf Hall seems likely to be one of the best historical drama ever so hopefully the upcoming episodes will live up to the hype.