I am hoping to get back to proper blogging soon. There have just been so many things going on and so many deadlines to make that I have let it lapse for a short while. It's going to have a bit of a revamp soon too I hope.
For now I can announce that THE WINTER CROWN has just been published in paperback in the UK and has a gorgeous cover that I love. It's the second in my trilogy about Alienor of Aquitaine and covers the marriage between Henry and Alienor from 1154 as far as 1174.
I titled the novel THE WINTER CROWN for a few reasons.
1. It's in keeping with the seasonal theme of the trilogy.
2. Henry and Alienor were crowned in December 1154, so it's fitting
3. There's the emotional resonance of Winter in the relationship
4. Old Sarum reminds me a bit of a crown on its hilltop setting and it has resonances for Alienor.
You can see a few quotes from reviews on the blog sidebar.
You can click on its page on my website to see some of the other editions of the cover from round the world.THE WINTER CROWN
The other piece of news to tell you is that last week, after successful negotiations, I have agreed a new two book contract with my publisher LittleBrown at their Sphere imprint. TEMPLAR SILKS is going to be my next novel and will cover the 'lost years' of William Marshal when he took an oath to travel to Jerusalem and lay the cloak of his deceased lord, Henry the Young King, on Christ's tomb at the Holy Sepulchre. He returned bearing two lengths of silk that he put away in a chest for the next 30 years and about which he told no one save the man keeping them safe. This book is the story of those silks and their ultimate purpose.
I wrote a blog post about here, for THE HISTORY GIRLS. Click to read. A NEW ADVENTURE
I'm very much looking forward to writing the novel. I'll put up the first couple of chapter on my excerpts blog soon!
Elizabeth xx
Sunday, November 22, 2015
Wednesday, September 16, 2015
THE WINTER CROWN.
THE WINTER CROWN, the second book in my trilogy about Eleanor of Aquitaine is now available in the UNITED STATES in all formats and has been selling very well.
Here's the copy for the back of the book.
"Eleanor of Aquitaine has more than fulfilled her duty as Queen of England - she has given her husband Henry II, heirs to the throne and has proven herself as a mother and ruler. But Eleanor needs more than to be a bearer of children and a deputy; she needs her own true authority. As her children grow older, and her relationship with Henry suffers from scandal and infidelity, Eleanor realises the power she seeks won't be given willingly. She must take it for herself. But even a queen must suffer the consequences of treason...
In this dynamic second novel of her Eleanor of Aquitaine trilogy, Elizabeth Chadwick brings to life a passionate royal marriage where love and hatred are two sides of the same coin and in the battle for control the winner takes all...
Here's the copy for the back of the book.
"Eleanor of Aquitaine has more than fulfilled her duty as Queen of England - she has given her husband Henry II, heirs to the throne and has proven herself as a mother and ruler. But Eleanor needs more than to be a bearer of children and a deputy; she needs her own true authority. As her children grow older, and her relationship with Henry suffers from scandal and infidelity, Eleanor realises the power she seeks won't be given willingly. She must take it for herself. But even a queen must suffer the consequences of treason...
In this dynamic second novel of her Eleanor of Aquitaine trilogy, Elizabeth Chadwick brings to life a passionate royal marriage where love and hatred are two sides of the same coin and in the battle for control the winner takes all...
Wednesday, July 08, 2015
RECONSTRUCTING MEDIEVAL GARMENTS: A guest post by Katrin Kania
From Elizabeth Chadwick:
I was asked to write the introduction to the above rather marvellous reference book and was truly delighted to do so. As I say in the introduction, if I'd had this around during my long apprenticeship in finding out what I needed to know to write my novels, my path would have been considerably less burdened! It really is worth having on your bookshelf.
I asked the two authors involved - Gillian Polack a friend of many years, and Katrin Kania, a new friend, if they would write a couple of guest posts for my blog. I lef the subject matter up to them and I'm delighted to put Katia's up first. Some words to the wise with reference to medieval textiles and clothing.
Gillian's post will follow next week.
-------------------------------------------------------------------------------------------------------------------------
It’s said that clothes
make the man – so logically, historical clothes would make the historical man.
When we’re trying to reconstruct historical clothing, however, it’s not as easy
as going to the shop, getting a pattern, and sitting down to do some cutting
and sewing…
The problems already
start with the pattern. Our modern clothing industry is geared towards mass
production of cheap items, conforming to current fads and to current ideals of
fit. A few years ago, for instance, low-waisted trousers became fashionable,
and I’ve had even more trouble finding proper trousers for myself since. They
are also cut to fit the average body, and while averages and sizing patterns
will change from country to country, or at least from subcontinent to
subcontinent, if you are not very average in your body shape – you might be out
of luck to find something that fits and flatters.
Take this whole mass
production aspect away, and you are left with a much more personalised
industry: individual tailors who make things for individual customers, ensuring
that the garment they make actually does fit. (Of course, if you cannot afford
new clothes, you might have to wear ill-fitting hand-me-downs, but that is
another story.) This results in a clothing industry that may show individual
tailor’s hands, even if the general fashion trends change in a similar way in
large areas. Fashion plates or other means of spreading the news of what’s hot
and what’s not, such as a travelling VIP of any kind, dressed nicely, make sure
of that.
Variability was thus
much, much higher than we are used to today. You can buy the exact same jeans
of a certain brand, with the exact same name, number, sizing and fit in London,
in Berlin, in New York and even in the small semi-rural little town where I grew
up. We are used to this conformity just like medieval or early modern people
would have been used to getting their cloth to a tailor and getting things made
from it, and the almost-lack of identical items that goes with this.
Since there’s no
mass-produced historical clothing items these days, why am I going on and on
about this? Living History people and costumers work on a similar basis today
when making historical dress, that’s true – but our whole basic set of
assumptions and expectations is formed by our modern industrial experience of
buying clothing, so it is something to keep in mind.
However, I can name
you a few more other, and more important problems. The first of them, and often
the foremost? Materials. There has been a huge development in both the fibre
materials available (man-made fibres are almost everywhere these days) and
spinning and weaving machines, resulting in fabrics that are very, very
different to these used in the Middle Ages and still considerably different
from fabrics available until, let’s say, those produced in the 20th century and
later, when new, different and faster constructions of looms, such as
shuttle-less looms, come to the fore – with changed fabric characteristics.
Spinning machines make a different thread from hand-spinners, especially
historical hand-spinners, too. Fibre preparation has also changed over time,
with newer methods more suitable to industrial production taking over from
older methods.
So even if you find
fabric in the correct colours and the correct weave, even if it should be wool
and the label says “wool”, it will most probably still be a different fabric.
(Have you made a pained sound right now? I’m sorry. Also, welcome to my world.)
This is especially a problem if you are trying to do reconstructions for
instances where visitors are able to touch the garments – getting it really
right can often prove to be impossible given budget and time restrictions, and
getting it only half-right will perpetuate wrong assumptions about historical
fabrics.
Colours can be a
problem, too – in both directions, too little and too much. There are instances
when visitors might not believe that a bright pink was actually dyed with
natural dyestuff, using a late medieval recipe; those are the people that were
indoctrinated with the “everything in the Middle Ages was drab and brown”
belief. On the other hand, those who happily accepted the love of colour that
the Middle Ages had are sometimes tempted to use fabric dyed with modern
chemical dyes, which can come close to the huge range of shades possible with
plant and insect dyes – but sometimes really doesn’t.
And finally, the
further we go back in history, the less information we do have. What did a
well-off peasant wear in 1250? What did a poor one wear? How affordable and how
available were used clothes for those that could not or would not afford new
ones? Good quality clothing, well-fitted to the wearer, was an important means
to show one’s wealth and status, so there would have been a temptation to
overspend for some people – but how widespread was that temptation? We do know
that showing one’s status was important in the medieval society, but how
important was status and showing it off to that individual person? There would
have been differences from person to person.
There would also have
been local differences in clothing, local fads and trends, local preferences.
We can still see this today when we travel: even in our globalised, unified
society, there are different trends in how to dress in London and Paris and Copenhagen
and Munich at the same point in time. There’s also the influence of key people
in individual circles, who might start a mini-fad for a certain type of shoes
or a certain type of bag, restricted to a clique or similar group. (I still
remember being made fun of in school because my trousers were shorter than
fashionable… and then entering that first lecture in Archaeology, just to find
out that everybody there cared about trouser length just as much as I did.
Which is to say: not at all.)
Many of these things
are problems not easily solved, if they can be solved at all. With enough money
and enough time, it is of course possible to exactly reproduce an existing
piece of fabric, and there are specialists offering exactly this service.
(Usually they are employed by museums for reconstruction or conservation
purposes, where an exact reproduction matters.) When it comes to source
material, however, we cannot just go back in time and make sure enough
information will survive the years until our present, though that would be a
wonderful thing. We’re stuck with what we have: a few real garments, many more
scraps of fabric too small to guess what they originally were, pictures and
images of people wearing clothes, wills and inventories and similar lists, and literary
texts with descriptions of clothing.
None of these sources
is perfect. For the Middle Ages, there’s way too few surviving clothes to give
anything like a good picture; there’s always the question of what underlying
symbols and artistic conventions have influenced a painting or drawing of
clothes, just like a writer describing someone’s clothes may have taken
artistic license in ways we cannot reconstruct. Wills and lists are more
reliable in some ways, but are usually not including descriptions that would
help us to really define or identify the listed pieces. We can use all of these
sources together, though, to try and reconstruct an image of historical
garments.
And even though all
this may have sounded like I’m trying to rain on every costume enthusiast’s
parade - I’m all for taking up that needle and thread and going for that set of
clothes. I know, from my own experience, that sometimes you have to go and do
things to actually understand how something works, and why. I’ve been sewing
garment reconstructions for more than a decade now, and helping other people
cut and tailor their garments is part of my day job. I know full well how often
and how many compromises have to be made, and that the one hundred percent
authenticity is not attainable. But I’m also a firm believer in knowing about
your compromises, and knowing about the backgrounds and crafts details, and
making those choices of pattern and technique and material with as much
information on the original versions as is possible.
After all, if we dress
up in reconstructed historical garments, we are teaching people things about
historical dress. We’re challenging, or reinforcing, their previous concepts
and ideas about it just by standing there and being looked at. Our decisions
when making garments matter – we will always have to speculate, and compromise,
and guesstimate when making a set of clothes based on sources. Having detailed
information about historical materials, however, can help us pick the best
compromise possible.
Dr Katrin Kania is a freelance textile archaeologist and teacher as well as a published academic who writes in both German and English. She specialises in reconstructing historical garments and offering tools, materials and instructions for historical textile techniques. Find her website at www.pallia.net and her blog at http://togs-from-bogs.blogspot.co.uk/
Wednesday, June 24, 2015
KING JOHN'S BLING.
I've just written this post for THE HISTORY GIRLS and am linking to it here.http://the-history-girls.blogspot.co.uk/2015/06/king-johns-bling-by-elizabeth-chadwick.html
Sunday, June 21, 2015
WILLIAM MARSHAL NON FICTION WORKS: A roundup.
I thought I would write a roundup of the most prominent reference works concerned with William Marshal for those who might want to read about him for themselves. I have used some of these for research while writing my novels about William Marshal (THE GREATEST KNIGHT and THE SCARLET LION, detailing his life story from young manhood to grave). Some works have been published since I wrote THE GREATEST KNIGHT (one even has the same title and UK font!), so I thought I'd do a roundup with my opinion. A couple have full reviews.
Before I go on to the secondary source material, I need to mention that the top primary source resource for the study of William Marshal is THE HISTOIRE DE GUILLAUME LE MARESCHAL, a rhyming 20,000 line poem about William's life published by the Anglo Norman Text Society in two volumes with a companion glossary volume. It's edited by A.J. Holden with English translations by S. Gregory and historical notes by David Crouch. You can find out more about it by enquiries to the Anglo Norman Text Society. http://www.anglo-norman-texts.net/
Onto the reference works.
SIMPLY THE BEST
William Marshal Knighthood War and Chivalry 1147-1219 by David Crouch.
David Crouch's work on William Marshal: is now, in second edition, 13 years old, but it still sets the gold standard. There are one or two slips of the pen (such as the comment that William's wife could have been no older than twenty when he married her - when in fact she could have been no older than 17) and occasional moments where opinion becomes a bit more personal than fact and are not fully supported (that the Marshal could not read for example, where the only evidence is that he employed clerks - but then so did everyone else. And calling him a 'complete illiterate not even able to read French let alone Latin, sounds like putting in the boot without any clear evidence). However, by and large, this one wears its scholarship with full credentials and excellent analysis. I understand from professor Crouch that there is going to be a third edition of this work either later this year or in the New Year with amendments, corrections and new material. A lot of new information about the Marshal has come to light via Professor Crouch's study of previously unexplored letters and charters of the Marshals and these are going to add a lot more nuance to what is already known. If you only buy one book about the Marshal, make it this.
NB The Marshal letters and charters were supposed to have been made available as a publication from the Camden Society in July 2015, but it now looks as if it may be November.
THE BEST OF THE REST
William Marshal. Knight-Errant, Baron and Regent of England by Sidney Painter
This one was first published in 1933 but it has stood the test of time reasonably well and can be read beside the Crouch to give an excellent overview of the period. This is my second go-to book. It's not as nuanced as the Crouch, and the research is older, but it still holds its own and has a strong feel for the Marshal. Good scholarship.
The Knight Who Saved England by Richard Brooks
This is a workmanlike biography of the Marshal that's on its best ground in a military capacity. Indeed, I think Brooks understands the Marshal the military man the best of any of the biographers. He really gets a feel for the logistics and his man in that capacity. The book is particularly strong on the battle of Lincoln in 1217 and is worth buying just for that. You can read my full review here.
William Marshal Earl of Pembroke by Catherine A. Armstrong.
This work is mostly a print copy of the articles Catherine Armstrong has written for the Castles Wales website. Here's the link to the site, and then you can fine tune from there by using the search box. Castles Wales It's very obviously self published and the production values are not high end. It's a bit here and there in content and the Marshal is viewed with a rose-tinted focus at times. However, it is still well written and knowledgeable. There are details one can pick up from this one that are not in any other work and the bibliography is staggering and well worth the perusal. It's definitely one to add to the shelf.
DUBIOUS DUBY
George Duby's Flower of Chivalry was the first book I read on the Marshal when I began researching my novels. I read it once and then put it back on my shelf. Duby is flawed. He has some very strange notions about the treatment of women at that time and twists the facts so much to suit his argument that he warps the whole frame out of true. He is also guilty of making William Marshal a bit of a bonehead, which he certainly wasn't. He doesn't give him enough credit on the fronts beyond the military and simplifies his character. I would say there are better works out there. Professor Crouch himself warns against some of Duby's excesses. Although he is fair in his appraisal of Duby and says some positive things. His concluding remark is telling. 'Duby's Marshal is a warning of how selective historical writing can distort the evidence in a most unacceptable way.'
THE LATEST OFFERING
The Greatest Knight by Thomas Asbridge. I read this recently and here's my review. If there's to be a paperback of this work, I sincerely hope it will be revised
I confess that before I read
Thomas Asbridge’s THE GREATEST KNIGHT”, I was already curious about this new
biography of William Marshal. The lives of John FitzGilbert the Marshal and his
son William are a lifelong study subject for me outside my novel writing career. Since this
work shares the title of my 2004 novel THE GREATEST KNIGHT about the life of
William Marshal and even has the same font and cloudy background on the cover, my interest was naturally
piqued even more.
William Marshal, circa 1146-1219 has been called the
Greatest Knight who ever lived and we know about him through a rhyming
biographical poem of over 20,000 lines commissioned by his family and written
by a poet simply known as John.
Despite the often highly positive spin the
biography puts on the Marshal’s life, much of the “Histoire de Guillaume le Mareschal” still rings true in its basics
and the reader receives a strong flavour of the vigour of the Marshal’s
character. It’s a vivid glimpse into the
world of the 12th and 13th century aristocracy – their
cares and concerns, their pleasures and politics. It’s the first secular
biography of an Englishman and a work of incalculable value, not least because
of its survival, which is a story in itself.
That survival is the starting point of Thomas Asbridge’s work - how it was rediscovered at auction by historian Paul Meyer in the 19th century and how he lost the bid, but doggedly followed the manuscript’s trail, found it again, and translated it into the modern French of his own era along with a commentary. It’s a fascinating story that draws the reader in and is one of the book’s most positive and interesting aspects.
Thomas Asbridge tells his tale in a strong, linear style
that is entertaining and very readable which gives it wide appeal. You don’t
have to be an academic to enjoy the writing.
He mostly relies on the “Histoire
de Guillaume le Mareschal” as his
source material and puts his own interpretations on the story, sometimes with
results that might raise the eyebrows of those who know William Marshal well,
but probably won’t be noticed by those who don’t. I have to say that general readers may be
misled at times about the Marshal’s character because the interpretation, and indeed some of the stated 'facts' do not always stand up to scrutiny.
Asbridge never seems to quite grasp the nuances. For example, John FitzGilbert, William’s father is portrayed as a brutal weathercock. But he was no more brutal than any other baron at the time, and it could be argued much less of a weathercock than a good number of his compatriots. Once he swore for the Empress he stuck to his word even though it meant the loss of an eye at Wherwell, and the potential loss of his son at Newbury, when John was the last man standing between King Stephen and the castle at Wallingford. The reader isn’t told this. Asbridge tells us instead that King Stephen was ‘determined to punish John’s presumption’ and so in the fading days of his power, came to seize John’s castle at Newbury. But it was more than just royal displeasure and vindictiveness that brought Stephen to Newbury. The point of the Newbury incident is that Stephen needed to get to Wallingford before the future Henry II returned from Normandy, but he knew if he marched directly to Wallingford from his current base at Reading that John FitzGilbert would come from Newbury, attack him from behind and he’d end up sandwiched between the defending garrison at Wallingford and the Marshal forces in the rear. So in order to have a good chance of success at Wallingford, he had to take out John Marshal first. John Marshal knew there was no one else; he was the last man standing between Stephen and the destruction of Wallingford. That puts the whole situation in a very different light.
There’s the moment when John attacks his rival neighbour, Patrick of Salisbury. Asbridge tells us that this shows John’s capacity for ‘ruthless brutality’ – to attack a troop of more lightly armed men. What he doesn’t tell the reader is that these lightly armed men were actually on their way to slaughter John and were carrying their heavy armour with them ready to put on just before they attacked him. But John got wind of their intent and hit them first. Again, the reader is only told half the story and thus the nuances are changed.
When it comes to William Marshal himself, I began to wonder how much notice Thomas Asbridge had actually paid to the Histoire although it seemed to be his main source of information. For example, he tells us that “The Marshal himself seems to have shown only limited interest in the likes of dancing (and) music.” In direct contradiction of this the Histoire tells us that William’s singing voice had a ‘pure, sweet tone’ and that he willingly sang for his comrades at a dance at a tourney and that it gave them ‘much pleasure and delight.’ (Lines 3471-3483) Many years later on his deathbed, William said one day that he felt like singing, as he had not in three years. This suggests that he had enjoyed song for most of his life. He also specifically called his daughters to sing for him and instructed them how to do so to the best of their ability and then joined in with them.’ (lines 18532-18580). This is a man with only days to live. It’s very, very obvious that he loved music, understood its technicalities, and it would have been one of the few joys left to him. I am astounded that Asbridge has been so dismissive of these aspects in his work.
Asbridge alters one scene in the Histoire itself by not reading the text in primary source and by misunderstanding the English translation, hence the matter of the pike. At a tourney at Pleurs, William Marshal got his head stuck inside his helmet and went to the smithy to have it prised off. In the meantime he had been judged ‘man of the match’ which means he had won the main tourney prize, of a fish – a large pike. The Histoire tells us this in the original Old French word for the creature “luz” It’s in prime condition and more than two and a half feet long. Pikes and swans were common tourney prizes at this time, as were other animals. One particular tourney even had a bear as the prize. Asbridge tells his readers that William has won a two and a half foot long spear! Common sense would surely tell one that a spear of two and a half feet in length isn’t actually a spear (you'd need to be looking around 12 feet) and not a useful thing to win, especially not for the champion of the show!
Asbridge dresses William in an odd way too. He tells us he would have worn a shirt with detachable sleeves, a ‘fact’ that appears to be picked up almost verbatim from the Danziger and Gillingham book “1215”. Asbridge says that William would have worn “a shirt, often with detachable sleeves.” Danziger and Gillingham’s line (p22) says “a shirt with long sleeves that were often detachable.” Now then, neither Danziger nor Gillingham are clothing historians but I happen to know a few, and I challenge anyone to find any time in the 12th or 13th century when shirts with detachable sleeves were worn; tunics perhaps, later on under Renaissance influence, but never, never shirts.
The description of the Young King, eldest son of Henry II is almost identical to the one on Wikipedia and the problem here is that the reader can’t know if this information is reliable because Asbridge doesn’t give proper sources or footnotes. There is no bibliography section, rather the books consulted are mentioned in the end notes which are far from reader friendly. They are arranged in a chapter by chapter format, but are quotes from pages without reference numbers, leaving the reader utterly baffled and having to hunt through the entire chapter for the lines in question.
I was somewhat surprised at some of the dates Asbridge uses. Eleanor of Aquitaine receives the older research birthdate of 1122 instead of the now more usually accepted 1124. King John’s birth year is cited as 1167 when it looks more likely to be 1166. (See “Eleanor of Aquitaine Lord and Lady,” edited by John Parsons and Bonnie Wheeler, the chapter by Andrew Lewis on revising the birth date of King John. This also gives the revised birth date of 1124 for Eleanor of Aquitaine. Gerald of Wales also indicates the birth date of 1166 for John). William Longespee’s birth date is erroneously given as 1167 when we now know it was somewhere between 1175-80, shortly before his mother, Ida de Tosney married Roger Bigod, Earl of Norfolk.
The reader is told that Eleanor of Aquitaine was at the coronation of her son the Young King in 1170. However she was in Normandy at the time, trying to prevent various agents of Thomas Becket making the crossing and preventing the coronation. (William FitzStephen Life of Becket).
Asbridge has William setting off for the Holy Land in September 1183 and suggests that he just possibly may have arrived there in that same month in time to fight Saladin – which is patently impossible even given a jet propelled horse!
Asbridge suggests in one of the many ‘may have’ moments occupying the narrative that Richard the Lionheart was determined to build a glorious reputation for himself in liberating Jerusalem and didn’t want William along on crusade with him in case the Marshal stole his limelight – he was jealous of him! That begs the question then, why did he promote William and his affinity to such prominent positions in his government? Why not just dump William if he was worried about the threat to his own glory? Asbridge also speculates as to whether William would be considered a coward for staying at home, but since someone had to rule the country and since William had already made the pilgrimage, it’s an argument that skates on very thin ice – in my opinion.
Asbridge accuses the Marshal of ‘grumping, wheedling and whining’ to Henry II for promotion and makes him sound like a child having a whinge in a supermarket. While the Marshal might have been pro-active in seeking promotion, and we know he complained to Henry II, “grumping, wheedling and whining” certainly does not convey the resonances of the period and the way in which the reciprocation of patronage played out. Would Henry II, famous for his impatience, have listened to and sought the advice of a man who grumped, wheedled and whined? Absolutely not.
Positives? The aforementioned story of the discovery and rescue of the manuscript is well written and fascinating. Dr. Asbridge also gives a fine reassessment of the Young King which is long overdue and puts him in his full political context. Rather than a foolish, spendthrift ‘Hooray Henry,’ this eldest surviving son of Henry II comes over as a politically astute young man frustrated by his father’s controlling, micro-managing policies. That aspect of the biography is excellent and recommended as food for thought. It’s a great balancer to the more usual negative assessments of the Young King.
Asbridge never seems to quite grasp the nuances. For example, John FitzGilbert, William’s father is portrayed as a brutal weathercock. But he was no more brutal than any other baron at the time, and it could be argued much less of a weathercock than a good number of his compatriots. Once he swore for the Empress he stuck to his word even though it meant the loss of an eye at Wherwell, and the potential loss of his son at Newbury, when John was the last man standing between King Stephen and the castle at Wallingford. The reader isn’t told this. Asbridge tells us instead that King Stephen was ‘determined to punish John’s presumption’ and so in the fading days of his power, came to seize John’s castle at Newbury. But it was more than just royal displeasure and vindictiveness that brought Stephen to Newbury. The point of the Newbury incident is that Stephen needed to get to Wallingford before the future Henry II returned from Normandy, but he knew if he marched directly to Wallingford from his current base at Reading that John FitzGilbert would come from Newbury, attack him from behind and he’d end up sandwiched between the defending garrison at Wallingford and the Marshal forces in the rear. So in order to have a good chance of success at Wallingford, he had to take out John Marshal first. John Marshal knew there was no one else; he was the last man standing between Stephen and the destruction of Wallingford. That puts the whole situation in a very different light.
There’s the moment when John attacks his rival neighbour, Patrick of Salisbury. Asbridge tells us that this shows John’s capacity for ‘ruthless brutality’ – to attack a troop of more lightly armed men. What he doesn’t tell the reader is that these lightly armed men were actually on their way to slaughter John and were carrying their heavy armour with them ready to put on just before they attacked him. But John got wind of their intent and hit them first. Again, the reader is only told half the story and thus the nuances are changed.
When it comes to William Marshal himself, I began to wonder how much notice Thomas Asbridge had actually paid to the Histoire although it seemed to be his main source of information. For example, he tells us that “The Marshal himself seems to have shown only limited interest in the likes of dancing (and) music.” In direct contradiction of this the Histoire tells us that William’s singing voice had a ‘pure, sweet tone’ and that he willingly sang for his comrades at a dance at a tourney and that it gave them ‘much pleasure and delight.’ (Lines 3471-3483) Many years later on his deathbed, William said one day that he felt like singing, as he had not in three years. This suggests that he had enjoyed song for most of his life. He also specifically called his daughters to sing for him and instructed them how to do so to the best of their ability and then joined in with them.’ (lines 18532-18580). This is a man with only days to live. It’s very, very obvious that he loved music, understood its technicalities, and it would have been one of the few joys left to him. I am astounded that Asbridge has been so dismissive of these aspects in his work.
Asbridge alters one scene in the Histoire itself by not reading the text in primary source and by misunderstanding the English translation, hence the matter of the pike. At a tourney at Pleurs, William Marshal got his head stuck inside his helmet and went to the smithy to have it prised off. In the meantime he had been judged ‘man of the match’ which means he had won the main tourney prize, of a fish – a large pike. The Histoire tells us this in the original Old French word for the creature “luz” It’s in prime condition and more than two and a half feet long. Pikes and swans were common tourney prizes at this time, as were other animals. One particular tourney even had a bear as the prize. Asbridge tells his readers that William has won a two and a half foot long spear! Common sense would surely tell one that a spear of two and a half feet in length isn’t actually a spear (you'd need to be looking around 12 feet) and not a useful thing to win, especially not for the champion of the show!
Asbridge dresses William in an odd way too. He tells us he would have worn a shirt with detachable sleeves, a ‘fact’ that appears to be picked up almost verbatim from the Danziger and Gillingham book “1215”. Asbridge says that William would have worn “a shirt, often with detachable sleeves.” Danziger and Gillingham’s line (p22) says “a shirt with long sleeves that were often detachable.” Now then, neither Danziger nor Gillingham are clothing historians but I happen to know a few, and I challenge anyone to find any time in the 12th or 13th century when shirts with detachable sleeves were worn; tunics perhaps, later on under Renaissance influence, but never, never shirts.
The description of the Young King, eldest son of Henry II is almost identical to the one on Wikipedia and the problem here is that the reader can’t know if this information is reliable because Asbridge doesn’t give proper sources or footnotes. There is no bibliography section, rather the books consulted are mentioned in the end notes which are far from reader friendly. They are arranged in a chapter by chapter format, but are quotes from pages without reference numbers, leaving the reader utterly baffled and having to hunt through the entire chapter for the lines in question.
I was somewhat surprised at some of the dates Asbridge uses. Eleanor of Aquitaine receives the older research birthdate of 1122 instead of the now more usually accepted 1124. King John’s birth year is cited as 1167 when it looks more likely to be 1166. (See “Eleanor of Aquitaine Lord and Lady,” edited by John Parsons and Bonnie Wheeler, the chapter by Andrew Lewis on revising the birth date of King John. This also gives the revised birth date of 1124 for Eleanor of Aquitaine. Gerald of Wales also indicates the birth date of 1166 for John). William Longespee’s birth date is erroneously given as 1167 when we now know it was somewhere between 1175-80, shortly before his mother, Ida de Tosney married Roger Bigod, Earl of Norfolk.
The reader is told that Eleanor of Aquitaine was at the coronation of her son the Young King in 1170. However she was in Normandy at the time, trying to prevent various agents of Thomas Becket making the crossing and preventing the coronation. (William FitzStephen Life of Becket).
Asbridge has William setting off for the Holy Land in September 1183 and suggests that he just possibly may have arrived there in that same month in time to fight Saladin – which is patently impossible even given a jet propelled horse!
Asbridge suggests in one of the many ‘may have’ moments occupying the narrative that Richard the Lionheart was determined to build a glorious reputation for himself in liberating Jerusalem and didn’t want William along on crusade with him in case the Marshal stole his limelight – he was jealous of him! That begs the question then, why did he promote William and his affinity to such prominent positions in his government? Why not just dump William if he was worried about the threat to his own glory? Asbridge also speculates as to whether William would be considered a coward for staying at home, but since someone had to rule the country and since William had already made the pilgrimage, it’s an argument that skates on very thin ice – in my opinion.
Asbridge accuses the Marshal of ‘grumping, wheedling and whining’ to Henry II for promotion and makes him sound like a child having a whinge in a supermarket. While the Marshal might have been pro-active in seeking promotion, and we know he complained to Henry II, “grumping, wheedling and whining” certainly does not convey the resonances of the period and the way in which the reciprocation of patronage played out. Would Henry II, famous for his impatience, have listened to and sought the advice of a man who grumped, wheedled and whined? Absolutely not.
Positives? The aforementioned story of the discovery and rescue of the manuscript is well written and fascinating. Dr. Asbridge also gives a fine reassessment of the Young King which is long overdue and puts him in his full political context. Rather than a foolish, spendthrift ‘Hooray Henry,’ this eldest surviving son of Henry II comes over as a politically astute young man frustrated by his father’s controlling, micro-managing policies. That aspect of the biography is excellent and recommended as food for thought. It’s a great balancer to the more usual negative assessments of the Young King.
Ultimately, Asbridge’s “Greatest Knight” is an uneven work that doesn’t really get
under the surface of the Marshal’s personality and there are some rather bizarre interpretations of the motivations
behind some historical events completely lacking credible evidence to back them up.
If it is taken too seriously or seeps into the public mindset, it has the potential to set back the progress made by more scholarly works of our understanding of the Marshal. If you do read this one, make sure you also read David Crouch on the Marshal to get a fully rounded picture.
If it is taken too seriously or seeps into the public mindset, it has the potential to set back the progress made by more scholarly works of our understanding of the Marshal. If you do read this one, make sure you also read David Crouch on the Marshal to get a fully rounded picture.
Tuesday, May 26, 2015
THE MARSHALS AND KING JOHN: A paper from this year's Mortimer Society Conference.
I was asked by the organisers of the Mortimer Society Conference if I would give a paper loosely on the subject of matters or personalities concerned with Magna Carta for their annual day of lectures at Hereford Academy.
Slightly daunted to be in the august company of lecturers and academics who know the period inside out at degree level, I nevertheless decided nothing ventured nothing gained and agreed to do so. The result was this - a piece on the relationship between the Marshal and King John. Other than a few photos to break up the narrative, this is the article verbatim.
I am so glad I agreed to lecture at Hereford. I met some old friends and readers, and said hello again to the lovely indie bookseller from Ludlow. The lecturers were absolutely charming and not at all 'ivory' tower and were as interested in what I had to say, as I was in their work. So, all in all a great exchange, and enjoyable at all levels!
THE MARSHALS AND KING JOHN.
Labels:
Elizabeth Chadwick,
King John,
Magna Carta.,
William Marshal
Subscribe to:
Posts (Atom)