Article
Culture
Masculinity
Royalty
6 min read

Henry VIII's toxic masculinity

There was much more to the famed monarch than a padded codpiece, Historian Suzannah Lipscomb unpacks how his toxic behaviour led to ridicule and dishonour. Part of The Problem with Men series.
King Henry VII, wearing a hat, stares away, in a portrait.
Henry VIII, by Hans Holbein the Younger.
Thyssen-Bornemisza Museum.

History offers many examples of toxic masculinity – perhaps none better than King Henry VIII. Two central qualities of Henry's inflated sense of manhood remain familiar today: he believed that he was always right, and he treated brutally those who disagreed. 

The sixteenth century was a patriarchal age. Men dominated every position of power and influence, cultural values favoured men, and women were obsessively controlled. Wives had no existence under law; a husband had a legal right to dispose of his wife's property and money without her consent and knowledge. Women were barred from holding office, and were thought to be morally, mentally, and emotionally weaker than men. Despite (or perhaps because of) this, it was an age in which patriarchs were increasingly anxious and masculinity had to be repeatedly enacted.  

In an age before credit checks, personal honour counted for everything. Honour was chiefly a measure of someone's ability to conform to gender ideals. For women, this meant chastity: celibacy before marriage and fidelity after it. Men could demonstrate honour in a range of ways. As a young man, Henry VIII showed his masculinity in displays of courage and strength on the tiltyard and at war. But, for men too, honour could be sexual. Men had to demonstrate an energetic sexual appetite.  

1534. Henry wanted complicity even in his subjects' thoughts. The Treasons Act of the same year made it high treason to call the king a 'heretic, schismatic, tyrant, infidel or usurper of the crown'.

Henry VIII's blinkered patriarchal vision (and, to be fair, English history to that point) meant that, unlike Katherine his wife, Henry could not envisage their only surviving child, Mary, as a ruling queen. All their other children had died within a few hours, days or weeks of birth or had been born dead, and Katherine was in her forties. So, on grounds he knew were untrue – the suggestion that Katherine's marriage to his brother Arthur had been consummated – Henry sought one. The Pope refused – but Henry needed to be right. With a hefty dose of self-delusion, he used a partial reading of scripture to justify separating from his wife of twenty years. It took schism from the Roman Catholic Church to make it a reality.  

The whole country was pulled into saying black was white. The Act of Succession of 1534 included an oath that every man (only men) was required to swear. They were to state that they regarded Mary 'but as a bastard' and that Anne Boleyn was Henry's lawful wife and the rightful Queen of England 'without any scrupulosity of conscience'. Henry wanted complicity even in his subjects' thoughts. The Treasons Act of the same year made it high treason to call the king a 'heretic, schismatic, tyrant, infidel or usurper of the crown'. Those who failed to agree with Henry's perspective – Sir Thomas More and Bishop John Fisher chief among them – were executed.  

Part of the reason was that Henry became very attached to his position as Supreme Head of the Church. He reckoned himself a theologian. In 1536, he wrote the first doctrinal statement of the Church of England. Henry’s theological position, in the all-to-play-for years of the 1530s, was his own idiosyncratic hodge-podge of contemporary Catholicism and Protestantism. He hated Martin Luther’s idea that a person could be made right with God without having earned it, but he also denied the reality of purgatory (though he left funds for his own soul to be prayed for after death, just in case). Later in life the king would annotate religious texts composed by his bishops and be compared in his commissioned tapestries and psalter to the Old Testament patriarchs Abraham and David, and the New Testament saint Paul. He was depicted on the frontispiece of the Great Bible as first under God. A rebellion that sought to challenge his supremacy was put down with extreme force.  

In other words, Henry’s preoccupation with preeminent masculinity can be seen even here: he thought his personal faith should determine the religious practice of the whole kingdom. Those who did not agree on a point of doctrine – like John Lambert, who held that the bread and wine of the Mass were symbols of, not literally, Christ’s body and blood – were executed. Henry personally presided over Lambert’s trial. On one day in 1540, on the king’s orders, three Protestants were burned as heretics, and three Catholics were hanged as traitors. 

Anne's alleged adultery (the evidence for any actual adultery is risible) therefore profoundly affected Henry's perceived honour. For a king, the apparent lack of control or dominance in his household was especially galling. 

This religious activity took place against a background of trials of Henry’s masculinity. Ultimately, the gamble of the break with Rome and marriage to Anne did not pay off. In fact, it exposed Henry to ridicule and dishonour. 

After Anne had a baby girl and miscarried a boy, Henry became convinced that she was committing adultery and incest with five men including her brother. That one of Henry’s reasons for being attracted to Anne had been her intense personal engagement with faith should have indicated to him how unlikely these charges were to be true. In conversation she had mentioned that the king might one day die – which was also illegal under the Treasons Act – and so, in addition to adultery and incest, she was convicted of conspiring the king's death. But the trials backfired. Anne’s brother admitted at his that Anne had told him that Henry was 'not skillful in copulating with a woman and had neither vigour and potency'. This was said in front of a crowd of two thousand people in the Great Hall at the Tower of London. 

Contemporary thought made a link between potency and fidelity. A woman's adultery was thought to be her husband's fault: The 1607 book, The court of good counsell, instructs a cuckolded man to 'find how the occasion came from himself, and that he hath not used her, as he ought to have done'. This was not an injunction to be kinder; in early modern parlance, 'use' was a euphemism for sex. Husbands needed to demonstrate sexual dominance, which was considered a crucial part of patriarchal control. In something called a charivari, men who were childless, thought to be ruled by their wives, or who cuckolded were mocked without mercy. 

Anne's alleged adultery (the evidence for any actual adultery is risible) therefore profoundly affected Henry's perceived honour. For a king, the apparent lack of control or dominance in his household was especially galling.  

A damaged sense of masculinity in a culture that insists on male dominance leads to doubling down.

It is for this reason that during the three short weeks between Anne's accusation and her execution, while she remained in the Tower, Henry visited Jane Seymour and danced with her late into the night. He remarried within eleven days of Anne's death. It was all to assert his sexual appetite – his manliness.  

Henry's profound anxiety about his manhood also influences the picture we have of him. His most-copied, full-length portrait focuses on Henry not as a king – there is no crown, orb or sceptre – but as a man. In a martial stance, with broad shoulders and splayed feet, the king wears an enormously padded codpiece. Painted after Anne's death, it reeks of masculine bravado. 

His toxic masculinity – as it has a habit of doing – replayed itself again and again. Henry had his marriage to Anne of Cleves (wife no. 4) dissolved on spurious grounds, but in fact because he was unable to consummate the marriage. He blamed his lack of arousal on her full breasts and large belly (which he took as indicators that she was not a virgin), insisting that wet dreams showed the problem was not with him. Meanwhile, wife no. 5, Kathryn Howard, was – history repeating itself – accused of adultery, raising once again the sense that Henry was unable to rule and reign.  

A damaged sense of masculinity in a culture that insists on male dominance leads to doubling down. Both Anne Boleyn and Kathryn Howard were executed: one on the basis of concocted evidence, the other without a trial (an act of parliament declared Howard guilty). Henry VIII's reign is just one example of just how poisonous patriarchy can be. 

Listen to Suzannah Lipscomb on Seen & Unseen's Re-enchanting podcast

Review
Culture
Film & TV
Freedom
6 min read

I’m Still Here is a celebration of Brazilian resilience

The Brazilian Oscar winner is an act of remembrance.

Matt is a songwriter and musician, currently completing an MA in theology at Trinity College, Bristol.

A woman, wearing 70s clothing, stands, looking apprehensive.
Fernanda Torres as Eunice Paiva.

The other week in Brazil, crowds were heard jubilantly celebrating: “Brazil! Brazil!” The characteristically enthusiastic nature of their celebration might make you think there had been a football victory. But the victory was in fact the Oscar win for I’m Still Here, the Walter Salles directed movie – a first time win for Brazil in Best International Picture. And Brazil should be proud. As the credits rolled in an independent cinema, I sat in stunned silence. I’m Still Here is a moving and expertly crafted portrayal of family life under tyranny. The film gives a tragic account of the insidious and destructive nature of authoritarian untruth - yet also a celebration of the defiant resistance of unsung heroes in the face of evil. 

Set in 1970’s Rio de Janeiro during a military dictatorship that lasted for 21 years, the film centres around the true story of the Paiva family. The father, Rubens Paiva (Selton Mello), a former dissident congressman, is abducted by the military for interrogation and disappears; the mother, Eunice Paiva (Fernanda Torres), who herself is imprisoned and tortured for 12 days, is left to keep the family together and continue the search for her husband.  

At this point, I should admit that this review is not unbiased, as I have been to Brazil six times, and have an enthusiastic interest in its history and culture. And despite the sombre tone at the heart of the movie, I’m Still Here felt like a celebration of Brazil. The film opens with an ominous helicopter flying over a Rio beach, which leads us to the Paiva family enjoying the sun with their friends. The fun, vibrancy, and warmth that permeates the family gathering reminded me of much of what I love about Brazilian culture. Even in the midst of a repressive regime, at least for this family, the party goes on.  

Unfortunately, the party doesn’t last for long. 

Thirty minutes into the film, the relative harmony of the Paiva family’s world is sharply interrupted, when the military police arrive at their home and announce that Rubens is wanted for interrogation. As the intruders close the curtains and doors, the light, warmth and music that permeated the start of the movie are muffled and suffocated. This scene plays like a microcosm for Brazilian society under authoritarian regime.  

Historians Lilia M. Schwarcz and Heloisa Starling, in their book Brazil: A Biography document how on 14 December 1968, the Jornal do Brasil, a leading daily newspaper, published a special edition to surprise their readers, including a false weather report: ‘Suffocating temperature. Air unbreathable.’ The previous day, the military dictatorship had announced a law which suspended habeas corpus and freedom of expression, permitted the annulment of citizen’s rights, and determined that political trials would be conducted by military courts, with no right of appeal. This allowed the dictatorship to repress political dissent, and led to the mass disappearances of individuals suspected of anti-government activity.  

We see this suffocation slowly take hold of Eunice Paiva. Here Fernanda Torres’ subtle yet arresting performance as the Paiva mother cannot be understated. As she tries to maintain a sense of normalcy in her family, protecting them from the truth, while also quietly and defiantly seeking her husband’s release, we hang on to her every word and nuance of expression.  

Every confrontation she makes to the police is met with deflection, lies, and cover-up. We watch as the insidiously persuasive untruth of authoritarianism seems to triumph over integrity. We get this sense from the world around the Paiva family too – the radio only relays state-sanctioned news, and censors music deemed subversive. I’m reminded of George Orwell’s depiction of the Party in 1984, which enforces ‘doublethink’ on the populace: ‘to be conscious of complete truthfulness while telling carefully constructed lies … consciously to induce unconsciousness.’  

Eunice can be seen as a counterpart to Orwell’s protagonist, Winston, who claimed ‘There was truth and there was untruth, and if you clung to the truth even against the whole world, you were not mad.’ This refusal to let go of truth carries Eunice Paiva, and us along with her.  

While a song won’t take down a dictatorship overnight, it can get into your head, and stick there long enough to inspire some forms of resistance. 

The presence of music in the movie likewise represents a significant thread of resistance to the regime’s propaganda and shrouded crimes. This is heard not just in the vibrant soundtrack of resistance music from the period, but also in the dark and hostile prison where Eunice Paiva is held. Amid screams from other inmates, Eunice hears a man sing out from another cell:  

Samba:

Black,

strong, fearless,

Was harshly persecuted

On the corner, in the bar, in the yard.

He is quickly silenced by a guard, but the refrain memorialises the cry of the oppressed. While a song won’t take down a dictatorship overnight, it can get into your head, and stick there long enough to inspire some forms of resistance, to combat the ‘official’ narrative of events with a subversive counter-narrative.  

Yet in I’m Still Here, the clearest act of resistance comes from the quiet but resolved determination of Eunice Paiva in her refusal to forget her husband, to let the untruth of dictatorship have the final say. I’m reminded of Hannah Arendt’s diagnosis of the ‘banality of evil’ in Nazi Germany. Under dictatorship, with the state’s obfuscatory erasure of its misdeeds, evil becomes normalised, losing its shock, its horror. In this way, atrocities can continue to be committed with impunity.  

But Eunice Paiva’s story reminds us, in Schwarz and Starling’s words: ‘nothing can be completely extinguished, and no one disappears completely without someone remembering their name.' As Chico Buarque, a Brazilian musician foresaw: 

The banal of today 

Will be in journals someday.  

One aspect of Eunice’s story the film does not portray is her faith. According to her children, she would attend Catholic Mass every week, partaking of bread and wine to remember Christ’s death.  I’m curious what influence this continued reminder of the crucifixion of Jesus had on her.  

There are other examples of resistance in Brazil that were explicitly motivated by the image of the cross. Schwarz and Starling recount the opposition of a group of Catholic bishops who used the Church’s communication channels to disclose internationally what was happening in Brazil. One Catholic father, who was personal assistant to the Archbishop of Olinda and Recife, working on international human rights, was kidnapped, tortured and killed. 

In 1970 the Saint-Germain-des-Prés Church in Paris displayed a handcuffed Christ on the altar with a tube in his mouth and a magneto (small generator for applying electric shocks) on the top of the Cross. Above the Cross the words from the Brazilian flag ‘Ordem e Progresso’ were inscribed.  

While we can see the strong parallels between Jesus’ death at the hands of Roman imperial oppressors and the unjust torture of thousands under military dictatorship, the message of the Cross goes even deeper than this. 

The Cross has been throughout centuries a revelation of all of humanity’s deepest wickedness, and not only that, a confrontation of our tendency to evade accountability, to create untruths to hide atrocities, to make evil banal. Yet as Christians of different denominations commemorate the crucifixion at Holy Communion, Eucharist, Mass, we are reminded of a God who suffers for the sins of the world. Perhaps this meal nourished Eunice Paiva in her fight against tyranny. Perhaps this memorial of a suffering saviour served as an inspiration to retain the memory of all those who suffer, to expose the evils that so often go unseen.  

In any case, I’m Still Here, while giving an honest critique of Brazil’s history, ends up being a memorial - even a celebration - of the resilient, Brazilian spirit, exemplified in the lives of families like the Paivas. 

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