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
Books
Culture
Film & TV
Purpose
8 min read

You may never take the Salt Path but here's why the tale makes sense

Kindness runs deep in the architecture of reality.

Roger is a Baptist minister, author and Senior Research Fellow at Spurgeon’s College in London. 

A hiking couple sit on the grass next to a pack.
Gillian Anderson and Jason Isaacs.
BBC Films.

The Salt Path is a phenomenon.  

An internationally best-selling book and now a movie starring Gillian Anderson and Jason Isaacs. How is it that a memoir of a middle-aged couple walking the South West Coast Path from Somerset to Dorset, via Land’s End, has had such an impact? 

Well, it’s because it resonates. It rings true. It’s about life as we know it, even if we haven’t hiked the 630 miles of the path from start to finish. A journey that is also, incidentally, the equivalent of climbing Mt Everest four times over. 

In the events leading up to their walk Raynor (Ray) and Moth Winn are dealt a series of body blows. They’re left bankrupt and homeless empty-nesters, struggling to come to terms with Moth’s deteriorating health.  

It was just as the bailiffs were seeking to gain access to their farm and take possession of it that Ray spotted an old book, 500 Hundred Mile Walkies, and took inspiration. 

‘We could just walk.’ 

And that’s what they did. 

So, what are the truths about life and our human experience that this story opens up for us? 

Life is precarious  

Bad stuff happens. Sometimes we bring it on ourselves, the consequence of wrong or ill-judged decisions. Other times it is thoroughly undeserved. Life turns around and bites us, hard. We’re left with our heads numb and spinning round with the persistent but unanswered question, ‘why me?’ 

For the Winns, an investment in the business of a trusted, life-long friend failed. The deal he structured left them responsible for the debts of his company. The end of a prolonged legal battle meant they lost everything, their farm, their home, their business, and the life-long friend. 

The same week also found them in a hospital in Liverpool getting the diagnosis for Moth’s chronic shoulder pain. It was not the suspected nerve damage, but rather the fatal neurological condition corticobasal degeneration. CBD. A diagnosis that was untreatable and only finally confirmed postmortem. 

Whether it’s the South West Coast Path or the familiar details of our own life, we can never fully anticipate tomorrow. We do not know what lies behind the next headland or what unwelcome surprises life may spring on us. No, we need to live in the moment. It’s pointless worrying about tomorrow and we ought to let it worry about itself. We can only live in today. As Ray reflected towards the end of their time on the path: 

“This second in the millions of seconds was the only one, the only one that we could live in.” 

Who am I, really? 

Early in the book Ray recalls: 

“I once heard a lecture by Stephen Hawking, when he said, ‘It’s the past that tells us who we are. Without it we lose our identity.’ Perhaps I was trying to lose my identity, so I could invent a new one.” 

Who are we when everything is stripped away? What defines us? Homeless and jobless, questions about where we’re from and what we do are not only awkward, they also create an existential void.  

Often mistaken for tramps, Ray and Moth noticed people treating them differently. Some quietly moved away, others were more forthright, “disgusting!” But the judgement of others does not define who we are. Yet, who actually were they in this new world of theirs?  

And then there’s the impact of failing health. Each stage of deterioration promising to erode what can be physically done and requiring a redefinition until there is nothing left at all.  

Yet identity is deeper than that. It is at the core of who we are, at the very heart of us. It is the sum of our experiences and choices, our successes and failures, of what we have gladly embraced and that which life has unexpectedly thrown at us. We are unique individuals with intrinsic value, worth and dignity. People who love and are loved. 

At the end of the path Ray muses: 

“Most people go through their whole lives without answering their own questions: What am I, who do I have within me? The big stuff. What a waste.” 

I guess that’s one of the attractions of making space to walk. To lose the distractions and busyness of our over-complicated lives for self-discovery to break in. 

One step at a time 

How do you get your head around walking 630 miles? How can you appreciate the demands of climbing unknown hills and cliffs and navigating their gullies and ravines.  

On top of the terrain there’s the notorious English weather to negotiate. With little money and only a tent for respite: when it rains you get wet and stay wet, when it’s cold, you shiver and put on as many layers as you can. Even in August it can be challenging. 

Walk, eat, sleep, repeat. 

Sometimes the only thing to do is put one foot in front of the other.  

“Each step had its own resonance, its moment of power or failure. That step, and the next and the next and the next, was the reason and the future. … each day survived a reason to live through the next.” 

There is always agency. There is always the opportunity to choose today which path to travel and which attitude to serve. To give in or go on, to be a defeatist or hopeful, complaining or generous, those choices are always there, even when they’re limited. Even in the wake of unfair decisions and unexpected tragedy, we choose today the way we take. And sometimes that’s all we can muster. 

The kindness of strangers 

Ray and Moth’s story is littered with moments of kindness and warmth. From the lovelorn waitress who sneaks them the day’s leftover pasties to the generosity of a hippie commune there is a recurring theme that echoes an underlying goodness in the nature of people. And often it is those with the least who prove to be the most open-handed and thoughtful. 

On more than one occasion the Winn’s themselves share from their own meagre supply of food, especially their precious fudge bars, with those in a more uncertain state than their own. On another occasion they step into a tense and potentially violent situation with a young woman, Sealy, the subject of an abusive relationship. They offer her company and a way out, ultimately paying for her £5 bus journey to get away to family. 

There is something heartwarming about kindness, something elevating. Both the giver and the receiver feel encouraged, lighter, happier. The abiding truth continues to stand the test of time that it is ‘better to give than to receive’.  

Strangely, watching these scenes play out in my local Showcase Cinema was an uplifting and inspiring experience. You can never predict or properly anticipate when a tear will unexpectedly present itself to the corner of your eye. I suspect that kindness runs more deeply in the nature of things than we comprehend. It is part of the deep architecture of reality.

Love and relationship in tough times 

When it comes down to it, The Salt Path is about Ray’s relationship with Moth. How they face an unimaginably difficult set of circumstances and find a way through together. This is a profoundly hopeful story. And from it we can draw hope too. 

There was nothing religious about what they were doing, “It’s not a pilgrimage. Is it?”  

At one level it is purely a response to desperation. But in the midst of it all they have each other. Thirty-two years together, having begun their relationship when Ray was 18, they are still deeply in love. They epitomise the values enshrined in the marriage vows. 

“… to have and to hold from this day forward, for better for worse, for richer for poorer, in sickness and in health, to love and to cherish, till death us do part …” 

This is not slushy sentimentality but rather love that proves itself in the face of the onslaught of ‘worse … poorer … sickness … death’. 

The conclusion of their journey led Ray to a realisation: “I was home, there was nothing left to search for, he was my home.” As the ancient poet wrote: 

“Set me as a seal upon your heart,  

as a seal upon your arm; 

for love is strong as death, 

passion fierce as the grave. 

Its flashes are flashes of fire, 

a raging flame. 

 

Many waters cannot quench love, 

neither can floods drown it. 

If one offered for love 

all the wealth of one's house, 

it would be utterly scorned.” 

(Song of Solomon) 

That’s it then. The book and the movie work because they reflect back to us the life we know, the lives we live. Yes, they’re in high relief in the choices that Ray and Moth take, but that clarifies things for us. Most of us won’t ever find ourselves in the position they were in, but we can empathise. Most of us would never think to do what they did even if we were. But for all that, we see, we understand and it makes sense. 

If you get a chance to see the film, then do. Gillian Anderson and Jeremy Isaacs are exceptionally good in their understated performances. The visual experience of the South West coast is everything you would expect it to be, sounding as majestic and immersive as if you were there. A real treat. 

For me, the most poignant and telling moment of the story happens at Lyme Regis. Moth says: 

“When it does come, the end, I want you to have me cremated. …keep me in a box somewhere, then when you die the kids can put you in, give us a shake and send us on our way … They can let us go on the coast, in the wind, and we’ll find the horizon together.” 

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