He strode into Westminster Hall, and told his supporters to remain there while he sought the king. He found him in a chamber and asked for a private interview; in the presence of four courtiers Henry asked his son ‘to show the effect of his mind’. Whereupon the prince made a long and impassioned speech, at the end of which he went down on his knees and produced a dagger. ‘Father,’ he is reported to have said, ‘I desire you in your honour of God, and for the easing of your heart, here before your knees to slay me with this dagger. My lord and father, my life is not so desirous to me that I would live one day that I should be to your displeasure.’ There was more to the same effect, a peroration that reduced the sick king to tears. Father and son were thus reconciled.
This scene is rendered in the second part of Shakespeare’s Henry IV, a play that with its successor Henry V has more than any other preserved the image of this age. Whether it is a faithful image is another matter. Nevertheless the pictures of the young Henry carousing with Falstaff and Bardolf, of Justice Shallow and Mistress Quickly, of Pistol and Doll Tearsheet, are now effectively part of English history. It was said that the prince worshipped at the altars both of Venus and of Mars. Since his youth and early maturity were spent in fighting wars in Scotland and in Wales, Mars must have been in the ascendant.
The mutual respect between father and son was not destined to survive for long. Six months after this affecting interview Henry IV, worn out by guilt and illness, died in the Jerusalem Chamber of Westminster Abbey. In his will, drawn up two years before, he had described himself in English as a ‘sinful wretch’, a ‘sinful soul’ and ‘never worthy to be a man’ whose life had been ‘misspent’. These are not the traditional testamentary words and reveal a human being who was suffering a severe sense of spiritual unworthiness. Henry IV was, after all, unique among English kings in having killed one monarch and one archbishop. Yet he had survived, albeit only to the age of forty-six. He had faced down rebellions and conspiracies; there had been attempts made on his life, and efforts to force him to abdicate. But in the end he confounded his enemies. He had instituted a royal dynasty – the house of Lancaster, part of the Plantagenet legacy – that would endure for three generations.
The king’s body was washed, his brain and his bowels were removed; he was then embalmed in a mixture of myrrh, aloes, laurel flower and saffron. He was wound in strips of waxed linen before being dressed in a long robe. His brown beard was smoothed over the throat, and the crown placed upon his head. The right hand clutched his golden orb, while the left hand touched his sceptre. In this state he was taken down to the cathedral at Canterbury where he was buried and where his tomb can still be seen.
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Old habits
The world was in a condition of decline and decay; there was no ‘progress’, no ‘evolution’ and no ‘development’. If you needed an image of medieval thought, it would be that of the slow movement of a descending spiral. Everywhere you looked, suffering and violence and corruption held the mastery. That was the state of the earth. The most that could be hoped for was stability and steadiness; the degeneration might therefore be arrested for a moment. The four humours of man must be held in balance; the universe itself was established upon the harmonious union of the four elements, the cold earth for example having an affinity with the cold water. The manifest uncertainties of life, and the anxiety aroused by them, compounded the need for stability.
Order was the first principle, sustaining the great chain of being. That is why so much concern was attested for hierarchy and degree, with all the ‘estates’ of society carefully designated and maintained. Nothing must get out of balance. The past was revered beyond measure. Historical writing was recognized as a set of lessons or moral illustrations. The great writers were those who most closely imitated previous masters. The philosophers of the past were more acute, the architects more subtle and the rulers more eloquent. The medieval delight in ritual and ceremony was in itself a veneration of custom.
