POCKET BLOGS: Perilous Arrow’s Motion
Time for our final (for now) installment of Pocket Blogs by Kate Pitt! Thanks so much to Kate for sharing her inestimable Shakespearean geekery with me this month.
Last week we explored the early modern world of women (living and dead) caring for each other during childbirth. This week, we’ll find out how deeply medieval men could embed pointy metal objects into each other’s faces and survive. (The answer may surprise you!)
At the end of Henry V, once Agincourt has been won and the French and their fancy horses have been defeated, the scene shifts to the French court where Henry V woos the French Princess to be his bride. This wooing is little more than a formality, given that the marriage is a requirement of the peace treaty and Henry won’t stop killing her relatives without it. However this scene is usually (but not always) played as a meet-cute and Henry pours on the charm.
By mine honor, in true English, I love thee, Kate. By which honor I dare not swear thou lovest me, yet my blood begins to flatter me that thou dost, notwithstanding the poor and untempering effect of my visage. Now beshrew my father’s ambition! He was thinking of civil wars when he got me; therefore was I created with a stubborn outside, with an aspect of iron, that when I come to woo ladies, I fright them.
Henry apologizes for the way his face looks (not often necessary onstage) and blames his appearance on his father’s war-like distraction when he was conceived. However there is a much more straightforward explanation for his 34-year-old face looking past-its-best: twelve years earlier, he was hit in the face with an arrow.
The history of English royals surviving arrow-wounds up to this point was not great, so when sixteen-year-old Prince Henry was hit at the Battle of Shrewsbury in 1403 there must have been panic. This is the battle where Henry IV’s army defeated the rebel Hotspur and his forces. Shakespeare depicts Henry and Hotspur gloriously fighting to the death, when in reality Hotspur was killed by an arrow to the face and Henry nearly died from the same.
Henry’s wound was not the “shallow scratch” he dismissively describes in Henry IV Part I when his father asks him to leave the battlefield because his bleeding is becoming conspicuous. Henry’s wound was “in posteriori parte ossis capiti secun-dum mensuram 6 uncharum.” (Ed. note – if blood isn’t your jam, last chance to bail before I start translating things.) In other words, the arrow was embedded six inches deep into his skull.
Someone yanked out the shaft of the arrow so Henry wasn’t walking around with over two feet of wood sticking out of his face, but the metal tip of the arrow (known as a bodkin point) was still firmly stuck in his head. Fifty years earlier, Scottish King David II allegedly survived an arrow wound where the point remained embedded, but it was generally accepted that leaving sharp bits of metal in the body was Not Good and the arrowhead would need to come out.
Henry IV turned to a surgeon named John Bradmore for help with his son’s wound. Bradmore was perfect for the job was because he was a metalworker in addition to being a surgeon and could create custom tools for tricky operations. After enlarging the wound over several days with honey-dipped probes, Bradmore forged a brand-new medical instrument – hollow tongs with an screw in the middle – that he used to grab onto the arrow head and (after a bit of wiggling) pull it from the bone.
The prince survived, Bradmore wrote a book, and they both – I hope – drank a significant amount of wine (that wasn’t being used to disinfect Henry’s wound) after enduring the unanesthetized removal of a sharp piece of metal from deep inside a sixteen-year-old’s skull.
Artistic depictions of Henry show both sides of his face as unharmed, however the surgery must have left a significant scar. Onstage, Henry V usually (but not always) has silky-smooth skin and Shakespeare doesn’t specifically mention a facial wound. The Netflix film The King, starring Timothée Chalamet as Henry V, gave him a tiny wishbone-shaped scar as a nod to the skull-smashing injury but, as oft this blog has shown, The King has bigger problems.
Shakespeare’s depiction of Henry V onstage has deeply shaped how we see the historical King. Even Henry’s tomb at Westminster Abbey reflects modern media. While most the King’s effigy is original and dates from around 1431, its hands are 1971 replacements modeled on Lawrence Oliver’s. Audiences are accustomed to the noble, unblemished Henry V they see onstage rather than the scarred historical figure. Shakespeare’s Henry V stands in stark contrast both to the evil, “unfinished” Richard III in the Shakespeare canon, and to his ill-faced friend Bardolph in his own plays.
If Henry truly, as he tells Kate, “never looks in his glass for love of anything he sees there,” executing Bardolph whose face “is all bubukles, and whelks, and knobs” may feel uncomfortably close to strangling the self he saw in the mirror at sixteen. The boy with the broken cheek has become King, leaving behind his old friends and his old face, cutting out all infection to become the mirror of all Christian kings. I wonder what he saw.
Writing these pocket blogs has been a joy, many thanks to Mya for her support!
by Kate Pitt