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Culture
Masculinity
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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

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10 min read

Transformer: how Jurgen Klopp gave belief to a team and city

Neil Atkinson talks about his new biography of the redemptive Liverpool manager.
A stern looking  football manager stares hard, with a stand of supporters behind him.

“But also I am shyer than everything would suggest.” It’s genuinely a surprise to hear this early on in my conversation with Neil Atkinson about his new book, Transformer: Klopp, the Revolution of a Club and Culture. Anyone who has heard him speak on The Anfield Wrap podcast, or many of his other media appearances, might soon get this impression that this is a man who thrives off the company of others, something that comes through in the book, too.  

Atkinson is so keen to stress the notion that football is meant to be shared with others, that any thought of him being shy really does jar. As if to make my point, when I begin by asking him why he wrote Transformer, he begins the story back in the ’21-22 season, the one he’s “almost got the most fondness for” from Jürgen Klopp’s time as Liverpool manager.  

The reason? “The redemption after the season under Covid and the idea of everyone being back together.” 

Redemption may end up being the word that best summarises Klopp’s career. An average-at-best footballer himself, he began his managerial career at Mainz 05 where he secures near-miraculous promotion to the Bundesliga in 2004, shortly followed by relegation again. He then moves to Borussia Dortmund, beating presumptive champions Bayern Munich to a Bundesliga title, before the team implodes, prompting Klopp’s resignation in 2015. Later that year, he joins Liverpool, a sleeping giant of European football that finds itself at a remarkably low ebb in its history having narrowly missed out on a long-awaited premier league title in the 2013-14 season. He leaves a much-transformed Liverpool nine years later, having been crowned English champions, European champions, and world champions in the intervening years.  

Klopp also seems to relish redemption stories in his squad, too. Jordon Henderson is nearly sold by Liverpool before Klopp arrives; Klopp makes him captain and he lifts nearly every trophy possible. Klopp signs Andy Robertson from relegated Hull FC; along with Trent Alexander-Arnold, they drastically re-invent the attacking fullback role in modern football. Chelsea reject Mo Salah who then joins Liverpool in 2017; under Klopp he becomes one of the best players in the world, and will go down in history as a genuine Liverpool legend.  

Klopp loves a redemption story because he loves people, values them, and believes in them. He loves to see people redeemed; at their best. 

 

“Liverpool is also uniquely placed – in the way that, I would argue for instance, Baltimore wasn’t – to be able to be a part of global storytelling, but on a uniquely local basis.” 

It’s fitting, then, that Transformer is a book steeped in friendship. In offering his own retelling of Klopp’s nine years as Liverpool manager, the shyer-than-you-might-think Neil Atkinson does so in conversation with the people and places he knows and loves best, and invites you, the reader, to swap in your own. “I’m going to name people and places and they won’t be the same people and places as your people, but that’s fine to substitute; you’ll sort this out. I trust you.”  

This was, it turns out, a conscious choice on his part. “I think that too often now in lots of storytelling, the idea of removing specifics is a real shame … I love The Wire. The Wire could only happen in Baltimore and there’s tons of reasons why, but there’s lots of aspects of that could be made more universal, [for example,] literally the way they talk to each other. But there’s great slabs of The Wire where they’re talking about a Baltimore radio station, because that’s the way people speak [there].”  

To tell the story of Klopp’s time as Liverpool manager is also to tell the story of the city throughout this time. Bill Shankly once famously said: “I was made for Liverpool, and Liverpool was made for me.” At times it has felt as though no-one has come as close to this as Klopp has. For Atkinson, the city’s particular culture and place in society is part of what makes the football club such a compelling team to follow for many around the world. “Liverpool is also uniquely placed – in the way that, I would argue for instance, Baltimore wasn’t – to be able to be a part of global storytelling, but on a uniquely local basis.” 

The language of ‘doubt’, ‘belief’, ‘hope’, and ‘community’ that permeate Klopp’s vocabulary seem to be shaped by the faith and hope he carries with him. 

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This, in turn, is why Klopp’s story is the city’s story. “All of that, I think, is part of why putting that [locality] central really, really matters. And I think it’s never mattered more, ironically, than while Liverpool have gone through a bit of a global explosion under Jürgen Klopp. Many people are bought in because of what they see happening locally withing Liverpool.”  

The story of the city and its people also goes some way to explaining the connection Klopp managed to cultivate with the fans. In his first press conference as Liverpool manager, one throwaway line took on a life of its own and became the motto of Klopp’s tenure: “You have to change from a doubter to a believer.”  

When I ask Atkinson why this phrase resonated so much with fans, again the city itself looms large. “I think it’s a city that likes the idea of belief. That’s just there. That’s literally centuries old. I don’t think you just knock that out [out of the city].” But Atkinson is keen to stress the importance of the other part of the phrase: “I think the diagnosis of doubt is actually the reason why it catches … the doubt part’s more important than the believer part, in a way.” 

Prior to Klopp, headstrong managers like Brendan Rogers and Rafa Benitez had come close to clinching Liverpool’s first English title since 1990 but, by the time Klopp joins in 2015, a growing contingent of fans became unsure that they would ever see Liverpool lift another top-flight trophy again. Klopp’s awareness of and solidarity with the growing doubt of Liverpool fans, is part of what endears him to them so quickly and is what allows him to lead the fanbase into a position of belief once again. 

Despite being a man of deep religious belief himself, Klopp rarely discusses his faith publicly. “So rarely!” Atkinson agrees. “I looked for it, because it's something I like to write about and something I'm intrigued by myself. So, yeah, I looked for it, but there's never enough to hang something onto.” 

As Atkinson points out, this isn’t because Klopp is afraid to share his thoughts on non-footballing maters: “He very much let us know what his opinions were on the European Union, and also wants us to agree with him, it’s worth pointing out. He didn't just have opinions on the European Union. He wanted us to agree with them. He didn't just have opinions on the vaccine. He very much wanted us to agree with him. On faith and his relationship with it, he very rarely spoke about it and so at no point has he asked anyone to agree with him.” 

Again, the context of Liverpool the city begins to clarify the nature of Klopp’s belief. “And I think he sees it as something that's deeply personal. I think he sees it as something that quite possibly – I would argue, and we don’t know – transcends Church attendance. In the same way that, for instance, we have a sense of the mosque that [Mohammed] Salah and [Sadio] Mane have attended whilst they’ve been here, people in Liverpool talk; but we don't know what church Jürgen was going to. That suggests to me that quite possibly there wasn't one. Because at some point someone would have said ‘he goes to our church’ and that never really happens, unless it's something that is so, so unbelievably private. So, I think that there is something non-conformist and I think he does see it as a personal relationship, first and foremost.” 

Despite this, the language of ‘doubt’, ‘belief’, ‘hope’, and ‘community’ that permeate Klopp’s vocabulary seem to be shaped by the faith and hope he carries with him. It’s also one of the things that made him such a compelling voice when he spoke out about some of the difficulties with following football. Whether it’s the overly congested nature of the footballing calendar and the issue of player welfare, the consistent presence of tragedy chanting at football matches, or the awful policing of Liverpool fans at the 2022 Champion’s League Final in Paris, Klopp always seemed able to articulate a better vision for how football, and even society, might operate.  

Football supporters are more than one thing.” They are neither angels nor demons; just normal people with a hobby and a passion, and a life beyond their football club. 

And so, as the conversation continues, we turn to talk about what it’s like being a match-going football fan. “Let's be clear,” Atkinson says, “there's never been some sort of unbelievably rosy moment to be a match-going football supporter … It's also worth saying that a lot of the people who still romanticize that period [i.e., football’s past] tend – but not always – tends to be white men, for whom that period was easier.” 

This isn’t to say that going to football matches is always easy. Atkinson talks about being kept in the ground by police after matches (a pretty common occurrence for away fans), and the small mercy of being allowed to go to the toilet (a less common occurrence). As Atkinson alludes to at the start of our conversation, football under Covid was grim. Despite now being a televised product, games without fans present are simply not as entertaining. And yet there remains an ongoing demonisation of football fans in some sections of public discourse.  

All this is perhaps why he is, somewhat despite himself, keen to see Transformer succeed. “I really want the book to be successful. And I'm quite surprised [by that] … But one of the reasons why I want the book to be successful is … [to show] that football supporters are more than one thing.” They are neither angels nor demons; just normal people with a hobby and a passion, and a life beyond their football club. 

“One of the things that’s made the most people laugh I ever heard at the match – it’s not some remarkable wit – but we were at [Manchester] United once and there was some fella .. and he was shouting terrible things that were like threats and all sorts of nonsense … and some other fella shouts back in a big scouse accent, ‘Shut up! You’re just an accountant from Altringham!’” If readers get nothing else from Transformer, let it be that most football fans are as banal as accountants from Altringham.  

“And that’s why I think the tragedy chanting is actually really quite deeply upsetting because the people that you’re looking at are just the same as you.” If the treatment of football fans – whether by other football fans, or by the police, or by football clubs, or by governments, or by politically-motivated quasi-national organizations – is to get better, this begins by recognizing over and over again, that they fans are just the same as you.  

We start to wrap up our conversation by talking about the future for Liverpool, of life without Klopp. “There was a thing that happened last season when I was working on the book,” Atkinson says, “I could feel the dust of nostalgia settle on people in real time, of the thing happening in front of them that they were nostalgic for. And I hated that.”  

It’s possible to read Transformer fundamentally as a polemic against nostalgia. It’s not just pointless for Atkinson, but actively damaging. “Nostalgia is, in general, a negative force. It’s a draining force. I genuinely do believe this. It’s a force that takes you out of the present into the past. That’s not necessarily bad, but it sends you into an idealized past, which the present will struggle to compete with.” Part of Klopp’s strength as a person and a manager was in recognizing this: “literally part of what Jürgen did when he was managing was go, ‘Stop being f***ing nostalgic. It’s happening now. You have the match now.’” 

Klopp was often such a compelling figure during his time at Liverpool because he was consistently, relentlessly optimistic, occasionally to a fault: “Klopp was a massive cultural force in this country, while being an optimistic, forward-looking, progressive person … but whilst he was that person, Britain went in the opposite direction.” 

And herein lies the task of carrying on Klopp’s legacy, both in Liverpool the football club, and Liverpool the city, and beyond. “Part of the challenge [facing society] is to have a message of enjoyment, of joy within it. Anyone who’s not doing that, is not facing that challenge, in any walk of life, is for me, therefore, not dealing with the core challenge … You’ve got to have the positive, progressive, ‘things will get better’ message.” And where does Jürgen draw his hope from, I wonder? 

 

Neil Atkinson's Transformer - Klopp, the Revolution of a Club and Culture will be published on 26th September, by Canongate Books