English Medieval Royal “Faction” and the Irrational
The facts are facts. Names, titles, the sequence of depositions, marriages, and civil wars can be checked. Readers of historical fiction about the English Middle Ages come wanting a textured sense of the past—costumes that look lived-in, dialogue that does not sound like a modern committee meeting, relationships shaped by hierarchy, faith, and scarcity. They do not, usually, want the full sensory inventory: the state of teeth, the hygiene, the practices that modern sensibility finds unacceptable. That selective appetite is understandable. The problem arises when the modern writer, having been invited into the past, proceeds to rearrange its furniture according to contemporary ideals.
Modern agendas arrive wearing period dress. Sometimes the hooks are useful; they let a present-day audience decode an ancient conflict. Often they become tropes, repeated until they flatten the very strangeness that made the period worth visiting. Consider the faithful Christian who accepts that God may turn a staff into a serpent before Pharaoh, yet finds it jarring that the Egyptian court can perform the same trick. The text presents both. The modern reader is tempted to decide which miracle is “real” and which is propaganda. Historical fiction about medieval queens frequently performs a similar sorting. Elizabeth I’s speech on the approach of the Armada remains powerful precisely because it does not collapse into modern categories. She told Parliament she had the body of a weak and feeble woman, but the heart and stomach of a king of England. That claim registered because the audience shared the assumptions it both invoked and overturned. When modern writers give Isabella of France or a Yorkist queen the interior life and rhetorical freedom of a twenty-first-century professional woman, they risk producing characters who would have been unintelligible—or quickly removed—in their own courts.
Two persistent devices illustrate the difficulty. Witches are granted effective powers. Monks are cast as systematic promoters of ignorance. Both choices simplify. In the actual Middle Ages some theologians argued that God could not see in the dark; the practical consequence was not abstract philosophy but a temporary license for behaviour people preferred to hide. Characters in these dramas are rarely allowed the same compromised interiority. They are either enlightened forerunners of us or benighted obstacles to progress. The 2012 miniseries World Without End, drawn from Ken Follett’s novel, supplies a neat example. Edward II’s wound is treated with a poultice of excrement and he loses the arm; a healer figure employs techniques that read as modern medicine in costume. In The White Queen, Jacquetta of Luxembourg is given genuine powers of foresight. The Princes in the Tower, meanwhile, remain as historically unresolved as ever. The supernatural is admitted where it flatters a preferred narrative and withheld where it would complicate one.
We congratulate ourselves on rationality. Yet the evidence of our storytelling suggests otherwise. We cannot consistently grant medieval people the mixture of calculation, superstition, piety, and self-interest that the records show they possessed. We prefer them either as primitive versions of ourselves or as cautionary opposites. The result is faction that feels contemporary even when the costumes are accurate. A more disciplined approach would leave more of the irrational in place—not as decoration or as proof of progressive superiority, but as the ordinary weather of the age. Only then does the past become strange enough to be interesting again.


