Was the downfall of Richard III caused by a strawberry?

The king's actions in the summer of 1483, when he unexpectedly put aside his twelve-year-old nephew and became King of England, are considered to be out of character. Could a food allergy have triggered the series of events that lead to the fall of the Ho

Thanks to the efforts of two famous Philippas, one of England’s most controversial medieval kings has been catapulted to the forefront of discussion. Ricardian Philippa Langley, who campaigned to exhume her hero’s bones from a Leicester car park and novelist Philippa Gregory, author behind The White Queen TV adaptation, have brought the events of the Battle of Bosworth into homes across the nation. With Richard III’s sympathetic portrayal by Welsh actor Aneurin Barnard and Langley’s forthcoming book on the dig, co-authored with Michael Jones, this fresh interest gives no sign of waning. Yet despite the debates, burning questions about the man remain unanswered.

Many theories have been offered to explain Richard’s actions in the late spring and early summer of 1483, when he unexpectedly put aside his twelve-year-old nephew and became King of England. Even his devotees will admit that there are several areas in which he appeared to act out of character. One of the most contentious is the fate of the Princes in the Tower, with some unable to accept that a man bound by the motto “loyaulte me lie” could order the murders of his brother’s young sons. Viewers of The White Queen recently saw Gregory’s own personal theory about the substitution of the younger boy and the culpability of Henry VII’s mother Lady Margaret Beaufort. When it comes to understanding Richard’s actions, there will never be as dramatic an answer as that which the discovery of his body provided about his scoliosis. We are not about to unearth the lost Richard III diaries, so his true motives can only be guessed at, across a divide of five centuries.

It is possible, though, to map various interpretations over the known facts of the events of 1483. Following the premature death of his brother, Edward IV, Richard intercepted the young Edward V en route to London, imprisoned and executed the boy’s guardians, rounded on his friends, declared his uncrowned nephew illegitimate and accepted the throne himself. This may have been the actions of a man whose ambitions drove him from the start or reactions to perceived threats by those he considered his enemies. One of the turning points came in mid June, when a Council meeting at the Tower ended in the impromptu execution of the staunchly loyal Yorkist Lord Hastings. This scene, in fact, the entire character of Hastings, was omitted from The White Queen TV series, which is perhaps indicative of the ambiguity of his role and incompatible with a sympathetic portrayal of the king. Perhaps though, there was a very simple explanation indeed, which only hindsight and modern medical understanding can unravel.

The initial account of the meeting comes from chronicler Thomas More, whose bias against Richard is known, but who was active in the household of John Morton, Archbishop of Canterbury, present at the meeting. William, Lord Hastings, had been a close friend of Edward IV; he was loyal to the family and in particular, to the next generation. As late as 20 May, Hastings had been appointed Master of the Mint and Richard confirmed him in his role as Chancellor. When he attended the Council meeting of 13 June then, it appears to have come as a complete surprise to all present when Richard turned against him. It may not have been something Richard himself planned.

At this point, Richard had the reins of power in his hands, but only temporarily. After Edward V had been crowned, he would take more of a backseat and the boy’s maternal Wydeville relations would come to the fore. The dowager Queen Elizabeth, the “White Queen”, was safe in sanctuary at this point, her brother Anthony in prison at Pontefract and the coronation set to go ahead on 22 June. But something that day happened which changed everything. According to More, Richard entered the Council meeting smiling and remarked that he would like some strawberries from Archbishop Morton’s garden. He then left, to return around 90 minutes later a changed man, fretting, frowning and chewing his lips. Into his mouth, Shakespeare places the accusation of witchcraft, with his arm “like a blasted sapling, wither'd up” at the bidding of the ex-Queen and Hasting’s mistress. He then turned dramatically on the Lord, ordering his immediate execution. Traditionally, the “bewitched” arm has been seen as an excuse for the removal of someone who would have opposed Richard’s ambition but this owes a lot to hindsight. Remembering that we can never fully understand the workings of the medieval mind, Richard may have genuinely believed himself to be the victim of witchcraft and that his life was in danger. Whatever the Protector’s intentions were at that time, the culprit may actually have been his own breakfast.

More’s account may hold the key. It is possible that the dish of strawberries produced a genuine allergic reaction which caused Richard’s arm to wither and other physical symptoms to develop. Food allergies and intolerances have only been understood in recent years, with increasing recognition of the erratic way these can develop and their dramatic results. The allergic reactions caused by the proteins in strawberries can produce tingling limbs, breathing difficulties and red, puffy, itchy skin. These symptoms usually occur within two hours of eating the fruit, which is compatible with the timescale of the meeting. Symptoms begin with swelling of the lips and tingling in the mouth and More’s account has Richard fretting, frowning and “knawing at his lips”. Internal distress, breathing difficulties following the closing of bronchial tubes and congestion can follow. Sufferers also experience itching, with limbs becoming red, puffy and blighted. According to NHS information, this can affect one side of the body and is consistent with Richard being afflicted in one arm only. Nor may he have experienced any previous adverse reactions to strawberries. Food allergies can emerge even after an individual has eaten a particular dish for years but when the body’s tolerance level is reached, the symptoms are triggered. Before the advent of modern production and storage, fruit was seasonal and therefore, a rare treat, even for the rich. It is quite possible that Richard had a latent allergy to strawberries which emerged with the first crop that June, causing the sudden physical responses in his body.

How would a medieval mind have explained this sudden dramatic affliction? Fifteenth century people of all classes were deeply superstitious and believed that magic could be used to good and evil ends. Elizabeth Wydeville and her mother Jacquetta had both been accused and cleared of sorcery in 1469-70 although Richard’s own brother Clarence also claimed that they conspiring against him through the medium of magic in the 1470s. It cannot be ruled out that, anticipating attacks from the Wydeville clan, Richard believed himself to have fallen victim to poison or enchantment. He stated that witchcraft had “wasted his body”. Perhaps he genuinely believed it had.

The fear Richard appears to have felt on 13 June was a decisive turning point. It changed the tone of his Protectorship and upped the ante in terms of violence. At this point, Anthony Wydeville and his fellow prisoners Grey and Vaughan were still alive. If Richard had not consumed the fruit and suffered the reaction he did, believing himself the victim of a conspiracy, he may not have believed their deaths were necessary. Edward V’s coronation was still planned to go ahead on June 22 and the Princes in the Tower were seen playing in the Castle grounds around this time.

This Council meeting may, in fact, have been the beginning of the end for Edward V. As Hastings is dragged away in Shakespeare’s version of the scene, he foresees the doom of Richard’s regime: “miserable England! I prophesy the fearful'st time to thee, that ever wretched age hath look'd upon.” The seeds of discord were sown as a result of Richard’s misinterpretation and treatment of Hastings. Buckingham and Stanley witnessed the event and the latter may have even suffered minor injuries whilst attempting to defend his friend. Buckingham would rebel in autumn 1483 and Stanley’s troops turned against the King decisively at Bosworth. Historian and author David Pilling suggests that the execution of Hastings may well have caused Richard’s previously loyal adherents to see him in a new light and fear for their own safety. If nothing else, the meeting sealed the fate of Edward V and of his Wydeville uncle Anthony. Michael Hicks, author of several books about the period, states that this meeting was the point where the crisis broke. Richard’s interpretation of witchcraft caused him to react with a level of violence that transformed a tense situation into a crisis.

The truth of this matter will never be known. With so much of Richard’s motivation and action seeming inconsistent during this volatile time, the possibility of an allergic reaction could explain the sudden escalation in fear and violence that Hasting’s death represents. That in turn, led Richard to act brutally against his relatives, incurring the mistrust of his friends. Could it be that the humble strawberry was the catalyst that brought down the House of York?

Aneurin Barnard as Richard III in the recent BBC adaptation of Philippa Gregory's novel "The White Queen". Photo: BBC

Amy Licence is a late medieval and early Tudor historian focusing on women's lives. She is the author of the forthcoming biography Anne Neville, Richard III’s Tragic Queen and her blog can be found here.

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Marvel has moved past the post-credits teaser, and it's all the better for it

Individual stories are suddenly taking precedence over franchise building.

The lasting contribution of 2008’s Iron Man to contemporary cinema comes not from the content of the film itself, but in its Avengers-teasing post-credits scene featuring an eyepatch-sporting Samuel L. Jackson. While post-credits scenes were not invented by Marvel, their widespread adoption in other blockbusters is a testament to Marvel using them to titillate and frustrate.

Fast forward nine years and Marvel’s direction has significantly altered. Having moved to a three-film-a-year structure ahead of next year’s climactic Infinity War, their two releases this summer have featured less explicit connective tissue, using post-credits scenes that are, in typical Marvel fashion, self-reflexive and fun – but this time with no teases for films to come.

Where previous Marvel Cinematic Universe (MCU) films have trailed characters donning superhero mantles, confrontations to come, or more light-hearted team ups, Guardians of the Galaxy Vol. 2 decided to lovingly poke fun at Marvel grandmaster Stan Lee, leaving him stranded on a godforsaken space rock in the outer reaches of the stars. Spider-Man: Meanwhile Homecoming targeted filmgoers who had stayed until the end in expectation of a tease, only to receive a Captain America educational video on the virtues of “patience”.

That isn’t to say that connective tissue isn’t there. Marvel seems to be pursuing world building not through post-credits stingers, but through plot and character. In the past, teasing how awful big bad Thanos is ahead of the Avengers battling him in Infinity War would have been done through a menacing post-credits scene, as in both Avengers films to date. Instead Guardians of the Galaxy Vol. 2 uses character as a tool to explore the world at large.

Nebula’s seething rage is, rather than just a weak excuse for an antagonist’s arc, actually grounded in character, explaining to Sean Gunn’s loveable space pirate Kraglin that Thanos would pit his daughters, her and Gamora, against each other, and replace a part of her body with machine each time she failed – and she failed every time. It’s effective. Thanos’ menace is developed, and you feel sympathy for Nebula, something Marvel has historically failed to do well for its antagnoists. Her parting promise – to kill her father – not only foreshadows the events of Infinity War, but also hints at the conclusion of a fully formed arc for her character.

In the high-school-set Spider-Man: Homecoming, the stakes quite rightly feel smaller. The inexperienced wall-crawler gets his chance to save the day not with the galaxy at risk, but with an equipment shipment owned by Iron Man alter-ego and billionaire inventor Tony Stark hanging in the balance. While such a clear metaphor for widespread change in the MCU might be a little on the nose, the set-up is effective at plaing the film at street level while also hinting at overall changes to the structure of the universe.

Stark gifting Peter a new (and oh so shiny) suit is a key set piece at the end of the film, whereas in 2015's Ant-Man’s Hope Pym inheriting her mother’s own miniaturising suit it is relegated to a teaser. Peter’s decision to turn it down not only completes Peter’s transition past seeking the approval of Stark’s unwitting father figure, but it also leaves the Avengers in an as-yet unknown state, still fragmented and incomplete after the events of 2016’s Civil War. To anticipate Spider-Man joining the Avengers proper is to anticipate the forming of the team as a whole – keeping our collective breath held until we stump up for tickets to Infinity War.

With this happy marriage of the macro and the micro, individual stories are suddenly taking precedence in the MCU, rather than being lost in the rush to signpost the foundations for the next instalment in the franchise. It’s a refreshingly filmic approach, and one which is long overdue. To suggest that Marvel is hesitant to overinflate Infinity War too early is supported by their refusal to share the footage of the film screened to audiences at the D23 and San Diego Comic Con events in recent weeks. Instead, the limelight is staying firmly on this November’s Thor: Ragnarok, and next February’s Black Panther.

Stan Lee, at the end of his Guardians of the Galaxy Vol. 2 post credits scene, cries, “I’ve got so many more stories to tell!”, a hopeful counterpoint to a weary Captain America asking “How many more of these are there?” at the end of Homecoming. With Disney having planned-out new MCU releases all the way into 2020, entries in the highest-grossing franchise of all time won’t slow any time soon. We can, at least, hope that they continue their recent trend of combining writerly craft with blockbuster bombast. While the resulting lack of gratuitousness in Marvel’s storytelling might frustrate in the short term, fans would do well to bear in mind Captain America’s call for patience.