Ever since 2004, I have been using The Akashic Records to write my novels. They are a form of psychic time travel where someone with the skills to tune in can access people, places and events from the past. My good friend Alison King has this ability. You can find out more at her website and mine - see the sidebar of the blog with more detailed explanations. This blog is soley for extracts of research from my work in progress.
I am currently engaged in writing about Eleanor of Aquitaine. The first novel, THE SUMMER QUEEN is well underway, and the extracts I am posting come from the Akashic Records research data so far conducted.

Sunday, 12 February 2012

A few snapshots from the life of Henry II

One can't write about Eleanor of Aquitaine without involving her 2nd husband Henry II along the way.  Down the years, during my Akashic wanderings while researching other novels, Henry II has featured frequently - from newborn baby to elderly king.  I thought it would be interesting to post some of these snapshots on this blog.  Some of these readings are several years old and this is only the tip of the iceberg.  I haven't researched a great deal of his life in his 20's with Eleanor when they were having their children and the Becket crisis was developing.  All that is still to come.

Novel research for Lady of the English:
Go to when the Empress was pregnant with Henry and see if Geoffrey of Anjou has any feelings about it. 
Well he’s ever so pleased when he learns she’s pregnant. The top half of his face is smiling.  The bottom part is satisfied with himself.  There’s a lot of drinking going on and sexual innuendo.  He’s thinking to himself ‘Yesss!  I’ve got her with child!’  There’s a lot of male ummm… you know what I mean don’t you.  Yes, Rugby club stuff.  And now he’s got to keep her in order and make sure she behaves herself and keeps the baby and doesn’t do anything naughty or wrong to put it at risk.  So again, this is coming out in an aggressive way.  It’s more like a prison chamber than a luxury chamber.  He watches her like a cat watches a mouse.  My God, if anything happened to what she’s carrying, she’d be for it.  He’d be very aggressive towards her; I can feel it in his fists.  He’s saying to himself ‘If she does anything to harm my child, she will have me to contend with.  She may as well not live.’  That would be the final straw.  So there’s a lot of bitterness and anger there.  There’s a coldness too.  So when they come into contact, it’s not friendly.  It’s watchful and it’s cold and they have a distance between them.  They just glide past each other.  He’s watching for any little thing she does wrong.  She must walk at a certain pace.  She mustn’t kick her leg up.  She must have decorum at all times.  He doesn’t want to see any strong emotions go through her.  She mustn’t laugh uproariously.  She must keep calm and not have any undue excitement.  He’s thinking ‘Keep her to her sewing.’
And now Geoffrey at the birth?  Oh! Excited.  Very excited!  Holding his breath.  He’s thinking ‘Will it be a girl? Will it be a girl?’ He’s worried because that would be the finale.  The worst thing she could do after all this.  She’s such a bad case she’s bound to produce a girl as well.  He can hardly take his mind off the fact of ‘Will it be a girl?’  He’s even imagining it coming out of his wife as a girl. He’s even imagining looking at it newborn and seeing it’s a girl.  He’s really fixated on it.  He’s drinking and talking in order to take his mind off the horrendous fact that it’s going  to be a girl.  So it’s a bit tense and low key.  I get the impression he’s been thinking about this for quite a while, and I get the impression that he’s thinking things never go right for him anyway. 
So when the birth is announced?  Someone comes to the door and he looks up, open-eyed, hands open.  He’s waiting for it.  He’s prepared himself for the dreadful news.  When he’s told it’s a son, he’s shocked.  He can’t take it in. He has to ask again.  In fact, he’s so shocked, when he rouses himself, he gets up and walks towards this person and knows he will have to have a look at this child in case they’ve changed it.  He’s going to go into the room despite protestations.  This person’s very much smaller than him.  He wants to go into the room to make sure they’re not kidding him because he wouldn’t put it past his wife.  But there it is, they’re cleaning it up, and he’s insisting that its wrapping  be taken from the vital parts so he can have a look.  It’s all a bit manky.  He’s saying ‘Are you sure?’ It’s just messy you know.  ‘Are you sure he says. ‘Are you sure?’ ‘Oh yes, they say, it’s a fine boy.  And they have to lift bits and point them out and say ‘Yes, he’s got all the right equipment and in good order.’  He glances at his wife –a dirty glance as if to say ‘Ah, so this is one that got past you.  This is one you couldn’t get your own back on me with.’ (meaning that the seed has taken root and grown?)  He says to the attendants. ‘I am very pleased with my son.  I own him. (as in I accept he is my son, not a changeling).  He takes a really good look at his face and the pattern of his ear, so that he’ll remember the next time he sees him.  He’s really worried about him being changed.  And then he looks across at Matilda and gives her a hard look and a half smile and then he walks out.  Then he can start boasting to his friends.  ‘I have a son.’  He expects them to go wild while he sits and watches and takes the glory, and thinks about what this is going to mean to him.  He feels quietly satisfied.  It’s a whole new horizon for him.  It just allows him to dream different dreams.  He can see his species going on and on into the future.  Geoffrey will have a purpose because his descendants will go on into the future and starts to feel rather smug.  He starts to think this is all right.  This is how God meant it to be for people, so why shouldn’t it be right?  Why shouldn’t it be right for me?  Still every so often there’s a little stab of fear – that something might happen to Henry.  Something might happen even now.  Again he tries to blot it out.

Novel research for Lady of the English:
Henry as a small toddler:
 I am seeing bottle shapes.  They look like skittles.  The child is crawling.  It’s outdoors. They are on grass.  The child is crawling towards the skittles.  Matilda has told everyone to hold back a bit.  She wants to see what he’ll do.  He’s put one of the skittles back up on its base.  He’s put a loop round it.  It’s not skittles that you knock over but the sort you put a hoop over.  It’s a flat hoop about an inch and  a half wide.  Alison laughs.  Then he puts both arms in the air as if to say ‘Hooray, I’ve won!’  Aaah, Matilda is clapping him and saying ‘Well done, well done.  Bravo!  Bravo!’ He’s still holding a hoop while he’s in her arms and he’s waving it about and she’s praising him for being so clever.  She is saying, ‘Here is the winner of the game, here is the winner!  She’s holding him up higher as well.  She is saying more quietly to him ‘That’s right, that’s how you win.’  Meaning?   It doesn’t matter how you win, as long as you get the hoop over.  She’s praising him because she wants a winner in the household.  She feels a bit deficient in that area, so she’s trying to train her son to improve on her and she’s making sure that everyone in the court applauds him and acknowledges his win – so she is also training them.  She is saying ‘Your father will come and explain some more things to you.  Your Father is a ferocious winner.’ 

Another incident: This next one is not so good.  She’s feeling sick.  She’s not very happy.  I think she’s pregnant; it’s not a good pregnancy.  She has Henry close by and she’s patting his head and thinking ‘I don’t want you to see this.’ (suffering).  Also there was a feeling of ‘I don’t need this because I’ve got you.’  She’s also thinking ‘I must be strong because I have to stay here for you.’  She goes about her normal tasks as vigorously as she can and then she gets completely wiped out. She’s pushing herself very hard, trying not to give in to the situation.  She doesn’t carry well at all.  Actually she feels as if she’d be okay about it if she lost the baby.  That’s how she’s feeling.  It happens that she is more distant with Henry because of her suffering.

FFW to another incident.  Henry is a bit older here.  Matilda is doing some writing outside.  Little Henry is being put on a horse.  She’s keen to see that he has a good seat on the horse and even before the horse is allowed to move off, he’s having to do exercises to show that he has a good seat and that he can move well on the saddle.  She’s multi-tasking. She’s doing her writing as well and keeping her eye on Henry on the horse.  Is she looking out of a window?  No, she’s in the same vicinity as the horse.  So she’s writing on the edge of the courtyard?  It feels as if it’s a room that opens on the stableyard or something. It looks a bit like a stable really.  It has a big open front. Perhaps it’s like one of those counting houses where they do their admin.  She’s saying ‘Take him for a few turns around the yard.  He wants to go ‘faster, faster’.  The servant won’t take him faster because he’s under express orders from Matilda that he has to go at a steady speed.  He has to learn control.  She’s saying ‘You’re not to go faster until you’ve mastered the knee controls.  I want to see that you can hold your horse.  She gives him a real spark of challenge and her eyebrows go up.  So then he’s got something to work towards.  Then he cooperates and does it.  And he’s only a little boy but goodness, he puts so much effort into it.  He’s saying ‘Now, I can do it, now I can do it myself!’  He’s pulled the horse away from the person who’s been holding the horse and he’s galloping around the courtyard.  Ohhhh, someone’s coming in through the gate with a big tray, loaded.  He can just see there’s going to be an accident and the tray tilts more and more.  Little Henry takes his horse round circuitously and manages to do it in the time, which is really clever.  She is saying again ‘ Bravo, bravo, you have it, my little termagant!’   It has uplifted her.  She is watching everything else that’s going on in the courtyard with a proprietorial air.  She needs to know that everything is going right and it does seem to her that it is.

Novel research for Lady of the English:
Henry’s relationship with his half brother Hamelin when they were with their father after Matilda had gone to England.
This is a close relationship.  It’s a bit of a love-hate relationship.  It’s a front to front of the body very close and complete contact.  As you would if you were giving a very intimate embrace. And also as you would if you were wrestling with a sibling.   Henry has got a very winning smile and a very sunny side to him.  He also has the attitude that he always has to win, and then the sun always shines. That’s the right thing.  Hamelin’s all right as long as he doesn’t tread on that territory.  Henry likes a bit of a challenge, but it only has to go so far.
Go over to Hamelin.   Hamelin is a very difficult kettle of fish.  Anxious.  He feels as if he’s always parrying off blows.  He feels as if he’s the practise dummy – like the punch bag boxers hit.  And everyone has to practise hitting him.  He hasn’t got much stuffing left.  His instinct is to try and find a bit of peace and quiet to get away from that.  If he does, he’s a naughty boy.  He doesn’t use it to commune with nature or anything.  He uses it to express his own energy and his own power.   I think he can be a bit of a delinquent.  He’s a bit underhand.  I can see him in a corner of a stable and knocking two little stones together.  Then he’s slinging them round and letting them go.  It’s not buildings he wants to hurt.  It’s people and animals.  It’s like he’s passing on the blows he’s had to take, and on to anyone he can get away with.  He does it on servant girls.  He’s quite calculating about what he wants. He’s prepared to play the brother thing if he can get something out of it.  He doesn’t feel he has the choice about the brother thing, so he thinks he might as well make something out of it as well. He also plays himself off against Henry with Geoffrey.  He likes to tell tales and put Henry in a bad light.
 Can you give an example?  He’s feeling upset again. Henry’s got a new horse; a nice horse.  Hamelin’s been given a hand me down from Henry because Henry has got a new horse, and this horse is a bitch.  I can see the bit.  The horse has been so badly used that the bit has no control over the horse.  So although it’s supposed to be a good horse, Henry has been cruel enough to it to make it do as it’s told and now it won’t do as it’s told for Hamelin.  So he’s got this supposedly good horse that’s no use to him and so it makes him look stupid, and it’s dangerous to him.  Alison suddenly hisses through her teeth and gets very distressed.  Oh God, I can’t stand cruelty to animals.  Oh dear!  He’s got a big stone to the horse’s front knee to make it lame.  Then he goes and tells daddy that Henry has given him a lame horse, and Henry knew it was lame.  Why should he have a lame horse, and why can’t he have Henry’s horse, because Henry hasn’t looked after his own horse.  Geoffrey considers this, but he doesn’t want to take Henry’s new horse off him, so he promises Hamelin another horse when the time comes he can get one. 

I asked Alison to go to Geoffrey of Anjou in 1139 and have a look at his relationship with his son Henry.
Alison: Geoffrey is pretty stressed.  He doesn’t sit on his stress though; he uses it to get things done, usually by bollocking other people into doing it.  But he is stressed here.  He’s closing his eyes.  He’s near to tears.  He’s going  ‘my son My son.’These are his thoughts.  He’s getting shivers as well.  He’s really worried.  I need to see a bit more clearly what’s happened to his son that’s upsetting him so much.  It seems more like a prayer now.  He’s worried but he’s praying.  ‘Please grant that he may live.’  It’s the feeling that everything he’s worked for will be snatched away if his son does not survive.  I feel Henry is in a separate room being tended by women and I can see that he’s sweating like mad.  Geoffrey was in a chapel.  There was certainly some kind of altar and a feel of stone and holiness and a candle.  Now I can see his feet treading up the stairs.  He’s got to the top of the spiral and it’s opened out into light.  It’s opened up on top of a roof.  The sky is above him and he’s getting some fresh air into his lungs.  He feels in some ways closer to God here because of all the clouds and the sky and at the same time very separate from God because he’s along and no-one’s listening.  He’s biting his lips; he’s heaving with sobs.  Saying ‘He can’t die, he can’t die!’  He thumps his fist down on part of the stone wall.  As he says this, he decides he can’t stay there.  He’s going to go back down and get on with his business.  But he has to go past the room where his son is, and as he goes past, he nearly breaks down again; but he doesn’t go in. Alison makes sound like a moan (Geoffrey’s).  He goes back along the corridor and down some steps and then he’s back in the real world and dealing with business.
FFW to when Henry recovers.  Geoffrey has similar sorts of feelings but they have eased off now, not so intense.  He’s looking at his son now. His son’s got on a white nightshirt that’s open at the neck in a V.   He doesn’t look well.  He’s very pale, gaunt, he’s lost weight, but doesn’t seem to be so sweaty.  Geoffrey’s watching him from the door and Henry is saying ‘Hello Father.’ So Henry recognises him (not out of it with fever). Geoffrey’s anxious feeling is now coming out in love – very strong love.  And again the words ‘My son, my son, my own son.  And the relief of it.  The pain inside Geoffrey was like an open wound and now it’s starting to heal.  He can hardly believe this recovery is real.  He is saying to Henry ‘Come to me when you are recovered and can walk.’  Henry’s trying to get out of bed but doesn’t get further than a couple of steps before his legs buckle.  He has to be helped back to bed.  Geoffrey is hushed out of the room and it’s made very clear that he’s said the wrong thing!  Geoffrey feels bad about it and feels that his best course of action is indeed to keep out of the way.  He feels guilty, but also he’s got the reassurance that at least Henry’s alive, even if he’s going to be a weakling for the rest of his life!  He’s going back to that chapel to give thanks.  He is sincerely praying.  Gosh and not just thanks to God, but thanks to the people who have nursed Henry.  And gosh, this is SO moving.  Because Henry’s the only person he has ever loved in his life.  He loves him with such magnificence, such passion.  He’s telling himself it’s going to be all right now, it’s going to be all right.  He’s satisfied that he’s done the right thing.  He’s kept out of the way and that was good.  He’s determined to do that again until it’s the right time for them to meet up again.  He’s pleased with himself  because he did get the best people in.  He spent a lot of money getting the best people in to look after Henry. 
FFW to when he’s fully recovered.  This is all mixed up.  It’s going jerky, I think because Geoffrey is so emotional.  Things are coming from all different directions and are mixed up in terms of one action on top of the other.  It’s one of those times when people say ‘It’s all going so fast’ and that’s how it is for him.  I can see them both rushing towards each other.  Henry has something in his hand – looks like a toy wooden horse with wheels on.  Oh gosh, Geoffrey is so overwhelmed.  So overwhelmed.  He’s crying.  All this pent up emotion is coming out now.  He’s having to wipe his tears because Henry is just acting like a child and being himself.  He’s living for the moment.  He wants to show Geoffrey something.  He’s saying ‘Look, daddy, look!’  He can do something that he couldn’t do before.  It looks to me as if he’s doing illuminated script.  It’s not just the letters, it’s the fiddly bits. I suppose it’s equivalent to painting books that you employ children with when they’re not well.  He’s been learning to do this lovely illuminated writing.   Geoffrey is overwhelmed.  His boy can do all those other things and he can do this as well now!  He thinks ‘Time well spent!’  It’s as good as sending him to the cloisters.  He’s got thoughts of what he wants to do with his son now that he’s well.  He’s got all sorts of things that he wants to do.  But they only go out a short way and then they come back to him in terms of thoughts.  It’s like ‘I want to go out for a ride there, I want to go up the castle there.  I want to take him on a wagon.  So his thoughts are all over the place.  I suppose it’s like being told you’re going to die and then you get a reprieve, and you get taken over by euphoria.  Yes! That’s it exactly!  Geoffrey’s having to make himself satisfied with just being there and them being together again.  It’s like having all your dreams rushing back at you that you’d given up.  He’s so proud, SO proud.  He’s calling people over to see what his son can do.  He’s using big gestures.  ‘Come on, come on over here and see this!  So Henry’s got quite a crowd round him and that appeals to Henry.  He’s able to show off his new skills.  He’s telling his dad he’s got loads more.  He was going to run off and get them, but Geoffrey stops him and sends someone else to do so because he doesn’t want to let Henry go.  Now he’s examining Henry’s face and because he’s gone quite gaunt, Geoffrey is saying ‘I do believe you look a little older.’ He’s lost his puppy fat. ‘I do believe you’ve been growing in the weeks that I’ve not seen you.’  Henry says ‘Indeed I have.’  He pulls up his trouser to show his leg because he thinks it’s grown longer, but phooh!  Geoffrey is very upset because he can see how much weight he’s lost and he just says ‘Oh, put your trousers down and pulls them down.  He doesn’t like that reminder.  Then things seem to be reverting back to normal.  He’s a very proud father.  To think that his boy licked that illness.  Lots of lesser boys would have succumbed to it, but God spared this one.  God smiled on him.  And Geoffrey does take that very seriously.  He is so moved.  Every moment he has this inclination to hug him, but he doesn’t, but he has this enormous love for him. 

Novel Research for Lady of the English:
Now to Henry 11 in 1145 when he was back from England, and his relationship with his brother Geoffrey first of all.
Oh my goodness!  Yes, here’s Henry.  Before I can see anything, I just feel fidgety with all this energy!  I am seeing a line stitched over.  It must be a wound stitched over, I think it’s on a horse.  He’s riding on a cart and he’s driving the cart.  They are going through water.  Geoffrey’s in the back and there’s some others as well.  Geoffrey is saying ‘I want to drive, let me drive!’ And he’s trying to push Henry out of the way.  ‘Let me at least sit next to you!’  But Henry’s having none of that and he’s really pushing Geoffrey out of the way.  Then he turns round and he’s got this little dagger.  It’s still in its sheath, but he turns round and he pushes Geoffrey all the way round and off the other side into the water.  Then he says. ‘If this were a proper battle, I would stab you now, but as it isn’t, you can walk behind the cart, for to learn the proper order of things.  When your elder brother says to do something, you do it.  You’re not the elder brother now.’  It’s like when he was away, Geoffrey was in charge, but now he’s back, they’re vying for dominance.  Geoffrey is seething.
Go with Geoffrey.  He is thinking ‘I’ll get him back.’  He wants to stab him in the back.  He thinks it’s not fair. ‘And he’s always daddy’s favourite. Doesn’t matter what I do, I’ll never have golden hair.’  What colour is Geoffrey’s hair then?  It’s a mousy colour – brown with a steely tint to it. ‘It’s not fair that he should have all the good things and I only get the leavings.  And it’s not fair that he should come back again, he should have stayed in that foul marshy land where he is king and not come back and lord it over us Angevins. A lot of sibling rivalry going on there!
And Henry’s thoughts on Geoffrey?  He’s thinking ‘Little rat.’  It wasn’t too difficult to get the better of him, so he wasn’t perturbed.  He’s just keeping him in order.  He could do much worse, just like he said.  And once everything has settled down and the argument has stopped, he feels quite okay and calm. Everything is going fine.
And with his brother William?  Henry has got some equipment in his hand that comes to a point. A bit like reins but it hasn’t got a horse in front, it just comes to a point and he’s guiding it. It’s got a trelliswork round it inside.  William is standing at the side and he has a quite conciliatory sort of energy as if he is a page or something.  I feel as if this is some sort of training equipment, military possibly.  I can’t make out what it is.  But every so often William kicks it from underneath so that it pops up and Henry is trying to hold it still and he says ‘Don’t do that.’  Then he says ‘I told you not to do that.’  Then he lets go of what he was doing and there’s some kind of pressure that comes back.  I think there’s some sort of water involved at the other end.  Anyway, he lets go of it, and he punches William into the ground.  He says ‘I told you NOT to do that.  He puts this metal thing on top of William’s chest and presses it down so that he’s holding the object and he’s holding William down at the same time.  He says ‘If you don’t shut up and stop crying, I’ll put my boot over your mouth.’  And William is struggling like mad to get out but Henry doesn’t let him.  He’s got his foot on William’s armpit so that he can’t move.  He can’t get up.  He can’t lift himself.  Henry is a fighter. Discussion ensues about Henry’s attitude. Alison says ‘He wouldn’t let anyone else take a turn.  It’s all about him and all for him.’
What happens to William eventually?  Henry finishes what he’s doing and takes his stuff to one side and William is still lying there and he’s bruised all down one side of his face and he’s really quite hurt.  His chest is hurt as well.  It takes him ages to get up and he’s coughing.  He shouts ‘Don’t you ever come near me again you – bastard word.
What kind of hair has William got?  Brown.  Similar shading to Geoffrey’s but perhaps a little lighter.  A bit of a gold glint rather than a grey glint.  They are quite wide-faced, William and Geoffrey, where Henry's is  quite pugilistic and forceful – a Germanic sort of face, whereas their faces are more jowly and flatter.  So Henry is quite different from the other two to look at, unless they change a bit as they get older.

Novel Research for A Place Beyond Courage
John Marshal's thoughts on Henry when the teenage Henry came to England.
John is trying to ignore young Henry.  He sees him as a young boy, just a kid overstepping the mark.  He should be back home, but a Prince’s toys always have to be bigger than everyone else’s and he’s allowed the wherewithal to play out what he wants to do.  John supposes it’s useful training but he would like it to remain on a limited scale – not tested out in the full arena.  He’s not old enough at this stage and unsuited to run the country or head a campaign.  But if he wants to do it then let him get on with it.  Who am I to stop him? 
They don’t have a relationship as such.  They’re of different generations.  Nothing in common.  John bows (like a curtsey almost to Henry) and smiles to Henry.  Henry naturally gravitates socially towards other people.  The people in his retinue are quite flashy.  They are there to make an image for themselves; they’re soldiers of fortune.  They’re here to do something wonderful; idealists out to make a new world but their deeds are combined with self-interest.  They also want to be heroic.  John has a more realistic and experienced point of view.

Research for The Summer Queen:
Henry's thoughts on the eve of the marriage?
He's got a broad mouth as well but his is straight. He is carousing and socialising. He feels buoyant. He's currying favour with new people that he's meeting and clocking them. When I say clocking them, I mean when he gets someone, there's a kind of ‘ker-ching’ moment and he puts them in his chest pocket. (metaphorically speaking). ‘I know you, I've marked you for future reference.’ Part of why he was such a good king, was that  he had a knack for faces and names. And he clocks not just the face, but the thing that makes the face tick, so he knows what to say to that person - what their key interest is next time he sees them. So he gives out this lovely sort of spontaneous urbane  personality as if nothing is going on and no one would ever guess. It's a very smooth surface and it's all going on behind that façade.
 And when he's on his own? He is quite content. There's a bit of wry disappointment that it’s not quite the woman he wanted. And in fact he's got in  his mind another lady who I think he already has a relationship with. She is younger and she has this really thick very long hair that is sort of a dark ash blonde. It's almost a grey tone and it's very, very long and makes a really thick ponytail. The feeling with her is of mmmm… Purity and cleanness. He likes cleanness in his women. I am only seeing her from the back. He is thinking of her and disappointed that it can’t be her in that position he is about to be in with Eleanor.
Does he have any children? I can see a child suckling. It seems to be with this woman. The ash blonde? Yes. He really gets off on the sight of the baby suckling. We had that before. Must be a real turn on to medieval men.
He goes to bed alone. It’s a bit of a sacrifice but there you go.
This woman isn't in his entourage?
No, it wouldn't be seemly.

Research for The Summer Queen: Henry and Eleanor during the period immediately following their marriageNo he's watching her to see who she's building alliances with and how people are taking her. He wants to make sure that she is true to him, that he has her full cooperation and loyalty. He also wants to make sure that he is in control. It's him who says when it's time for her to leave.
How does he do that?  He says ‘Shall I accompany you to your chamber madam?’ And that is taken as quite suggestive by the company. But he actually leaves her at the door - kisses her hand and says that he has things to do. ‘I will come back anon.’ and he does return very late. I can remember him doing this with Ida.  Yes he did. He was a workaholic.
So when he comes back very late? He is quite roughly getting his shoes off. He gets into bed. He's not fully undressed. He's not even changed his clothes. He is reaching for Eleanor as if she's a sack of potatoes. He is kind of winey - he's had a lot of drink. And that's how it starts. But then he gets all engrossed in it and becomes the young man again, and get really into it. He's taking his shirt off with big gestures to show off his muscles. It's all about him in other words.
How does Eleanor take this? Well she's a bit bleary eyed to start! And then it feels a bit like being assaulted. And then with him getting into it, it feels strange. It feels like foreign customs. She's not at all used to this kind of behaviour. I think she's metaphorically scratching her head about it. She's finding it exhausting really. It's exhausting because it's like he is taking her energy. She is not there to him, she's just an object (my observation)  She just feels that it’s tiring.

Research for A Place Beyond Courage:
I asked to see the meeting between Henry II and King Stephen at Wallingford in August 1153 when their armies faced each other across the Thames.  The troops on both sides were refusing to fight and encouraged a personal meeting between Henry and Stephen.  I was interested to know what was said there:
Alison:  I’m there.  I can see a standard with wings curved up from the centre.  Not sure if it’s a standard…might be a crane. (sounds very much like the sort of thing they put standards on sometimes – which did look like a crane.  Will see if I can find a picture.  I have Henry now.  He’s feeling calm, controlled, powerful.  This is a man who is not particularly stressed.  He thinks with his eyes as much as anything.  His breathing is steady.  But when his eyes move he’s quick-very quick.  He’s been distracted for a moment.  He thought someone was coming but they’re not.  He’s on a brown horse.  It’s big, powerful with a big rump and long brown tail.  I can see it rearing up and going down.  Don’t know what that’s about.  Ah, right.  He’s showing me what a good fighter it is – highly trained like the dancing horses on the continent today, but used for fighting.  If it was another man he’d be very proud of owning this horse, but Henry just feels it’s as it should be.  He’s going to meet up with Stephen, he’s going forward a little bit but the landscape is bleak and there’s no one to see.  Oh, now there’s a man in the distance coming fast on horseback.  The landscape is of rolling fields with trees.  He’s arrived now.  He’s not wearing armour, just a cloak.  He’s off his horse and he’s furious.  He’s going hammer and tongs at Henry. ‘I want you off my land right now!’  He’s getting his feet in the water right by the river’s edge.  Henry is still on the horse and is very calm, looking down on this person.  ‘I will do anything to get you out of here!’
Now Henry is becoming amused and saying to himself ‘Like what?’ 
Stephen hasn’t got much of a bargaining position.  His attitude is that ‘I am the rightful lord of this land and you are trespassing.  But as you are my cousin however, I will extend my warrant of hospitality to you for 3 days in order that you may leave in dignity, but leave you will.  You will be glad you’ve left, for the country is nothing but a bag of ants and it has fallen to me to contain them.  I apprise you of this that I may do you some good for I wish not to harm my own family.  I wish only for the good of our progeny and their heirs, therefore I will see you safely gone within three days.’  (Stephen and Henry’s mother were first cousins, so in the way that Medieval people called their rellies cousin within so many degrees, this is spot on. Second and third cousins etc were always referred to as just ‘cousin.’) Henry raises his eyebrows a little bit at this.  He’s being very cool, but thinks it’s all a bit hilarious.  He says ‘Certainly sire, I wish no personal harm to come to your body for we are, as you say, one.  Therefore it matters not who rules in your stead for we are one of the same branch and either one of us will do for England what that branch was carved for.  I therefore say to you go hence to your lodging and take shelter there, for you will need the recoursers of the fender for your old age.’
Stephen is not very happy at this.  He says ‘I see we do not have an agreement here.’
‘No sire, no agreement as yet until you decide to return to your hearth.  I have no need of such pastimes.  I am in the prime of my youth and I will see you dead before I am gone.’
Stephen’s bluff has gone now.  He says ‘It will be long before you see me dead and Henry says ‘Fare you well then.’
Stephen says ‘I go nowhere until we have an understanding and some seemly conduct.
Henry says, ‘I go nowhere on your bidding.
Stephen:  ‘We must bid ourselves.
Henry: ‘I bid to stay here then.
Stephen:  ‘I cannot stop you in this inclement weather but be sure when the thaw comes we will see you off the premises, cousin or not.  (I wonder if there’s some confusion over place and time here?  The armies had met once before with the river Avon between them and in absolutely foul winter weather – almost a blizzard?)
Henry:  ‘We will see about that old man.’  He makes a pretend plunge with his dagger.  Stephen backs off and Henry laughs at him. ‘I will go where I wish and you can do nothing about it.’  He rides his horse further upstream and a bit uphill.  Stephen has to get back on his own horse to carry on that way.  He hasn’t quite caught up when Henry makes a pretend run at Stephen.  Stephen has already turned back towards home and Henry is sitting on his horse with his standard and is looking at Stephen with complete contempt, thinking ‘he’ll be easy meat to rub out.  He’s already making a plan of attack in his mind.

Research from The Time of Singing
I asked to see the relationship between Henry II and Rosamund Clifford.  From what I have gleaned from conventional research, it was a close relationship, rather than just for sex, although I didn’t say this to Alison.  I just asked her to go to Henry and Rosamund as she appears to be the mistress immediately before Ida.  We know she died in 1176
Alison:  I’m with Henry.  He’s smiling and he’s happy.  His stomach is dancing.  I can see a light with ripples on it.  It’s like a ball.  It’s like the moon reflected in some water. Henry is standing at the side of this – probably a well.  There’s a low wall surrounding this pool.  He’s standing at the side of it.  He’s quite lively.  His arms are moving and I feel as if he’s with a lively person.  They’re happy, conversing and making jokes.  They’re laughing and moving.  It’s a very fluid movement that they both have.  I get the sense it’s not mundane talk but very witty, quick, educated talk.  They are both being able to say things to surprise each other and to turn the phrase to wit, to give original insights into things.  She is very clever.  She’s got dark eyes, large in the middle and pointed at the outer edges, and straight dark brown brows. Smooth brown hair, with a wimple over.  I can see the front of the hair.  Perfume!  It’s subtle with roses in it and something else – it’s a sort of pinky smell.  A lovely, subtle smell.  When she moves it’s borne on the dampness of the night air.  It’s as if the leaves and trees around are giving out their scent of dampness too.  It’s not cold, so I’d say it’s after a summer shower.  Henry’s breathing in very deeply and thinking ‘I wish that life could always be like this.  He’s put his arm around her and he’s holding her against him, thinking ‘If life was always like this I wouldn’t need to have sex even.’ So it’s real love?  It is!  He’s in love and it’s reciprocated.  It’s quite moving. 

Research for The Time of Singing.  Henry and Ida de Tosney
Gosh, what a lovely lady.  She is so serene, so calm.  I saw animals pulling something like a reindeer sleigh.  I think it’s an illustration for a tapestry.  Yes, I’ve got strong confirmation.  She’s thinking up pictures to sew.  She’s doing it in a calm way, like day-dreaming.  She’s going to be taken to meet the king and is being got ready by older women who are helping her dress in her best.  They’re putting ribbons in her hair and draping a beautiful cloak at her shoulders – crimson, with emerald and blue trimming.  They’re doing something to her eyes – putting on cosmetics to make her look more grown up.  Brushing eyebrows into shape.  She’s not yet fully developed, perhaps about fifteen.  They’re not dressing her up with the air of making her attractive to Henry, but just so that she looks well groomed and her best.  It will be of benefit to her if he likes her and it will make things better for all concerned.
She is brought to the room where the king is.  She’s quite excited and feels a bit tight in the chest.  I can smell incense.  I can sense her being brought in from a door in the corner.  There are people in front of her.  She is brought to the front row of a semi-circle of people being presented to the king.  Henry is speaking to them individually in a loud voice. It’s one of those public meeting and greeting things.  ‘Who are you?  Tell me.’ 
Then it comes to her turn.  Henry stands before her and touches her on her collar bone. ‘Ah, de Tosny’s little girl.  It’s long since I saw you.  Just a babe in arms, and now by the look of you, old enough to have your own babe in arms.’  Ida blushes and curtseys.  If he could, Henry would have his hand down the front of her dress right now.  He would do it.  He licks his lips and goes onto the next person, but he gives a lingering look back at Ida.  She doesn’t look at him; she feels terribly embarrassed.  Later, when he’s talking to everyone, he pretends he can’t arrange his footstool just right and gets her to do it, making her go this way and that with it.  Then he gets her to stand by him – just her.  He engages her in conversation.  ‘Tell me what you’ve been doing today.  Tell me a little story from the nursery.’  Ida is very embarrassed again.  ‘I hardly know what to say Sire.’ He sighs. ‘It matters not.’  But he doesn’t want her to move from where he’s put her.  She’s trying to watch what else is going on in the hall and is still embarrassed, trying to pretend this is not happening.  She is frightened, but very aware of doing the right thing.  Told to move the footstool, she has done her best to get it right.  She is looking minutely at the décor.  She’s looking at the tassels on the cushions he is sitting on.  Pale gold.  She’s getting a bit fed up and wondering when all this will end.  She wants to go for dinner and hope that he’ll forget about her.  People are leaving now to go for dinner. The next thing is that he wants her sit with him, but his attendants are horrified and say no, a seat has been allotted for her.  Alison says she feels that even so, the allotted space is higher up the table than she would have at first been given, so that Henry can watch her..  She’s a bit relieved but still too close for comfort as Henry continues to smile and leer at her.  However, she manages to get away after that.
The next day she receives a summons that ‘The King wants to see you in his chamber.’  Ida is very flustered and really quite worked up.  Her ladies are dismissive of her fears.  They say it’s a great honour for her, but they are very worldly.
In the king’s chamber he makes her undress the top part of her clothes and she’s feeling extremely nervous, embarrassed and powerless.  A bit like going to the doctors.  She doesn’t know where to look.  He starts touching her then.  I could see Alison was uncomfortable with this, so, assuming events took their course, we cut to the aftermath. Afterwards she’s in shock, she’s trembling.  He is saying ‘Remember, it’s a great honour I do you.’  He’s preening, getting himself ready for the next event.  He chucks her under the chin.  ‘Lift your pretty little head.’  She can’t look him in the eyes and he’s saying ‘No matter, no matter.’  His attitude is that she’ll come round.  ‘You’re a sweet little thing, very sweet and it’s to your credit.’  He says ‘You are the King’s virgin bride.  You will do well.’  And he gets out a fur collar and puts it on her. ‘There, that will keep you warm for me…for tonight.’
She’s distraught really but doesn’t say anything.  But she’s thinking her life is in ruins.

And Henry’s response when he finds out she’s pregnant? The ladies come to tell him that Ida can no longer lie with him because she’s with child.  Henry says ‘Oh well.’  He’s not too bothered.  He was starting to lose interest anyway.  It hardly causes a blip. He’ll start looking elsewhere now.  He says though, ‘Let her be well provided for and the child shall be mine.’  He even comes to her when the child is born to look at the baby.  He says ‘He has my eyes.  A fine son.’  He touches Ida on the cheek. 

From research for The Greatest Knight
Death of King Henry II - its effect on William Marshal.
It’s a tremendous shock. William is knocked off step.  He can’t think straight.  He feels horror and is overwhelmed by his emotions but doesn’t understand why…Alison pauses here as if listening then says - Because it’s like the end of an era.  It’s breaking a link with his past.  He hadn’t planned for what might happen next.  His only plans had counted on Henry being alive.  He had an emotional link with Henry.  Henry was focused and a man of action and of his word.  He empathised with him.  He was someone he could work with.  They understood each other and knew what to expect of each other.  He gave William stability and William didn’t have to make it up as he went along.  The manner of his death is shameful and William sees that his own death might happen that way.  He’s very aggrieved about the way the body has been stripped and sends soldiers in pursuit of those who have robbed the corpse.


  1. Interesting and enlightening. I can certainly see how you use the Akashic Records to build reality into your novels. As authors we all "see" our characters in our heads (my King Arthur and Jesamiah in particular are very real to me, I know them intimately.)
    Not everyone believes in, or accepts the A/R, that is a matter of personal thought, but in my opinion who knows where a writer's inspiration comes from? As far as I'm concerned you seeing - say - the scene where Geoffrey is anxious about his child being born a girl is as valid whether you saw it in your imagination, or Alison saw it in a working session.
    All of us who write historical fiction create the believable from the imaginary. Its just that some of us have a little extra to build upon - the Akashic Records.

    On a different note: have you explored Geoffrey's relationship with his mother and father? It seems that he is very insecure, I wonder if his domination etc is because of his childhood?

    Thanks for sharing!

    I guess I am going to have to bite the bullet one day and have an A/R session about Duke William for the next straight historical I intend to write (a follow on to Harold / Chosen King) Maybe I'll discover the reason why I can't stand the man! :-)

  2. Good to see all of these together - you get a greater sense of Henry than from the scattered fragments. It was great to reread some I'd read before and also see some that I must have missed!

  3. As always Elizabeth, thanks for typing these up for us! It's such a treat to be able to read this and get a very real feel of for who these people were and how they felt, outside the facts in a history book. I am eagerly anticipating the next book release and if there is anything I could do to persuade you to come to Texas on a book tour, let me know!