Medieval The Hundred Years' War
The Battle of Agincourt, 1415
| Battle | Agincourt |
|---|---|
| Date | 25 October 1415 |
| War | The Hundred Years' War |
| Location | A ploughed field between two woods near Azincourt, in the Pas-de-Calais, northern France |
| Belligerents | The Kingdom of England vs the Kingdom of France |
| Commanders | Henry V, Edward, Duke of York † (England) vs Charles d'Albret, Constable of France †, and Jean le Maingre, called Boucicaut, taken prisoner (France) |
| Strength | Bitterly disputed. Curry argues roughly 9,000 English against 12,000 French; Barker, Sumption and Rogers argue about 6,000 English, five sixths of them archers, against 14,000 to 15,000 French, and Rogers allows the French figure may reach 24,000 counting armed servants |
| Outcome | English victory, and one of the most lopsided of the age: the French nobility was gutted in an afternoon |
| English losses | Somewhere between 112 and 600 killed, the sources varying wildly; Edward, Duke of York, was among them |
| French losses | Around 6,000 killed, including three dukes, nine counts and the Constable of France, with 700 to 2,200 taken prisoner |
The Account
In October of 1415 an English army under Henry the Fifth was trying to reach Calais. It had been marching for two and a half weeks and was sick and hungry, and the French were gathering to bring it to battle before it got there. The war between the two crowns was already old; your historians call it the Hundred Years’ War. The army did not reach Calais. On the morning of the twenty-fifth it stood at one end of a strip of newly ploughed farmland between two woods, near a village called Azincourt, and at the other end stood the assembled chivalry of France, in numbers your historians have been arguing about for six hundred years and will not settle. The lowest serious estimate has the French outnumbering the English four to three. The highest has four to one.
The field did most of it.
What is not in dispute is the ground. It had rained. The field had been turned over for winter sowing, and a ploughed field in Picardy in late October, under rain, is not soil. It is a substance. The woods on either side squeezed the French front until men were pressed shoulder to shoulder before they had even begun, and their line had nowhere to widen into, so the numbers that should have settled the day had nowhere to go.
They came on foot, most of them, in full plate, across three hundred yards of that. Armour that a man can fight in all day on turf becomes a sentence in mud that takes him to the knee at every step. They arrived slowly, and they arrived tired, and they arrived packed too close to lift their arms properly, and while they came they were under what a monk of Saint-Denis called a terrifying hail of arrow shot.
Understand what the arrows did and did not do. They did not punch through good plate at distance. Most of the men in the French first line were not killed by archery. What the archery did was worse: it made them lower their heads and close up, and press inward away from the flanking shafts, and hurry, and arrive as a crowd rather than a line. Then the English archers, who were five of every six men Henry had, put down their bows and came out from behind their stakes with hatchets and mallets and swords, onto exhausted men who were standing in mud up to the knee and could barely turn.
It was not a battle after that. It was work. The French front rank went down and the ranks behind pushed into the space and fell over the bodies and were killed on the ground, and the chroniclers describe the dead piled in heaps. The Constable of France died there. Three dukes died there. Nine counts died there. Whole houses ended in the male line in one afternoon, and parts of France lost a generation of their gentry in a morning.
And in the middle of it Henry, who had taken more prisoners than he had men to watch them, and who had an unbroken French third line still in front of him and an alarm behind him in his own baggage, gave an order that his own knights refused as dishonourable and that he had to give to the archers instead: kill them. How many died is not known. Your historians argue whether it was thousands or whether the threat did most of the work. It does not matter to me which. I was there for whichever number it was.
The archers went home to England as men who had won. Some of them were still alive fifty years later, telling it.
I passed one of them in the mud that day. He had been shooting since first light and had a bill-hook in his hands by the end of it and no idea, none at all, that I had come as close to him as I had. I could give you his name. I did not take it that afternoon, and that is not mercy. I do not do mercy. It was recognition, and it cost him nothing, and it changed nothing about where he was going. It only changed the year.
Behind the Song
The Song
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Why Agincourt
Agincourt was the first song written for this project, and it is the origin of something the catalog has used ever since: the defiance moment, where she declines to take someone.
That mattered more than the battle did. A character who takes everyone is a process. A character who occasionally walks past someone, for reasons that are hers and are explicitly not mercy, is a person. The whole register of the project comes out of the last verse of this song.
The battle is also the right one to have found it in. Agincourt is remembered as an English triumph, and what actually happened is that several thousand men died exhausted in a ploughed field, some of them smothered under the men who fell on top of them. The song puts one nameless archer in the middle of the most famous English victory of the Middle Ages and asks what he was standing in. That is the record’s angle on everything.
The song, against the history
Verse 1 puts the man in the mud before it puts him in the battle. “The mud grips tight around his boots” is not scene-setting: it is the reason the battle went the way it did. The field had been newly ploughed and it had rained, and French men-at-arms advancing on foot in plate sank to the knee and arrived at the English line exhausted. “The French line swells like storm-tossed waves” is the numbers, which the fact box above declines to settle because the historians have not.
The chorus is written to a longbowman, and “raise your longbow high” is literal rather than figurative. The war bow was drawn with the whole body and loosed at an angle to fall on the target, not aimed flat, and archers made up about five sixths of Henry’s army. This is a song about the arm of the English force that was not noble, was not mounted and did not expect to be written about.
Verse 2 has the shooting doing exactly what the sources say it did. “The first shafts rise like ragged wings, then plunge as one” is massed indirect shooting. “The charge undone” and “the French knights stagger in the mire” are the effect: the arrows did not generally kill armoured men at range, they made them hunch, close up and hurry through mud, so that the French line arrived as a compressed and blown crowd rather than a formation. The battle was decided by that before the hand-to-hand began.
Verse 3 is the reversal, and “the crown of France slips from their grasp” is not overstated. The dead included the Constable of France, three dukes and nine counts, and the destruction of the Armagnac nobility knocked French politics off its axis for a generation.
What the song leaves out, and this page will not. There is no line here about the prisoners. After the main French assault collapsed Henry held more captives than he had men to guard, with a third French line still intact, and ordered them killed; his knights refused the order as dishonourable and it was given to the archers instead. The scale is disputed, from thousands down to a threat that mostly did its work by being made. The song is following one archer through his own afternoon and never leaves his eyeline, which is a defensible reason for the omission and not a reason for the page to repeat it.
The final pre-chorus and bridge are where the project actually begins. “Though I walk with countless souls, today, I walk past you” is the first time she declines, and the bridge is careful to say what that is: “he defies my calling, a fire beyond reach.” That is acknowledgement, and it buys him nothing but time; these reprieves never last.
Lyrics
[Verse 1] The morning crawls through broken clouds Cold on his brow The mud grips tight around his boots No turning now I watch him breathe against the dread One spark of will The French line swells like storm-tossed waves The field grows still
[Pre-Chorus] He stands where fear and duty meet A lone, untested flame And I, who walk with every soul, Wait silent in his name
[Chorus 1] Raise your longbow high Beneath my watching gaze For even Death must pause when courage dares to rise again Stand your ground in fear Let nothing turn you back For fate itself falls quiet when mortal hearts refuse to break
[Verse 2] The first shafts rise like ragged wings Then plunge as one A hiss of fate across the field The charge undone The French knights stagger in the mire Steel meets the rain He draws the bow with trembling hands Hope cuts the strain
[Pre-Chorus] The air grows thick with iron breath And cries that split the dawn Yet still he plants his feet in mud And fires on and on
[Chorus 2] Raise your longbow high Into the morning haze And claim the strength the dawn bestows on those who stand their ground Let the daylight rise Upon your steady aim For in the breaking light the weary find their courage whole
[Verse 3] The field lies torn by blood and rain But he stands tall The crown of France slips from their grasp He braves it all I walk among the fallen ranks Their stories done But spare the archer in the mud For he has won
[Pre-Chorus] The quiet after battle’s roar Feels heavy, sharp, and true And though I walk with countless souls Today, I walk past you
[Chorus 3] Raise your longbow high Against the coming tide For hope is born in mud when trembling hearts refuse to break Hold your breath and stand Though darkness grips your frame For in the hour of dread the smallest fire still shows the way
[Bridge] Let the wind remember Every soul I’ve taken Let the rain remind me I walk beside the fallen Their stories flow through me Their names echo softly But he defies my calling A fire beyond reach
[Chorus 4] Raise your longbow high Into the breaking dawn For victory crowns the brave who rise beyond the storm and stand Lift your voice once more Above the dying cries For in the rising dawn their names endure beyond the breath of war
[Bridge] Let the wind remember Every soul I’ve taken Let the rain remind me I walk beside the fallen Their stories flow through me Their names echo softly But he defies my calling A fire beyond reach
Part of Medieval The Medieval Chronicles All battles, in order