Medieval Women: In Their Own Words @ the British Library

‘What I’m going to tell you now,’ he said, ‘may sound incredible. But then, when you’re not accustomed to history, most facts about the past do sound incredible.’
(The Director of Hatcheries and Conditioning in ‘Brave New World’, chapter 3)

In the memory of women alive today, ‘history’ was defined as the deeds of men, recorded by men, described in histories written by men, and taught by men. My mother remembers sitting through history lessons about the Crusades and the Second World War, both of which passed without mention of a single woman taking part.

When it comes to the Middle Ages, a handful of queens (Matilda and Eleanor), the egregious Joan of Arc, a handful of authors (Julian of Norwich, Margery Kempe, Christine de Pizan) and the composer Hildegaard of Bingen, have been known about, written about and studied for centuries, but that has tended to be your lot. The role of women in the broader life of medieval society – as not only rulers but aristocratic wives, as authors and intellectuals, as saints and visionaries, abbesses and anchorites, as merchants in towns and peasants in the fields – has been much less described and explored.

‘Medieval Women: In Their Own Words’ is a big, informative and artfully designed exhibition, full of priceless treasures, which is firmly rooted in the modern movement of women speaking up, speaking out, and reclaiming the stories of their past.

The Book of the City of Ladies in a manuscript made under the personal supervision of Christine de Pizan, the first professional women author in Europe. This illustration unexpectedly shows elegant ladies bricklaying © British Library

This is a very polemically feminist exhibition. The aim of reclaiming women’s stories and voices is front and centre of the curators’ stated aims, of the press promotion of the show, of all the wall labels and object captions. Here’s the opening of the British Library web page about it.

Narratives about the Middle Ages are dominated by men. Male authors recorded history and wrote great works of literature, male rulers commanded kingdoms and fought wars, male authorities controlled religion. In traditional histories, medieval women’s roles have often been side-lined and limited to a few stereotypes and generalisations.

This exhibition counters this narrative by revealing women’s contributions right across medieval society, in public, private and spiritual life, taking visitors on a journey through women’s healthcare, households, work, creativity and political and religious involvement.

It’s in this spirit that ‘Medieval Women: In Their Own Words’ brings together 140 or so objects in order, as far as possible, to quote women’s own words about themselves and their lives and experiences, sourced from authentic medieval letters, books, histories, works of devotion, poems, prayers and edicts written by women.

Signed letter from Joan of Arc to the citizens of Riom, requesting gunpowder and military equipment for a coming siege, 9 November 1429, from the Municipal Archives in Riom © Town of Riom, Municipal Archives

So all the manuscripts, books and other objects on display here have been chosen to give – wherever possible – first-hand testimony of medieval women authors and their range of writings, to shed light on women’s contributions to medieval social and economic life, culture and politics, their political, dynastic and diplomatic achievements as queens and empresses, their management of sometimes very large households and religious institutions, their work as doctors and midwives, and their roles as saints and visionaries, revered in the Catholic tradition.

It certainly achieves its aims, opening doors and shedding light on all aspects of women’s experiences, right across western Europe spanning a very large time period – roughly 1100 to 1500. The exhibition is divided into three main zones. These are:

1. Private Lives

This opening section tries to give a range of insights into the everyday lives and personal worlds of medieval women, covering subjects like family and domestic life, friendship and motherhood, love and sex. There are sections about medicine and herbal remedies, good luck charms to wear during childbirth – notably a birthing girdle from the early 15th century, inscribed with prayers and charms that promised a quick and painless delivery.

Birthing girdle, England, early 15th century, an amulet for protection during childbirth © British Library

There’s an edition of the letters between the ill-fated lovers of Heloïse and Abelard, and a copy of ‘the Passion of St Margaret’, the patron saint of childbirth, which has been smudged by devotional kissing. There are love letters written by women, including – as the curators repeatedly point out – the oldest surviving Valentine’s Day letter in the English language, written by Margery Brews to her fiancé John Paston in February 1477.

Actually there’s quite a lot from the Paston letters, at least 7 letters and a will. This makes sense to anyone familiar with Middle Ages as the Paston Letters are well known and have been available in a numerous printed editions for ages. To quote the curators:

The Pastons were a Norfolk family who climbed the social ladder from peasantry to landed gentry during the 15th century. The extraordinary survival of a cache of around a thousand personal letters sent to and from the family gives unparalleled insight into their everyday lives. Some of the most prolific correspondents were the women of the family, recording joys, sorrows, loves, rivalries, friendships and arguments that span several generations. Yet most of the Paston women could not write, and relied on scribes to write down their messages for them.

This section also includes the first known book in Europe printed by a woman under her own name. This was Jedaiah ben Abraham Bedersi author of ‘Behinat ha-‘Olam’ (The Contemplation of the World) printed in Mantua (Italy), around 1476. Its printer, Estellina Conat, is also the first known female printer of Hebrew texts. She worked in a family workshop in Mantua (northern Italy). The book contains a philosophical poem written after the expulsion of Jews from France in 1306.

It’s worth pointing out that the exhibition includes half a dozen objects relating to Jewish women, and overview panels explaining the role and significance and distinctive culture of Jews in medieval Europe.

An illustration of Margaret of York kneeling before the Resurrected Christ in the Dialogue de la duchesse de Bourgogne à Jésus Christ © British Library Board

There’s a copy of a unique treatise on women’s medicine actually written by a woman. Trota of Salerno was a physician who practised at the medical school of Salerno, southern Italy, in the 12th century. She gave her name to a widely consulted collection of texts on women’s health, the Trotula. Her medical works are notable for being less theoretical and more practical than those of her male contemporaries. Since male practitioners were not permitted to conduct intimate examinations, she was able to practise women’s medicine in a more hands-on way than they could.

Toxic men and the Patriarchy are represented by John Mirfield’s ‘Breviarium Bartholomei’, a medical compendium which includes procedures for testing virginity, making a woman appear to be a virgin, and even a section on contraception, partly written in ciphers to limit access.

2. Public Lives

The second section, ‘Public Lives’, tells the stories of a host of women who shaped medieval society through their work in areas as varied as agriculture, textiles, sex work, finance, writing and printing, politics and warfare. It’s subdivided into two specific areas: ‘Work and creativity’ and ‘Power and politics’.

The seal of Empress Matilda (Add Ch 75724) Foundation charter of Bordesley Abbey by Empress Matilda © British Library Board

Specific named women of power include:

  • Shajar al-Durr (d. 1257) a female ruler of Egypt who defeated Louis IX of France in the Seventh Crusade
  • Isabella of France (1295 to 1358) who, together with her lover, Roger Mortimer, led a successful rebellion against her husband, King Edward II of England
  • Margaret of Anjou (1430 to 1482) who is represented by the largest hoard of gold coins ever discovered in Britain, believed to have been part of her fundraising efforts on behalf of her husband, King Henry VI of England
  • Anne of France (1461 to 1522) Duchess of Bourbon, known to her contemporaries as Madame la Grande (‘the Great Lady’) one of the most powerful women in late 15th-century Europe as well as the author of ‘Lessons For My Daughter’) France
  • a tough-minded letter from Margaret Paston to her husband John, away on business in London, requesting a detailed list of military supplies to defend their manor which was under siege from jealous local magnates (!)

Women used letters not just for personal family correspondence but for more official purposes. This section includes letters and petitions to advocate for freedoms and equality. You can see a petition written by Maria Moriana to the Mayor of London, when her master, Philip Syne, tried to sell her as a slave and then imprisoned her when she refused.

There is a copy of what is thought to be the first public defence of women in Italy, written by Nicolosa Sanuti in 1453. When the Church in Bologna imposed laws restricting what women (but not men) could wear, noblewoman Sanuti wrote this treatise in protest. She argues that through their many contributions to society, women have earned the right to wear what they want. Although unsuccessful at getting the law repealed, Nicolosa’s book won respect in intellectual circles.

A page from the Luttrell Psalter with an illustration of three women bringing in the harvest © British Library Board

3. Spiritual Lives

Religion was an integral part of medieval life and this third and final section gives you a feeling for the many roles played by women in medieval Christianity, from managers and administrators of large religious houses, to visionary writers and poets, to revered saints.

Surviving accounts show that religion could be a significant source of power for medieval women. Some women dedicated their lives to God by joining a convent and becoming nuns, while others led a religious life within society. The show includes works by the notable English women visionaries:

  • Julian of Norwich (around 1343 to after 1416) represented by the only complete surviving copy of her masterwork ‘The Revelations of Divine Love’ (mid-15th century) – the first work in English known to be authored by a woman
  • The Book of Margery Kempe, written around 1438, the earliest known autobiography in English which chronicles her life as a female mystic, in the only surviving manuscript copy from 1445 to 1450

For women who felt a religious calling, nunneries provided them with opportunities for education, creativity and community. Some of the many works produced by these communities include:

  • works by Hildegard of Bingen (d. 1179) a Benedictine abbess in the 12th century, who is famous as being the first woman composer in the western tradition – including a copy of the proto-opera, Ordo virtutum (Play of the Virtues), which she composed around 1150 to be sung at her convent
  • a copy of The Rule of St Clare, the first set of monastic guidelines known to have been authored by a woman
  • an exquisite series of painted scenes from the life of St John the Baptist created between 1175 and 1200, thought to be the only surviving creation from the renowned workshop of Herrad of Landsberg (1130 to 1195) at Hohenburg Abbey in Alsace

Miniature showing nuns processing to mass, from La sainte abbaye (The Holy Abbey), France (1290s) © British Library Board

Medieval stats

I was intrigued by the way the exhibition curators have created special panels, separate from the object labels, devoted solely to statistics. Some of these are feminist in intention but others were just stats for the joy of stats – odd, thought-provoking numbers, which are enjoyable in the way that random stats often are. Here’s a selection:

  • In medieval France, roughly 1.5% of medical practitioners whose names survive were women.
  • Of these, around 36% were midwives, the rest included barbers, surgeons, trained physicians and untrained healers.
  • 48% of aristocratic women from England between 1350 and 1500 made bequests of books in their wills, compared with 18% of noblemen.
  • 44% of daughters mentioned in male Londoners’ wills from 1309 to 1468 received some form of real estate, compared with 60% of sons
  • 18% of legal cases in 14th-century York dealt with the dissolution of marriages.
  • 26% of women employees in Paris around 1300 worked in the production of silk.
  • 82% of slave contracts drawn up in Venice between 1360 and 1499 were for women, whose average age was 22.5.
  • About 10% of apprentices in medieval London were girls.

You get the picture. However, as with all blizzards of statistics they start out being fascinating, then become a bit of a chore, and at some point stop registering altogether.

Marriage chest or cassoni belonging to Elizabetta Gonzaga Mantua of Urbino, Italy (around 1488) Victoria and Albert Museum (photo by the author)

Medieval smells

And there are medieval smells! The Library has commissioned scent designer Tasha Marks to develop four ‘immersive fragrance installations’ (basically boxes or pots) – lift the lids and get a whiff of scents used (in probably wealthy) medieval households. The smells come in two of the zones: in the ‘Private Lives’ section there are two fragrances based on recipes from the 13th century text ‘De Ornatu Mulierum’ (On Women’s Cosmetics) for a hair perfume and a breath freshener.

The opening page of ‘De Ornatu Mulierum’ (On Women’s Cosmetics) © British Library Board

While in the ‘Spiritual Lives’ section there are two more scents, chosen for their associations with medieval understandings of the heavenly and demonic.

Are you a witch?

There are a couple of interactive screens scattered about the show and one of them is a brilliant interactive tool where you can find out whether you’re a witch! I immediately thought this should be a game show along the lines of Love Island or I’m A Celebrity Get Me Out of Here. The show would start with half a dozen women in a mocked-up medieval village (the kind used in Monty Python and the Holy Grail) who have to undergo a series of tests and trials to establish whether they’re a witch or not (seeing if they have a third nipple or whether they float in the village pond or have a black cat).

Obviously I took the quiz – I needed to know. The first question was ‘Are you a man or a woman?’ I clicked ‘Man’ and burst out laughing when the next screen told me I was off to ‘a promising start’. I know what they mean, the obvious intent – as is the intent of most of the show – is to ram home the point that men generally had a better time of it in the Middle Ages than women.

The interactive ‘Are you a witch tool’ in ‘Medieval Women: In Their Own Words’ at the British Library (photo by the author)

A few caveats

This is an excellent exhibition. All the exhibits are fascinating, well chosen, carefully explained, and there is lots of information and context. There are some unexpected and even bizarre objects, plus the funky elements I’ve just described, the scents and the interactive screens. But I have a few caveats. More accurately, maybe, trains of thought triggered by the exhibition.

Getting inside medieval Christianity

The most obvious challenger to our modern secular values is religion. In this exhibition religion is treated from a mostly secular perspective, as an area where women were allowed to exercise a surprising amount of agency and freedom. The decision to become a nun was respected, and Christianity allowed women to become visionaries and saints, to be venerated and worshipped. This was more than was available to medieval Islam, India or China.

But my issue is that the curators – obviously modern secular feminists – treat medieval Christianity as if it was a job opportunity scheme for women seeking to escape patriarchal medieval society rather than the worldview which dominated every aspect of medieval life.

What the exhibition can’t really take on board is the big question: What if Christianity is right? What if being a woman isn’t entirely about being a strong independent woman flexing her agency and kicking sand in the face of the Patriarchy? What if the world was made by God, and Jesus was the Son He sent to redeem humanity from the Fall, and those who believe in Jesus’s resurrection and atonement will go to heaven and everyone who doesn’t believe, and wilfully sins against the laws of God, will go to hell?

What if that is the only important question in any human’s life, because it affects the fate of their immortal soul? In which case the medieval pay gap and the injustice of making women stay at home to raise children and be deprived of education or access to any profession – all issues which the exhibition raises and illustrates – become secondary, modern and secular concerns; in fact compared to the life of the spirit, barely issues at all.

I’m not saying Christianity with its patriarchal ideology is ‘true’. I’m a fairly militant atheist and a strong believer in Darwinian materialism. I’m just pointing out that a sympathetic reading of medieval history is an opportunity to enter into a world of values completely unlike ours – and explore what it would be like to believe medieval Christianity with all your heart and soul.

How would the world look then – if you knew your place in society, knew your role in life, and your main concern (apart from the basics of food and health) was being pious, attending church and avoiding temptations, physical or spiritual? If you knew that God was your Creator, that Jesus died to save you from sin, that we live in a terrible world exposed to all kinds of fragility, plague, war, early death, that only our faith can make sense of anything in life, and only faith can help us endure the terrible, arbitrary contingencies of life?

Just for an hour imagine being alive in those terrible times, without any of the conveniences of modern life, with no modern medicines or understanding of how the body works, with a life expectancy of 30, at the mercy of any number of random disasters. Wouldn’t you throw yourself on the mercy of an all-powerful God?

An illustration of St Francis and St Clare in The Rule of the Minorite Order of Sisters of St Clare, painted by the German artist Sibylla von Bondorff © British Library Board

Also, stripped of it supernatural trappings, Christianity contains many moral or ethical truths: for example, it’s not all about you. That happiness and fulfilment might not come from focusing just on your needs and problems, but by helping others. Focusing inwards, in the self, concentrates our unhappiness. Focusing outwards, on others, makes us forget ourselves in helping others. It is better to give than to receive. Charity is defined by the Etymological Dictionary as ‘Christian love in its highest manifestation.’

The beauty of the medieval worldview

I studied medieval history and literature at university. What is vital to medieval studies – and not so obvious in this exhibition – is the absolute centrality of hierarchy, pattern and order.

In the medieval worldview God was in his heaven and a complicated hierarchy of archangels and angels cascaded down from him. He controlled the universe at the centre of which was the solar system, at the centre of which was the world around which the moon, the sun and the five plants orbited, each embedded in an invisible crystal sphere, hence the music of the spheres.

The world was governed by the passage of the seasons created by the changing angle of the sun moving across a sky which, at night, was filled with the signs of the Zodiac, which had a strong influence on the world and its inhabitants, for good or evil. These complex movements and their influence on human life could be studied through the science of astrology.

Within the world of living beings there was a strong hierarchy, with man at the top and then hierarchies of animals in each of the kingdoms of the air and earth and sea. Everyone could see how larger animals preyed on smaller ones according to the hierarchies created by God.

Within human society there were distinct and fixed hierarchies, the sacred and the secular. The key institution was the Church, with the Pope as God’s representative on earth and the Church hierarchy of cardinals, archbishops, bishops, priests and so on spreading its tentacles down to every parish in Christendom. Holiness entailed following all the edicts of the Church, attending Mass, keeping the fasts and feasts and countless saints’ days, worshipping and praying in the correct manner, and avoiding all temptations to sin, either physical or spiritual.

Paralleling this was the secular hierarchy which began with the king or emperor at the top of each realm, then his assembly of nobles, barons and so on, extending down through a complex hierarchy of social ranks and functions, eventually ending with the serfs or peasants in the field.

More germane to this exhibition, there were very fixed views about the hierarchy of the family, with the father as the head of the household exercising complete control over his wife, who had her role to play in controlling their children and the sometimes numerous servants. People talk about the patriarchy nowadays, but this really was a patriarchal society.

It followed from the obsession with hierarchy that the good society was one in which everyone knew their place in society, accepted this place and contributed to their community according to their place and role, respecting their superiors, acting appropriately to their inferiors, ensuring stability and prosperity.

Down below the human level, at a basic physical level, everything in the world was made up of a mix of the four elements: fire, air, earth and water. These corresponded to the four life-giving fluids in the human body, namely:

  • • Blood: associated with air
    • Yellow bile: associated with fire
    • Phlegm: associated with water
    • Black bile: associated with earth

In the medieval worldview everything was linked by connections between all these hierarchies and many more I haven’t mentioned (for example, the vast world of medieval theology with its seven sacraments, seven deadly sins, seven cardinal virtues and so on and so on).

The world was thus a vastly complicated place made up of overlapping matrices of hierarchies, structures and values, traditions, beliefs and practices. It was the complex correspondences between all these sets of values that enabled the characteristic medieval literary form of allegory where animated figures – humans or animals – stand for the abstract values within the complex value system, allowing for the creation of complex and sophisticated works of literature and visual art (such as Hildegard of Bingen’s work, Play of the Virtues, mentioned above, where a  female voice plays the role of the human soul and meets 17 virtues).

These complex correspondences also, of course, allow for magic, where objects – such as someone’s hair or clothes – stand in for people themselves or their qualities or powers. Magic is just a way of tapping into the immense system of correspondences between all aspects of the material world and the spiritual world which everyone knew lay all around them, a way of deploying occult forces to influence the visible world.

Put simply, my suggestion is that, in order to really understand and enjoy all this, you have to submit to it, swim in it, forget our modern world of subatomic particles and antibiotics, technology and individualism, modern secular liberal values, and imagine a world made up of four elements where the only medicine comes from plants with magical properties which must be taken at a full moon along with the right prayers or spells. Where the only thing which can save you from life’s endless tribulations is deep faith, faith in God, His Son and the Holy Blessed Virgin Mary. Where the way to be happy was to know your place in the world and behave accordingly.

To enter this world is, I suggest, fascinating and imagination-expanding. If you really go for it, immersing yourself in Chaucer or Langland, medieval saints’ legends or the Arthurian romances, you can recapture a real sense of magic and marvels, and what it could mean to be human in a larger, stranger, more mystical sense than the modern world of TikTok and Instagram allows, entering a world of hidden powers and spirits.

My reservation about this exhibition is that it sometimes felt as if the Middle Ages were being named and shamed for not being a woke 21st century university campus; that medieval people were being ticked off for allowing a medieval gender pay gap (as one of the exhibits is titled), for forcing women to be homemakers or be married off at 13; for the failure of people living in 1200 to understand the workings of the human body as we do in 2024; for a litany of our contemporary concerns which the curators use to judge and find wanting people who lived 800 years ago.

Maybe that’s the root of my objection. What medieval people believed was strange and wonderful and inspiring, and horrible and violent and terrifying, but seeking to explore and understand such a different worldview can be immensely liberating. All of it may have been, in a scientifically literal sense wrong, and wildly contrary to our modern sense of liberal freedoms, but that is like saying ‘Alice in Wonderland’ is ‘wrong’.

History is an imaginative artefact and can, on a personal level, be made to mean whatever we want it to. Sure, public historians have a duty to research and report the facts accurately, but most of us ordinary citizens have favourite periods or characters from history and enjoy fantasising and romanticising about them. Look at the evergreen popularity of historical novels and TV series. Every year there’s another series about the bloody Tudors which usually bears only the flimsiest relation to academic history. Or consider the way hordes of medieval trappings are imported into popular culture, in a twee way in Harry Potter, in a grim way in Game of Thrones.

I love lots of medieval art and literature, sculpture, tapestries and music, for its magic, its lightness, its symbolic way of thinking, its vision of the deep interpenetration of the natural and supernatural worlds; above all for the beauty and sweetness of its literature, from the full-bodied roistering of Geoffrey Chaucer to the sweet poignancy of medieval poetry. I don’t ‘believe’ any of the ideology underpinning it, but that doesn’t stop me immersing myself in it whole-heartedly for the duration of the reading.

Sorry to be so long-winded but I’m trying to identify why I reacted a little negatively to some aspects of this exhibition, admirable though it is in intent and execution. I recoiled a bit from the way the vast 400-year period it covers – of events, people, culture and meanings, hundreds of millions of human lives and stories and works and days, festivals, celebrations, communities, wars, pogroms, atrocities and carnivals – sometimes felt like it was being reduced to an all-too-familiar and modern shopping list of injustices and grievances, in which the weirdness, wonderfulness and otherness of medieval culture which I love so much sometimes felt like it had been lost.

Installation view of ‘Medieval Women: In Their Own Words’ @ the British Library

Explicitus est liber

Maybe you’ll have a completely different take on it. It really is a lovely exhibition and it really does open your eyes to the whole world of medieval women which has been so neglected for so long. Go and make your own mind up. And, of course, to find out whether you’re a witch. You never know…


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A Silk Road Oasis: Life in Ancient Dunhuang @ the British Library

Want to see the oldest printed book which contains its own date of publication (868 AD)? The earliest known atlas of the night sky produce by any civilisation? See a copy of the Diamond Sutra written in the scribe’s own blood? Read an angry letter written by a wife abandoned by her husband 1,400 years ago? Learn about the life of a 10-year-old Buddhist nun?

If all this pulls your daisy, then come to this small but beautifully designed and fascinating exhibition at the British Library.

Scroll in Sanskrit and Khotanese embellished with an opulent silk painting of birds facing each other (943 AD) © British Library

Background history

The Silk Road was a term invented by German explorer Ferdinand von Richthofen in the 1870s to describe the tangle of trade routes stretching across central Asia from China in the East to the Mediterranean in the west. The silk roads went past the Gobi desert, split up to skirt the Taklamakan desert to the north and south, continued on through the Pamir mountains to Kashgar, then on to Samarkand in modern Uzbekistan, through Persia, Iraq and Syria to the Mediterranean in the West. At several points offshoots went south into Tibet or India.

The heyday

The network of silk roads began with the expansion of the Han dynasty (202 BC to 220 AD) into Central Asia around 100 BC, and grew and thrived until the tenth century AD. The blockbuster exhibition about them currently on at the British Museum takes its golden age to have been around 500 to 1000 AD.

Silk roads, plural

These days, modern archaeologists and historians refer to the silk roadS very much in the plural 1) in order to take in subsidiary routes, 2) to extend its length eastwards to the coast of China and Korea and westwards to take in Europe, 3) to include the contemporaneous sea routes from China to the Persian Gulf. All this is explained in some length at the British Museum show. However, this exhibition at the British Library focuses more narrowly on the roads’ core zone, from Chang’an in the East to Samarkand in the West.

Map of the silk roads © the British Library

The significance of Dunhuang

As you can see from this map, if you were heading west from China one of the major splits in the route occurred at a place called Dunhuang, where the route split into two roads skirting to the north and south of the uncrossable, huge and ever-shifting Taklamakan Desert.

The way stations along the northern and southern routes consisted of oases created by water in streams and rivers flowing down from the high mountains of the Tien Shan in the north and the Kunlun Shan in the south. According to Peter Hopkirk in his book ‘Foreign Devils on the Silk Road, one of the reasons the silk roads fell into disuse – apart from political turmoil in China and widespread banditry – was because many of these watersources dried up or moved or were filled with sand and silt. As they were abandoned, sand from the great Taklamakan blew over the ruined settlements and buried them for centuries.

Back to Dunhuang, it also was an oasis town, the last one in China (if you were heading west) the first one in China (if you were arriving from the east) and the place where the two major routes round the Taklamakan divided (or rejoined). It was established in 111 BC as a military outpost, fortified with defensive walls and watchtowers.

Buried treasure

Unlike the oasis settlements lining the desert Dunhuang was never abandoned when the roads fell into disuse, but continued to be a populated settlement up to the present day. But over the troubled centuries much of its silk road heritage was lost, forgotten, covered in sand. It was only at the end of the nineteenth century that a stream of explorer-archaeologists realised that there was buried treasure waiting to be dug up in this vast and remote part of central Asia. The story of the scramble for loot between representatives of Western colonial powers who identified and excavated sites right across the region is told in Hopkirk’s book.

Confessional book of the Manichean Uyghurs (ninth to tenth century) © British Library Board

This is one of the most important and complete manuscripts among the Old Uyghur Manichaean texts, the Xuastuanift, a confessional book of Manichaean Uyghurs, on display for the first time. It is a repentance prayer known as the Xuastwanift, which is widely used by the followers of Mani (216 to 277), a Persian prophet. It is around 4.5 metres long, written in Old Turkic in Manichaean script. The scroll demonstrates the eastwards spread of Manichaeism among the Uyghurs, whose West Uyghur Kingdom was tightly connected to Dunhuang.

The Mogao caves

One of the unique things about Dunhuang is the proximity of the astonishing complex of Buddhist caves, the Mogao cave complex, 15 miles to the south-east. We now know that during the silk road era nearly 500 caves were carved into the cliff face here, most of them by Buddhists, many decorated with beautiful multicoloured frescoes and containing artefacts and manuscripts.

The guardian Wang

Aware of a long tradition of Buddhist worship and relics in the region, the local Chinese authorities at the turn of the 20th century had put a Buddhist monk named Wang Yuanlu in charge of sites around the town. As a devout monk Wang earnestly wanted to raise money to regenerate and preserve the caves and regularly toured and examined them.

Photo of the priest, Wang Yuanlu, taken by Aurel Stein and included in his photographic album, 1907 © British Library Board

Wang discovers the Library Cave

One day Wang discovered a false wall at the back of one of these caves, chipped it away and made one of the great archaeological discoveries of all time. For in this cave, subsequently named The Library Cave and now more prosaically referred to as Cave 17, he discovered tens of thousands of ancient scrolls, manuscripts, printed documents, paintings, diagrams, histories, calendars and star charts from the fifth to the eleventh centuries, rolled up and stored higgledy-piggledy.

These scrolls contained an extraordinary range and diversity of documents, on a wide array of subjects, from huge religious scrolls to personal letters, from diplomatic documents to textbooks on astrology, from wills to instructions for the souls of the dead.

They are written in a surprisingly range of contemporary languages, such as Tibetan, Sogdian, Chinese, Old Uyghur, Phags-pa, Tangut and Turkic.

And they attest not only the predominant religion of the region, Buddhism, but many other faiths including Zoroastrianism, Manichaeism and Christianity which, because of them, we now know thrived in the area.

Paul Pelliot - Wikipedia

French archaeologist Paul Pelliot examines manuscripts in the library cave (photo by expedition photographer Charles Nouette, 1908)

Western archaeologists pounce

The western explorers I mentioned above, who made various expeditions throughout the 1890s and early 1900s and whose stories are told in Hopkirk’s book, soon heard rumours about a cave of magical discoveries and made the arduous journey to Dunhuang.

Here the western archaeologists, starting with Marc Aurel Stein, schmoozed the site’s curator, Wang, offering him money, technical assistance, promises to renovate the big painted caves and so on, and talked Wang into parting with thousands and thousands of these priceless scrolls. Crates full of them were dispatched by pony back to Kashgar, by train across Russia and then onto the capitals of Europe. Eventually these priceless manuscripts were scattered across 30 or so collections in 8 or so western nations, chief among them the British Museum in London.

Collectors’ guilt

Two world wars and the decolonisation of most of most of the European empires later, many of these institutions felt guilty about being party to such epic looting of China’s cultural heritage. In 1973 the British Library was founded. In the 1980s the British Museum handed over its hoard of documents from the Library Cave to the British Library.

Founding of the International Dunhuang Programme

In 1994, after much discussion between the various European and American institutions which owned documents from the library cave, the British Library was instrumental in setting up the International Dunhuang Programme (IDP). The IDP is a pioneering international collaboration that brings together online collections from the Eastern Silk Roads and promotes understandings of the history and cultures of the region.

That was 30 years and so this small but beautifully formed exhibition marks the thirtieth birthday of the International Dunhuang Programme. (All this is explained in the final part of the exhibition, which includes a timeline of the events I’ve just summarised.)

The exhibition

The exhibition showcases over 50 manuscripts, printed documents and pictorial works, most though not all, from the ‘Library Cave’ in the cave complex of Mogao and on public display for the first time.

The exhibition is contained in one long room downstairs. The light levels are low to preserve these ancient manuscripts which contributes to the subterranean, treasure-trove vibe.

The show is divided into ten sections, consisting of eight display cases (4 down the middle, 2 embedded in either wall). At the far end there’s a partition cleverly made from shelves piled high with rolled-up paper scrolls, recreating the effect of the original treasure cave. And off to one side there’s a bench seating about 5 people in front of a video projected on the wall which shows general views of the desert, the Mogoao cave complex, and handy maps showing the shifting silk roads and indicating the spread of religious beliefs along them. You can make out most of the elements I’ve listed in the photo below (video on the right, display cases down the middle, the scroll partition is visible at the far left).

Installation view of ‘A Silk Road Oasis: Life in Ancient Dunhuang’ at the British Library

Topics and stories

The key thing about the displays is that the curators have had the bright idea of dividing the documents into sections grouped around typical types of profession from medieval central Asian society. Each case is named after one of these characteristic professions of the time, constellates around the story of a specific named individual who we know of from a scroll, and then groups around it half a dozen other manuscripts from the same subject area. Thus the cases are named after:

  • The Merchant
  • The Diplomat
  • The Fortune-Teller
  • The Artist
  • The Scribe
  • The Printer
  • The Buddhist Nun
  • The Lay Buddhist

Installation view of ‘A Silk Road Oasis: Life in Ancient Dunhuang’ at the British Library showing a typical display case, in this instance scrolls relating to The Lay Buddhist (see below) (photo by the author)

As is my usual practice, all the text which follows in italics is direct quotation from the curators’ wall labels.

The Merchant (unnamed)

As a key trade centre on the Silk Roads, Dunhuang attracted merchants from as far afield as central Asia and India. Among these were the Sogdians, a group of Iranian people who dominated commerce in the region from the 4th to the 8th century. From their motherland near Samarkand (present-day Uzbekistan), Sogdian merchants established settlements stretching all the way to China.

Map showing location of Sogdiana © the British Library

This allowed them to act as agents for fellow Sogdians back home and along the trade network. Sogdian merchants sold many prized goods and transmitted religious ideas from their own culture and that of nearby regions.

Earthenware figure from China (7th to 10th century) probably representing a central Asian merchant, possibly of Sogdian origins, as suggested by his large beard and conical hat (photo by the author)

This section focuses on the letter written by an unnamed Sogdian merchant based near Dunhuang, which was addressed to two of his business partners in Samarkand, over 3,000 km to the west. It warns them about the devastating effects of political instability in China. The letter describes the famine that resulted from the sack of several Chinese cities by the Huns, a nomadic people from central Asia.

It also includes a letter from a wife who was abandoned by her husband at Dunhuang and who writes to reproach him in 313 AD. Her name was Miwnay and the letter tells us she moved from Samarkand to Dunhuang with her merchant husband Nanai-dhat. This letter was found in a lost mailbag and complains how, not having not heard from him in three years, Miwnay and her daughter Shayn have become destitute and forced to serve a local Chinese household.

“Behold, I am living wretchedly, and I consider myself dead. […] I obeyed your command and came to Dunhuang and did not observe my mother’s bidding or that of my brothers. Surely the gods were angry with me on the day when I did your bidding! I would rather be a dog’s or a pig’s wife than yours!” (Translated by Nicholas Sims-Williams)

Emphasising the theme of multiculturalism, this section also includes:

  • one of the oldest surviving Zoroastrian scriptures, consisting of a text about the prophet Zoroaster (born between 1500 and 500 BC) and a transcription of the holy ‘Ashem Vohu’ prayer
  • a letter from a Christian priest named Sergius to a Turkic government official based at Dunhuang

Dunhuang Limes

I need to digress for a moment about the Dunhuang Limes.

The Dunhuang Limes is a series of military sites spread over a distance of more than 140 miles, and are considered to be parts of the westernmost portion of the Great Wall. The sites begin in Anxi to the east of Dunhuang and extend to the Lop Nor desert to the west, and date back as far as the 2nd century BC [see the map at the top of this review for the line of the Great Wall].

The term limes, usually used to describe Roman military roads and their fortifications, was assigned by Aurel Stein to this series of watchtowers, forts, storehouses, beacon towers, walls, and other defensive structures. The items excavated from the sites reveal much about the daily life and administration of the garrisons stationed at the frontiers of the Chinese Empire. These items include tools, stationery, pottery, arrowheads and textiles, as well as important written documents including the Sogdian ‘ancient letters’.

Hence the shoe:

A shoe made of hemp from Dunhuang Limes © the British Museum

This utilitarian everyday object serves as a poignant reminder of the early settlers who resided along the Dunhuang Limes. These defensive walls and watchtowers, constructed north of the town, protected the territory then ruled by the Chinese Han Empire (206 BC to 220 AD). Doubling as farmers, the soldiers transformed the rugged landscape into cultivated land, while monitoring the desert Silk Roads for potential attacks.

The booklets

Another digression to mention that each of the characters or job types is introduced not only via the usual object labels but in nifty printed booklets (attached to each display case) made of a kind of artificial vellum and decorated with patterns from the period. Some thought and effort went into these and they’re very stylish.

One of the stylish fake-vellum booklets which contain object information in ‘A Silk Road Oasis: Life in Ancient Dunhuang’ at the British Library (photo by the author)

The Diplomat: Ca Kima-sana

From the 10th century, the rulers of Dunhuang strengthened their ties with Khotan, a central Asian kingdom located 1,800 km to the west. Sent by their state, Khotanese envoys frequently travelled to the oasis to help maintain close diplomatic relations, especially by seeking marriage alliances.

Map showing location of Khotan © the British Library

Khotanese delegations varied in size and were hosted by the local government. Their members, who spoke an Indo-Iranian dialect, had to operate in a multilingual environment. They were actively engaged in Dunhuang’s Buddhist community as patrons and helped spread medical and geographical knowledge during their visits.

This section is named for two figures: one is Sam Khina Hvam Samgaka, a high-ranking Khotanese official who commissioned a devotional scroll, wishing for a long life and the well-being of his relatives. The manuscript is over 21 metres long and contains six different Buddhist texts. It was embellished with an opulent silk painting.

Scroll in Sanskrit and Khotanese, over 21 metres long, embellished with an opulent silk painting (943 AD) © British Library

The other named figure is the diplomat Ca Kima-sana, also known as Zhang Jinshan. He is represented by a long scroll in which he explains that he led a delegation of over 100 people to secure the hand of a Chinese princess for their king. He also recounts the religious activities he undertook at Dunhuang in exchange for safe return. This section also includes:

  • a tenth-century Chinese-Khotanese phrasebook
  • an account of hospitality given to foreign visitors at Dunhuang between 979 and 982
  • a Khotanese translation of the Siddhasara, a medical text attributed to the ancient Indian physician Ravigupta

The Fortune-Teller: Shenzhi, the Yin and Yang Master

Fortune-tellers, whose practices were regulated by the local administration, helped both the ruling elite and ordinary people navigate daily life. They advised on anything from the best time to start a construction project to the best direction to take on a journey. They also guided people when choosing a life partner, looking for lost things or strategising for battles.

Fortune-tellers produced calendars and other astrological works. These were considered a form of scientific knowledge, normally controlled by China’s imperial court. At the same time, divination traditions from central Asia spread along the Silk Roads and converged at Dunhuang, leading to a unique blend of approaches.

This section includes a striking almanac:

Official almanac showing the 12 spirits of the zodiac animals, portrayed as officials with animals in their hats (978 AD) © British Library Board

An almanac is a yearly publication that typically contains information such as astronomical data and astrological predictions. This incomplete document for the year 978 is a copy of the almanac originally printed by the imperial Chinese Bureau of Astronomy. It shows the 12 spirits of the zodiac animals, portrayed as officials with animals in their hat. They surround the deity Taisui, who is associated with Jupiter and governs people’s destiny in a given year.

This section also contains:

  • the longest surviving manuscript text in the Old Turkic script, the Irk Bitig or Book of Omens, a 4-metre-long Tibetan divination scroll written in Old Turkic which contains 65 divinations
  • the oldest star chart from any civilisation which depicts 1,345 stars across 13 maps, dating to the second half of the 7th century
  • a 4-metre long divination scroll in Tibetan, featuring 12 divination diagrams in the Chinese astrological tradition
  • eight diagrams linked to a divination form known as the ‘Nine Palaces’ which indicate lucky and unlucky dates and directions for construction work, in a scroll which belonged to Shenzhi,
    a Yin and Yang Master and a monk at the Longxing Temple

The Printer: Lei Yanmei, the woodblock carver

Using a method derived from earlier stamping processes, printers chiselled content in reverse into woodblocks. They then inked those blocks and impressed them onto paper. The quality of the prints thus depended on their woodcarving skills. Printing technology emerged in China around the 7th century, about 700 years before appearing in Europe. The work of printers quickly became essential for Buddhists, as a way of enabling the large-scale reproduction of sacred texts and images. As printing spread to East Asia and to central Asia along the Silk Roads, printers set up many local workshops. While some places, like Sichuan, became major printing centres, Dunhuang printers also produced, on a much smaller scale, copies of Buddhist scriptures, prayer sheets and almanacs.

The Diamond Sutra, the world’s earliest printed book with a date, 868 AD

This 5 metre scroll is the oldest complete printed book with a date. Preceding the finely carved text is a depiction of the Buddha preaching to his elder disciple, Subhuti, amid a large assembly. Such sophisticated design attests to a mature printing industry, calling for collaboration between highly skilled artists, scribes and woodcarvers. It is thus possible it came from Chengdu, Sichuan, which was a major printing centre at the time.

This section also includes:

  • a text containing numerous identical images of the Bodhisattva Avalokiteshvara
  • a woodblock printed prayer sheet with pigments
  • a booklet of Diamond Sutra translated by Kumarajiva

The Scribe: Ke’u Monley

Between 786 and 848, Dunhuang came under Tibetan rule. It was transformed into a bustling centre for scribes who worked for the Tibetan empire.

The Tibetan Empire in the 8th to 9th centuries © the British Library

Local scribes, some of whom were from mixed Chinese and Tibetan parentage, produced thousands of copies of Buddhist sutras in Tibetan. These works, presented in a range of formats, were even distributed to monastic libraries in central Tibet. The rules of the scriptorium were stringent and scribes had to manage the resources they received carefully for fear of punishment. They were also taught to write in different styles, tailored to their tasks, such as transcribing sacred texts or drafting official documents. 

This section includes:

  • old Tibetan annals giving a year-by-year account for the period 641 to 764, the earliest surviving historical source on the Tibetan empire
  • a bilingual manuscript which features the Tibetan version of the Lankavatara Sutra in red ink alongside a Chinese commentary in black ink
  • a large book of Buddhist scripture titled The Perfection of Wisdom Sutra
  • a document giving information about the scribe Ke’u Monley who belonged to a team of scribes entrusted with copying the Perfection of Wisdom Sutra for the Tibetan prince
  • along with some original scribal tools, namely a glue brush and a wooden pen

Tibetan woodslip pen (eighth to tenth century) © British Library Board

The artist: Dong Baode

Artists from different regions shaped Dunhuang’s creative landscape. The projects they were commissioned for ranged from adorning the Mogao Caves with breathtaking murals and stucco figures, to crafting portable paintings on silk, hemp and paper. Surviving sketches, preparatory drawings and tools like stencils offer a window into artists’ creative process. While workshops likely existed earlier, a government-supported painting academy emerged in the 10th century, providing official backing for artistic endeavours. Most artists remained anonymous unless they reached a particularly elevated status. They combined visual traditions and techniques from along the Silk Roads, leaving an enduring legacy through their contributions.

Sketch of protective deities (tenth century) © British Library Board

These two figures, depicted on thick paper, stand dynamically on rocks, almost mirroring each other. Precise lines render their flowing scarves, flexed muscles and facial hair. This type of sketch served as a reference for artists and could have been resized as needed to fit across various compositions. Very similar illustrations are found in Dunhuang manuscripts.

This section contains:

  • a stencil of a Buddha figure
  • a scroll relating to the master painter named b who other documents tell us managed a local painting guild, controlled and deployed painting resources
  • a 1.2 metre tall black ink study representing Avalokiteshvara, the bodhisattva of compassion

The Lay Buddhist: the 80-year-old who wrote in blood

Buddhism left the largest imprint at Dunhuang, although faiths such as Daoism, Zoroastrianism and Manichaeism were also present. With the spread of Buddhism on the Silk Roads, the oasis became a major hub for Buddhist worship and pilgrimage from the 4th century onwards. The worship of images, through portable paintings and other media, held a central place in Buddhism. Copying scriptures was also paramount to Buddhist devotees, as a way of accumulating spiritual benefits. While wealthy patrons could commission elaborately decorated manuscripts, ordinary people wrote sacred texts themselves. Manuscripts served various functions, as reflected by the variety of formats and languages they came in. They could be chanted during ceremonies, worn as talismans and employed in memorial services.

Illustrated Sutra of the Ten Kings (tenth century) © British Library Board

This scripture depicts the purgatory-like period following death. The Ten Kings, shown as magistrates seated at desks, assess the deeds of the departed. The last king spins the wheel of rebirth, deciding how they will be reincarnated. This handscroll is almost 5 metres long. It was likely produced to assist a dead relative in their voyage to the next life and used during memorial services.

This section also contains:

  • a decorative copy of the Great Parinirvana Sutra
  • a miniature Tibetan scroll less than 5cm wide, containing verses about the path to liberation from the sufferings of death and rebirth, and a prayer to end the reincarnation cycle
  • a scroll of the Nilakantha Dharani, dharanis being incantations believed to be protective and to generate spiritual benefits when chanted
  • a banner painting of a bodhisattva
  • and three small booklets of the Diamond Sutra in Chinese written by an unknown 80-year-old devotee using his own blood as ink

The Buddhist Nun: Deng Ziyi

Buddhism gradually changed the lives of female devotees by offering them a role beyond those of daughter, mother and wife: they could become nuns. Dunhuang documents give us a glimpse into their experiences, from joining as novices, sometimes before the regulatory age of 12, to embracing the rules of monastic discipline upon being ordained. Between 800 and 1000, there were more nuns than monks living in the town. Censuses provide a sense of the community structure and demographics within nunneries at the time. It was not uncommon for nuns to retain some possessions after embracing monastic life. They could also play a significant role in the local lay community.

Rules of a women’s association (959 AD) © British Library Board

This circular is over 1,000 years old. It defines the objectives, bylaws and structure of a women’s club, established to promote friendship among women. All 15 signatories agreed to these rules by signing a mark under their name. The association was overseen by a nun, underscoring the influential role of nuns within the Dunhuang community.

This section includes:

  • information about Deng Ziyi who became a nun aged just 10 in 914, including the official permit granting her permission to become a novice
  • a finely calligraphed scroll copied in 543 by a nun named Xianyu listing the voluntary commitments for fully ordained Buddhist women
  • a tenth century list of nuns at the Dasheng Temple, the largest of five nunneries at Dunhuang, which had a total of 209 members
  • a votive painting depicting the 11-headed manifestation of Avalokiteshvara, the bodhisattva of compassion
  • the will, written in 865, of the nun Linghui, written in the presence of witnesses, including close relatives and two officials

The caves

As I mentioned, at the far end of the exhibition space is an alcove partitioned off by a floor-to-ceiling stand containing scores of rolled-up paper mimicking the scrolls found in the famous Library Cave.

Installation view of ‘A Silk Road Oasis: Life in Ancient Dunhuang’ at the British Library showing the scroll partition (photo by the author)

This space gives more detail about the caves, namely:

Away from the busy streets of Dunhuang, 25 km southeast of the town, is a large Buddhist site made up of hundreds of richly decorated caves called the Mogao Caves. It is here that, in 1900, the Daoist priest Wang Yuanlu found a small room containing tens of thousands of manuscripts, paintings and other objects dating from the 5th to 11th century. Known as the ‘Library Cave’ or Cave 17, this extraordinary time capsule is one of the world’s greatest archaeological discoveries. It has revolutionised our knowledge of the Silk Roads, offering glimpses of religious and secular everyday life. Many of the objects in the exhibition are from Cave 17. They were acquired by archaeologist Marc Aurel Stein and taken to the UK.

There’s:

  • a copy of Stein’s photo album open to the photo he took of Wang
  • a timeline of key events starting at Wang’s discovery of cave 17 in 1900 and continuing up to the opening of this exhibition
  • more objects including:
    • a confessional book of the Manichaean Uyghurs
    • three Buddhist ritual objects, being: a paper-cut flower; a carved wooden figure of a Buddha; a Tibetan tantric ritual implement
  • a small sculpture by modern artist Xie Xiaoze titled ‘Rain of Languages (Buddhist Sutras)’

Rain of Languages (Buddhist Sutras) by Xie Xiaoze (2023) in ‘A Silk Road Oasis’ at the British Library

Most usefully, there was a small monitor showing photos of some of the decorated caves. These are mind blowing, showing beautifully preserved caves decorated from floor-to-ceiling with complicated colourful motifs and often including one or more statues of the Buddha or Boddhisatvas. I think these should have been included in the short film projection on the wall at the start of the exhibition, they’re too stunning and important to be stashed away here, and on a fairly tiny screen, smaller than a laptop screen.

Photo from the slideshow of photos of the interiors of some of the Mogao cave, complete with explanatory text. Courtesy of Dunhuang Academy, Photo by Sun Zhijun

In fact the friend I showed them to said these are stunning, mind-blowing, amazing – they should have been blown up and printed on the walls life-size. Maybe, although space is limited in this little downstairs gallery. But they certainly impress on you the huge culturual importance of the cave complex, the extravagantly beautiful carvings and frescoes, make you realise it’s up there with the Egyptian Valley of the Kings in terms of priceless decorated ancient interiors.

Music

I haven’t yet mentioned that this room packed full of priceless manuscripts also features a mellow and evocative soundscape. This has been created by a Dr Xiaoshi Wei using recordings from the British Library’s vast sound archive and from the China Database for Traditional Music with a view to recreating the sounds of the ancient Silk Road. Birds sing, gongs sound, monks chant, adding to the atmosphere of peace, calm, civilisation and enlightenment.

This is a small-ish exhibition, but full of wonders and revelations.


Related links

Related reviews

Eastern Approaches by Fitzroy MacLean (1949)

The situation, I felt, was fraught with amusing possibilities.
(Fitzroy’s confidently aristocratic attitude in a nutshell, page 142)

Brigadier Sir Fitzroy Hew Royle Maclean, 1st Baronet (1911 to 1996) was phenomenally posh, came from a landed Scottish aristocratic family with a long history of service in the British Army, and had the very best education Britain could provide (Eton, King’s College Cambridge), before joining the Diplomatic Service in 1933.

This classic, awesomely impressive (and surprisingly long) memoir reeks of the confidence and privilege of the class and generation of British aristocrats who ruled a quarter of the world at the peak  extent of the British Empire between the wars, and then led Britain’s war against Nazi Germany.

The book covers the eight years from 1937 to 1945 and divides into three distinct periods of employment and adventure:

  1. serving in the British Embassy in Moscow from 1937 until late 1939
  2. as soon as the war broke out he enlisted (as a private in the Queen’s Own Cameron Highlanders, his father’s old regiment) but the adventure really kicks off when, in early 1942, he joined the newly formed Special Air Service and spent a year or so in the North African desert
  3. in summer 1943 Churchill chose Maclean to lead a liaison mission (‘Macmis’) to central Yugoslavia to liaise with Josip Broz (also known as Tito) and his partisan forces, the longest, most detailed part of the book

It’s a long book at 540 pages. With a few more photos and maps, it crossed my mind that these three quite distinct adventures could possibly have been broken up into three smaller, more focused books. Combined like this, the range of the three subjects gives it an epic, almost unmanageably vast reach.

(Incidentally, the chapters in each of the three parts each start again at number 1, so there are three sets of chapters 1, 2, 3 etc.)

Part 1. Moscow and Central Asia (pages 11 to 179)

Paris politics

Maclean joined the Diplomatic Service in 1933 and in 1934 was posted to the Paris Embassy. The book kicks off with a brief summary of his experiences at the British Embassy in Paris and French politics of the mid-1930s i.e. hopelessly divided and chaotic, at times almost verging on civil war. It’s important to bear these divisions in mind when considering 1) the creation of the Vichy regime and how the Vichy French fought the British, especially in the Middle East (see A Line In The Sand: Britain, France and the Struggle That Shaped the Middle East by James Barrine) and 2) the nature of the French Resistance which, as numerous eye-witness accounts in Ben Macintyre’s book about the SAS explain, was tremendously fractured and often bitterly divided, including everyone from right-wing monarchists to fiery communists who often fought each other as much as the Germans.

Moscow and the show trials

Anyway, after a few years Maclean bored of Paris and in February 1937 asked to be sent to the Moscow embassy. Here he discovers the small foreign diplomatic community lives very isolated from the ordinary Russian people who, he discover, live in terror of the regime, everyone scared of any contact with foreigners, repressed, tight-lipped because of the spies and informers everywhere.

He arrives at a fascinating moment, just as Stalin’s show trials are getting into their swing. For the political analyst this is the best part of this section. He describes how Stalin’s purges swept away huge swathes of the top leadership in the Red Army and Navy – notably the charismatic Marshal Tukhachevsky – and then leading figures in the Soviet administration – notably the trial and execution of Zinoviev, Kamenev and other Old Bolsheviks in 1936.

The purges created a climate of terror in which the ordinary round of diplomatic parties and receptions became painful as all the Soviet officials stood on one side of the room, all of them terrified that the slightest contact with a foreigner would be reported and doom them, literally, to death. The centrepiece of all this is his eye-witness description of the trial of a dozen or so key figures in the Party, centring on Nikolai Ivanovich Bukharin.

Bukharin was tried in what came to be known as the ‘Trial of the Twenty One’, which took place on 2 to 13 March 1938, along with ex-premier Alexei Rykov, Christian Rakovsky, Nikolai Krestinsky, Genrikh Yagoda and 16 other defendants alleged to belong to a so-called ‘Bloc of Rightists and Trotskyites’. The trial was designed to be the culmination of the previous show trials, a climactic Final Act. The prosecutor alleged that Bukharin and others had been traitors from the start, had conspired to assassinate Lenin and Stalin, had murdered Maxim Gorky with poison, and planned to overthrow the regime, partition the Soviet Union and hand her territories over to their foreign collaborators in Germany, Japan and Great Britain.

All this is given in great detail in the book’s longest chapter, chapter 7, ‘Winter in Moscow’, pages 80 to 121, with vivid portraits of the state prosecutor Andrey Vyshinski and President of the Court Vasiliy Ulrich.

The purpose of the show trials

To many in the West the grotesque aspect of the show trials – the ridiculously lurid accusations and the grovelling obeisance of the accused – confirmed that Stalin’s rule was a dictatorship of the crudest kind. The trial was a breaking point for many western communists, the moment they were forced to concede that the dream of a communist utopia was in fact a totalitarian nightmare.

But Maclean spends a couple of pages explaining not only why the accused were reduced to grovelling self-accusation, but also the purpose the trials served within the Soviet Union. You should never forget that the majority of any population is not very well educated and not very interested in politics and this was especially true of the USSR where the majority of the population was still illiterate peasants. That’s why the accusations had to be so lurid and extreme, to create cartoon images of total iniquity – that the accused had conspired to murder Lenin, conspired with foreign powers to overthrow the regime, had kidnapped, tortured and murdered people. Their villainy had to be caricatured enough to be understood by the most illiterate peasants and workers.

The extremity of the alleged crimes was designed to scare peasants and workers into thinking there was a relentless conspiracy against the regime, even at the highest levels, and this justified the atmosphere of fear, paranoia and suspicion which characterised Soviet Russia. Everybody should be on their guard all the time because anyone – even the highest in the land such as those on trial – could turn out to be wicked traitors.

This worked in Stalin’s favour because it universalised the climate of fear in which people would barely be able to think about questioning the regime, let alone organising meetings or planning anything.

Stories about foreigners bringing their foreign plans to overthrow the Workers’ Paradise would also make the entire population suspicious not only of foreigners and foreign ideas and the whole notion of outsiders. Good. This suited Stalin, too.

And the trials also provided scapegoats for the failings of the state. If there were famines, if there were shortages, blame it on the wreckers and the saboteurs. Papa Stalin is doing everything he can to combat the traitors and it’s a hard struggle but you can help him and help your comrades by reporting anyone you see talking or behaving suspiciously.

So the very grotesqueness and extremity and absurdity which broke the allegiance of western intellectuals like Arthur Koestler were precisely the qualities Stalin was aiming at in order to spread his message to the furthest reaches of the Soviet regime and its dimmest least educated citizens (p.118).

Travels in Central Asia

But the show trial, dramatic though it is, only takes up one chapter. The Russia section is better known for MacLean’s extensive travels to legendary locations in Central Asia, namely the romantic cities of Tashkent, Samarkand and Bokhara. Only a handful of Europeans had traveled to these places during the later Victorian period and then, with the war, revolution and civil war, then Bolshevik rule, they had been completely inaccessible under Soviet rule.

The chapters describing his attempts to visit them are, therefore, as much about his convoluted machinations to evade Soviet bureaucracy and play local officials and NKVD operatives as about the places themselves, with lengthy descriptions of the difficulties of travelling by Russian train, bus, lorry, horse or just walking, in his relentless odysseys around central Asia.

He undertook these epic journeys during periods of leave from the embassy.

Trip 1 – Baku

By train to Kharkov. Rostov on Don. Kuban Steppe. Baku. By boat (the Centrosoyuz) to Lenkoran. Boat back to Baku. Train to Tiflis, capital of Georgia, where he visits the British Military Cemetery and meets old English governess, Miss Fellows. By truck along the Military Road to Ordzhonikidze. Train back to Moscow.

Trip 2 – Alma Ata-Tashkent-Samarkand (September 1937)

Trans-Siberian train from Moscow. Alights at Sverdlovsk (former Ekaterinburg, p.54). Train to Novosibirsk. Changes to Tirksib railway (only completed in 1930) south towards Turkmenistan (p.56). The three categories of Soviet railway carriage: international, soft and hard. Alights at Biisk. Takes another train, south to Altaisk then onto Barnaul. Enter the Soviet Republic of Kazakhstan near Semipalatinsk. Alights and catches a lorry to Alma Mata ‘one of the pleasantest provincial towns in the Soviet Union’ (p.65), one of the first Russian towns built in Central Asia, in the 1850s, and which is ten miles from the railway. Lorry 40 miles to the village of Talgar in the foothills of the Tien Shen mountains. Dinner with locals then hitched a lorry back to Alma Ata. By dilapidated Ford motor car up into the mountains, to Lake Issik and magnificent view over the Steppe. Sleeps in a hut. Next morning bit of an explore then car back to Alma Ata.

Next day catches train the 500 miles south-west to Tashkent. It stops at Samarkand where he alights for a few hours and explores, seeing the domes of Shakh Zinda and the Gur Emir (p.73) then back onto the very crowded train. Extensive description of Samarkand pages 73 to 76. Tashkent, centre of the Soviet cotton industry (pages 76 to 78).

Having achieved his goals, by train back to Moscow, first across the Kazakh Steppe, then (in Russia proper) by way of Orenburg, Kuibyshev and Penza. But he had conceived two new goals: further south-west to Bokhara, and east across the Tien Shan mountains into the Chinese province of Sinkiang…

Trip 3 – Failing to get to Urumchi, capital of Sinkiang province (June 1938)

(Chapter 8) To Maclean’s delight he is given an official mission to travel to Urumchi, capital of Sinkiang, to ask the Chinese authorities for better treatment of Indian merchants. After comic wrangling with the Chinese embassy in Moscow he sets off on the 5-day rail journey to Alma Ata, two days across European Russia arriving at Orenburg ‘base of the imperial Russian forces in their campaign against the rulers of Tashkent, Samarkand and Bokhara during the second half of the last century’ (p.125). On past the Sea of Aral and along the course of the river Syr Darya, through Arys, Chimkent and Mankent to Alma Ata. Change rail lines to the Turksib line and head north and east 400 miles to Ayaguz, where starts the main road out of Soviet Russia and into Sinkiang.

At Ayaguz the Soviet officials and local NKVD are surprisingly helpful and lay on a bus (which quickly fills up) to take him to the border town of Bakhti. Overnight in the village of Urdjar, next morning arrive in Bakhti (p.130). Here a Sovsintorg official commandeers a lorry and they set off on the 48-hour journey to Urumchi.

However they barely get across the border with China, and arrive at the Chinese border post, when there are problems. His passport is taken off him and he is detained for hours. He discovers the passport has been sent by special messenger to the governor of the local area, Chuguchak, and they have to wait for a reply. Eventually a car returns from this mission and a sleek Chinese official informs Maclean the governor has received no information or authorisation about him and so, despite all his protestations, he must return to the Soviet Union, in fact all the way back to Alma Ata where he must contact the Chinese consul.

At the border Maclean gets the impression the Soviet officials knew all along this would happen and gently mock him. As it happens, one says with a smile, the same bus that brought him is still waiting. He can board it now and return to Bakhti. After driving all night he arrives at Ayaguz in time to catch the train back to Alma Ata.

Here there is more fol-de-rol between the Soviet authorities and the local Chinese Consul, a seedy man residing in a rundown building. The Soviet plenipotentiary instructs the Chinese to send a message to Urumchi. Next day the Chinese inform him that he is not allowed into the country, and an imposing NKVD officer tells him he must leave Alma Ata immediately, as it is a restricted area. The entire trip has been a complete failure (p.137).

It is interesting to read that Sinkiang was a rebellious troublesome province for the Chinese ever since it was incorporated into their empire and was in Maclean’s time because of course, it still is today:

Trip 4 – through Soviet central Asia to the Oxus and on to Kabul (autumn 1938)

(Chapter 9) He sets his sights on visiting Bokhara, former capital of the emirs, of reaching the fabled river Oxus, and crossing into Afghanistan. Leaves Moscow on 7 October on a train bound for Askabad. Third evening arrive at Orenberg ‘which for more than one hundred years marked the furthest point of Russia’s advance against the Kirghiz and Turkomans and the Khans of Bokhara and Khiva.’ Two more days the train passes through the Kara Kum or Black Desert past the bleak mud flats of the Aral Sea. On the fifth night reached Tashkent and woke not far from Samarkand but he decides not to revisit it, but to continue on the train, west, following the river Zaravshan, to Bokhara.

He alights at Kagan. He learns that the daily train to Bokhara has left so, on impulse, seeing a lorry laden with cotton bales just starting off down the road to Bokhara, he runs and jumps in the back. Unfortunately so does one of the NKVD minders who’ve been following him, and he’s been reported so after a short stretch a car packed with officials pulls the lorry over but by this time it is packed with Uzbeks who’d followed his example so Maclean is able to sneak off and hide behind a tree. Eventually, after the lorry has been thoroughly searched and no foreigner found it is allowed to continue on its way and the NKVD car turns back to Kagan. There’s nothing for it but to walk. It’s a very long walk, into the night, until he tops a slight rise and finds himself looking at the legendary city of Bokhara by moonlight.

(Chapter 10) Story of the Reverend Joseph Wolff. He explores Bokhara, finds no inn to take him so sleeps rough in a public garden, which irks the NKVD agents who he knows are tailing him. Next day he’s up and exploring again, seeing the ‘Tower of Death’, the principal mosques, the Kalyan, or Kok Gumbaz (Blue Dome), the grim thousand-year-old Ark or Citadel of the Emirs. He gives us a characteristically pithy historical summary.

With the capture in 1868 of Samarkand and the upper reaches of the Zaravshan by the Russians, who thus gained control of his water supply, the Emir of Bokhara was obliged to accept the suzerainty of the Tsar and Russian control of his relations with the outside world; but inside his own dominions he maintained his own army and enjoyed absolute power of life and death over his unfortunate subjects. The Russian population was limited to a few officials and merchants, while the Emir excluded other Europeans from his domains with a jealousy which has been emulated by his Bolshevik successors. Bokhara thus remained a centre of Mohammedan civilization, a holy city with a hundred mosques, three hundred places of learning, and the richest bazaar in Central Asia. It was not until 1920, three years after the downfall of his imperial suzerain, that the last Emir, after vainly invoking the help of both the Turks and the British, fled headlong across the Oxus to Afghanistan, dropping favourite dancing boy after favourite dancing boy in his flight, in the hope of thus retarding the advance of the pursuing Red Army, who, however, were not to be distracted from their purpose by such stratagems. (A leading part was played in these events by the same Faisullah Khojayev, whom I had seen condemned to death in Moscow six months earlier.)

He could have stayed a month but his leave is limited, so he catches a train back to Kagan, then another one south, heading towards Stalinabad, the capital of Tajikistan. The last section follows the course of the Oxus (Amu Darya) passing through eastern Turkmenistan. The far bank of the river was Afghan territory and that’s where he wanted to head next.

(Chapter 11. Across the Oxus) He alights at Termez, which he explores then seeks out the chief of police  and presents his diplomatic laisser passer which should allow him to the exit the Soviet Union anywhere, in this case crossing the river Oxus into Afghanistan. The chief of police gives him permission but when Maclean arrives at the actual frontier post at Patta Hissa, they haven’t been notified. By gentle persistence Maclean eventually persuades the officer in charge to arrange for the repair of one of the three paddle boats kept to cross the river but which had fallen into disrepair. Soldiers and engineers get the most viable steamer, ‘which rejoiced in the name of Seventeenth Party Congress,’ working and fix it up enough to put-put him across the river, it takes half an hour because of treacherous sand banks.

On the Afghan side some locals take his bags and him under their wing. They examine his passport without understanding it and he manages to convey he wants to head to Mazar-i-Sharif. Dinner and sleep. Next morning a horse is provided and he sets off under escort. the riverside reeds give way to desert. He is detained at a saria or mud fort by fierce locals before being grudgingly allowed to continue.

Off to the west are the ruins of Balkh, the ancient Bactria. The oasis of Seyagird. Tea with the headman who provides a cart for his baggage, then a further trek across desert eventually arriving at Mazar. He discovers a Russian couple who take him in but inform him of the cholera epidemic sweeping the area which means it is quarantined. He locates the local Director of Sanitation who agrees, after some negotiation, to sign a medical certificate declaring Maclean has had cholera and recovered. Portrait of Mazar, main point being it is the capital of what he calls Afghan Turkestan, which is cut off geographically and ethnically from Kabul and the south (p.164).

A truck was scheduled to drive the 300 or so miles to Afghanistan and the authorities assign him a seat. Tashkurgan and then up into rocky mountains to a place named Hai-Bak and, at 3 in the morning, to Doaba in the Andarrab valley, where he sleeps in a government rest house. In the way of British aristocrats, especially the Scots, he discovers ‘a fellow clanswoman’ Mrs Fraser-Tytler who, it turns out, he had known during his childhood in Inverness.

He takes a detour west to the Bamyan valley to see the two immense Buddhas carved in the rock. Then across the mountain which is the watershed between the Oxus and the Indus at a height of 12,000 feet and soon arrives at Kabul.

(Chapter 12. Homeward bound) He had hoped to head west to Herat and cross back into the USSR at Kershk and join the railway at Merv but none of this was to be. the Soviet consulate in Kabul made it quite clear that, because of the cholera epidemic, nobody was being allowed back into the USSR from Afghanistan.

Instead he is forced to head south into British India and fly. The route is: Kabul. Jalalabad. The Khyber Pass. Into British India and the town of Peshawar. Train to Delhi. As a pukka diplomat he meets the most senior British officials, dinner, good beds, a world away from his recent experiences. He obtains the visa he’ll need to exit Persia into the USSR.

From Delhi by plane to Baghdad, stopping over in Basra. After staying over in Baghdad, ‘a disappointing city’, he takes a car towards Tehran. Across the border into the Persia at Khanikin. Along a road built by the Brits to Kermanshah, and then to Hamadan, ‘the Ecbatana of the ancients’ (p.170). Changes car and car shares with four bulky Iranians driving north for the border with the USSR at Djulfa. Stops at Kavin (to eat), Zenjan (to sleep), through Mianeh, arriving at Tabriz the capital of Persian Azerbaijan.

Two days hobnobbing with the British Consul and haggling with the Persian governor about the validity of his exit visa. Eventually given permission to head north to the border, Djulfa in the valley of the Araxes. Comic scene where the Persian guards happily allow him onto the bridge across the river but the Soviet guard at the other end refuses to let him enter the USSR and when he turns to re-enter Persia the Persian border guard says this is impossible. Luckily a car arrives with a Soviet official who, reluctantly, accepts his diplomatic laisser-passer and lets him enter. He cashes money at the post office and checks into an inn.

Train to Erivan, capital of Soviet Armenia, running alongside the river Araxa which forms the border. Portrait of Erivan. Train to Tiflis, capital of Soviet Georgia, and so on to Batum, the second largest city in Georgia, on the banks of the Black Sea. He observes that so many of these central Asian towns were only conquered by the advancing Russian from the 1870s and many only began to be developed in a modern way after the Russian Civil War, so many of them have the same air of being half built, of having grand central squares full of vast totalitarian Soviet buildings, quickly giving way to a few streets of bourgeois wealth, and then extensive hovels and shacks.

He had hoped to sail from Batum but storms meant departures were cancelled. So by train back to Tiflis. It was 18 months since he was last there (on his first trip) and he finds it has been noticeably Sovietised and security tightened. He is arrested by the NKVD and spends a day arguing with NKVD officers until the commander returns and releases him back to his hotel.

Next morning he takes a lorry to Ordzhonikidze by the Georgian Military Road which is covered in snow; they regularly have to stop and dig the lorry out of drifts. From Ordzhonikidze he catches the sleeper train back to Moscow, arriving two days later in time to receive an invitation to dinner from the Belgian chargé d’affaires (see below).

What an extraordinary adventure! What a mind-boggling itinerary! It is a mark of how backward we have gone that Maclean was able to travel through all those countries in complete safety whereas now, in the supposedly enlightened and progressive 2020s, I don’t think any Westerner in their right mind would want to travel through central Asia, let along Afghanistan, or contemplate a jolly car trip across Iraq and Iran.

The glamour of central Asia

For those susceptible to it, all these places – Tashkent, Samarkand, the Oxus, western outposts of the legendary Silk Road – have a tremendous glamour and attraction. Reading his account you realise it’s  1) partly because they’re so remote and inaccessible and so simply to have visited them is an achievement which gains you kudos in a certain kind of upper-middle class circle; 2) partly because of the wonders and treasures when you arrive, such as the grand Registran in Samarakand; but also 3), as so often with travelling, because it is an escape from the humdrum modern world. A number of throwaway remarks indicate this, including one which leapt out at me: ‘Uzbek houses have changed very little since the days of Tamerlane‘ (p.143). These are places where you can, for long spells, believe that you have travelled back in time to the Middle Ages and not just of banal Britain, but to the glamorous days of Tamerlane and such legendary figures, or even further back, visiting the ruins of cities founded by Alexander the Great! It is, in a way, an escape back to the Arabian Nights wonderlands of childhood.

And picking up on the previous section, reading it now, in 2024, one can only marvel at the relative peacefulness and security and scope of where you could travel freely in the 1930s – albeit the entire system was about to be plunged into a global holocaust.

The methodology of Soviet imperialism

On a political level his travels in Central Asia give him an insight into the effectiveness of the Soviet empire:

As the basis for a policy of imperialism, this system has much to recommend it. Power is vested in the hands of a group of reliable natives, who are responsible for seeing that the wishes of the central authority are carried out. If they prove unreliable, they can be replaced by others, while, if the worst comes to the worst, an emissary of the central authority can be sent to put things right. By this means, no risks are taken and an appearance of autonomy is preserved. Moreover it is a system which is capable of application to any new country which happens to fall under Soviet dominion. Thus, more recently, in Estonia, Latvia and Lithuania Soviet Socialist Republics have been set up and politically reliable governments formed from members of the local Communist Parties. It is, we are now learning, a stereotyped pattern into which almost any people or country can be made to fit with a little squeezing and pushing. (p.35)

A German official predicts the course of the war

All this took place at the end of the 1930s as Europe hurtled towards war but there is surprisingly little about Hitler and the Nazis; in fact, given that MacLean was a diplomat, there’s surprisingly little about international affairs at all.

It’s only at the very end of the Asian adventures section, after he’s arrived back in Moscow exhausted, filthy and unshaven from his final trip to discover an invitation to a formal dinner being given by the Belgian chargé d’affaires that very evening, that there’s finally something about the broader international situation. And this is given as a prediction by a friend of his, his opposite number at the German embassy, Johnny Herwarth von Bittenfeld.

Herwarth (in MacLean’s account) makes a number of predictions which all were to come true. He thinks Britain backing down at Munich (September 1938) is a disaster because:

  • it will embolden Hitler to make more and more outrageous demands
  • it will weaken all voices within Germany calling for restraint
  • it will, thus, make war inevitable
  • war is only tenable if Germany can make peace with the Russians
  • if not, there will be a war on two fronts which Germany will lose and be utterly ruined

Part 2. War (183 to 299)

Coming from a long line of soldiers, when war breaks out Maclean wants to fight but discovers that it is impossible for someone serving in the Diplomatic Service to join the army. He is not allowed to resign in order join up. So he studies the Foreign Office rules intensely and realises there’s a loophole. He is allowed to resign from the service in one situation – if he wants to go into politics. So he contacts the Conservative Party who say they’ll be happy to have him as a candidate for the next constituency which becomes vacant and, armed with this, marches into his boss’s office (the Permanent Under-Secretary for Foreign Affairs, Sir Alexander Cadogan) and declares that he wants to go into politics, resignation in hand. As he predicts, his superiors are unable to stop him and so let him resign.

He promptly walks round to the recruiting office of his father’s regiment, the Queen’s Own Cameron Highlanders, where he enlists as a private soldier. (p.184). But, when the next by-election crops up he is  legally obliged, under the terms of his resignation letter, to stand and so finds himself the Conservative candidate and then wins the election to become Conservative MP for Lancaster in 1941 (p.189). He hadn’t hidden from the electors that he was in the Army and first duty was to serve and all through his subsequent service he remains, I think, Tory MP for Lancaster.

There are some pages about basic army life and training. As you might expect of someone so over-qualified to be a simple squaddy he is soon promoted to lance-corporal. Among other things he confirms that, in the Army, almost every other word is the F word which he demonstrates by quoting conversations or orders with the offending word bleeped out (pages 184 to 186).

Desert War

After two years of training and exercises he is, as you might expect, in 1941 commissioned as an officer and receives orders to fly to Cairo (p.189). After the retreat from Dunkirk, apart from a few abortive expeditions (a failed attack on Norway or on the French coast) North Africa was the main area of British overseas military activity.

Because I myself am not too clear about this and Maclean’s book refers only to some aspects, I’m going to cheat and quote Wikipedia’s summary of the entire Desert War:

Military operations began in June 1940 with the Italian declaration of war and the Italian invasion of Egypt from Libya in September. Operation Compass, a five-day raid by the British in December 1940, was so successful that it led to the destruction of the Italian 10th Army (10ª Armata) over the following two months. Benito Mussolini sought help from Adolf Hitler, who sent a small German force to Tripoli under Directive 22 (11 January). The Afrika Korps (Generalleutnant Erwin Rommel) was formally under Italian command, as Italy was the main Axis power in the Mediterranean and North Africa.

In the spring of 1941, Rommel led Operation Sonnenblume, which pushed the Allies back to Egypt except for the siege of Tobruk at the port. At the end of 1941, Axis forces were defeated in Operation Crusader and retired again to El Agheila. In early 1942 Axis forces drove the Allies back again, then captured Tobruk after the Battle of Gazala but failed to destroy their opponents. The Axis invaded Egypt and the Allies retreated to El Alamein, where the Eighth Army fought two defensive battles, then defeated the Axis forces in the Second Battle of El Alamein in October 1942. The Eighth Army drove Axis forces out of Libya to Tunisia, which was invaded from the west by the Allied First Army in Operation Torch. In the Tunisian campaign the remaining Axis forces surrendered to the combined Allied forces in May 1943.

North Africa was so important because of the Suez Canal in the heart of Egypt. If the Germans captured Cairo it would have at least three results: 1) they would cut off easy communications with India (a huge source of manpower) and with the entire theatre of war in the Far East (Burma). More importantly 2) the Germans would be able to push on through Palestine to Iraq and Persia, source of much of the oil which was fuelling the British war effort. 3) This oil would be sent to support the German war effort in Russia and German troops coming up from Persia through the Caucasus would open a new front against Russia leading, perhaps, to the decisive defeat of Russia and to Germany, in effect winning the war.

Those were the ultimate stakes behind the Desert War and explains the genuine concern and even panic when the Afrika Corps, at its furthest extent, got within 80 miles of Cairo, and that explains why the (second) Battle of El Alamein was so important, signalling the definitive end of German advances, the beginning of German defeats, and the widespread sense that the tide of the war was changing.

Chapter 1. Special Air Service

Maclean had been invited to join some sort of commando but this fell through. Instead he literally bumps into David Stirling (who he knows vaguely because he’s good friends with Stirling’s brother, Peter, and they’re both from another grand, ancient, noble Scottish family) who invites him to join the SAS.

Stirling explains that the idea is to parachute small numbers of men behind enemy lines in North Africa and cause as much mayhem as possible, thus drawing vital resources away from the front line. After various experiments they’ve discovered that attacking lightly defended airfields is the most destructive thing they can do. They use the Lewis Bomb, a clump of explosive with a pencil fuse developed by SAS founder member Jock Lewis (p.194). Profile of the dedicated fighting machine, Paddy Mayne (p.195).

Maclean describes the Free French who were part of the unit almost from the start. The physical training i.e. long hikes in the desert and practice parachuting. He has to make six jumps and hates it. All a bit futile seeing as by the time he joined, the unit had settled down to being taken and collected from missions by the Long Range Desert Group (p.196).

Chapters 3 and 4. Raid on Benghazi

May 1942: Detailed description of the build up to, and execution of a ‘daring’ raid against Benghazi led by Stirling, accompanied by Randolph Churchill (compare and contrast the account of the same farcical raid given in Ben Macintyre’s SAS: Rogue Heroes).

I have always found that in dealing with foreigners whose language one does not speak, it is best to shout. (p.221)

They manage to penetrate into the highly defended city and find a safe (bomb-damaged) house to hole up in but that evening both the inflatable dinghies they’ve brought to paddle out to enemy ships and attach limpet mines to them, turn out to have leaks and simply won’t inflate. Disheartened, they spend a tense day hiding out in this damaged house, petrified of discovery, before exiting the city in the same clanking car they’d entered by, bluffing their way past the Italian guards thanks to Maclean’s fluent demotic Italian and everyone’s (Maclean, Stirling, Randolph Churchill’s) aristocratic confidence.

Chapters 5 and 6

Having extricated themselves from this failed and farcical attempt, they withdraw to Cairo. He mentions the dinner he and Stirling were invited to which was given by Winston Churchill, Chief of the General Staff General Smuts and General Alexander, the first time he meets Churchill.

The strategic situation has deteriorated and Rommel is now at El Alamein just 90 miles from Alexandria. So the SAS’s plans for a second go at Benghazi escalate into a full-blown raid by some 200 men backed by aerial bombing. Trouble is so many people are involved that security is breached and word gets around. Thus, after a very long and painful 800 mile drive of a lengthy convoy across the desert, with many mishaps, our boys finally get to the very edge of Benghazi but are greeted by a hail of machine guns and mortars, are forced to make a hasty retreat, and are pursued up into the Gebel mountains by squads of Italian warplanes who strafe and bomb them. Several trucks full of explosives and stores are blown up and it’s a miracle they weren’t all killed.

There then follows the very long account of their perilous escape across the desert, driving by night, by day being seriously bombed and strafed by Italian planes, running so low on food that eventually the entire day’s ration was one spoonful of bully beef.

A number of good men are killed on this mission. Maclean initially thought it had been a futile waste of time but GHQ assured them that it had kept a lot of enemy resources tied up, extra men to guard Benghazi and then squadrons of airplanes to search for them which were, therefore, not at the front i.e. it had been useful (p.256).

Chapter 7. Persia

Maclean explains that the British now faced the threat of an enormous pincer movement, with German forces trying to take Stalingrad up in southern Russia and pushing forward in north Africa towards Cairo and, ultimately, the Suez Canal (p.263). If you look at a large-scale map you can see how, if the Germans were victorious, they would not only take the Suez Canal, lifeline to British India, but push on through Palestine to take Iraq and Iran, meeting up with their comrades who would have pushed on south through the Caucasus. And the point of Iran was the oil. Command of Persia, and to a lesser extent Iraq, would give the Nazi empire all the oil it ever needed to maintain its war industry.

Which is why Maclean found himself posted to the Middle East and Persia service. Here, conferring with the commanding officer, General Maitland Wilson, he discovered the problems facing the British occupation of the country, most obviously that there were very few British soldiers involved. He had been summoned to discuss with Wilson the possibility of setting up an SAS-style outfit to operate behind enemy lines if the worst came to the worst and the Germans conquered Persia (p.264).

Kidnapping the general

Out of this conference comes the specific idea of kidnapping a man named General Zahidi, an unpleasant type who had sway over the tribes of south Persia, was known to be hoarding grain to inflate the price but, most importantly, was thought to be in communication with the Germans and helping them make plans to conquer Persia.

This chapter describes in great detail the preparation and execution of ‘Operation Pongo’ which, despite all the hoopla, boils down to parking a lorryload of British soldiers out the front and back of the General’s house in Isfahan, and then Maclean accompanied by a few other officers walking in, insisting to see the General, then holding him up at gunpoint, walking him out to a waiting car, and driving him off to the nearest military airport where he was flown out of the country and interned under British custody in Palestine.

On searching Zahedi’s bedroom Maclean confirms British suspicions, discovering ‘a collection of automatic weapons of German manufacture, a good deal of silk underwear, some opium, an illustrated register of the prostitutes of Isfahan and correspondence from a local German agent’ (p.274).

Incidentally, remember how I suggested part of the appeal of the mysterious cities of Central Asia was the sense of stepping back in time into the Middle Ages or beyond, well the same goes for the Persian city of Isfahan, one of the few cities Maclean has been to which lives up to its reputation, and of which he writes:

Despite the hideous modern statue of the late Shah still standing there and despite his misguided attempts, fortunately abandoned by his successor, to bludgeon Persia into giving a half-hearted and entirely superficial imitation of a modern Western industrial state, Isfahan recalls the great capital city of the Middle Ages. (p.270)

And the whole notion of kidnapping an enemy general recalls the comparable exploit, the kidnapping of General Heinrich Kreipe, the German commander of Crete, by a group of super-pukka chaps, as described in Ill Met by Moonlight by William Stanley Moss (1950), albeit it considerably more fraught and dangerous for being carried out in enemy territory.

Chapter 8

The strategic situation changes. The Germans are checked in North Africa and at Stalingrad. The immediate threat to Persia has abated. After the capture of David Stirling in January 1943 the SAS had split up into different units (including a Special Boat Service run by George Jellicoe).

Maclean is summoned back to Cairo and told that, with North Africa on the verge of being secure, the Allied focus is turning to Italy. He is ordered to plan for SAS-style raids on Sicily but the mission is called off at the last moment. He’s at a bit of a loose end when he is summoned back to London where he meets Churchill for a weekend conference at Chequers (p.280). Here he is told he is going to be dropped into Yugoslavia (spelled ‘Jugoslavia’ throughout the book) to find out more about the partisans who have been fighting against the Germans and to contact their supposed leader, ‘Tito’. Nobody’s sure, at this point, whether Tito exists, whether he’s a man (or even a woman) or maybe the name of a committee of some kind?

Churchill tells him to establish the situation on the ground, find out whichever partisan group is killing most Germans, and help them to kill more. Churchill wrote that he wanted: ‘a daring Ambassador-leader to these hardy and hunted people’ (p.294).

What we knew for sure was that the partisans were communists and so likely to be in thrall to Soviet central control so Maclean asks Churchill directly, should he be worried about the political aspects of the situation. The straight answer is No. His mission is to find out who is killing the most Germans and help them to kill more (p.281), a point reiterated when he meets Churchill in Cairo (p.403).

He gives a detailed and very useful summary of the origins of Yugoslavia, going back to the conquest of Constantinople by the Ottoman Turks, and the long struggle of the Balkan Christian nations to free themselves, leading into a detailed description of the region before, during and after the Great War and leading up to the Nazi invasion (pages 279 to 293). He’s especially good on the deeply embedded enmity between Serbs (Orthodox Christians who fought hard against the occupying Turks i.e. have a paranoid embattled mindset) and the Croats (Catholic Christians who were part of the Austro-Hungarian Empire and so considered themselves civilised and superior to their barbarian neighbours) still a good read for anyone interested in the background to the ruinous civil wars of the 1990s. Right at the end of the Yugoslavia section he comments:

In the Balkans the tradition of violence is old-established and deep-rooted. (p.524)

Part 3. Yugoslavia

Zivio Tito. Smrt Fašismu. Sloboda narodu.
(‘Long live Tito. Death to Fascism. Liberty to the People.’ Partisan slogans, page 345)

Maclean is now aged 32. He selects a team of a dozen or so men who are trained, equipped and parachuted into Yugoslavia a week after the Italian capitulation i.e. early September 1943. They are met by Partisans and efficiently taken to Tito’s headquarters in an old castle. Maclean introduces himself and his team and makes it plain he is here on an investigation into the overall situation.

His description and analysis of the situation in Yugoslavia is fascinating and spread over many pages as new facts come in and shift his understanding. It contains many insights into the situation in Yugoslavia and of partisan fighting in general.

Occupation mentality Nobody who hasn’t lived under enemy occupation, specially Nazi occupation, can understand the bitter enmities, rivalries and retaliations it triggers.

For anyone who was not himself in German-occupied Europe during the war it is hard to imagine the savage intensity of the passions which were aroused or the extremes of bitterness which they engendered. In Jugoslavia the old racial, religious and political feuds were, as it were, magnified and revitalized by the war, the occupation and the resistance, the latent tradition of violence revived. The lesson which we were having was an object-lesson, illustrated by burnt villages, desecrated churches, massacred hostages and mutilated corpses. (p.338)

Tito’s intelligence and independence What makes Tito so impressive is his readiness to argue any point out with a completely open mind then make a decision, which is generally the right one.

Tito’s name derives from this quickness to make decisions. He so regularly said to his men ‘You will do this, and you will do that’ which, in Serbo-Croatian, is ‘Ti to; ti to’, hence his nickname (p.311).

– Maclean concludes that the partisans are so numerous (at least 100,000 under arms) and well organised that they will probably emerge as the major element in post-war Yugoslav politics. At which point the big question will be: Will Tito, a dedicated communist, fall into line behind Moscow as all other communist parties have? (p.339) But Maclean quotes a conversation he had with him where Tito emphasises that so many Yugoslavs have been killed or tortured that they won’t willingly throw away their hard-earned independence (p.316) and Tito himself has undergone the experience of building up and leading a national resistance movement from scratch, a position, Maclean thinks, he will be reluctant to surrender (p.340).

The Četniks The other resistance fighting organisation is the Četniks led by Draža Mihailović. Two points: 1) they were Royalists who took their orders from the king who was in exile in Italy and so fundamentally detached from the realities on the ground. 2) They were demoralised by the Nazis brutal reprisals for their activities (p.336). This contrasted with the Partisans who ignored Nazi reprisals and won a grudging admiration for fighting on regardless of how many men, women and children were murdered, tortured or burnt alive by the blonde beasts from Germany.

The Ustaše (also called Ustashas or Ustashi) was a Croatian racist, terrorist, and Nazi-like movement, active from before the war (1929) which during the war was allowed to implement a reign of terror. Their genocide of the Orthodox, murdering priests, locking villages in churches and burning them down (p.334). Events which shed light on or explained the brutality of the Bosnian war of the 1990s:

This kaleidoscope of heroism and treachery, rivalry and intrigue had become the background to our daily life. Bosnia, where we had our first sight of enemy-occupied Jugoslavia, was in a sense a microcosm of the country as a whole. In the past it had been fought over repeatedly by Turks, Austrians and Serbs, and most of the national trends and tendencies were represented there, all at their most violent. The population was made up of violently Catholic Croats and no less violently Orthodox Serbs, with a strong admixture of equally fanatical local Moslems. The mountainous, heavily wooded country was admirably suited to guerrilla warfare, and it had long been one of the principal Partisan strongholds, while there was also a considerable sprinkling of Cetnik bands. It had been the scene of the worst of the atrocities committed by the Ustase, of the not unnaturally drastic reprisals of the Cetniks and Partisans. (p.337)

The power of communism In guerrilla warfare ideas matter more than material resources (p.331). This is where the devoted belief of the communists comes in and Maclean’s analysis suggests a very profound historical point that he doesn’t quite articulate: that communism flourished in countries all round the world, and particularly among guerrillas, partisans and militias all across the Third World after the war, not because it was right, but because it was the most effective ideology for binding together and motivating those kinds of liberation fighters. Communism triumphed in the Darwinian struggle of ideologies for a number of obvious reasons:

  • it promises a better fairer world; if you care for humanity, you must be a communist
  • it is based on scientific principles and a teleological view of history which means it is inevitable, unstoppable
  • it transcends ethnic or national rivalries, purports to unite all people, races and creeds, in a transnational crusade for justice and equality
  • these and other considerations bred a fanatical adherence

(Seen from this strictly utilitarian point of view, communism’s modern equivalent would be militant Islam, extreme Islamic groups across the Middle East and North Africa being shown to create not only fanatical devotees but to unite fighters from all backgrounds and races (a theme mentioned in The World’s Most Dangerous Place: Inside the Outlaw State of Somalia by James Fergusson, 2013).)

He gives a good potted biography of Tito, son of a Croatian peasant (pages 310 to 313).

The epic trek to the Adriatic

The army engineer he’s brought with him supervises the flattening of a likely looking field to make a runway for the RAF to fly in much-needed supplies to the Partisans, but HQ back in Cairo make it clear the RAF aren’t keen on entrusting their pilots’ lives to amateur airfield builders. A new plan is suggested: that the Royal Navy brings supplies to a port on the coast of Dalmatia, until recently held by the Italians and not yet annexed by the Germans. In fact the Navy are wary, too, and prefer to drop supplies at an island off the coast.

Anyway, Maclean agrees a plan with Tito (impatient to get supplies anyway he can) who gives him Partisans to escort Maclean and a few of his team (Street, Henniker-Major and Sergeant Duncan) across country to the Adriatic coast, there to assess the situation and suggest the best island. Thus commences a long and arduous trek across mountains, through woods, crossing a German-patrolled road, fording a river, meeting all kinds of eccentric characters along the way and seeing for themselves the carnage meted out by the once-occupying Italians.

The itinerary is: Jajce (Tito’s base in Bosnia). Bugojno. Kupres. Livno (recently recovered from the Germans amid much fighting). Arzano (‘a few tiny white-washed houses, clinging to the side of a hill’). Zadvaije.

Then, at last, we heard the dogs barking in Baska Voda, were challenged once more, and, between high white-washed walls, found ourselves on a narrow jetty, looking out over a tiny harbour.

Then by local fishing boat out to the island of Korcula. They are treated royally, swim in the sea, taken round all the villages on the coast and greeted with acclaim. Trouble is, the bloody radio has stopped working so he can’t radio his whereabouts back to Cairo HQ. In the event a Navy motorboat turns up with, of course, an old chum of his from the navy and some tons of equipment.

Summary

An enormous amount happens in the next year and a half, described in 120 closely-written pages. Here are some highlights in note form:

The Germans consolidate their hold on the Dalmatian coast thus slowly squeezing off possible places for the Allies to land munitions for the partisans.

He is collected by Royal Navy motor boat and taken across the Adriatic to Allied HQ in southern Italy for orders. He is flown to Malta, then on across Libya to Cairo. Preparations are underway for a Big Three conference in the Middle East. Maclean submits his report, conclusion so far about the situation in Yugoslavia and the central importance of the partisans.

On return to Bari he finds the situation has deteriorated the Germans have seized more of the coastline. Repeated attempts to fly him back in are defeated by fog and snow. A captured German airplane is filled with top envoys from Tito to fly to Allied HQ but it has just loaded up when a German plane appears out of nowhere, attacking it with bombs and machine gun fire, killing some of Tito’s top lieutenants and some of Maclean’s British friends.

Finally he gets to land, drops some equipment and British officers, takes on board a new selection of Tito representatives, and flies back to Bari with a view to taking them on to Allied HQ in Egypt. Churchill and staff have returned from the Tehran conference with Stalin and Roosevelt (28 November to 1 December).

The central problem is that Britain has, up until now, been giving official support to the Royal Yugoslav Government in exile, appointed by King Peter, and sending arms to the Royalist Cetniks led by by Draža Mihailović. Now Maclean has to tell Churchill and other bigwigs that the Cetniks are not only not very effective on the ground but strongly suspected of acquiescing or even helping the Germans. Meanwhile, the real anti-German force is the partisans. So Maclean’s meetings with Churchill are designed to make him switch official British government support from the Cetniks to the partisans. But this leaves the  big problem that Maclean is reporting that Tito’s partisans will not only be the biggest force in post-war Yugoslavia but will probably form the government. Therefore British support for the King and the royal government in exile is increasingly irrelevant and backing the wrong horse. But how to switch British support without alienating the king, the Cetniks and the large proportion of the Yugoslav population which remains royalist? (Later on Maclean says that even the communists conceded that over half the population of Serbia was monarchist, p.490.)

This tricky diplomatic challenge runs throughout the rest of the Yugoslav part of the book and negotiations, between so many different parties, moving through so many different stages, are impossible to summarise. In a nutshell, young King Peter acquiesces in the decision but, as so often, it is his older advisors and other members of the royal family, who prove intractable and complicate the situation.

Maclean is flown back to Bari and then makes the dicey crossing back to an unoccupied Yugoslav port in a RN motor-torpedo boat. He reunites with his small staff and Tito’s staff and, after studying maps and latest German troop movements, they all agree the only viable island base for operations is the island of Vis. He then travels back to Bari to meet the Commander in Chief, General Alexander, to persuade him to assign the resources and troops required to convert Vis into a stronghold, for example building a large airfield and barracks for a permanent British force.

Yet another flight, from Bari to Marrakesh in Morocco where Churchill is recovering from flu, to persuade the great man to sign off on the Vis plan. they learn that Tito’s old headquarters in Jajce has fallen to the Germans and so, thinking they need some bucking up, Churchill writes a personal letter to Tito for Maclean to deliver by hand (p.413).

He is flown back to Bari and then parachuted into Bosnia to find and report the decision to Tito.

(Chapter 10) He is taken to meet Tito at temporary headquarters and discovers a Yugoslav Anti-Fascist Council has bestowed in Tito the rank of Marshall. Tito is delighted by the letter in which Churchill flatters him and readily agrees with the plan to make Vis a major support base for his partisans. They move about a lot and finally make a new HQ in caves overlooking a valley.

Chapter 11. New deal

Increasing air drops from the RAF and USAAF. Maclean is responsible for assigning officers to work with partisan units throughout the country.

Despite occasional stoppages, air-supplies were now arriving on a far larger scale. Air-support, too, was increasing by leaps and bounds….It was now possible, owing to the presence of my officers with Partisan formations throughout the country, to co-ordinate their operations with those of the Allied Armies in Italy. (p.429)

A Russian Mission arrives led by a Red Army general. This is the thin end of the wedge as East and West start to compete for the allegiance of Tito and his partisans.

A passage giving the decision, context and implications of the British government decision to stop supplying the Cetniks and diplomatic negotiations with King Peter (in exile in London) to see if he’s prepared to form a government of national unity i.e. let communist partisans enter his government in exile (pages 438 to 441). This would be best achieved if Maclean flies back to London to give advice, preferably accompanied by a representative of Tito.

Chapter 12. Change of scene

So he’s picked up by Dakota and flies to Algiers to meet with the new Supreme Allied Commander, General Wilson. Here, among many other decisions, it is decided to set up a Balkan Air Force which would train partisan volunteers and be responsible ‘for the planning, co-ordination and, to a large extent, execution of air operations in the Balkans’ (p.444). Long-distance phone call to Churchill with comedy because neither of them know how to use the newfangled scrambling equipment.

Next day he flies to London with the Tito delegate, Major Vlatko Velebit. It’s the spring of 1944 and England is overflowing with Americans and rumours of D-Day. He is summoned to a meeting with General Eisenhower, then to another one at Number 10. the military side – more supplies to the partisans – is easily agreed. The political negotiations with King Peter and the Royalists much more challenging. Peter has by now made an important public announcement telling his people to drop the Cetniks and support the partisans but this only has the effect of weakening his own support among disgruntled royalists without much increasing support for the partisans which was already strong.

Maclean receives a call from Buckingham Palace to go and brief the king who he finds to be surprisingly well-informed about the situation in Yugoslavia (p.449).

Then they get a radio message from Vivian Street, British officer with Tito HQ, that the cave hideout came under heavy attack from a co-ordinated German attack, many partisans were killed through Tito and senior officers made their escape. (Maclean gives a sustained description of the attack and gripping escape, pages 450 to 452.)

The HQ had been near the village of Drvar. In retaliation for supporting the partisans the Germans exterminate every man, woman and child in the village. That level of barbarism is what we were fighting to liberate Europe from.

The Germans pursue and harass Tito’s team who eventually radio for help. A date is made for a US Dakota to land at a cleared strip and Tito and key staff (and his dog Tigger) are loaded aboard and evacuated to Bari, the first time he’s been forced to leave Yugoslav soil since the conflict began (p.454).

Everyone agrees that, in order to continue functioning and provide a figurehead he must be returned to Yugoslav soil as soon as possible and the island of Vis, so long pondered as a new HQ, is agreed. Tito and his staff are taken there by Royal Navy destroyer, HMS Blackmore.

Chapter 13. Island base and brief encounter

Maclean drily observes that Tito likes caves. He makes his base on the island of Vis three-quarters up the side of Mount Hum. Since he was last there the island has been transformed with a huge Allied airfield built with as many as a dozen huge American bombers parked up.

The narrow roads were crammed with Army trucks and jeeps, stirring up clouds of red dust as they rushed along. Every few hundred yards dumps of stores and ammunition, surrounded by barbed wire and by brightly painted direction posts, advertised the presence of R.E.M.E., of N.A.A.F.I., of D.A.D.O.S., and of the hundred and one other services and organizations… Down by the harbour at Komisa was the Naval Headquarters, presided over by Commander Morgan Giles, R.N., who had what was practically an independent command over a considerable force of M.T.B.s and other light naval craft, with which he engaged in piratical activities against enemy shipping up and down the whole length of the Jugoslav coast… (p.458)

Also the establishment of the Balkan School of Artillery, set up on Vis as part of Maclean’s Mission under the command of Lieutenant-Colonel Geoffrey Kup:

whose life-work it became to instruct the Partisans in the use of the American 75-mm. Pack Howitzer. This was a light mountain gun, transportable on mule-back, if there happened to be any mules, and in general ideally suited to the type of warfare in which we were engaged. (p.459)

Also a partisan tank squadron being trained up in North Africa (p.464).

The Germans undertake another offensive, called the Seventh Offensive, against the partisans which starts with fierce fighting but then, like all the others, peters out.

The tide of the war is really turning. On 5 June 1944 Rome fell to the Allies. The following day saw the D-Day landings in Normandy. The Allies need to co-ordinate attacks on the Germans with the partisans; there needs to be discussion of the parts of northern Italy Tito wants to claim for Yugoslavia; plus the ever-intractable problem of the king and royalists. So it is that Supreme Allied Command in Italy ask for him to visit and Maclean organises the trip, accompanied by senior advisers, bodyguards and the faithful dog, Tigger.

It had been kept secret from Maclean, Tito and others that Churchill himself intended to fly in and meet Tito for the first time, and so the so-called Naples Conference came about. Churchill is fulsome in his praise, Maclean thinks Tito is amazed and pleased, the one-time peasant and revolutionary now sitting at the same table as one of the big three world leaders.

The high political problem is still how to reconcile with communist partisans with the royal government in exile, which has now crystallised round its prime minister, Dr Ivan Subasic. After ten days the Naples Conference ends and Subasic flies with Tito, his staff, Maclean etc back to Vis where the two Yugoslav parties hold a series of negotiations while the Brits sunbathe and swim in the beautiful aquamarine sea.

In the end a deal of sorts is agreed and Subasic flies back to London to put it to the king and his government.

Chapter 14. Ratweek plan

June 1944. Rumours that the Germans might retreat, withdrawing to a line they could better defend to the north of Yugoslavia. To do this they will need the central railway line from Belgrade to Salonika. Therefore it is the Allied aim to blow up the line and trap German forces in Yugoslavia.

The scheme was called ‘Operation Ratweek’. My proposal was that, for the space of one week, timed to coincide as closely as possible with the estimated beginning of the German withdrawal, the Partisans on land and the Allies on the sea and in the air, should make a series of carefully planned, carefully co-ordinated attacks on enemy lines of communication throughout Jugoslavia. This would throw the retiring forces into confusion and gravely hamper further withdrawal.

In drawing up these plans, we had recourse to all available sources of information concerning the enemy’s order of battle and the disposition of his troops, while at every stage we consulted by signal the British officers and the Partisan Commanders on the spot. Thus, the whole of the German line of withdrawal would be covered and every possible target accounted for. In the light of what we guessed the enemy’s plans to be the attack was fixed for the first week of September. (p.471)

Maclean decides to go from Bosnia to see for himself the situation in Serbia. Flies in and rendezvous with John Henniker-Major who’s been with the Serb Partisans since April. The Serb Partisans the Cinderellas of the movement, with less support from the local population, fewer rough mountains to hide in (unlike Bosnia), less successful against the Germans and so seizing fewer arms and so less well supplied than elsewhere. Lucky they have a good leader in Stambolic.

In April/May had come a change. The King announced his rapprochement with Tito and that led many to switch from supporting the passive Cetniks. Tito sent some of his best commanders to shake up the Serbian operation, notably Koca Popovic. And the Allies made a decision to stop supplying the Cetniks and supply the Partisans. As a result the latter began undertaking more operations and having greater success. Those who wanted to fight the invader went over to them, more successes, more seized arms and more prestige and respect, created a snowball effect. But still the deadly civil war between Partisans and Cetniks persisted.

So Maclean has been flown in to liaise with the Serb partisans. He is introduced to Koca, they pull out maps and have a comprehensive review of the situation, with Koca explaining where his forces can attack by themselves and where they’ll need air support, and what supplies.

Chapter 15. Ratweek fulfilment

He marches with partisans to Bojnik then onto the village where the Commander of the 24th Partisan Division, the formation responsible for the attack on the railway in the Leskovac area, had set up his Headquarters and where he finds Johnny Tregida, his liaison officer with the 24th Division. He kips in a courtyard full of Bulgarian prisoners. Next day they ride horses to Leskovac, where the attack on the railway is to take place. Information has found the town packed with German armour and motor transport and so HQ back in Bari had decided to send an unusually heavy fleet of bombers, some 50 Flying Fortresses. Maclean and his partisans watch from a nearby hill as these silver planes from high in the sky unload a huge payload on Leskovac and flatten it.

That night he observes the partisan attacks on the railway line, tackling enemy pillboxes while they set charges to blow up bridges and culverts, then tear up the railway itself and burn the sleepers. The idea is to delay or even trap the German forces in Greece and Yugoslavia, to prevent them being transferred to north Italy and Austria, to make the Allies job in those places easier.

All over occupied Yugoslavia similar attacks take place to destroy communications and bottle up the German forces. They notice enemy planes flying north and suspect they are carrying senior staff officers, communicate this to HQ who undertake attacks of these little convoys which promptly cease.

Maclean rides north to reunite with Boca, and is struck by the lush fertility of the Serb countryside and its rural prosperity, compared to rockier, poorer Bosnia. It’s a long journey over many days and Maclean gives a wonderful impressionistic account of the small villages of whitewashed houses, the locals bringing food, waking up in an orchard of plum trees, and so on. What experiences he had!

News comes through that the Bulgarians are negotiating an armistice and then that they have come in on the Allied side, with the result that Bulgarian forces throughout Yugoslavia switch sides. He meets up with Boca and Partisan headquarters which is itself riding north, now making a convoy.

They enter Prokuplje as liberators and are feted and feasted. He has just rigged up a bath and is having locals boil water when news comes of a German counter-attack, they have to quickly load their belongings and ride out.

He really enjoys life on the move in Serbia, the lush countryside and friendly villagers and wonderful food and so is annoyed when he receives a direct order from General Wilson. Tito has disappeared from Vis and Maclean is to report to the nearest partisan airstrip in order to be flown out of Serbia and find him.

Chapter 16. Grand finale

Tito has disappeared from Vis and his unexplained absence causes quite a bit of resentment among the British who had been entirely funding the partisans and lost good men among their liaison officers. After confirming his absence Maclean returns to Serbia, to hook up with the troops of Peko Dapcevic at Valjevo in time to see it fall to the partisans, helped by British Beaufighters. He finally locates Tito who’s in the Vojvodina and replies equably enough to a letter he sends him.

The second half of the chapter, pages 504 to 514, is devoted to Maclean being in at the liberation of Belgrade, the notable aspects of which are: 1) that the advance and battle are dominated by the Red Army which has crossed the Danube into Serbia – there’s lots of fraternising with Russians so lucky that Maclean speaks fluent Russian and also has received a Russian military medal which he dusts off and pins prominently to his uniform; and 2) the Germans put up a fierce resistance as they retreat, some of which Maclean witnesses at close quarters.

Chapter 17. Who goes home?

A few days after the conquest of Belgrade, Tito flies in and holds a victory march where Maclean is much moved by the ramshackle, dirty, patched-up appearance of the partisans, indicative of years of struggle, living off the land, guerrilla warfare. Now the partisans set about consolidating their grip on power. Tito negotiates a power-sharing deal with Royalists but it is plain this is only a temporary agreement.

On 27 October Maclean has his first meeting with Tito and conveys British irritation at his unexplained disappearance. In fact by this time the mystery has been cleared up because Stalin, at their most recent meeting, had told Churchill that Tito was visiting him in Moscow.

Maclean’s team of officers who had each been assigned to various partisan groups, now assemble in Belgrade and quickly convert themselves to a working British embassy. The last few pages describe this transition of the partisans from wartime guerrillas to peacetime administration. There is still fighting in the north but Tito has settled into the White Palace, Prince Paul’s former residence on the outskirts of the city (p.523). Maclean is still involved in negotiations with the king and royal government in exile, featuring Dr Subasic (who flies to Moscow to get Stalin’s blessing, p.520) which are detailed and complex but ultimately futile, for the partisans are solidly in power, with the numbers, the arms and the organisation to enforce it.

There is a lot of detail about the negotiations which dragged on until early March 1945 (p.530). But for Maclean the glory days of guerrilla warfare and living in the field were over and he asks to be transferred away from Yugoslavia. In mid-March he flies out after 18 months’ very intensive engagement, before the geopolitics and diplomacy get complex and messy. The book ends with his description of getting into the plane, taking off and watching the coastline disappear behind him. He had just turned 34. What an amazing series of adventures to have had by such a young age!

It’s very striking that the book ends with no summary, no conclusions, no Final Thoughts, no analysis of the political situation, let alone a retrospective description of how the war ended, how relations with Russia deteriorated, the start of the Cold War, Yugoslavia’s evolution under Tito’s rule or any of that – nothing, nada.

Maclean restricts himself very consciously to a first-person account of the immediate, of what he saw and thought and said and experienced. He gets on the plane and flies West and it’s over. It’s a very abrupt but totally appropriate ending.


In his father’s footsteps

Very slightly and subtly, Maclean’s father hovers in the background. Once or twice he casually mentions that some of the places he visits in Central Asia were visited by his father 30 years earlier. He enlists in the same regiment as his father. His father fought in the North African desert in the First World War and at some points MacLean passes through some of the same places e.g. Matruh (p.204). Living up to his father’s achievements.

Private school

Maclean’s aristocratic upbringing and bearing are present throughout, in his confidence and savoir vivre, in his practical skills (skiing, camping, hunting and shooting), in his urbane easiness in the company of filthy partisans or prime ministers and kings. Only once or twice does he explicitly refer to his privileged upbringing, but then in the same kind of way that all his generation and class did (the tones collected and defined by Cyril Connolly for so influencing the mindset and writing of the 1930s generations of poets and novelists):

The M.L. arrived that night and I went on board, as excited as a schoolboy going home for his first holidays.

Upper-class chums

A central characteristic of the posh, of aristocrats, of the landed gentry, reinforced by the network of private schools they attend, is that they all know each other, they are all ‘old friends’. Not only that but it only suffices to work with someone for a bit – in the Foreign Office or the Army, say – for them to be recruited into your cohort of ‘old friends’. And so these people move in a kind of gilded world filled with old friends and bonhomie.

And so, leaving them in the able and experienced hands of Jim Thomas, an old friend from Foreign Office days, I went…

In Mrs. Fraser-Tytler I found a fellow clanswoman with whom my friendship dated back to the days of my childhood in Inverness…

It was in this frame of mind that I went to see Rex Leeper, an old friend from Foreign Office days, and now His Majesty’s Ambassador to the Greek Government then in exile in Cairo… (p.278)

One of the sailors I recognized as Sandy Glenn, an old friend with a number of adventurous exploits to his credit… (p.373)

I recognized the work of my old friends Mark Chapman Walker and Hermione Ranfurly, the Commander-in-Chief’s highly efficient Military Assistant and Private Secretary… (p.401)

John Clarke and Andrew Maxwell were both old friends of mine… (p.432)

The problem which had been exercising me for some time, namely, how to get my old friend Sergeant (now Sergeant-Major) Charlie Button into Jugoslavia… (p.435)

Ralph Stevenson…British Ambassador to the Royal Jugoslav Government…was an old friend from Foreign Office days… (p.468)

The example of a partisan they worked with closely – ‘Brko, by now an old friend…’ (p.491) – indicates how it’s not length of time that makes someone an ‘old friend’, but depth of experience and closeness of companionship. Old friends need not, in fact, be old friends at all, just people you’ve gotten to know and trust, sometimes over comparably short periods of time.

This is a quality I commented on in my reviews of John Buchan, whose fabulously posh protagonists are continually bumping into ‘old friends’ whenever they need help. Not being plugged into a network of successful, well-connected ‘old friends’ in commanding positions across politics, business, the forces, the arts, I can only marvel at the ease and confidence with which these privileged creatures lived out their charmed lives. For example, take this profile of David Stirling’s Intelligence Officer, Gordon Alston:

By the time he reached the age of twenty-five Gordon had managed to have a remarkably full life. Having got off to a flying start when he left Eton at seventeen to become a racing motorist in Italy, he had later tried his hand at journalism in France and brewing beer in Germany. Since early in the war he had served in Commandos or Commando-type units. This varied experience had left him with a taste for adventure, a knowledge of foreign languages, and, most conveniently for us, an altogether remarkable flair for military intelligence.

How ripping! A big part of the pleasure of reading books like this is not only all the operational war stuff, but simply marvelling at the wonderfully varied, adventurous lives these privileged people seemed to live.

(And, as a digression, it crosses my mind that it’s the quality whose degraded, shabby, poor relation – a seedy, fake bonhomie – is satirised and ripped to shreds in William Boyd’s comic novel A Good Man in Africa.)

Upper-class manners

Being phenomenally posh, being a polished specimen of the British upper class, gives him the impeccable manners, savoir faire and confidence to meet and socialise with all ranks, from peasants to monarchs. The book invites us into this world, lends us the cloak of his manners and politesse, so that we are not as surprised as we maybe should be when Maclean calmly records being sent to meet the future leader of Yugoslavia, invited to spend the weekend with Churchill or to dine with exiled King Peter. Other countries will continue to have kings and emperors and aristocrats and leaders who reek authority and stickle for etiquette and procedure, so it makes sense that we should have a cohort of impeccably turned-out sophisticates who can match them at their game.

It is a symbol of how far Britain has fallen that the shambling liar Boris Johnson was Foreign Secretary from 2016 to 2018, embarrassing Britain at international events around the globe purely because Theresa May needed to keep a potential usurper and his faction in the ever-fractious Conservative Party onside. Shaming.

Roughing it

Aristocrats aren’t all floppy haircuts and parties in Chelsea, especially the Scottish variety. Instead, Maclean really loves roughing it, and takes to life on the road in Central Asia or on the run with partisans in the forests of Bosnia with equal alacrity. He likes the simple life.

Having eaten my breakfast, I cleaned out my mess tin and used it for boiling some snow-water on the stove, to shave in. It was an agreeably compact mode of life, with no time, space or energy wasted on unnecessary frills. (p.420)

Time after time he tells us that sleeping rough, bunking down in an orchard wrapped only in his greatcoat and with his backpack for a pillow, eating primitive food in a cave in Bosnia or bully beef in the Libyan Desert, this is what he wants, this is how he likes it, pure and clean and simple.

Lols

Maclean has a dry, understated sense of humour, the true aristocratic drollness, an unflappable ability to put up with discomfort and find the amusing in every situation. The book is studded with a number of comic setpieces.

Our short train journey had an improbable, dreamlike quality, which even while it was actually in progress, made it hard to believe that it was really happening. From the inside, Tito’s special coach was even more like a hut than from the outside, with an open stove in the middle and benches round the wall. The stifling heat of the stove induced sleep. The benches on the other hand were just too narrow to sleep on with any security. On the floor lay Tigger, in a bad temper and snapping at everyone’s ankles. At last, after a great deal of fussing and settling down, he went to sleep, only to be woken again almost immediately by a Cabinet Minister falling off one of the benches on top of him, whereupon pandemonium broke loose. It was not a restful journey… (p.421)

Also the story of the British officer, living and working with the partisans who, wherever he puts his sleeping bag and goes to sleep, always fidgets and ends up rolling yards, sometimes quite a distance away, one time being found wrapped round a tree stump, another time on the edge of a precipice, each time fast asleep and snoring his head off.

An eye for the ladies

There’s no mention of a girlfriend, lovers, no romance and certainly no sex of any kind. It’s part of the book’s tact and discretion. But Maclean does have what we used to call ‘an eye for the ladies’ and permits himself regular mention of particularly toothsome young women whenever he encounters them:

[In Korcula] a small crowd had soon collected to look at us. It included, I noticed with pleasure, one extremely pretty girl., (p.366)

From now onwards [Charlie Button] took charge of the Mission’s administrative arrangements, and ‘Gospodin Charlie’, as he was known, could be seen planning moves, negotiating for pack-horses, bartering strips of parachute silk for honey or eggs with buxom peasant girls… (p.435)

The technicalities involved were explained to me by an officer of the United States Army Signal Corps, while a pretty W.A.C. Sergeant prepared to take a recording of what was said. (p.444)

The Americans furnished me, in case of need, with a stenographer, a blonde young lady of considerable personal attractions wearing a closely fitting tropical uniform… (p.466)

Most of them [the population of the little Serbian town of Dobrovo] were rosy-cheeked, stolid-looking creatures, broad in the beam, with thick arms and legs, but amongst them, I noticed, was one exceptionally pretty girl, slim and dark, with classical features and a clear, pale skin, holding a little curly-haired child by the hand. (p.492)

And many more.

Upper-class tact

A crucial aspect of good manners, as of diplomacy, is tact. As the book progressed I became increasingly aware of the narrative’s tact. What I mean is that he is very discreet and polite about the many individuals named in it. About his army colleagues, first in the SAS then on location in Yugoslavia, he is uniformly full of praise, especially praising those who won medals. He has to use tact when dealing with all manner of Soviet officials and local peasants and brigands in Central Asia. He has to be tactful in his dealings with Tito, and in Yugoslavia has to train his officers in how to interact with the partisans tactfully i.e. show them how to use equipment without insulting their manhood or achievements. (Maclean has some comic stories about illiterate partisans eating various supplies such as plastic explosive, stories echoed in Ben Macintyre’s stories about the French Resistance.)

This quality comes out into the open, as it were, in the various descriptions of Winston Churchill, where Maclean allows himself to mention Churchill’s eccentricities:

  • at Chequers insisting on spending the evening with senior military staff watching Mickey Mouse cartoons in his private cinema
  • meeting underlings at his Cairo villa lying in bed in a silk dressing gown smoking a cigar (p.401)

But he only goes exactly to the same point as the common myth of Churchill’s whimsical personal style and no further. He tells humorous anecdotes about people but is never indiscreet. That would be bad form.

Once this had occurred to me I realised you could regard the abrupt ending of the book as itself an act of tactfulness. If he’d gone on to describe events after his departure from Yugoslavia in March 1945 (the final months of the war, conflict with Russia, the Cold War and scores of other issues such as the election defeat of Churchill) it would have stained and muddied the purity of the kind of narrative he wants to tell. Ending his text so abruptly is an aesthetic statement – less is more – and supreme act of tactfulness.

H.G. Wells

Happening to be reading a lot about H.G. Wells at the moment, I was struck when Maclean makes a reference to him, describing the American Lightning aircraft, with their twin tails and bristling cannon, as ‘like something out of H.G. Wells’ (p.393) – presumably he’s referring to Wells’s Edwardian novels about the war in the air, although also, maybe, to his description of apocalyptic war in ‘The Shape of Things To Come’ (1933) – either way, testimony to the grip on the popular imagination, about the future and disastrous wars, that Wells continued to exert.

Penguin are pants

I’m reluctant to buy new paperback books because they’re generally such poor quality. This book is a case in point. The typeface was degraded and poor quality on every page. Random words appear in lighter typeface than their neighbours. Random letters within words are partly effaced. Entire lines have either the upper or lower part of the letters distorted. You know when you make a photocopy of a document and position the original badly so that the photocopy misses off one side of the page? Like that, the final parts of letters are cut off all down the right hand side of the text. Some pages are in a different font from the main text (pages 152 to 153).

Precisely 24 hours after it arrived I noticed that, looked at side-on, the middle pages of this brand new book had ceased to lie flat but had become wavy. When I opened to these pages I discovered they were the ones containing half a dozen or so very very very bad quality reproductions of photographs, and something about reproducing these photos in plain ink on normal paper must have somehow made them absorb moisture from the atmosphere and become wrinkled and creased. They look like they’ve been dropped in the bath.

Only occasionally did all this make it impossible to actually read, but these marks of poor quality appeared on every one of the book’s 543 pages and were a constant distraction. They made me think what a mug I was to spend £12.99 on such a shoddy production. Never buy new Penguin books. Very poor print standards.


Credit

Eastern Approaches by Fitzroy MacLean was published by Jonathan Cape in 1949. All references are to the 2019 Penguin paperback edition – printed to a very poor standard.

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Fantasy: Realms of Imagination @ the British Library

This is a huge, beautifully designed exhibition. It’s encyclopedic in scope, endlessly fascinating, full of visual and imaginative pleasures. It makes you realise how widespread the impulse to Fantasy has been throughout the history of literature, and is in today’s culture, having undergone explosive growth in the last 50 years. In that period Fantasy has broken beyond books into graphic novels, TV and movies, into board and card games, in what we used to call video games and innumerable online games, plus a host of live action events where fans can dress up as their favourite Fantasy characters.

The exhibition pulls together examples of Fantasy in all these media, namechecks scores and scores of authors, and builds up a dizzying sense of the multiple, limitless worlds of Fantasy. It features over 100 exhibits, including historical manuscripts, rare printed books and original manuscripts, drafts of iconic novels, scripts and maps, illustrations, clips from Fantasy TV shows and movies, film props and costumes, and much, much, much more.

‘The Battle of Helm’s Deep’, watercolour illustration by Alan Lee for ‘The Lord of the Rings’ by J.R.R. Tolkien, published by Harper Collins (1992) © Alan Lee

Structure

The curators must have had a lot of fun figuring out how to structure the exhibition. It’s divided into four main sections, but the sub-themes or genre within each topic, the themes and ideas the exhibition addresses, keep overflowing these containers, so there are sub-sections within each theme, so that it looks something like this:

  1. Fairy and Folk Tales
    • Faerie worlds
    • The dark enchanted forest
    • Endings
  2. Epics and Quests
    • Into battle
    • Journeying and seeking
  3. Weird and Uncanny
    • Architects of the strange
    • Gods and monsters
    • Peculiar affinities
  4. Portals and Worlds
    • Gateways and thresholds
    • Forging realms
    • Worlds of fandom

I’ll be candid and say I struggled to contain the overflow of ideas raised by the show within this structure, so I loosely use the big four themes/rooms to structure this review but also go off at tangents sparked by individual exhibits or wall labels.

Here’s one of Piranesi’s Carceri pictures from the mid-18th century. As well as an artist, Piranesi was an architect and archaeologist who studied the layered history of Rome. The Carceri etchings depict vast, imaginary prisons filled with stairs, shadows and machines. In the second edition the images seem to have been edited to make some of their geometries physically impossible, further shifting them into the realm of the fantastical.

‘Carceri Etchings’ by Giovanni Battista Piranesi,(1750 to 1761) © British Library Board

1. Fairy and Folk Tales

‘An ancient mappe of Fairyland newly discovered and set forth’ by Bernard Sleigh (1918) © British Library Board

Fairie

Fairie is the archaic word denoting the place where fairies live, a world of fairy folk such as witches and warlocks, goblins, elves, sprites and trolls. Stories features themes of transformation, magic spells, bewitchment. he exhibition includes the 12 ‘Coloured fairy books’ by Andrew Lang, published between 1899 and 1910 which bring together myths, legends, romances, histories, epics and fables from around the world, an encyclopedia of Fantasy as it was defined in the Edwardian era.

Origins

Fantastical elements are present in the earliest literature, gods and monsters appearing in Homer’s Iliad and Odyssey, and in the even earlier Epic of Gilgamesh, written nearly 4,000 years ago.

These are all represented by venerable old editions of these classics, the Iliad by a 14th century handwritten manuscript which is covered in notes and glosses. The great epic of our ancestors, the Anglo-Saxons, Beowulf, describes a hero battling superhuman monsters. Although the possessor of superhuman strength, the poignancy of the poem comes from the fact that in his final battle he is mortally wounded and dies.

‘Beowulf’ in the Cotton MS Vitellius A XV, f.193 r © British Library Board. Photo by the author

Stories about heroes battling gods and monsters obviously helped humanity categorise, makes sense of and manage what were, until living memory, the terrors of being alive.

Multicultural

The exhibition makes a bold effort to cast its net beyond the Anglophone tradition and so has displays about Europeans Franz Kafka and Mikhail Bulgakov, as well as about the Arabian Nights and the adventures of Sinbad, a version of the Chinese Monkey legend and the African Ananci stories – both in their original forms and as reimagined by modern writers and comic book authors.

‘Sinbadnama, the Story of Sinbad’ in an anonymous Persian version © British Library Board

Pilgrimage

The idea of pilgrimage was invented as early as the 3rd century AD, but the idea of a hero going a journey in which he faces death and learns wisdom is not only much older but appears in all human cultures. The moral seems to be universal: to learn wisdom you must leave home.

King Arthur and the knights of the Round Table

The huge, complex and rich series of legends surrounding the court of King Arthur and his knights circles around the idea of the holy quest. In England its most famous spin-off is the medieval poem ‘Gawayne and the Green Knight’ where the hero has to undergo trials of strength and fidelity which he, in the event, fails.

Original illustrated manuscript of ‘ Sir Gawain and the Green Knight’. Photo by the author

There’s a typically handsome illustration of Sir Thomas Malory’s Birth, Life and Acts of King Arthur by the fabulous Aubrey Beardsley. It’s worth pointing out that, although from another era, dealing with a completely different subject, the huge series of tales about king Arthur, like Beowulf end in failure as Lancelot’s infidelity breaks up the Round Table and Arthur is fatally wounded in the Last Battle. These are flawed heroes.

And then, subverting the earnest seriousness of Gawayne or the Welsh version of the stories in The Mabinogion, is a nearby of a display about Monty Python’s movie Monty Python and The Holy Grail (1975), complete with killer rabbit and the Knights Who Say Ni. To be precise, it’s a notebook showing Michael Palin’s very early drafts for the movie screenplay.

Epic then folk then fairy

Epic came first, stories about gods and heroes, in Europe epitomised by the primal monumentality of Homer. The primary epic of Homer was copied and civilised in the great Aeneid of Virgil but it’s instructive to see how Virgil softens the hardness of the all-male Iliad, introducing the love story of Dido and Aeneas, and lending his story a strong sense of magic, specifically in Aeneas’s journey to the underworld in search of wisdom.

Folk stories are the popular versions of the literature of the elite. They are found in the ancient world and appear throughout the Middle Ages, when they were often Christianised as legends about saints and martyrs. The exhibition includes an edition of the most famous collection of European folk stories, by the Brothers Grimm.

‘Children’s and Household Tales’ by the Grimm Brothers (1819) © British Library Board

Fairy tales come a lot later and are the sanitised cousins of the folk tale, cleaned up and given a happy ending suitable for children, with an improving moral thrown in. The exhibition includes classic collections of fairy stories, including ones by Charles Perrault and Hans Christian Andersen (rare early editions of both on display here).

Gothic In the late 18th century there was a fashion for Gothic works such as ‘The Mysteries of Udolpho’ (1794) and Mary Shelley’s great masterpiece, ‘Frankenstein’, both represented here by old editions and informative labels. Critics always say that narratives like this combine elements of fantasy, horror, crime and even science fiction. What they’re really proving is that those sub-genres had not yet been divided up and crystallised.

Specialist genres The explosion of genres came at the end of 19th century when cheaper printing and publishing technology encouraged a proliferation of specialist magazines and journals which could afford to cater to niche tastes and so encouraged the creation of literary genres and sub-genres. Science fiction, detective stories, horror and fantasy were just some of the sub-genres which began to find shape and definition at the turn of the twentieth century.

Two books provide evidence for my thesis: The Story of the Glittering Plain is a fantasy novel by William Morris published in 1891 and, according to Wikipedia, perhaps the first modern fantasy writer to unite an imaginary world with the element of the supernatural, and thus the precursor of much of present-day fantasy literature. The second is George MacDonald’s novel Lilith, published in 1895 and widely seen as one of the first modern Fantasy novels. My point being that both were published in the decade which, I’m suggesting, saw the emergence of so many specialist genres and movements.

The emergence of Fantasy

Yoking together examples of Fantasy which stretch all the way back to the Iliad, via Beowulf, Paradise Lost, Gulliver’s Travels and Frankenstein into the 20th century prompts a thought: in those older works, classics of European and English literature, the Fantasy element is embedded in a larger worldview, often in a religious theology. The Iliad depicts the gods of Olympus as most ancient Greeks actually believed them to be, beliefs which continued to be held across the ancient world well into the Christina era.

Similarly, Paradise Lost is explicitly a work of Christian propaganda, its stated aim being to justify the ways of God to men i.e. defend orthodox Christian belief. In their ways two other classic works, Thomas More’s Utopia and Gulliver’s Travels, are heavily embedded in serious Christian debates about the ideal state and human morality, about the value of learning and education. The element of Fantasy is subordinate to what you could call the serious or adult aim of the work.

‘Utopia’ by Thomas More © The British Library Board

Now we can begin to see that the modern concept of Fantasy emerges and becomes clearer when it steps free of these ideological frameworks. Fantasy emerges as the fantastical elements in those previous works but shorn of their serious ideological context. It is set free. It becomes more playful because unrestricted by ‘serious’ aims, by those ‘adult’ agendas. As the 20th century progressed Fantasy was set free and has gone on to have stranger and more complex adventures.

My impression is that countless fantastical elements and works existed previously, but it was in the mid-twentieth century that Fantasy fiction was crystallised by J.R.R. Tolkien’s magisterial Lord of the Rings (published in 1954 and 1955) and has continued to grow in popularity ever since.

My impression is that the genre has undergone explosive growth since the 1990s; it was turbocharged by the advent of the internet which has allowed all kinds of fan fiction to proliferate. Alongside this has gone the huge growth in fantasy video games, many of which have led the technical, graphic and operation development of online games, to become a vast market spanning the world. And spreading from Japan, the spread of manga comics and, alongside the growing respectability of graphic novels.

The purposes of Fantasy

Arguably, Fantasy helps its consumers navigate profound difficulties we face in life.

Small

When we’re small this is panic-fear of the unpredictable giants known as grown-ups, who tell us strange fantastical stories and about whom we ourselves make up all kinds of stories. In childhood we live among networks of stories, our imaginations are formed by countless stories, many or most unfettered by the constraints of ‘reality’.

Teenagers

When we are troubled, alienated teenagers, it is simultaneously reassuring, thrilling and/or terrifying to think that there are other worlds than this one, ones where life is more exciting and dramatic and where, maybe, we or our representatives in the story can perform heroic actions. I’m thinking of the four ordinary schoolchildren who go through the back of a wardrobe and into Narnia where they play a pivotal role in the future of an entire world.

(The exhibition includes notes C.S. Lewis made for his Narnia books, plus the original map of Narnia he drew before handing it over to the series’ illustrator Pauline Baynes to bring to life.)

Grown-up

When we ourselves are grown up, the simplest function of Fantasy is to take us away from our boring mundane lives but it also has the power to take us back into the intense emotional worlds of childhood and youth. It can be an escape into pure fantasy, or an escape back to our earlier, simpler selves.

Video games

This wish to be elsewhere doing elsewise is maybe most obvious in the final sections of the exhibition about videogames like Dark Souls and The Elder Scrolls, plus a playable mini-game by Failbetter Games designed especially for the exhibition, based on the Fallen London universe.

LARP

And in the very last section which describes the real-life world of conventions and events where fans can dress up as their favourite Fantasy characters. Apparently, this is referred to as Live Action Role Play or LARP. Right at the end there’s a stand of life-size costumes and a video of fans at a convention explaining their motivation for dressing up as elves and fairies and orcs.

Just some of the scores of thousands of costumes Fantasy fans make for themselves or hire and wear at numerous Fantasy fan events and conventions. Photo by the author

I was very struck by these vox pops of young people dressed up for a LARP event somewhere because they all said basically the same thing: which is that dressing up like this gave them a sense of identity, attending these events gave them a great sense of belonging, putting on Fantasy costumes helped them accept who they are and how they feel. And to be able to do it in a safe space among thousands of like-minded fans gave them a tremendous feeling of being accepted.

As a satirically-minded young man I would have laughed at all this, until I had children of my own and had to support them through their troubled teenage years, had to help my daughter in particular to ‘find her tribe’ – so now I am much more accepting of this kind of thing. In fact I found these artless happy vox pops rather moving and ended my visit to the exhibition feeling unaccountably emotional.

The importance of play

Psychologists know that ‘play’ is absolutely vital for the development and ongoing health of human beings. From this point of view Fantasy can be seen not as an escape from the ‘real world’ but an escape into a much more intense version of the world we inhabit. It represents all the slight irritations and small emotions of everyday life (the bus is late, my boss is nagging me) transformed back into the enormous primal emotions we experienced as children.

Is Fantasy childish?

I think the answer is a straight Yes, as long as we use at least two positive definitions of childhood: 1) as a time in our lives when we were subject to simpler, more intense emotions derived from simpler, more primal situations, and 2) when we were free to play – to dress up and be whoever we wanted to.

Board games

I’ve mentioned video games but there were also lots of examples of board games. The most famous might be Dungeons and Dragons, ‘a fantasy tabletop role-playing game originally created and designed by Gary Gygax and Dave Arneson and first published in 1974’. There’s a display of original boxes and cards.

There’s also a display of The Warlock of Firetop Mountain, the first of Steve Jackson and Ian Livingstone’s ‘Fighting Fantasy’ interactive gamebooks. And Martin Wallace’s board game A Study in Emerald based on Neil Gaiman’s story of the same name.

There’s one devoted to Magic: The Gathering a tabletop and digital collectible card game in which players use cards to take on the role of Planeswalkers, powerful wizards who can cast spells and summon spirits.

And there’s a nifty display case of Warhammer models, ‘a tabletop miniature wargame with a medieval fantasy theme created by Bryan Ansell, Richard Halliwell and Rick Priestley, and first published by the Games Workshop company in 1983’. My son went through an intense Warhammer phase and we not only bought the models but really got into painting them properly, attending a painting course at one of the many Warhammer shops.

Display of Warhammer models. Photo by the author

2. Epics and Quests

The ‘Epics and Quests’ section introduces us to iconic heroes and villains ranging from Sir Gawain and the Green Knight to Xena Warrior Princess, and explores how ancient tales have helped to shape modern Fantasy epics. On display is a version of Gilgamesh, the oldest known epic story.

It’s also a rare opportunity to see items related to The Lord of the Rings, including J.R.R Tolkien’s notes for the 1955 to 1956 BBC Radio adaption of the book. There’s a funny story about Tove Jansson the beloved author of the Moomin books. In 1960 she was thrilled to be commissioned to make illustrations for a Finnish version of The Hobbit. However, a note tells us, Tolkien didn’t like her illustrations that much and took particular exception to her depiction of Gollum as a giant troll, significantly taller than the hobbit Bilbo Baggins. Her misinterpretation of the character led Tolkien to insert the word ‘small’ into descriptions of Gollum in subsequent editions.

‘Bilbo: En Hobbit’s Aventyr’, front cover designed by Tove Jansson (1962) © Tove Jansson Estate

This section also includes Ursula K. Le Guin’s drafts and drawings for her Earthsea novels, on display in the UK for the first time, a site of pilgrimage for Le Guin’s many fans.

Some of Ursula K. Le Guin’s notebooks showing her working out the world of her classic trilogy ‘Earthsea’. Photo by the author

Sword and sorcery

There are, these days, a bewildering variety of sub-genres and categories of Fantasy. ‘Sword and Sorcery’ is the phrase used to describe the kind of Fantasy which features sword-wielding heroes engaged in exciting and violent adventures. The genre is said to originate in the early-1930s in the works of Robert E. Howard but the actual term ‘sword and sorcery’ was only coined in 1961, by Fritz Leiber in a Fantasy fanzine.

I was intrigued to read the carefulness of the definition which is that S&S takes place in a world before any technology, dominated by muscle-bound heroes fighting evil powers, witches and dragons etc but that, crucially, these are purely personal adventures and battles which don’t affect the world they take place in – a contrast with a lot of other Fantasy stories in which the fate of the alternative world is often at stake.

I associate them with the Conan the Barbarian, the character invented by Howard and embodied in the terrible 1982 movie starring Arnold Schwarzenegger (which was remade in 2011). The genre is characterised by a very distinctive iconography of an absurdly muscle-bound hunk wearing armour and wielding an immense sword, generally being adored by a scantily clad busty beauty sitting or kneeling in a posture of adoration. Different strokes for different folks.

3. Weird and Uncanny

This section focuses on iconic monsters, sinister landscapes filled with eerie edifices and the darkness at the heart of Fantasy.

Visitors are presented with the roots Fantasy in works like the Gothic masterpiece Frankenstein or the macabre short stories of Edgar Allan Poe. We learn how Piranesi’s atmospheric Carceri etchings, a kind of hallucinatory vision of a decaying 18th century city, inspired the design of Susanna Clarke’s novel Piranesi. There’s a displayaboutf G.K. Chesterton’s nightmarish thriller The Man Who Was Thursday and much more.

There’s also section on classic anti-heroes, starting with the (initially) charismatic figure of Satan from Paradise Lost through to the lead characters in Mervyn Peake’s classic series, Gormenghast.

4. Portals and Worlds

Having encountered monsters and weird creatures, visitors move on to explore the imagined worlds these creatures inhabit in the ‘Portals and Worlds’ section. It’s a distinctive characteristic of Fantasy that its texts involve imagining and describing entire worlds i.e. world-building. The ability to create ‘strange new worlds’ gives Fantasy writes almost unlimited scope to create wonder and amazement, at one end of the spectrum, or worlds of darkness and horror. Or to create cities, in particular, which satirise the cities we live in now, strange mashups of recognisable features.

Fantasy maps

And if you’re creating new worlds, then chances are you need a map. The curators could have gone to town on the theme of Fantasy maps along, given that so many Fantasy stories involve journeys. In the event there’s Branwell Brontë’s map of the Glass Town Federation, C.S. Lewis’s own draft map of Narnia, and a bigger, more finished map of Terry Pratchett’s Discworld.

Installation view of the fold-out ‘Discworld Mapp’ devised by Terry Pratchett and Stephen Briggs (1995) Photo by the author

Talking of Pratchett, it is, of course, possible to satirise this genre, to pastiche and caricature and play it for laughs. If Monty Python mock the Grail quest theme, Diana Wynne Jones did something similar in her Derkholm series.

Portal Fantasy

The concept of the portal or doorway to another world plays a very large part in Fantasy, as in Science Fiction. Think of all those mysterious doorways into another time and space: maybe the wardrobe in the Narnia stories is the most classic portal, although platform nine and three-quarters at King’s Cross is possibly the most famous secret doorway of our times. On a moment’s reflection you realise that both the Alice in Wonderland books contain portals which the heroine passes through, falling down the rabbit hole into Wonderland or passing through the Looking Glass in its sequel.

Authors

Huge range of authors, ancient and modern. I’ve mentioned Homer, but classics of English literature include:

  • Gulliver’s Travels (1726) demonstrates a completely different aspect of Fantasy, namely the Journey to Fantastic Lands
  • Paradise Lost (1667) because Milton’s version of Satan is an archetype of the charismatic baddie, archetype of the Dark Lord who appears in so many Fantasy and Horror stories

‘Paradise Lost’ illustrated by Gustav Doré (1888) photograph © British Library Board

Other classic authors include:

  • The Mysteries of Udolpho by Ann Radcliff (1794)
  • Percy Bysshe Shelley for his early poem, Queen Mab (1813), which uses fairy tale elements as allegory to convey Shelley’s radical political views
  • The Bronte sisters for the Fantasy world Gondal they invented and wrote stories about in the 1830s
  • Edgar Allen Poe for his stories of mystery and the imagination (1839)
  • Lewis Carroll Alice’s Adventures in Wonderland (1865)
  • Christina Rossetti for Goblin Market (1862) which combines elements of fairy tale, children’s story and Fantasy
  • William Morris for his Fantasy novel The Story of the Glittering Plain (1891)
  • Charlotte Perkins Gilman for her short story ‘The Yellow Wallpaper’ (1892)

1900s

  • Frank Baum for The Wonderful Wizard of Oz (1900)
  • J.M. Barrie for Peter Pan (1904) and his adventures among pirates and faeries in Neverland
  • G.K. Chesterton The Man Who Was Thursday (1908)
  • E. Nesbit for The Magic City (1910)
  • Edward John Moreton Drax Plunkett aka Lord Dunsany, for his 1905 book, The Gods of Pegāna and his 1924 fantasy novel, The King of Elfland’s Daughter
  • H.P. Lovecraft’s The Call of Cthulhu (1928)

‘Tales of Mystery and Imagination’ by Edgar Allen Poe illustrated by Harry Clarke © British Library Board

Modern i.e. post-war authors include:

  • Jorge Luis Borges for the fantastical stories in Labyrinths (1940s)
  • Mervyn Peake for his Gormenghast books (1946 to 1959)
  • C.S. Lewis for the ‘Chronicles of Narnia’ (1950 to 1956)
  • J.R.R. Tolkien for The Hobbit (1937) and Lord of the Rings (1954 to 1955)
  • Philippa Pearce for Tom’s Midnight Garden (1958)
  • T.H. White for the Once and Future King series (1958)
  • Mikhail Bulgakov for The Master and Margarita (1967)

Notebooks of text and sketches by Mervyn Peake for his ‘Gormenghast’ novels

Contemporary authors include:

1960s

  • Alan Garner, for children’s books like The Weirdstone of Brisingamen (1960), The Moon of Gomrath (1963), Elidor (1965) and The Owl Service (1967)
  • Susan Cooper for The Dark is Rising series (1965 to 1977)
  • Ursula K. Le Guin for her Earthsea novels (1968 to 2001)

1970s

  • Angela Carter for rewriting traditional fairy tales in The Bloody Chamber (1979)
  • M. John Harrison for his Viriconium stories (1971 to 1984)

1980s

  • Terry Pratchett for his series of comic Fantasy Discworld series (1983 to 2015)
  • Robert Holdstock for Mythago Wood (1984)
  • John Crowley, Little, Big (1981) and his Ægypt series (1987 onwards)
  • Neil Gaiman, especially for The Sandman comic book (1989 to 1996)

1990s

  • Robin Hobb for her ‘Realm of the Elderling’ novels (1995 onwards)
  • George R.R. Martin’s epic sequence A Song of Fire and Ice (1996 to the present)
  • J.K. Rowling for the cultural phenomenon which is the seven Harry Potter books (1997 to 2007) and movies and stage plays
  • Diana Wynne Jones for her Derkholm series (1998 to 2000)

2000s

  • China Miéville particularly for Perdido Street Station (2000)
  • Patricia A. McKillip for Ombria in Shadow (2002)
  • Susanna Clarke for her debut novel Jonathan Strange & Mr Norrell (2004)

2010s

  • Nnedi Okorafor for her Nsibidi Scripts series (2011 to 2022)
  • Monstress, an ongoing epic fantasy comics series written by Marjorie Liu and drawn by Sana Takeda, since November 2015
  • Naomi Novik for Uprooted (2015)
  • Aliette de Bodard for her Dominion of the Fallen series (2015 onwards)
  • Seanan McGuire for his Wayward Children series (2015 to the present)
  • Jeannette Ng for her 2017 novel Under the Pendulum Sun
  • The Deep (2019) by Rivers Solomon, with Daveed Diggs, William Hutson and Jonathan Snipes

2020s

  • N.K. Jemisin for her novel The City We Became (2020)

The exhibition is being staged by a library so most of these authors are represented by editions of their books – often old and precious early editions – but also by quite a few displays of notebooks and manuscripts. These include manuscripts and notebooks by J.R.R. Tolkien, C.S, Lewis, the Bronte sisters, Michael Palin, Ursula K. Le Guin, original sketches and outlines for Piranesi by Susanna Clarke, notes for his Fantasy epic Gormenghast by Mervyn Peake, and more.

Costumes

There are the costumes worn by Margot Fonteyn and Rudolf Nureyev in the Royal Opera House’s 1968 ballet production of The Sleeping Beauty which is, of course, based on Charles Perrault’s 1697 fairy tale. And costumes from the 2003 musical ‘Wicked’ and the 1982 movie The Dark Crystal.

Costume for Kira in ‘The Dark Crystal’ (1982) © Brian and Wendy Froud

But the best prop is probably the very staff used by actor Ian McKellen playing Gandalf in the three-movie epic version of Lord of the Rings. I know it’s valuable and all, but I think the Library missed a trick by displaying it in a glass case: it should have been free-standing and they should have encouraged children to touch it and pose with it. It might have got a bit knocked about but imagine the magic it would have brought into thousands of children’s lives!

Installation view of Gandalf’s staff, pipe and concept art from ‘The Lord of the Rings’ by Alan Lee. Photo © Justine Trickett

Transformation and metamorphosis

Generally heroes of Fantasy remain themselves but are transported to otherworlds like Narnia or the worlds visited by protagonists of Philip Pullman’s His Dark Materials series. They rarely themselves change shape or person. Slightly odd is the inclusion by the curators of Franz Kafka’s famous short story The Metamorphosis, represented here in a version illustrated by Rohan Daniel Eason.

Movies and TV

The exhibition includes excerpts from Fantasy TV series such as Buffy the Vampire Slayer (1997 to 2001), Xena the Warrior Princess (1995 to 2001), Twin Peaks (1990 to 1991), the Netflix series The Witcher (started 2019 and still ongoing).

And from Fantasy movies such as The Dark Crystal (1982), the Studio Ghibli film Princess Mononoke (1997), Lord of The Rings (2001 to 2003), Pan’s Labyrinth (2006), and more.

I was surprised at the space the curators gave to The Wizard of Oz and to learn quite what a cultural phenomenon it was in its time. The Wonderful Wizard of Oz by Frank Baum was published in 1900. It was, apparently, ‘the first Fantasy series with continuity provided by the imagined world rather than by the characters’. Baum wrote no fewer than 14 books set in Oz, but at the same time cashed in on the books’ popularity by writing a stage musical and a comic strip. He concocted an elaborate touring spectacle involving dozens of actors, a full orchestra, a slideshow and moving picture clips.

A movie version was made in 1910, silent and in black and white and running for just 13 minutes. Most of us are more familiar with the 1939 version starring a young Judy Garland, directed by Victor Fleming.

In the past 124 years there have been scores of spin-offs, but the most successful of recent times is probably Gregory Maguire’s 1995 reworking of the story in ‘Wicked: The Life and Times of the Wicked Witch of the West’, which was adapted into a popular Broadway musical in 2003.

Exhibition design

The design of the exhibition allows visitors to journey through different Fantasy landscapes, from a dark enchanted forest, through epic mountains and a sinister fallen city to sunrise on a new world.

Installation view of the ‘Fairy and Folk Tales’ section of ‘Fantasy: Realms of the Imagination’ at the British Library. Photo © Justine Trickett

Anniversaries

Interestingly, a little fleet of Fantasy anniversaries are coming up. Last year marked the 40th anniversary of the publication of The Colour of Magic, the first novel in Terry Pratchett’s immensely successful comedy fantasy Discworld series. It also marked the 50th anniversary of Susan Cooper’s best-selling novel, The Dark is Rising. This year marks the 50th anniversary of Dungeons and Dragons.

Events

These anniversaries, the achievements of numerous Fantasy authors, as well as themes and topics (Queer Fantasy, Black Fantasy) are explored in a comprehensive series of events:

Reading list

On one level the entire exhibition is like an animated reading list. When you emerge from the exhibition into the British Library shop the temptation is to buy every book in sight – Lewis, Tolkien, Le Guin, Melville, Garner, and scores of others – take them home in a suitcase, lock yourself in your bedroom and not come out for a year. Why not? It’s not as if the so-called ‘real world’ is anything to celebrate right now.


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Islam’s Black Slaves: The Other Black Diaspora by Ronald Segal (2001)

al-asl huwa ‘l-hurriya
‘The basic principle is liberty’

Traditional Islamic jurisprudence assumes that everyone is free, based on the dictum: ‘The basic principle is liberty’ (al-‘asl huwa ‘l-hurriya). On this basis was slavery was an exceptional, and undesirable, condition.

Ronald Segal

Ronald Segal lived from 1932 to 2008. He was a white South African, born into a rich Jewish family. He became a committed socialist and anti-apartheid activist who fled South Africa after the 1960 Sharpeville Massacre. He was a political activist, writer and editor, founder of the anti-apartheid magazine Africa South and of the Penguin African Library. He wrote 17 books, including a biography of Leon Trotsky, though he is best known for The State of the World Atlas (first edition, 1981), co-founded with Michael Kidron. Islam’s Black Slaves was his last book. It was conceived as a companion to his previous book, 1995’s The Black Diaspora: Five centuries of the black experience outside Africa.

The link with McLynn and Jeal

I was moved to buy this rather expensive book because my reading of Frank McLynn and Tim Jeal‘s histories of European (mostly British) explorers in nineteenth century Africa sparked my interest in a number of issues, among them their repeated descriptions of the impact of the non-white Arab slave trade on East and Central Africa. (They also piqued my interest in a) the large number of white slaves captured by Islamic slave traders and b) the central role of the Royal Navy in quelling the sea-borne slave trade after 1833, both subjects I hope to explore soon.)

Islam’s Black Slaves

Both Jeal and Adam Hochschild‘s accounts show that the capturing of black slaves in East Africa was a bloody, brutal business, with entire villages laid waste and thousands murdered for every hundred or so slaves (mostly women and children) who were finally transported down the slave trails to the east coast of Africa (specifically to the slave trading island of Zanzibar, owned and run after 1840 by the Sultan of Oman on the Persian Gulf).

Eye witness descriptions of widespread devastation and the brutality of the slavers on pages 152 to 153, 156 to 157, 161.

The Atlantic slave trade

Slavery was probably part of pre-Islamic Arab life and economy.

Whereas the Atlantic slave trade only got going after 1500 as European explorers (at first mainly the Portuguese) visited the west coast of Africa, the slave trade in the realm of Islam existed since the 7th century, 900 years earlier. Whereas the British abolished the slave trade in 1807 and slavery itself in 1833, many Arab countries only formally banned slavery in living memory, Saudi Arabia and Yemen in 1962, Oman in 1970.

According to the BBC, Muslim traders exported as many as 17 million slaves to the coast of the Indian Ocean, the Middle East, and North Africa.

However 1) the Islamic trade in African slaves was always a lot smaller than the Atlantic slave trade, especially when the latter was at its height in the 18th century:

There was no extensive and long-sustained commitment of black slave labour to the scale of commercial plantation agriculture that absorbed so many millions of black slaves in the Americas. (p.42)

In part this was due to memories of the Zanj Rebellion (869 until 883) when black African slaves who were put to work draining the salt marshes around then present-day city of Basra in southern Iraq, rebelled, gathering more and more followers, slaves and free, and presenting a major threat to the Abbasid Caliphate (pages 43 to 44).

The rebellion had a lasting impact. The use of a large number of black slaves in plantation agriculture and irrigation schemes sharply declined; it was considered too dangerous. (p.44)

2) The Islamic attitude to black slaves was markedly different from that of white Europeans, in a number of ways.

The Atlantic slave trade, particularly as it escalated in the 18th century, was a key element in the development of industrial capitalism, generating the profits from sugar and tobacco plantations which was then invested in new technologies in Britain (p.106; cf Eric Hobsbawm in Industry and Empire). But what makes capitalism different from all other social and economic models is the relentless focus on profit. If you take this as the be-all and end-all of social effort, then human beings can quickly come to be seen as mere units of productivity or consumption, totted up on dry accounts books.

Thus, according to Segal, African slaves were treated as units of productions, like donkeys, horses or steam engines, stripped of any individuality, faceless drones whose lives and deaths meant nothing to their owners.

The treatment of slaves in Islam was overall more benign, in part because the values and attitudes promoted by religion inhibited the very development of a Western-style capitalism, with its effective subjugation of people to the priority of profit. (p.5)

He then discusses slavery’s place in Christianity, which is highly problematic. If Jesus meant what he said about the brotherhood of man and so on then slavery was an outrageous blasphemy against Christian teachings. This had two broad consequences.

1) Slave owners and their propagandists scoured the Bible to try and find justifications for slavery (blacks being the descendants of Ham, the son of Noah who cast him out and curses him after Ham, saw his father drunk and naked, etc); or they simply denied that blacks were fully human, using any pretext which presented itself to argue that Africans were animals, savages, lower down the evolutionary scale etc.

2) The other consequence was those brave Christians who applied Jesus’s teachings consistently and so opposed the slave trade, generally evangelical ‘low’ Christians who formed the backbone of the Abolitionist movement and whose story is told in Adam Hochschild’s moving book Bury the Chains: The British Struggle to Abolish Slavery.

Islam’s treatment of slaves

By contrast, slavery was accepted by the Prophet Mohammed and his successors but, being openly acknowledged, was provided for. Mohammed goes out of his way to insist that slaves be treated humanely. A slave’s master was enjoined:

  • not to show contempt for a slave
  • to share his food with a slave
  • to provide a slave as good clothes as his own
  • to set a slave moderate and achievable work
  • not to punish a slave excessively but forgive him ‘seventy times a day’

Of course slavery of any form is a wicked denial of the basic human rights of human beings as we now, in 2023, conceive of them. But Mohammed’s explicit insistence that slaves should be treated well established a venerable standard which all Muslim slave owners could be held to. Thus:

Slaves in the Ottoman empire were differently regarded and treated [than in the West]. In conformity with Islamic teaching and law, slaves were people who had stipulated rights. (p.106)

Two routes to slavery

According to the Prophet there were only two legitimate route to slavery: birth to a slave mother or capture in warfare (p.36). Warfare could only be against non-Muslims or infidels, as Muhammed assumed that Muslim would never fight Muslim, brother against brother. Enslavement of captives in war went some way towards repaying the losses of warfare but was also a means of assimilating and converting non-Muslims who could, ultimately, be freed.

Obviously these rules were flouted repeatedly through history, but at least there were rules, they were clear, and rulers could be held to account against them.

Islam’s anti-racism

There are other key distinctions between the two traditions. It follows from point 1) above, that the anxiety felt by European Christian slave traders and owners created and fuelled a vast ideology of racism. Christian slave owners could only square their consciences if they held to the view that black Africans were not fully human, less than human, or even a different species. Many, many commentators claim the legacy of these scandalous opinions lingers on today in numerous institutions and organisations and individuals.

The point is that the Prophet Muhammad explicitly forbade racism.

The Koran expressly condemns racism along with tribalism and nationalism. (p.6)

According to Arabist Bernard Lewis:

pagan and early Islamic Arabia seems to have shared the general attitude of the ancient world, which attached no stigma to blackness. (quoted p.46)

In his Farewell Sermon Muhammed said:

‘O people, your Lord is one and your father [Adam] is one. There is no superiority of an Arab over a non-Arab, nor a non-Arab over an Arab; no superiority of a white person over a black person, nor superiority of a black person over a white person – except in righteousness.’ (quoted p.46)

Indeed, the first official muezzin, personally appointed by Muhammed to proclaim adhan in Mecca, was Bilal ibn Ribah, an African slave who was emancipated when Abu Bakr (who was to be the first caliph or successor to the Prophet) paid his ransom on Muhammad’s instruction (p.46).

This, as I imperfectly understand it, is one of the great appeals of Islam through the ages. When a convert submits to Allah he or she joins the great international ulema, regardless of ethnicity or skin colour. This, as I understand it, explains the surge of interest in Islam among American black activists of the later 1960s such as Malcolm X, who thought the Christian tradition espoused by the Reverend Martin Luther King, was hopelessly compromised by its profound involvement in the slave trade for centuries.

Forty years later James Fergusson dwelled on the appeal of Islam to Somalis in his book ‘The World’s Most Dangerous Place: Inside the Outlaw State of Somalia’. He cites Gerald Hanley, a British officer who spent years among the northern Somali in the 1940s, who said:

‘Islam does wonders for the self-respect of non-white people.’ (quoted p.54)

Islam offers discipline, focus, purpose and self respect in people who feel themselves second or third-class citizens.

[Islam] continued to encompass slavery long after slaves had been freed throughout Christendom. But while slavery was practiced in Christendom and Islam alike, the freeing of individual slaves by their owners was much more frequent and widespread in Islam. This was of particular relevance to the social assimilation of blacks. As slaves, they were subject to no special racial discrimination in law; and, once freed, they enjoyed in law equal rights as citizens. (p.9)

Something very much not true of freed blacks in America and their descendants, arguably, to this day.

However, that was the theory, and Segal goes on to describe how Islamic social practice and attitudes often fell far short. He traces the emergence of anti-black attitudes which might be attributed to 1) the Zanj rebellion; 2) contempt for the mainly manual labour many black slaves were condemned to in a culture which prized intellectual achievement.

He then goes on to cite an impressive roster of medieval Islamic scholars who authoritatively declaimed a series of hair-raisingly racist generalisations against black Africans. A lot of this was repetition with elaboration of Galen’s founding racist generalisations from the third century of the Christian era.

By the Middle Ages the Arabic word ‘abd had come to denote black slave and mamluk to mean white slave (p.49).

A last point about the racism or absence arising from the Islamic slave trade. As mentioned, the Atlantic slave trade a) prioritised men, for hard manual labour and b) the European owners erected a severe race barrier, which involved legal and cultural denigration of Africans.

By contrast, the Islamic trade prioritised female slaves which led to greater miscegenation or inter-breeding. I wonder if anyone’s done research to discover how much ‘black DNA’ is present in the Arab population. I came across this website online: it claims the DNA of the typical Egyptian contains 3% of African genes, Kuwaitis are 7% African, Lebanese are 2% East African and so on. I’ve no idea if this is correct or scientifically meaningful.

But Segal definitely asserts that over 1,000 years of interbreeding between black Africans and Arabs produced a population many of whose members are racially indistinguishable – in stark contrast to the situation in North America where the visual distinction between black and white was fiercely enforced until well into the 20th century and so remains, to this day, much more prominent and problematic.

Islam’s slaves in the service sector

Slaves in the Atlantic system were, classically, regarded as units of production in a brutally capitalist system, worked to death on plantations. Thus it’s calculated that the slaves were transported in a ratio of 2 men to every woman, because sheer brute strength was required on the plantations.

Whereas slaves in the Islamic world tended to be employed in the name of consumption, often very conspicuous consumption, as Segal’s profiles of numerous immensely rich caliphs and Muslim rulers indicate. The very rich tended to have vast numbers of concubines, servants, attendants and whatnot, many of whom were slaves. Segal tells us that Ahmad b Tulun, the Tulunid ruler from 868 to 884, left at his death 24,000 white slaves and 45,000 black ones (p.54).

Essentially, the distinction between Western and Ottoman – indeed Islamic – slavery was that between the commercial and the domestic. (p.107)

Thus it is that the gender ratio was reversed, with an estimated two female slaves transported into the Islamic world for every male, as slaves were most commonly used for household work (most conspicuously, concubinage, which modern scholars might describe as sex slavery).

Lower down the social order, many slaves worked in the service sector as cooks, porters, secretaries and so on. There is much evidence that, although their capture in Africa was a violent and traumatic experience, once they ended up in Arab Muslim households, many slaves were treated well.

Slaves in Islamic armies

Some slaves were trained to serve as soldiers. This was the case with the Mamluks, an Arabic word which literally means ‘owned’ or ‘slave (p.31). These were non-Arab, ethnically diverse (mostly Turkic, Caucasian, Eastern and Southeastern European) enslaved mercenaries, slave-soldiers, and freed slaves who were assigned high-ranking military and administrative duties, serving the ruling Arab and Ottoman dynasties in the Muslim world.

Mamluks became a powerful military knightly class in various Muslim societies that were controlled by dynastic Arab rulers. Particularly in Egypt and Syria, but also in the Ottoman Empire, Levant, Mesopotamia, and India, mamluks held political and military power. In some cases, they attained the rank of sultan, while in others they held regional power as emirs or beys. Most notably, Mamluk factions seized the sultanate centred on Egypt and Syria, and controlled it as the Mamluk Sultanate from 1250 to 1517. The Mamluk Sultanate fought the Christian Crusaders in 1154 to 1169 and 1213 to 1221, effectively driving them out of Egypt and the Levant (p.31).

Segal’s discussion of slaves in Islamic armies pages 45 to 46.

Talking of one-time slaves rising to power, the longest reigning of the Fatimid Caliphs, al-Mustansir (1036 to 1094) was the son of a black Sudanese concubine, whose mother, because he only came to power when he was seven, was the real ruler of the Caliphate for the 15 years of his minority (p.51); and Segal gives other instances of Africans who rose to positions of high power, especially black eunuchs.

Islam’s releasing of slaves

The technical term in English is ‘manumission’, from the Latin, meaning simply ‘release from slavery’.

The Koran teaches that it is virtuous to free slaves. It says one of the uses of zakat, a pillar of Islam, which can be translated as ‘alms’, is to pay for the freeing of slaves:

‘Alms-tax is only for the poor and the needy, for those employed to administer it, for those whose hearts are attracted to the faith, for freeing slaves, for those in debt, for Allah’s cause, and for needy travellers. This is an obligation from Allah. And Allah is All-Knowing, All-Wise.
( Surah At-Tawbah 9:60)

Freeing your slaves can offset sins you have committed and hasten your entry to heaven.

‘The man who frees a Muslim slave, God will free him from hell, limb for limb.’ (quoted p.35)

The Koran describes a particular type of legal contract, the mukataba, which it encouraged slave owners to make with slaves, whereby they could work towards their freedom (p.36).

The Koran says slave owners can have sex with female slaves, but places on them an injunction to marry them off to male slaves, whereupon the husband has sole right. The Koran allots praise to a slave owner who educates his female slave, frees then marries her (p.36). Unlike America and other European colonies, it was expressly forbidden to separate slave mothers and their children.

Eunuchs

Islam expressly forbids mutilating the human body which is the image of God.

‘Whoever kills his slave, we will kill him; whoever mutilates (his slave), we will mutilate him; and whoever castrates his slave, we will castrate him.’ (Sunan an-Nasa’i 4736; Book 45, Hadith 31)

Nonetheless, eunuchs became an engrained part of wealthy Islamic culture and pious Muslims got around the ruling by having infidels do the castrating. Thus during the Middle Ages Prague and Verdun became castration centres supplying eunuchs to the Islamic market (p.40).

Possession of eunuchs was just one sign of the extraordinary conspicuous consumption which distinguished medieval Islam. Thus, Segal tells us, at the start of the 10th century, when Alfred the Great’s muddy successors were still fighting the invading Danes in East Anglia, the Caliph in Baghdad had seven thousand black eunuchs and 4,000 white ones, in his palace (p.41).

Vivid, stomach-turning description of castrating a boy (p.171).

Numbers and routes

There were three main routes of black African slaves into Islam:

  1. across the Sahara
  2. from Ethiopia across the Red Sea
  3. from East Africa

Segal cites the calculations of scholars like Ralph Austen and Paul Lovejoy who estimate that the total number of black Africans trafficked into the Islamic world between 650 and the twentieth century as 11 to 12 million. Raymond Mauvy calculates 14 million. This is directly comparable to the 11 or so million calculated to have been transported in the far shorter period of the Atlantic slave trade (pages 55 to 57). Scholar H.J. Fisher is quoted as saying the total number of black slaves transported in the Islamic slave trade was probably larger than the number involved in the Atlantic slave trade (p.61).

Segal points out that enormous though these numbers sound, the 14 million figure ‘only’ works out 10,370 slaves per year. All scholars agree that the 19th century saw a dramatic increase in volume in slave trading (in 1838 an estimated to 10 to 12 thousand slaves were arriving in just Egypt, each year), so the chances are that the figures for the previous 11 centuries are lower, a guesstimate of maybe 7,000 per annum (p.60).

Importantly, these numbers exclude the internal black-on-black slave trade, the intra-Africa slave trade. So, controversially, they don’t include the vast numbers of slaves captured in East Africa and transported to Zanzibar, owned by an Arab elite, to work on the clove plantations. Segal cites the figure of about a million black slaves set to work in Zanzibar during the nineteenth century. If you included the intra-African trade, the total would go up by at least 2 million.

If you add the Atlantic and the Islamic trades, you end up with a figure of around 25 million black Africans captured and taken off into slavery.

We will never know the precise numbers. All we can do, in this as so many other aspects of human history, is marvel, or reel, at the thought of so much human suffering.

Non-black slaves

Most of the above concerns black slaves. But Islamic rulers conquered and enslaved or bought slaves from many other ethnicities. Thus countless numbers of Turkish and Circassian people were enslaved, as were Slavs and others from the Balkans. Someone somewhere must have done research into this. Segal only mentions it in passing.

Chapters

The foregoing summarises the first 70 or so pages of the book, dealing in general principles, overall numbers and so on. Subsequent chapters deal with:

Chapter 5. The Farther Reaches

China

Segal brings together fleeting references to black people in medieval and early modern sources. Chinese porcelain has been found in ruined trading towns on the East African coast. There’s no records of an organised trade.

India

Islam expanded into north-west India through armed conquest. It brought black slaves, mainly for military service. They called themselves Sayyad, corrupted to Siddis who, when liberated, set up small kingdoms of their own, became employed as security on Muslim ships, some rose to become admirals. The story of the rise to power of Malik Ambar (1548 to 1626), a military leader who rose to the office of Peshwa of the Ahmadnagar Sultanate in the Deccan region of India, his military and cultural achievements.

Spain

North African Muslims invaded Spain in 611, overrunning almost the entire peninsula (apart from Galicia) by 620. The resulting kingdom of al-Andalus grew to legendary wealth. Black slaves were imported from Africa, but the realm was also famous for exporting white slaves from Gaul and Galicia. It became a centre for castrating male slaves to provide eunuchs (p.80). The career of the black poet and arbiter of taste, Ziryab (789 to 857).

Chapter 6. Into Black Africa

A very detailed look at the different routes of slave traders and the slave trade into the Islamic world, from Ethiopia across the Red Sea, from the coast of East Africa. Segal gives a long complicated account of the rise and histories of various black African empires in west Africa – the empires of Ghana, Mali, the Kanem and Songhai empires – many of whose rulers converted to Islam, and the complex history of black slaving along the major trans-Sahara slaving routes. It’s a complex, unfamiliar history.

Chapter 7. The Ottoman Empire

Of all the empires that rose and fell within the Islamic world, the Ottoman was the largest and longest lasting. Segal uses the Ottoman empire to really point the difference in attitudes to slavery between the Christian West and the Muslim East. Although many slaves may have held domestic positions in the Americas and some been released, the fundamental difference was the slaves in the West were used as units of production by fast-evolving capitalism. Whereas in the East, although some slaves were used in labour-intensive plantations and proto-factories, the majority were for domestic consumption. Plus the East had a more generous policy of freeing slaves. Many civil servants or soldiers who were, technically, slaves of the Sultan rose to become generals and governors (p.106).

He makes the simple crucial point that while the West pursued a model of nationalistic capitalism which encouraged aggressively competitive trade and enshrined in law the unbridled pursuit of profit, the Ottoman Empire cleaved to Islam’s disdain for trade, prioritising of military glory or scholarly achievement and its active discouragement, in law, of the kind of profit-seeking sought in the West. Merchants accumulated capital but their culture mandated them to use it charitably, to establish schools or hospitals. Lacking a central bank, or banks in general, which could be used to redistribute capital from its owners to speculative ventures, lacking the complex legal framework and definitions of property and company law which enabled Western capitalism, the Ottoman Empire condemned itself to slow decline.

While social, political and, above all, economic innovation swept the West, the Ottoman empire remained steeped in sterile ceremonial. (p.116)

Segal gives a lot of detail of Ottoman history, especially the role of black eunuchs at the highest level of the Ottoman court. As to general black slavery, there was a substantial and continuous trade but records are scanty.

He credits the British in particular for pressuring the Ottoman Turks to end slavery in their empire. In 1846 the slave market in Constantinople was closed. In 1855 moves to ban slavery throughout the empire led to a violent revolt in Arabia, led by an imam who declared the ban unIslamic. The revolt was put down but when the ban was promulgated, it made Arabia an exception, to the area continued to be a base for slavers. Slavery was banned in 1889 but kept its place in Sharia law. In 1923 the modern state of Turkey replaced the empire, with secular law banning slavery.

Chapter 8. The ‘Heretic’ State: Iran

Segal gives a thumbnail sketch of Persia’s resistance to Arab rule which came to be embodied in its espousal of a distinct brand of Islam, Shia Islam or Shiaism. There is scant evidence of black slavery in Iran; what there is suggests black slaves enjoyed good treatment and high status in households, especially of the wealthy. An English lady traveller speculated that between two and three thousand African slaves were imported each year (p.123).

A scholar estimates the number of slaves in mid-19th century Iran as 80,000. As late as 1898 the Anti-Slavery Society estimated up to 50,000 slaves in Persia. As with the Ottoman Empire, from the 1820s onwards the British brought pressure to bear to end the slave trade, but the exemption of Arabia allowed it to continue as a conduit of African slaves into Iran. Only in 1882 did the Persian government renounce slavery in a treaty signed imposed by Britain (p.126). Only in 1907 did the new National Assembly enact a law ensuring universal freedom.

Segal makes the interesting point that, as in the USA, colour prejudice might have intensified after the abolition of slavery.

Chapter 9. The Libyan Connection

The black slave trade into the semi-Ottoman state of Tripolitania. In 1818 a Royal Navy captain, G.F. Lyon, observed that the ruling Bey waged war on all his neighbours and carried away 5,000 slaves a year. Segal cites scholar Ralph Austen whose detailed calculations suggest that from 1550 to 1913 some 784,000 black slaves were transported through Libya. Given a 20% death rate on the journey from the South, this suggests 942,000 black Africans were kidnapped and enslaved by Arab and Muslim traders working the Tripoli route (there were numerous other routes).

In 1930 a Danish traveller to Libya reported that there was a slave market every Thursday in Kufra and a good adult slave cost £15.

Chapter 10. The Terrible Century

The nineteenth century saw an increase in volume and intensity of Islamic slaving across north and east Africa. In 1808 Britain withdrew from the slave trade and set about persuading other European nations to do the same. Britain also began to intervene in the Muslim world to abolish the trade, but tentatively, mindful of Muslim sensibilities.

East Africa

A European visitor stated that, around 1810, almost the entire income of the state of Oman derived from taxes on the slave trade. In 1840 the Sultan of Oman moved his court to the island of Zanzibar, main entrepot on the west of the Indian Ocean, principle outlets for black slaves captured in the interior.

By the 1840s up to 15,000 slaves a year were being trade. The Sultan himself needed huge numbers to work his clove plantations. In the 1850s it’s estimated that Zanzibar’s population included 60,000 slaves. A quarter of the Sultan’s income was said to derive from the trade.

The British protected the Sultan as their client but brought consistent pressure on him to abolish the trade. He signed a series of treaties to that effect but in the 1860s the British consul reported that 30,000 slaves were arriving annually at the coastal ports, some for Zanzibar, some shipped north to the Gulf. He also reported that for every slave who reached the coast alive, one had died en route. Other accounts claimed a far higher number.

Many of the slavers, the leaders of expeditions to attack and massacre African settlements, then take away prisoners in chains, were either Arab or, very commonly, of mixed Afro-Arab ethnicity. Segal, again, draws the distinction between the behaviour of the slavers, which was brutal and murderous, and slaves’ treatment in their destination households, which was often kind as per Islamic lore.

Sudan and Egypt

Khartoum was originally a small fishing village at the junction of the White and Blue Niles. After Sudan it was conquered by the Ottoman viceroy, Muhammed Ali, in 1840, it was turned into a major entrepot for African slaves. By 1838 12,000 black slaves were being imported into Egypt annually. Beyond the reach of the Egyptian authorities operated the Ja’aliyin, who raided west into Darfur and south into tropical Africa until well into the 1890s.

Huge enclosures for slaves were established in Cairo, where many died of smallpox and other infectious diseases. For every slave that made it to Cairo, it’s estimated that 5 died along the way (p.151). General Gordon calculated that in the area of Bahr el-Ghazal between 1875 and 1879, up to 100,000 slaves had been exported north. European explorers found entire areas which had been devastated and emptied of their populations by slavers (pages 152 to 153, 156 to 157, 161). Only in 1883, when Britain occupied Egypt, were they able to start cracking down on the trade. By 1904 the Viceroy, Lord Cromer, could claim that the systematic slave trade had been eradicated.

Ethiopia and Arabia

Slavery in Ethiopia thrived for centuries. Up to 500 slaves were sold at the market at Gallabat every day. King Menelik was alleged to take a 10% cut in the trade i.e. gifted one slave in ten. Most were sent across the sea to Arabia. After the Ottoman Sultan banned it, the trade increased because it was no longer taxed. A British reporter estimated in 1878 that 25,000 slaves a year were sold in Mecca and Medina and the trade continued into the early 1900s.

The trade through Kenya was ended when the British created the East Africa Protectorate in 1895. Slavery was only legally abolished in Zanzibar in 1897.

West Africa

Segal describes a confusing profusion of kingdoms and rulers, Muslim jihads, insurgencies, overthrows and new rulers, all across west Africa in the 18th and 19th centuries. The point is all of them engaged in the slave trade, sending slaves north into Muslim Arab lands, or collecting them for their own grandeur. As the nineteenth century raiding became more intense and destructive, not least due to growing access to Western arms, which resulted in the devastation of entire regions. It’s instructive to learn that black on black slave trading continued energetically right to the end of the nineteenth century and beyond. A French agent on the Senegal river reported that in 1889 some 13,000 slaves were transported along the river.

Chapter 11. Colonial Transactions

Northern Nigeria

The British claimed the former Sokoto Caliphate in 1906, naming it north Nigeria. Segal describes the economic, legal and social reforms which led to the erosion of slavery, not only the banning of the institution but the economic development of the colony which gave peasants paid work.

French Soudan

In 1848 the French National Assembly abolished slavery in all her colonies. But it wasn’t until 1905 that the Governor-General of French West Africa decreed an end to the slave trade and any person losing their liberty (p.181). The data suggests that slaves made their way back to their former towns and villages.

Mauritania

As the cost of accepting French rule (1905 to 1910), the leaders of inland tribes in this part of north-west Africa demanded that traditional tribal laws about slavery remain. Colonial attitudes and Islamic law favoured masters in this largely nomadic population. Drought and famine in the 1930s then again after the war, forced many to offer themselves as slaves in order to secure food.

Somalia

Italy seized part of Somaliland in 1892. They made noises about banning slavery but in 1903 a third of the population of Mogadishu were slaves. In 1906 when Italy took full control of the colony, they estimated the slave population at 30,000. When they freed the slaves in the city, the Italians discovered it led to unemployment and beggary, so were slower to act in the countryside. A complicated mesh of laws followed until the Fascists took power in 1922 and passed laws designed to liberate slaves but force them into low-paid labour on plantations.

Zanzibar and the Kenyan Coast

In 1890 the British declared the Sultanate a Protectorate but it wasn’t until 1897 that they passed legislation allowing slaves to claim their freedom and then take-up was patchy because for many ‘freedom’ meant loss of employment and home. Employers and ex-slaves had to negotiate new relations. Employers raised pay, many ex-slaves squatted on waste land or the edge of plantations. The authorities struggled with increased vagrancy, drunkenness and delinquency. The British supported the Arab minority, as small as 5% of the population, because they owned the land and the clove plantations. Resentment against this privileged minority would boil over at independence.

In Kenya Segal describes the long-running problem of ex-slaves who became squatters, had families, established squatter settlements, especially along the coast where there was likely to be more work, a problem which troubled the British authorities and carried on past independence in 1963.

In Zanzibar and along the coast anti-Arab feeling grew and in 1961 there were violent African-Arab riots which left 68 dead. In the election held after the British left, the Arab party won a majority through blatant vote-rigging. This led in January 1964 to an outbreak of politically-motivated African violence which massacred Arabs and seized property, overthrowing the Arab Sultan for good. As many as 4,000 Arabs were killed in the streets. President of Tanganyika, Julius Nyerere, offered the revolutionary leadership a union with their mainland neighbour and so the country of Tanzania was born.

Chapter 12. Survivals of Slavery

Stories of the ongoing existence of black slavery in Arab states such as Qatar, Oman, Saudi Arabia, Dubai and Muscat. As recently as 1982 accusations that black Africans travelling to Mecca are captured and sold. On the west coast, evidence that African girls are trafficked to Lebanon.

Mauritania

At the time of writing the secretive government of Mauritania kept up slavery, with as many as a third of the population of about 2.5 million enslaved. Segal moves into the present era with a description of the racist activities of the Arab Islamic Mauritanian government in deporting, arresting, executing and generally harassing Mauritanians of black ethnicity. Especially the 1989 Mauritania–Senegal Border War which led to the expulsion of some 70,000 sub-Saharan African Mauritanians from the country. Wikipedia:

Modern-day slavery still exists in different forms in Mauritania. According to some estimates, thousands of Mauritanians are still enslaved. A 2012 CNN report, ‘Slavery’s Last Stronghold’, documents the ongoing slave-owning cultures. This social discrimination is applied chiefly against the ‘black Moors’ (Haratin) in the northern part of the country, where tribal elites among ‘white Moors’ (Bidh’an, Hassaniya-speaking Arabs and Arabized Berbers) hold sway. Slavery practices exist also within the sub-Saharan African ethnic groups of the south.

Sudan

The civil war in Sudan between the Arab north and the African Christian or animist south lasted for 40 years after independence in 1956. In 1972 the south was granted regional autonomy. South Sudan finally became an independent country in July 2011. Segal masters evidence for the ongoing practice of slavery in Sudan, generally practiced by Arabs on black Africans (pages 216 to 222). He mentions Christian Solidarity International which undertakes missions to buy slaves their freedom. At the time of writing CSI had freed more than 20,000 slaves, at an average price of $50 each.

Epilogue. America’s black Muslim backlash

This was by far the easiest part of the book to read and for a reason I often remark on – because it’s about America and we in the UK are bombarded with American culture, history and values. So when he writes about racism in Detroit or Harlem, about the Civil Rights Movement and Martin Luther King, these are people and places and issues I feel superfamiliar with, from books and TV shows, documentaries and radio programmes and movies, exhibitions, art and photography.

Whereas the information about the trans-Sahara slave routes or the rise and fall of the various empires of west Africa or even the history of Islamic Spain were just some topics I knew next to nothing about and found very informative indeed, and all the more rewarding for being so radically unfamiliar.

Reading the stuff here about the Nation of Islam and Malcolm X reminded me of watching the movie starring Denzel Washington, plus documentaries, plus articles, all (over)familiar stuff. Whereas I know nothing about the Fulani or the Hausa kings, about the Oyo empire or the royal court of Bornu, about Usman dan Fodio or Muhammed al-Amin al-Kanami or Yusuf Pasha of Tripoli. Here is a huge subject (the history of north and west Africa) of which I am pitifully ignorant, and need to learn more.

Thoughts

The biggest, general thought prompted by the book is the ubiquity of slavery, among all nations and all ethnicities, throughout most of history. The chapter on the Ottoman Empire routinely describes the numbers of white slaves seized from the Balkans in the Sultan’s palace, or more broadly. The chapter on Iran mentions that Iranians were themselves taken as slaves by the Ottomans to the West or the Uzbeks to the north. Iranians in turn seized Christian Armenians or Circassians.

Next is the Big Idea that slavery in Islamic was qualitatively different than the Western and Atlantic form, as described above.

Third thing is the leading role played by Britain throughout the nineteenth century in trying to stamp out slavery, across North Africa, in the Turkish heartlands, in Iraq and Persia, and along the East African coast. In all these places British diplomats, backed up by the Royal Navy, tried to stamp out the Arab slave trade.

Lastly, and tangentially, Segal’s passage about West Africa and its empires (chapter 10) was illuminating in itself, but also made me wish I could find a good, affordable account of France’s empire in Africa, not just the well-covered Algeria, but countries like Mauritania, Senegal, Mali, Guinea, Ivory Coast, Burkina Faso, Benin, Niger and Gabon, French Congo, the Central African Republic and Chad, which we in the Anglosphere never hear about.


Credit

Islam’s Black Slaves: The Other Black Diaspora by Ronald Segal was first published by Farrar, Strauss and Giroux in 2001. All references are to the 2002 paperback edition from the same publisher.

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The Rossettis @ Tate Britain

This is a spectacular exhibition, by turns absorbing, inspiring, fascinating and deeply educational about the individuals, their lives and their times. Not all the work on display is good, some is positively poor, but there are good things throughout, and it’s huge – featuring over 150 paintings and drawings as well as photography, design, wallpapers, furniture, rare books, printed and spoken poetry and more. And then, in the last few rooms, it turns into a spectacular celebration of Dante Gabriel Rossetti’s huge, sumptuous paintings of stunning pre-Raphaelite women, an orgy of masterpieces to leave you reeling. More than just an exhibition it feels like a sustained immersion in their lives and times.

I thought the exhibition might disintegrate into a general splurge about the extended network of artists and models which made up the Pre-Raphaelite Brotherhood – surely, the most written-about subject in British art – the gift shop is heaving with books about the Pre-Raphaelites.

But I was wrong. The exhibition remains very, very focused on the Rossetti family and, above all, on the favoured son, Gabriel. (Only in adult life did Gabriel move his middle name, Dante, to the front of his three names – maybe partly to catch up with triple-barrelled friends like John Everett Millais and William Holman Hunt – but the curators refer to him as Gabriel throughout and so shall I.)

Firsts

Tate owns a lot of Pre-Raphaelite paintings and drawings so it’s surprising to learn that this is the first retrospective of Rossetti ever held at Tate, and the largest exhibition of his iconic pictures in two decades. Less surprising to learn that this is also the most comprehensive exhibition of Elizabeth Siddal’s work for 30 years, featuring rare watercolours and important drawings, because most of us have never hear of her.

The rooms devoted to them show how Gabriel and Elizabeth’s relationship and works intertwined and reflected each other. If you like reading about the lives of great artists, then this deep dive into biographical minutiae will be right up your street.

Immigrants

First of all, they were immigrants. Gabriele Rossetti (1783 to 1854) arrived in London in 1824, as a political refugee from Italy. More than that he was an Italian nobleman, poet, constitutionalist, scholar, and founder of the secret society, the Carbonari. A noted Dante scholar he secured the post of Professor of Italian at King’s College London from 1831 as well as teaching Italian at King’s College School. He and his wife Frances Polidori Rossetti had four children, two sons and two daughters. Raised in a home drenched in poetry and literature, all four children went on to become artists or writers in their own right. They were: the writer Maria Francesca Rossetti (1827 to 76); poet, artist and designer Gabriel Charles Dante Rossetti (1828 to 1882); artist and critic William Michael Rossetti (1829 to 1919); and poet Christina Rossetti (1830 to 1894).

The curators add into this gang of four the figure of Elizabeth Siddal, model, artist and poet, who posed for many of the Pre-Raphaelites (most famously as Ophelia in the classic painting by John Everett Millais) but who enjoyed a lengthy relationship with Gabriel, in which they drew and painted the same subjects, copying and learning from each other. They married in 1860 at which point she became Elizabeth Rossetti and this, from a naming point of view, justifies her inclusion in the exhibition.

Christina Rossetti

The curators do something genuinely bold and interesting which is to start a major art exhibition with a room devoted almost entirely to poetry. Never seen that before. They are mostly by Christina Rossetti and are not only printed directly onto the walls in very large font size but, if you stand in places marked by signs on the floor, you can hear the poems being recited by what must be very cleverly focused loudspeakers, which seem to be addressing you and you alone.

Installation view of ‘The Rossettis’ at Tate Britain, showing Room One which features just three paintings because it is devoted to the poetry of Christina Rossetti, which are reproduced on all the walls. Photo by Madeleine Buddo © Tate

All four Rossetti children were artistic and wrote and drew from early ages, but it was Christina who had the earliest success, having a volume of 42 poems published when she was just 16, some of which were written when she was as young as 11!

Remember by Christina Rossetti

Remember me when I am gone away,
Gone far away into the silent land;
When you can no more hold me by the hand,
Nor I half turn to go yet turning stay.
Remember me when no more day by day
You tell me of our future that you plann’d:
Only remember me; you understand
It will be late to counsel then or pray.
Yet if you should forget me for a while
And afterwards remember, do not grieve:
For if the darkness and corruption leave
A vestige of the thoughts that once I had,
Better by far you should forget and smile
Than that you should remember and be sad.

This bold start does two things. One, it fulfils Tate’s feminist aims of promoting women, bringing women out from the shadow of more famous men, giving women more of a voice etc (as the promotion of Elizabeth Siddal later in the show also does). Two, it vividly demonstrates the extraordinary combination of sensitivity and sensuality which, arguably, were to be distinguishing features of the family, and especially the arch-sensualist, Gabriel.

Christina’s talent peaked with the volume containing her most famous poem, Goblin Market, of 1859. During her career she published over 900 poems, a phenomenal output. Taking five minutes to read all the works written on the walls here, and let them alter and direct your thoughts towards her strange combination of Victorian piety, with astonishing sensuality, is a rare and lovely experience.

Early sketches

The narrow but scholarly depth of the exhibition’s focus is established in the second room which contains 30 or so very early drawings and sketches by the boy Gabriel, alongside some by his sister, and two by his brother William. They demonstrate his precocious skill and his enthusiasm for original voices like William Blake and Edgar Allan Poe. Gabriel was an early devotee of the small cult of Blake, who didn’t become widely known until the 1860s. And he did numerous illustrations of Edgar Allen Poe stories and poems, notably The Raven.

The Raven by Dante Gabriel Rossetti (1848) © Victoria and Albert Museum, London

These are very uneven: some have great verve but many of them are cranky and cramped. So I suppose the idea of a progression of beautiful young girl ghosts, on the left, is well done, but nothing about the figure on the right is good, his tangled legs, the odd posture of his hands. But they’re all very interesting in a dry, scholarly way. You rarely get to see the early beginnings of a major painter in such detail and for this reason alone I found myself taking the time to study each of the sketches. I liked two sketches drawn with thick black lines which reminded me of Goya, but these were exceptions.

Man with a Woman Wearing Trousers by Dante Gabriel Rossetti (1844)

To buck the curators a bit, possibly the best things in this room are two marvellous charcoal and white chalk drawings by brother William, studies of Yarmouth beach. These far exceed in sophistication, depth and technique anything by Gabriel. And they are outdoors, giving them an airiness and lightness unlike anything by brother Gabriel. I can’t find them anywhere on the internet 😦

Gabriel’s unevenness

Maybe it’s worth making the point now, early on, that Gabriel Rossetti is strangely patchy or uneven as an artist. Many of these sketches are positively poor. What I mean is their depiction of the human frame is awkward and cranky. Gabriel’s figures are often bent at improbable or at least uncomfortable angles. His faces are sometimes smooth and angelic but sometimes angular and amateurish.

Later on there’s a room devoted to the period he spent living and working with Elizabeth Siddal, originally a model but, as this exhibition goes to great lengths to demonstrate, an artist in her own right. The curators place sketches, drawings and small paintings by Gabriel and Siddal alongside each other but I had the same experience as in Room 2 i.e. a lot of both of their work seemed to me poor, amateurish, ungainly, badly modeled figures and badly drawn faces.

The sketches introduce another theme which is how cramped and confined so much of Gabriel’s art is. At one point the curators point out that The Artist In His Study was a recurring theme of Gabriel’s work, but it’s not just the artist trapped indoors. In sketch after drawing after painting, the subject (always people, never landscapes or still lifes) has to bend over, lean in, wry their neck into the claustrophobic confines of the framing space. Almost all of his people are indoors and in a very cluttered, cramped and confined indoors at that.

All these qualities are on display in Ecce Ancilla Domini. It’s indoors; in a very cramped narrow room, emphasised by the vertical line of the narrow bed and, of course, the standing figure. Look how tightly frame it is with the picture edge right up against the left side of the angel’s gown and the red stand on the right, and the terrified woman pressed up tight against the hard cold whitewashed wall. I can barely breathe.

Ecce Ancilla Domini (The Annunciation) by Dante Gabriel Rossetti (1850)
© Tate

What’s so odd as to be barely believable is that the artist who produced these small cramped images, up to and beyond his Pre-Raphaelite phase in the late 1840s and 50s, then blossomed into the artist of the big, lush, sensual masterpieces of the 1870s and 1880s. It’s as if they were two completely different people.

The Pre-Raphaelite Brotherhood (the PRBs)

The exhibition has to cover Gabriel’s involvement with the Pre-Raphaelite Brotherhood which he founded in 1848 along with soul mates William Holman Hunt, John Everett Millais, James Collinson, Frederic George Stephens and Thomas Woolner, but it keeps it under control, as it were, not splurging but maintaining its focus on Gabriel (and to a lesser extent Christina).

This room is the one place where the curators bring in other works, by Millais and Hunt in particular, in order to explain the shared aims of the group. The idea was to reject the shadowy forms and stylised poses of the Italian Mannerist artists who succeeded Raphael and Michelangelo. The PRBs believed the classical poses and elegant compositions of Raphael, in particular, had been a corrupting influence on the academic teaching of art, hence their ambition to go back before Raphael to recapture the clean, detailed and precise style of artists who preceded the High Renaissance.

This led to a kind of super-realism where you can make out every hair on the head of the figures, where the background isn’t shady and blurred to indicate distance, but everything is seen in full detail, sparkling with a kind of universal light. This is one of the 3 or 4 paintings that the curators include as examples of the early, radical style of the Pre-Raphaelite Brotherhood, a typical selection of a medieval subject by William Holman Hunt. Note the hallucinatory clarity of every detail, of the flowers at bottom centre, the hair of the horseman on the right, the loving detail of the light reflecting on all the armour.

Rienzi vowing to obtain justice for the death of his young brother, slain in a skirmish between the Colonna and the Orsini factions by William Holman Hunt (1849) Private collection of Mrs E. M. Clarke

Realists and rebels – or inventors of a new form of escapism

A comment on the wall caption made me smile. The curators state that ‘The men and women in the Pre-Raphaelites’ circle wanted to express themselves authentically, with art and poetry based on lived experience and nature.’ Elsewhere they talk about the PRB’s commitment to depict the life of their times, and imply that this or that painting is a piercing critique of Victorian sexism, social inequality, poverty and so on. And indeed some, a very small number of paintings and drawings, can be interpreted in this way.

But a wider truth is conveyed in the wall label’s very next sentence: ‘Their paintings and writings explored stories from the Bible and medieval books that resonated with their modern lives.’ That’s closer to the mark because what comes over is the PRB’s commitment to flee the social realities of their time. The curators themselves point out how Gabriel, his family and friends sought inspiration in anything but their own time, in stories from the Bible, fairy tales, folk tales, Greek myths and legends and, above all, by escaping into a beautifully rendered and idealised version of the Middle Ages.

The Decameron, The Canterbury Tales, The Roman de la Rose, the Arthurian legends and, above all of them, a lifelong obsession the 14th century Dante Alighieri – all this was about as far away as you could possibly get from the political, economic or social life of their times.

The PRB’s speciality was escapism, and in this they followed the other poets of their day who mined John Keats’s lush sensuality to produce the medievalising monologues of Robert Browning but above all the tremulous emissions of the presiding poet of the era, Alfred Lord Tennyson. Take Browning’s poem ‘Pippa Passes’, allegedly written ‘to speak for the masses … cuffed and huffed from morn to midnight’. but whose subject, Pippa, is a silkworker who walks through the medieval Italian town of Asolo, singing and inspiring good. Or Tennyson’s log work the ‘Idylls of the King’, the king in question being King Arthur. While the British army subjugated more and more parts of the world, Britain’s poets vapoured about knights and damsels. And the Rossettis? Well, could they have made more drawings, sketches and paintings of knights in armour and damsels in distress?

Arthur’s Tomb by Dante Gabriel Rossetti (1860) © Tate

No, for actual lived experience of the mid-Victorian period the Rossettis and Pre-Raphaelites are the very last source you would consult. You would look in the novelists – the poet laureate of London, Dickens, to a lesser extent Thackeray, or the gritty novels of Mrs Gaskell with their harrowing accounts of working class life.

So taken at face value the notion that the PRBs were radicals who sought ‘authenticity’ and to depict life  with a new realism in defiance of the conventions of the society around them and of the artistic establishment represented by the Royal Academy seems nonsensical.

But maybe I’m missing the point. I think PRB fans would point out that the realism and authenticity they were seeking was an emotional and psychological realism. In the subjects of their art they fled the reality of their times to Greek legends and medieval stories in order to capture complex, fleeting, intense and evanescent emotions which the banality of day-to-day living in industrialising London seemed to crush and stifle.

Thus Gabriel’s very strange painting of Arthur’s Tomb, above, is radical in the sense that it rejects the entire tradition of Salon art, of the huge Grand Historical or Mythological Subjects promoted by the founder of the Royal Academy, Sir Joshua Reynolds, with their grand gestures and beautiful finish. Instead the characteristically cramped and claustrophobic composition, the sense that both figures are being squashed by the tee above, the awkward bending of Lancelot, Guinevere’s hand fending him off – the cramped awkwardness of the entire thing conveys a very modern, complex psychological moment, fraught with tensions.

So the flight into the Middle Ages which is enacted in painting after painting, was it a flight from contemporary reality – or was it the adoption of distant subjects the more easily to convey complex modern psychological states? Discuss.

Elizabeth Siddal

Following new research, Elizabeth Siddal’s surviving watercolours are shown in a two-way dialogue with contemporary works by Gabriel, exploring modern love in jewel-like medieval settings. As a working­ class artist who was largely self-taught, Elizabeth’s work was highly original and inventive, but has often been overshadowed by her mythologisation as a tragic muse (see, for example, this BBC article, The tragedy of art’s greatest supermodel).

According to the curators Siddal and Gabriel’s work together marks a turning point from Pre-Raphaelitism to the new, more imaginative and expressive Aesthetic style which emerged in the 1870s.

Lady Affixing Pennant to a Knight’s Spear by Elizabeth Eleanor Siddal (1856) © Tate

Aestheticism – Gabriel’s second revolution

There’s such a huge difference between Gabriel’s often clunky, cramped compositions of the 1850s and the huge, gorgeous flowing masterpieces of the 1870s that it’s as if they’re by two completely different people. The curators clarify that, a generation after helping found the Pre-Raphaelite Brotherhood, Rossetti was at the epicentre of a second great artistic revolution, this time the Aesthetic Movement with its credo ‘Art for Art’s Sake’.

He went on to lead a new avant-garde group even more influential than the Pre-Raphaelites: the aesthetic movement. This would change ideas, art and design around the world.

Already in 1864 the hazy light, colour and heavy symbolism of Beata Beatrix looked forward to the Aestheticism and the international Symbolist movement later in the century.

Gabriel’s portraits [in the later 1860s and 1870s] reflected the aesthetic movement’s ideals of ‘art for art’s sake’ and a new modern beauty. He adapted the likenesses of working-class women of unconventional appearance, notably model Alexa Wilding, into fantasies of enchanting femininity. Inspired by Renaissance portraiture and mythological texts, these sensual portraits suggested touch, sound and scent as well as vision. They emphasised the pleasure of form and colour, looking ahead to the abstract art of the following century.

This is the thinking behind the final two rooms which amount to an orgy of spectacular Rossetti classics.

Installation view of ‘The Rossettis’ at Tate Britain, showing Room Seven which features ten stunning paintings from Rossetti’s sensual prime. Photo by Madeleine Buddo © Tate

We learn about the art collector Frederick Leyland who owned the three paintings in the photo above plus two more which are hanging nearby. He displayed all five in the drawing room of his mansion at Princes Gate, London, and the exhibition features a contemporary photograph to prove it. Apparently it’s the first time all five paintings have been reunited in one space since Leyland’s heyday in the 1880s.

Originally from a modest background, Leyland rose to run one of the largest transatlantic shipping companies of his day. Because they see it as their job to take every opportunity to remind us of woke and feminist issues, the curators tell us that much of Leyland’s trade was based on the cotton that fed textile manufacturing in northern British towns and that the cotton came from the American South where exploitative labour continued long after the abolition of slavery.

Leyland used the money he made from his business to become a key figure in the aesthetic movement, transforming his Liverpool and London homes into palaces of modern art. It was Leyland who commissioned The Beguiling of Merlin by the Pre-Raphaelite painter Edward Burne-Jones and commissioned the architect Thomas Jeckyll and the American ‘aesthetic’ painter James McNeill Whistler to decorate his dining room, a commission which resulted in the Peacock Room, considered one of Whistler’s greatest works. A really key figure, then, and purchaser of some of Gabriel’s most stunning and sensuous portraits of beautiful, strong-jawed, thick-necked, frizzy-haired aesthetic beauties.

Monna Vanna by Dante Gabriel Rossetti (1866) © Tate

The femme fatale

Uneasy with these lush and opulent depictions of sensual, semi-erotic women, the curators take refuge in a familiar feminist trope. This is the notion that some of Gabriel’s paintings in his mature late style are of femmes fatales. This allows the curators to take refuge in familiar tropes about sexual objectifying of women and gender stereotyping and male anxiety about female sexuality, the usual shopping list.

Gabriel engaged with the idea of the dangerous, sexualised ‘fatal woman’ or the ‘femme fatale’. This usually negative figure of feminine power responded to Victorian anxieties about social change. It became a popular fantasy figure towards the end of the century, and persists in literature and art today.

Persists in literature and art today? Tut tut. And despite all the brave attempts of feminist curators to change the world. Shame. Sometimes I wonder how old art curators think their readers are. 10?

The kind of painting we’re talking about is Gabriel’s depiction of Lady Lilith. The ancient story has it that Lilith was Adam’s independent-minded first wife who he put away and replaced with Eve. In revenge, Lilith seduced and persuaded the serpent to tempt Eve which led to Adam and Eve’s expulsion from Eden’s bower and the fall of mankind. Naughty Lilith.

Lady Lilith by Dante Gabriel Rossetti (1866 to 1868) Delaware Art Museum, Samuel and Mary R. Bancroft Memorial, 1935

If you allow yourself to get worked up about millennia-old stories this is obviously a sexist trope designed to demean and blacken independent women everywhere. For those not so easily upset, it’s a pretext for a staggeringly sensual painting, rich in details of fabric, hair and flowers. Doesn’t look much like a denizen of prehistoric Mesopotamia, does she? Desert, snake, tree? The picture could, frankly, be given the name of almost any woman from myth and legend and make as much sense.

In fact, my view would be that this is a painting about money and luxury. These are the kind of extraordinarily richly coloured, beautifully detailed, dreamily luxurious images of extremely attractive women which Gabriel sold by the cartload to mega-rich patrons like Leyland. It is a luxurious depiction of luxury for those rich enough to live in luxury.

The magic of exhibitions like this is that we poor peasants, for the hour or so that we spend strolling round masterpieces like this, are also lifted into a realm of luxury, beauty, sensuality that has never existed with this kind of other-worldly perfection but which we, for a tenner, can for fleeting moments, enter and inhabit. The scent of the roses! The texture of that silk dress! The luxury of those endless tresses!

Lilith poem

As we’ve learned, Gabriel and many of his friends and lovers often wrote poems about the subjects they were painting or painted their poems, the two art forms interpenetrating. Thus next to this amazing painting there’s a striking sonnet by Gabriel. If you stand in the right spot (on one of the signs on the carpet) you magically trigger a reading of the poem in the lugubrious tones of actor Bill Nighy.

Lilith by Dante Gabriel Rossetti

Of Adam’s first wife, Lilith, it is told
(The witch he loved before the gift of Eve,)
That, ere the snake’s, her sweet tongue could deceive,
And her enchanted hair was the first gold.

And still she sits, young while the earth is old,
And, subtly of herself contemplative,
Draws men to watch the bright web she can weave,
Till heart and body and life are in its hold.

The rose and poppy are her flowers; for where
Is he not found, O Lilith, whom shed scent
And soft-shed kisses and soft sleep shall snare?

Lo! as that youth’s eyes burned at thine, so went
Thy spell through him, and left his straight neck bent
And round his heart one strangling golden hair.

The slightly knotty syntax takes a couple of readings to get quite straight (it took me a couple of goes to understand the importance od ‘not found in the 9th line) but then, wow. You could argue the slight entanglement of the lines deliberately mimics the strangling effect of Lilith’s golden hair.  Maybe. Presumably Lilith’s hair is golden in the poem because ‘golden’ sounds good, but orange-auburn in the painting because orange is such a dramatic and deeply luxurious colour as, for example, in Frederick Leighton’s famous painting, Flaming June.

Special attractions

Curators not only need a theme or pretext with which to concoct an art exhibitions but score extra points if they can come up with rare or unique or special features that make the show extra-special. The curators of this exhibition have excelled themselves with four or five of these ‘special features’ to look out for / be impressed by.

1. The wallpaper

Dante Gabriel Rossetti’s previously unrealised work as a designer is brought to life in The Rossettis. A wallpaper he designed 160 years ago has been created for the first time especially for Tate Britain’s exhibition. Intended to decorate the home that Dante Gabriel shared with Elizabeth Siddal after their marriage, the artist sketched and described the design for this unusual wallpaper in close detail but ever, it was never put into production and only existed as a drawing until now.

Now Tate Britain has worked with illustrator and designer llyanna Kerr to bring Rossetti’s design to life. The design depicts a grove of apple trees at dusk, with stars appearing in the deep blue sky above, in a style that looks forward to the Art Nouveau movement at the end of the 19th century.

Installation view of ‘The Rossettis’ at Tate Britain, showing Room Five which showcases a wallpaper designed by Gabriel but never produced in his lifetime. Photo by Madeleine Buddo © Tate

And it’s not just wallpaper. This room also includes some big bits of furniture, namely a Rossetti-related cabinet, chair, and sofa.

Installation view of ‘The Rossettis’ at Tate Britain, showing King René’s Honeymoon Cabinet (photo by the author)

King René’s Honeymoon Cabinet (1861)

J.P. Seddon (1827 to 1906) designed this architect’s desk, including the metalwork and inlay, in 1861 for his own use. Seddon had the desk made at his father’s cabinet-making firm. He also commissioned ten painted panels depicting the Fine and Applied Arts from Morris, Marshall, Faulkner & Co. Ford Madox Brown, who also designed the panel representing ‘Architecture’, suggested the overall theme. The ‘Painting’ and ‘Sculpture’ panels were by Edward Burne-Jones, while Gabriel was responsible for ‘Music’ and ‘Gardening’. Morris designed the decorative background for each panel. (Text from the V&A article about the cabinet.)

Installation view of ‘The Rossettis’ at Tate Britain, showing chair and sofa designed and decorated by Gabriel (photo by the author)

The chair and sofa

The conspicuous consumption that characterised fashionable Victorian interior design did not suit Elizabeth and Gabriel’s ideal of a more authentic life. They sought out and adapted furniture that was basic and true to its materials and methods of making. They found beauty in handcraft rather than elaborate ornamentation and liked open, gracefully turned wood.

Gabriel collaborated with William Morris’s design firm to create rush-seated chairs like the one on display here, and this early-19th-century style sofa for his and Elizabeth’s home. On the sofa backrests are insets representing Love, the Loving or Lover, and the Beloved, painted by Gabriel.

Honeysuckle wallpaper

The big blue wallpaper isn’t the only one created specially for this exhibition. Room 8 has a wall covered in honeysuckle wallpaper made specially for this exhibition. It’s based on an embroidered hanging designed by William Morris and sewn by Jane Morris. Jane, her sister Bessie and her daughters May and Jenny played a key creative role in the making of textiles and embroideries for the family firm Morris & Co. This collective approach makes it difficult to identify individuals’ work. We know Jane was embroidering Honeysuckle around the end of Gabriel’s life. The finished embroidery was exhibited at the first Arts and Crafts exhibition in 1888.

Installation view of ‘The Rossettis’ at Tate Britain, showing the honeysuckle wallpaper in Room Eight. Photo by Madeleine Buddo © Tate

The blue wallpaper, the closet and the sofa had one overwhelming impact on me which was to get rid of them. ‘Chuck out your chintz’ as the old Ikea ad had it. This was precisely the kind of heavy, dark, wooden, over-decorated clutter which the Modernist designers of the Bauhaus had to reject in order to create the modern, clean, simple design aesthetic of the twentieth century. It has great historical interest, and kudos to Tate for recreating it, but I cordially disliked all of it.

2. A handwritten poem

A handwritten poem by Gabriel is exhibited for the first time, on loan from the University of Delaware Library, Museums and Press. Entitled The Portrait, this is believed to be one of the pages which were buried with Elizabeth Siddal’s body in Highgate Cemetery in 1862. The coffin was later exhumed in October 1869 to retrieve the pages when Gabriel was preparing to publish his first collection of poetry. The manuscript shows his frantic revisions ahead of its publication, including editing out some of the more sensual lines like ‘our hair had to be untangled when we rose’.

The poem describes the ability of a portrait painting to inspire memories of an absent lover and bring her to life. It is closely associated with Gabriel’s iconic painting of Elizabeth, Beata Beatrix, which was created at the time of the poem’s retrieval, seven years after her death. The two are now brought together in this show, and their paring is typical of the way both Gabriel and Elizabeth conceived of poems accompanying paintings and paintings made to accompany poems.

Beata Beatrix by Dante Gabriel Rossetti (1864) © Tate

3. Three Proserpines brought together

Tate’s famous Rossetti painting of Jane Morris as the mythological figure Proserpine has been brought together with two later paintings of the same subject, both on loan from private collections. They reveal the artist’s obsessive attention to detail and his fondness for revision and experimentation, developed over multiple versions spanning many years. The languid yet studied pose, and the amazing finish of the dress, went on to influence many modern artists who wanted to express emotion in art through colour and shape.

Proserpine by Dante Gabriel Rossetti (1874) © Tate

Gabriel first began depicting Jane as Proserpine around the time they became lovers in 1870. Her sadness and longing for the summer months is perhaps intended to evoke the time Jane and Dante Gabriel are not able to be together. The painting is also a study in melancholy, a subject the two often spoke about. The exhibition includes a book on the subject, Robert Burton’s famous ‘Anatomy of Melancholy’, which Dante Gabriel gave to Jane as a Christmas present in 1873. An ink drawing of her, intended for her eyes only, was hidden inside.

4. Portrait of Fanny Eaton

The exhibition is a rare opportunity to see one of Gabriel’s finest drawings. On loan from Stanford University in California, this portrait of Fanny Eaton is one of a series of portrait studies of working-class professional models whose likenesses reappear in paintings throughout the exhibition. Eaton was one of the most successful and sought-after of these models, often shown by other artists in expressive and dramatic roles, but Rossetti here depicts her in a private moment of quiet thought. It is one of the finest images in the show.

Born in 1835 in Surrey, Jamaica, probably the daughter of an enslaved mother, Eaton came to Britain after abolition and set up home with James Eaton, a coach driver. She bore him 10 children who she continued to provide for on her own after James died in his 40s. Her grave in Margravine Cemetery, Hammersmith, was finally marked with a headstone 6 months ago, followed by a blue plaque on her last home near Shepherd’s Bush.

Head of a Young Woman [Mrs. Eaton?] by Dante Gabriel Rossetti (1863 to 1865) © Cantor Arts Center, Stanford University

The Eaton study appears in a fascinating room, Room Six, which is devoted to just one painting, The Beloved.

The Beloved (‘The Bride’) by Dante Gabriel Rossetti (1866) © Tate

To quote the curators:

Gabriel’s composition for ‘The Beloved’ was inspired by Renaissance artist Titian’s painting ‘Woman with a Mirror’ (1515) conceived as a Venus figure surrounded by many mirrors. He adapted this into an image inspired by the biblical ‘Song of Solomon’, about a young woman meeting her bridegroom, surrounded by attendants. In his eyes, the seven figures represented a universal vision of female beauty’. Created at a time when Britain was more connected to the globe through travel and colonial expansion, ‘The Beloved’ is Gabriel’s only oil painting to include models of colour. The work was conceived during the American Civil War (1861 to 1865) when newspapers debated universal freedom and the liberation of Black people enslaved in the Southern US states. The figures, flowers and accessories in the painting are appropriated from cultures around the world, particularly those from Asia and North Africa. They represent an ‘orientalist’ fantasy which mis-imagined these areas as archaic, exotic and interchangeable.

There you have a good example of the censorious, scolding tone of modern art scholarship. The purpose of devoting a room to this one painting is that the curators have assembled Gabriel’s preparatory sketches for each of the six heads which appear in the finished painting. It’s in this context that the stunning Head of a Young Woman appears a study of Mrs Eaton who appears in the final work as the third head from the left, with a completely different expression.

Thus there’s also a study of the black boy at the front of the painting. We don’t know his name but, as you can imagine, the Tate curators are super-alert to all the possible negative implications of his appearance:

Little is known of this boy, a visitor to London. Gabriel met him outside a hotel. Children had few rights in Victorian times. In this case, Gabriel negotiated the boy’s modelling work with an American described as his ‘master’, suggesting he was a student, servant or born into slavery. His gaze engages the viewer strongly, but Gabriel’s main intention was aesthetic. He wanted a model with what he described as ‘pure’ African heritage to add a different skin tone to the composition [giving him a] decorative and dehumanising role…

They go on to say something which slightly puzzled me:

Little is known of the boy’s experience of sitting. Gabriel is believed to have said he was both playful and tearful, and wondered whether he missed his mother. Where the girl models were drawn clothed, the boy was required to pose partly undressed. This may have contributed to his discomfort, expressed, perhaps, in the serious gaze. For the artist, the nudity objectified his appearance, displayed his dark skin and removed him from the present to the archaic fantasy space.

The bit that puzzles me is the idea that just this one boy, because he is black, has suffered a unique and grievous crime in being removed ‘from the present to the archaic fantasy space.’ Hang on. Haven’t the other four models been just as removed ‘from the present to the archaic fantasy space’? In fact, a moment’s reflection suggests that pretty much every model who ever posed for Gabriel and his friends was removed from the gritty realities of 1860s London and magically recreated in, the generally medieval, ‘fantasy space’.

I was genuinely puzzled why this ‘removal to fantasy space’ is absolutely fine and not worthy of comment on the hundreds and hundreds of occasions when it happens to white models, but troubles the curators so much that they comment on it in two separate captions, when the subject is black.

5. Rarely seen photographs of Elizabeth Siddal’s lost drawings

After Elizabeth Siddal’s death, Gabriel collected her drawings, had them photographed, printed and pasted into albums. Three pages of these albums are on display for the first time in this exhibition, on loan from the Ashmolean Museum in Oxford. Many of the original drawings have since been lost, such as her evocative depictions of the knight’s enchantment with the femme fatale from Keats’ poem ‘La Belle Dame Sans Merci’. New research into these drawings has revealed the ‘call and response’ of ideas between Elizabeth and Gabriel, with poses she used in her work reappearing in his later work.

The inclusion of these dozen or so photos of Siddal drawings is important to the curators because it furthers their deep aim of boosting women in art, in this particular instance adding just that bit more evidence to their case for the importance of Elizabeth Siddal, as an artist in her own right, and as a creative partner with Gabriel. They’re not, to be honest, anything special, but I appreciate where the curators are coming from.

Summary

I’m not a particular fan of the PRBs nor of Rossetti but, even as a semi-sceptic, I was blown away. This is a lovingly assembled, deeply intelligent and learned exhibition, beautifully designed and laid out, which includes many fascinating digressions and diversions, before leading up to the final rooms packed with staggering masterpieces. Wonderful. Amazing.

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Saint Francis of Assisi @ the National Gallery

‘If you want to be perfect, go, sell what you have and give to the poor’.
Gospel of Matthew, chapter 19, verse 21

Given that it’s free, this exhibition about the life and legacy of Saint Francis of Assisi (1182 to 1226) is surprisingly extensive, stretching over seven rooms packed with paintings, prints and sculptures.

Having sauntered round it twice and read all the wall labels, it dawned on me that it is not really a review of the saint’s life and legacy. There is very little about the historical or theological context of his day, about the state of the papacy and Catholic church at the end of the twelfth and start of the thirteenth century. There’s a sketchy timeline of the saint’s life but not a lot of detail about his teachings and beliefs (he espoused total poverty and valued all aspect of nature as bespeaking the glory of God). There’s not really anything about the impact of the saint’s beliefs on broader Catholic doctrine, and nothing about the complex 800-year history of the Franciscan Order which, a glance at the Wikipedia article suggests, actually consists of several orders, each with a complex history.

The impressive wall frieze at the entrance to the exhibition, made entirely of plastic and artificial materials

From scanning the introduction panels to each room and reading the captions to all the paintings, I learned that:

  • saint Francis was exceptionally pious
  • he emphasised Christ’s teachings about poverty (he came to be known in his time as il poverello)
  • his choice of vocation led to arguments with his father who on several occasions beat him
  • he tamed a ferocious wolf which had been terrorising the inhabitants of the town of Gubbio
  • he wrote a short letter to his friend, Brother Leo
  • he travelled to the Holy Land where, improbably enough, he met the Sultan of Egypt
  • four years before his death the stigmata or the same wounds suffered by Jesus on the cross, appeared on his body, obviously staggering his colleagues
  • towards the end of his life, already ill, he composed a hymn or canticle to the Sun

Not exactly a rich harvest of information, and with little or no historical context. The kind of richly historical exhibition the curators imagine their show to be would be better staged at the British Museum, and would involve a lot more historical documents and context, about church, doctrine, popes etc.

No, what this exhibition really consists of is something distinctly different, which is a review of how saint Francis has been depicted in art from his own time to the present day. If you go expecting to be thoroughly instructed about his life and relevance, I think you’d be sorely disappointed. Instead, I think the way to approach the show is as an excursion, a Cook’s tour, a fascinating stroll through the evolution and changing styles of Western art as represented by works on this one particular subject, this one historical figure.

The show includes over 40 works of art from European and American public and private collections, ranging from medieval painted panels, relic-like objects, medieval manuscripts, paintings, sculptures and even a Marvel comic.

Francis’s theology I could take or leave and mostly left, but what I found engaging was comparing the drastically different means and techniques and conceptualisations of art over pretty much the entire history of western art and featuring works by a who’s who of western art, including Botticelli, Caravaggio, El Greco, Zurbarán, Fra Angelico, Altdorfer, plus a gaggle of 19th and 20th century British artists.

Life of Saint Francis

Quoted from the National Gallery press release:

Francis was born to a prosperous silk merchant. He lived the typical life of a wealthy young man, but his disillusionment with the world around him grew. Events such as his traumatising experience of war, imprisonment, and an extended illness caused him to reassess his life. A mystical vision of Christ in the church of San Damiano and his encounter with a leper were life-changing moments. He renounced all his possessions, inheritance, and patrimony, and embraced the life of a penitent following in the footsteps of Christ, establishing the order of Friars Minor. In 1224 he received the stigmata (wounds that appear on a person’s body in the same places as those made on Christ’s body when he was crucified). These events contributed to the spread of his popularity as a preacher, peacemaker, a champion of the poor, early environmentalist, and social radical. Just two years after his death, in 1226, he was canonised (i.e. made a saint).

Francis’s life and miracles lent themselves to image making and were a great source of inspiration to artists. Apart from those appearing in the New Testament, Francis is probably the most represented saint in the history of art. The popularity of the Franciscan movement grew hand in hand with the rapid spread of imagery – by some of the greatest artists – recounting his likeness and legend. Art historians have estimated that as many as 20,000 images of Francis, not even including those in illuminated manuscripts, might have been made just in the century after his death.

Human nature

The single funniest thing in the show is the fact that although, by the time of his death in 1226, his followers were preaching his message all over Europe, Francis had already resigned the leadership of his order, dismayed by the increasingly worldly and materialistic turn it was taking as it became a pillar of the established Church.

Exactly. All attempts at reforming nature are always defeated by pragmatism and compromise and inertia and then laziness and then greed and institutionalisation and grand churches and rich paintings and rituals and ceremonies and pilgrimages and medals and so on – until the idea of standing quietly listening to the birds is left far, far behind.

13th century

From his native Umbria, Saint Francis’s image spread rapidly to become a global phenomenon. This was helped by the proliferation of biographies written by, among others, Thomas of Celano and Saint Bonaventure. In the 1290s, Giotto and his collaborators painted frescoes in the Upper Church of the Basilica of San Francesco in Assisi recounting the saint’s life, which changed the course of European painting. Many other artists depicted the saint within decades of his death, in that pre-Renaissance style which is so reminiscent of Eastern Orthodox art.

A ‘vita-retable’ is an altarpiece showing a central image of a saint flanked by episodes from his life and posthumous miracles. Here’s one from just 25 after Francis’s death.

Vita-retable of Saint Francis, about 1253 © Photographic archive of the Sacred Convent of S. Francesco in Assisi

Manuscripts

I love medieval manuscripts, for the awesome manual labour that went into them, as symbols of survival through the cataclysms of history, and for the sweet and charming illustrations you often find in them.

The exhibition not only includes some lovely old hand-written medieval books – notably, the ‘Chronica maiora’ of Matthew Paris (from the Parker Library, Corpus Christi, Cambridge) – but the curators have usefully pulled out and blown up some of the illustrations. I liked the curators’ identification of the birds in the illustration at bottom left, as being a crane, a heron, a hawk and some songbirds. What songbirds? Thrushes, maybe?

Details from the Chronica maiora II by Matthew Paris (1240 to 1255) © Parker Library, Corpus Christi College Cambridge (photo by the author)

Franciscans

As the popularity of the Franciscan movement grew, so did the numbers of Friars Minor, as Francis called his followers, who spread across Europe. They established friaries, built ever-larger Franciscan churches and commissioned pictorial decoration that venerated their founder, instigating a flowering of artistic and architectural production in the runup to the Renaissance.

15th century

One of the most celebrated visual biographies of Saint Francis was created by Stefano di Giovanni di Consolo, known as il Sassetta (1392 to 1450). In 1437 he was commissioned to create an altar-piece for the church of San Francesco in Borgo San Sepolcro. The National Gallery owns seven panels from the monumental double-sided altarpiece and devotes a room to displaying them in narrative order (they are missing the eighth panel and centrepiece).

Saint Francis meets a Knight Poorer than Himself (on the left) and Saint Francis’s Vision of the Founding of the Franciscan Order (on the right), from the San Sepolcro Altarpiece by Sassetta (1437 to 1444) © The National Gallery, London

The Counter-Reformation room

The Counter-Reformation was the Catholic Church’s response to the Protestant Reformation of the first half of the 16th century. It began with the Council of Trent (1545 to 1563) and is considered to have lasted through to the end of the European wars of religion in 1648.

The Counter-Reformation sought to redefine Catholic dogma and reform the hierarchy of the Church. It was accompanied by a new strictness of doctrine and organisation, associated with the revival of religious inquisitions in Italy and especially Spain. Spanish spiritualism developed a dark intensity which matched the authoritarian tendency of church and state. Religious painting and architecture achieved new heights of sophistication and were made on a grander scale than ever before, literally designed to awe and impress believers.

And so there’s a room devoted to this style of gloomy, intense and lachrymose religiosity, which includes paintings by masters from the period including Zurbarán, Caravaggio, Murillo and El Greco. I heartily loathed them all. I appreciate the technical mastery of Zurbarán but am repelled by its world of morbid shadows, mortification and self-loathing. Saint Francis loved the sun and the moon and preached to birds and beasts in the sunny Italian countryside. This figure, his face half-hidden, clutching a skull, represents the exact opposite, a world of darkness and death.

Saint Francis in Meditation by Francisco de Zurbarán (1635 to 1639) © The National Gallery, London

When the curators tell us that “approximately 135 paintings of Francis by El Greco and his collaborators survive, reflecting Spanish devotion to the saint” they obviously see this as an achievement, whereas I see it as sinister.

Victorian anecdote painting

There’s a section featuring lovely, detailed, hyper-realistic Victorian paintings of incidents in the life of the saint. These include Saint Francis of Assisi and the Heavenly Melody (1904) by a painter I don’t think I’d heard of before, Frank Cadogan Cowper, who is described as the last Pre-Raphaelite painter; and the much drabber ‘Brother Francis and Brother Sun‘ by Giovanni Costa (1875 to 1885).

The standout work is this detailed, hyper-realistic narrative painting based on the legend of the wolf of Gubbio by French painter Luc Olivier Merson. There’s an entertaining ‘Where’s Wally’ enjoyment to be had from picking out the countless artfully conceived and beautifully painted details.

The Wolf of Gubbio by Luc Olivier Merson (1877) Musée des Beaux-Arts, Lille © RMN-Grand Palais (PBA, Lille) / René-Gabriel Ojeda

Early 20th century

Bonkers but charming, Stanley Spencer is the Milton Jones of English artists. After the Great War (in which he served in the ambulance service) Spencer withdrew to the small village of Cookham on the River Thames, where he painted scenes of everyday life, striking nudes of himself and his wife and lovers, and numerous works showing scenes from Christian narratives, but taking place in the homely, domestic settings of his little hometown. And so here he is, reimagining Saint Francis, looking like the artist’s grandad and wearing his dressing gown and slippers, walking down Cookham High Street accompanied by a very English gaggle of chickens and songbirds.

St Francis and the Birds by Stanley Spencer (1935) Tate, London © Estate of Stanley Spencer. All rights reserved 2023 / Bridgeman Images (photo: Tate)

I’ve walked several times from Maidenhead to Cookham just to visit the Stanley Spencer Gallery there, and gone on pilgrimage to his headstone in Cookham graveyard. I know it’s nowhere near as much of an awesome work of art as the Zurbarán, but I find more of the Franciscan spirit of modesty and love in one work by Spencer than in the entire Counter-Reformation.

Contemporary art

Arguably, the modern works are the most successful, certainly the most striking and take us to a completely different place from the medieval altarpieces. For example, landscape artist Richard Long is represented by three works, A Walk for Saint Francis (2022), River Avon Mud Crescent (2023) and Desert Flowers (1987). In May 2022 Long spent a week in solitude walking and camping on Mount Subasio, the mountain rising above Assisi that provided Francis with an early refuge. ‘A Walk for Saint Francis’ derived from this experience. It is not a painting at all but a circle of words, of phrases, which capture the experience, such as ‘Watching night turn to day’ and ‘Watching the Earth turn’. Whereas ‘River Avon Mud Crescent’ is what it says in the title, a big circle on the wall, suggesting the crescent moon, and made from daubs of mud from the River Avon.

Installation view of Saint Francis of Assisi with ‘River Avon Mud Crescent’ on the left and ‘A Walk for Saint Francis’ on the right (photo by the author)

Oddly, there hadn’t been any sculptures of Francis through the classic eras of Western art. Only in the modern era do we come across not one but two. One is by Antony Gormley and is, typically, a cast of his own body. According to the wall label, it’s based on Giovanni Bellini’s painting ‘Saint Francis in the Desert’, complete with holes in his hands, feet and chest, referencing the tradition of Francis’s stigmata –but, like all Gormley’s sculptures, it is really a kind of everyman figure, this time everyman as devout believer.

Installation view of ‘Untitled (for Francis)’ by Antony Gormley (1985) Tate © Antony Gormley (photo by the author)

Vying with the Gormley for most striking sculpture, is this work, ‘Albero Porta – Cedro’ (‘Door Tree – Cedar’) by Italian artist Giuseppe Penone. Within the old tree, battered by generations of sun and rain and snow, lies concealed the secret inner soul of the tree, its youthful spirit, just as inside each of us cynical old adults still lies the fresh hopeful child of nature. I warmed to this even before the wall caption told me that Penone is a member of the Italian Arte Povera movement who sought to make art out of everyday material (and whose name, of course, echoes the nickname and concerns of il poverello).

Installation view of ‘Door Tree-Cedar ‘by Giuseppe Penone (2012) Gagosian and Marian Goodman Gallery © Giuseppe Penone (photo by the author)

There’s another Arte Povera work, ‘Sacco‘ (Sack) by Alberto Burri (1953), consisting of fragments of coarse hessian sack overlaid on each other and bound in a simple wooden frame. The single red wound gaping through a circle torn in the sacking presumably symbolises Francis’s stigmata but I found it all too realistic and stomach-churning.

There are two striking series of black and white prints. One is a series of lithographs by Arthur Boyd (1965). The Australian Arthur Boyd was living in London when he made 16 lithographs illustrating the life of Francis for an edition of T.S.R. Boase’s biography of the saint.

In a space to itself is an impressive set of black and white woodcuts on paper, made in 2016 by Andrea Büttner and titled ‘Beggars’. Nine hooded figures, reduced to the simplest possible outline of cloth and hands, are shown sitting with their arms outstretched in supplication. A source for the series was a book from 1510 which was, contrary to the spirit of Francis, a warning against dishonest and abusive mendicants. (The photo below, by the way, is from some other exhibition and is not how they’re displayed here.)

Beggars Suite 1 to 9, by Andrea Büttner (2016) © DACS 2023

Elsewhere, Büttner has an interesting big print showing tiers of birds, ‘Vogelpredigt (Sermon to the Birds)‘ which riffs off an altarpiece from Santa Croce, Florence, which was a very early cycle of images depicting the saint’s life.

Mass media

In the final room are some examples of how Francis has been portrayed in 20th century mass media, namely movies and, believe it or not, comics.

Saint Francis movies

A big monitor plays scenes from some of the post-war movies made about Francis, namely:

  • The Flowers of St. Francis (1950) directed by Roberto Rossellini
  • Brother Sun, Sister Moon (1972) directed by Franco Zeffirelli
  • Francesco (1989) directed by Liliana Cavani

Film, as a medium, is the ultimate instrument of consumer capitalism in reducing all facts, narratives and events to the same palatable product, to the same half dozen formulae, shoehorned into the same three-act structure, all loose ends neatly wrapped up in a nice bow in under two hours.

Comic books

The idea for the 1980 Marvel comic ‘Francis, Brother of the Universe’ came from two Franciscans who approached Marvel’s representative in Tokyo. If you think about it, like so many Marvel superheroes, Francis was a seemingly ordinary man with extraordinary capabilities (albeit given from God). The cover art shows a collage of our man in a series of characteristic scenes: preaching as a youth in the marketplace; leading crusaders; thrown before the initially scornful Sultan of Egypt; greeting the sun and the doves of peace; meeting the Pope or some such eminence. Shame they didn’t go on to do the kind of crossover story which Marvel excels at: Saint Francis calms The Hulk. Saint Francis persuades Thor to hand over his hammer and talk to the trees.

Installation view of ‘Francis, Brother of the Universe’ by Marvel Comics (1980) © Disney. All rights reserved (photo by the author)

Saint Clare

A small section of the exhibition is dedicated to Saint Clare (1194 to 1253), one of the first followers of Francis. Following her death, the order she founded was renamed the Order of Saint Clare, commonly referred to today as the Poor Clares. Her/their story is represented in works like:

  • Giovanni da Milano’s ‘Christ and the Virgin Enthroned with Six Saints’ (1350s)
  • Giovanni di Paolo’s ‘Saint Clare Rescuing a Child Mauled by a Wolf’ (1455 to 1460)
  • Josefa de Óbidos’s ‘Nativity Scene with Saint Francis and Saint Clare’ (1647)

Francis’s nature worship

Much is made of Saint Francis’s nature worship. The curators say he believed that nature itself was the mirror of God. He called all creatures his ‘brothers’ and ‘sisters’, preached to the birds and supposedly persuaded a wolf in the Italian town of Gubbio to stop attacking the locals. He saw God reflected in nature. In the hymn he composed – ‘Canticle of the Sun’ – he gives God thanks for Brother Sun, Sister Moon, Brother Wind, Water, Fire, and Earth and they print a full translation of the Canticle on the gallery wall. Here it is in the translation given on the Catholic Agency for Overseas Development website:

Most High, all-powerful, all-good Lord,
all praise is yours, all glory, honour and blessings.
To you alone, Most High, do they belong;
no mortal lips are worthy to pronounce your name.

We praise you, Lord, for all your creatures,
especially for Brother Sun,
who is the day through whom you give us light.
And he is beautiful and radiant with great splendour,
of you Most High, he bears your likeness.

We praise you, Lord, for Sister Moon and the stars,
in the heavens you have made them bright, precious and fair.

We praise you, Lord, for Brothers Wind and Air,
fair and stormy, all weather’s moods,
by which you cherish all that you have made.

We praise you, Lord, for Sister Water,
so useful, humble, precious and pure.

We praise you, Lord, for Brother Fire,
through whom you light the night.
He is beautiful, playful, robust, and strong.

We praise you, Lord, for Sister Earth,
who sustains us
with her fruits, coloured flowers, and herbs.

We praise and bless you, Lord, and give you thanks,
and serve you in all humility.

Surely this is a long way short of pantheism and Nature worship. It is, quite explicitly, the Lord God who Francis is praising – just as any priest of his time would – and the sun and moon and wind and fire and so on are emphatically not praised, or addressed, in their own right, but only insofar as they demonstrate the benevolence and all-powerfulness of the Creator. The feeling for nature is there, but only as a sin-off from the deep worship of the Lord God.

Projecting our values

At several places the curators assert that Francis speaks to us, now, in 2023, of very contemporary ‘concerns’, and list some of these, such as ‘interfaith dialogue’, environmental concern and feminism. They claim that ‘Saint Francis of Assisi continues to be an attractive and inspirational figure for’:

  • both Christians and non-Christians
  • for pacifists and environmentalists
  • for those who clamour for social justice
  • for utopians and revolutionaries
  • for animal lovers
  • for those who work for causes of human solidarity

Or:

Francis’s powerful appeals for peace and human solidarity, his encounter with Islam and his embryonic environmentalism continue to hold great interest. He is considered by many to be a patron saint, or an ally, of causes related to social justice, interreligious dialogue, socialism, feminism, the animal-rights movement and ecology, among others.

The exhibition was co-curated by the Director of the National Gallery, Dr Gabriele Finaldi, who joins in with his variation on the list of Francis’s fabulous qualities:

‘Francis’s spiritual radicalism, his commitment to the poor and human solidarity, his love of God, nature and animals, which we might call embryonic environmentalism as well as his striving for peace between enemies and openness to dialogue with other religions, are themes that still resonate with us today and make him a figure of enormous relevance to our times.’

But it’s my view that all this discourse consists of us projecting our own modern concerns back onto this remote medieval figure. Moreover, all this high-minded projection has the unintended consequence of highlighting how irrelevant Francis is to our modern day.

Poverty No modern Christian believes in God with the same wholeheartedness Francis was capable of. No Christian whatsoever is prepared to sell everything they possess, give all the proceedings to the poor, and become a mendicant beggar for God. Do you know anyone who’s done that? No.

Interfaith Although faith leaders in the West like to talk about dialogue between religions, it’s not clear that happens much on the ground here and, globally, dividing lines between the secular West, Muslim Middle East and Africa, and Hindu India have hardened, with astonishing levels of sectarian violence taking place around the world.

Pacifism Pacifists are irrelevant in an era when Russia has invaded Ukraine and threatens the rest of Europe, while analysts worry about China attacking Taiwan.

Environmentalism is sweet and lovely for the middle classes who can afford to fret about such things and shop at farmers’ markets, but irrelevant to most people who, in recent years, have been struggling to keep a roof over their heads and food on the table, who can’t afford electric cars and have no time to lobby for clean energy. When I worked at a distribution centre a couple of years ago, you should have heard the packers and supervisors yelling abuse at Just Stop Oil activists gluing themselves to the road or tube trains. Meanwhile, every single indicator of environmental wellbeing and climate change is deep in the red and getting worse.

Social justice Francis may have clamoured for social justice, just as millions of the kind and well meaning have done for the 800 years since: but the outcome of all this clamour is that today, in 2023, over a billion people worldwide live on less than a dollar a day, while all western societies are more unequal and unfair than at any time in the last 50 years.

In other words, Francis can, with some justice, be taken as the patron saint of lost causes.

I find the high-falutin’ sentimental sentiments of the wall labels so much cant (defined as ‘sanctimonious talk, typically of a moral, religious, or political nature’) where ‘sanctimonious’ is defined as ‘making a show of being morally superior to other people’. It is a discourse of feel-good bromides, where ‘bromide’ is defined as ‘a trite statement that is intended to soothe or placate’.

The National Gallery was, as usual, packed to overflowing with educated, middle-class people, many of whom were obviously tourists i.e. had travelled long distances, probably in environment-destroying airplanes, and spent a lot of money to be here. Outside the National Gallery I walked past a clutch of filthy dirty, wretched-looking vagrants, sleeping rough with their dogs. I gave each of them a pound. “Clamouring for social justice”, my arse.


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Executions @ the Museum of London Docklands

For over 700 years London was the scene of public executions, a practice which wove itself into the city’s history and popular culture. This excellent and imaginatively designed exhibition at the Museum of London Docklands explores all aspects of public executions in London, using a combination of artifacts, letters, informative videos, songs and voices, paintings, engravings and caricatures, and some really gruesome exhibits.

Above all, it is amazingly comprehensive – it touches on all the aspects of the subject I’d expected beforehand but goes on to explore all kinds of nooks and crannies I’d never have thought of. I’d never thought about the effort some condemned prisoners put into being well dressed for their trip to the gallows. Well, the exhibition tells the stories of condemned men and women who went to great lengths to look their best on their death day, and even has the fine dress and fancy suit worn by a female and male executionee:

  • on the left, the ‘white muslin gown, a handsome worked cap and laced boots’ worn by Eliza Fenning who was hanged for attempting to poison her employers
  • to the right, the ‘superb suit of white and silver, being the clothes in which he was married’ worn by Laurence Shirley, Earl Ferrers, was hanged on 5 May 1760 for the murder of his steward John Johnson, whom he shot in a rage

Final clothing section in the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

(The door on the right of this photo is one of the three doors you had to pass through to enter Newgate Prison. The architect George Dance thoughtfully positioned swags of chains and shackles over the main entrance door at Newgate to terrify and intimidate new prisoners.)

I’d never thought about what happened to the bodies of the hanged after their execution. Turns out that from the mid-16th century the bodies of executed criminals were given to the Company of Barber-Surgeons and the Royal College of Surgeons for dissection and medical research. The thought of being dissected filled the condemned with horror. Fights could break out at executions as friends and family of the deceased would attempt to stop the surgeons claiming bodies. In the same spirit I had no idea that life sized casts of the heads of the executed were often made – there’s a selection of them on display here, which, as the nineteenth century progressed, were used to study ‘criminal’ physiognomy. Alternatively, the casts of notorious criminals were kept in a special display at Newgate where they could be viewed by visitors, who included Charles Dickens.

Death masks at the ‘Execution’ exhibition at the Museum of London Docklands © Museum of London

I knew that broadsheets and leaflets were often sold at executions which claimed to give the last speech of the condemned man, along with a ballad poem describing his fate – but I’d never had the opportunity to read some of these before. Ditto the last letters condemned men wrote to their loved ones. There’s not only letters but rings and coins sent by those condemned to transportation instead of execution in the mid-nineteenth century.

I knew that prisoners in gaol were often shackled but I don’t think I’ve seen a collection of the different types of handcuffs, shackles and ‘waist belts’ used for this purpose on display before. Apparently the weight of shackles prisoners were manacled with sometimes meant they could barely move. As well as direct punishment of the prisoner, the sound of all this metalwork clanking through the echoing vaults of the grim prisoner had a demoralising and terrifying psychological effect on other inmates. The practice of routinely keeping prisoners shackled in irons ceased in the 1820s.

Shackles and handcuffs used in Newgate Prison at the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

I’ve certainly never seen a real actual gibbet before and I didn’t know that they didn’t come in a standard size, but that a gibbet ‘tailor’ took the corpse’s measurements and built the gibbet to perfectly fit. In line with the state of the art interactivity of the exhibition, the display of this real-life gibbet had a gruesome audio soundtrack with the noise of flies buzzing round the rotting corpse.

Wrought iron gibbet cage from ‘Executions’ at the Museum of London Docklands © Museum of London

I was at first puzzled why the gibbet was so elaborate but realised that a lifeless body would flop in all directions unless its limbs were very strictly compassed and controlled. The effect can be seen in this illustration of the body of the notorious pirate Captain Kidd.

Captain Kidd, gibbeted near Tilbury in Essex, following his execution in 1701

More criminals were gibbeted in the greater London area than elsewhere in the country. The bodies of murders and highwaymen were gibbeted on heaths located on the outskirts of London and main highways into the capital, especially on the wide open Hounslow Heath which became famous for the number of gibbets.

Capital punishments

Between the first recorded execution at Tyburn in 1196 and the last public execution in 1868, there were tens of thousands of executions in London. Nobody knows the precise number because records weren’t kept before the 18th century.

Right at the start there’s a wall-sized video which shows a scrolling list of all the offences which carried the penalty of capital punishment. By the end of the 18th century some 200 crimes were punishable by death in a list which became known as the ‘Bloody Code’. London’s courts condemned more people to die than those in the rest of the country combined.

Scrolling list of capital offences at the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

Types of execution

Most ordinary criminals were hanged. More florid ways of being despatched were reserved for VIPs.

1. Drawing, hanging and quartering

An ancient punishment for treason, the prisoner was ‘drawn’ or dragged from prison to the execution site, hanged until they were nearly dead, then castrated, disembowelled, beheaded and cut into quarters. Thee practice continued into the 19th but by then prisoners were hanged first and then beheaded.

there’s a vivid engraving of the fate of the Gunpowder Plotters who, after being found guilty in 1606, were publicly executed over two days in St Paul’s Churchyard and Old Palace Yard, Westminster, where they were dragged by horses through the streets, hanged, castrated, disembowelled and cut into pieces.

2. Burning

In 1401 an Act of Parliament made burning the punishment for heresy. It aimed to ‘strike fear into the minds’ of people who questioned the teachings of the church. Women convicted of murdering their husbands or counterfeiting could also be burned to death. By the 18th century they were strangled first.

The exhibition features illustrations of the Protestant martyrs burned at the stake at Smithfield. Over 280 religious dissenters were burned at the stake during the five-year reign of Mary I, known as ‘Bloody Mary’. Besides Smithfield others were burned to death at Stratford-le-Bow, Barnet, Islington, Southwark, Uxbridge, Westminster and throughout England.

Woodcut depicting John Rogers, the first of the ‘Marian martyrs’, being burned at the stake in Smithfield (1555)

3. Boiling

Death by boiling was a rare punishment. In 1531 a cook named Richard Roose poisoned the porridge of the household of Bishop John Fisher, causing two deaths. Henry VIII was so disgusted he declared this crime treason and Parliament passed the ‘Acte for Poysoning’ ordering those who murdered by poison to be boiled to death. Roose was boiled at Smithfield. Eleven years later Margaret Davies suffered the same fate for poisoning four people. Edward VI abolished this execution method in 1547.

4. Beheading

Members of the nobility condemned for treason were often beheaded out of respect for their high status, rather than suffering the agony and humiliation of drawing, hanging and quartering. Most beheadings took place in public on Tower Hill before a large crowd.

5. Hanging

Most ordinary criminals were executed by hanging. There appear to have been two methods. Initially the condemned were placed under a gallows (in the very early period just a tree) standing on a cart. A rope was noosed round their neck and the cart slowly pulled away by horses or oxen till the condemned fell off the back of it and was left dangling. This could be a fairly slow, excruciating death. Laster the ‘short drop’ method was introduced, where the condemned stood on a raised platform and, with the flick of a handle, a trapdoor opened underneath them, dropping them through and making it more likely their neck would snap with the sudden ratchet of the noose. But both methods were far from foolproof and family members or the executioner often pulled the legs of the hanged person to speed up their death.

Places of execution

In the City of London you are never more than 500 metres from a former place of execution. London was packed with them. Early on in the exhibition there’s a useful wall-sized video, with a bench to sit and watch it, which shows maps of London from early medieval times onwards, showing not only ow its street plan grew and developed (interesting in itself) but where the ever-growing number of places of execution were sited (indicated on the maps by entertaining ochre blotches of blood).

1. Smithfield

In the medieval and Tudor periods Smithfield was used for various public purposes, including a livestock market, fairs and executions, as in the burning of the Protestant martyrs mentioned above.

2. Tyburn

Tyburn stood slightly to one side of the current position of Marble Arch at the north-east tip of Hyde Park. It served as London’s principal site of execution for around 600 years. The earliest account records the execution of William FitzOsbert in 1196. Until the late 18th century it was a semi-rural location, easy to get to and easy for crowds to assemble and watch the spectacle.

A huge amount of popular tradition and iconography grew up around the public hanging of criminals at Tyburn. The exhibition contains umpteen engravings and pictures, stores and facts, not least about the carnivalesque atmosphere which reigned along the route of carts transporting convicted criminals from Newgate Prison, via St Giles’s-in-the-Fields church and then along what is now Oxford Street. Many of the condemned went to their execution drunk, in fact it became customary for the cart to stop off at a pub at St Giles where the executioner and victim shared a last pint of beer. This became known as ‘the St Giles Bowl’.

Bernard Mandeville wrote that ‘all the way from Newgate to Tyburn, is one continued Fair, for whores and rogues of the meaner sort.’

In 1961 construction began on new pedestrian subways by Marble Arch and the excavators found large quantities of human bones around the site of the Tyburn gallows which archaeologists presume are the remains of the executed who were buried where they died.

Execution at Tyburn by Thomas Rowlandson (1803)

A lot of slang and catchphrases grew up about the place. The scaffold was known as ‘the Tyburn tree’. To ‘take a ride to Tyburn’ (or simply ‘go west’) was to go to one’s hanging. The ‘Lord of the Manor of Tyburn’ was the public hangman while ‘dancing the Tyburn jig’ was the act of being hanged because of the wriggling, dancing movement of the hanged in their last moments.

The last execution at Tyburn was of John Austin, a highwayman, on 3 November 1783.

3. Newgate

With the closure of Tyburn London’s public executions moved to the open space in front of the rebuilt Newgate Prison. This was to be London’s principal site of public execution for the next 85 years until public executions were discontinued in 1868.

The move meant the end of the great public procession from Newgate to Tyburn. It was an assertion by the authorities of their control over the timing and atmosphere of the executions. The Newgate scaffold featured two beams with capacity for up to 12 hangings.

Newgate Prison itself closed in 1902. The demolition of one of London’s most iconic buildings aroused considerable public interest and relics of the prison were sold at auction. A keystone from the main doorway is on display here, as is one of the heavy wood-and-metal doors (see first photo).

4. Horsemonger Lane

Public executions at Horsemonger Lane in Southwark took place on the roof of the gatehouse, making them highly visible to spectators.

5. Tower Hill

A small number of noble men and women, soldiers and spies were privately executed within the walls of the Tower of London. Many more – at least 120 between 1388 and 1780 – were executed in public on Tower Hill. Beheadings and hangings, were common enough for the ‘posts of the scaffold’ to become a landmark. It was here that Thomas, Earl of Strafford, a key ally of Charles I, was executed on 12 May 1641, as part of the political divisions which opened up before the outbreak of civil war the following year.

6. Execution Dock

On the Thames near Wapping, Execution Dock was used for more than 400 years to execute pirates, smugglers and mutineers who had been sentenced to death by Admiralty courts. The ‘dock’ consisted of a scaffold for hanging. The last executions there took place in 1830. Just up the river at Blackwall Reach where it bends bodies of convicts were gibbeted so as to be more visible to boats entering the city.

7. Charing Cross

Public executions took place at Charing Cross in the 16th and 17th centuries. A pillory that locked the head and hands of a criminal into a wooden frame for public humiliation was later erected at the site.

8. New Palace Yard and Westminster Hall

The area around the Palace of Westminster was used for public executions, the display of body parts and pillorying criminals.

9. Kennington Common

From at least 1678 until 1800 Kennington Common was the principal execution site for the county of Surrey.

The execution and embowelling of Jacobite rebels on Kennington Common mid to late 18th century)

10. Cheapside

Temporary gallows were erected on several occasions at Cheapside between the 14th and 17th centuries. They were in place for over 100 days in 1554 following the execution of two rebels involved in a Protestant uprising against Mary I.

Ordinary criminals and reprieves

The exhibition contains the story of what feels like 50 or so ordinary criminals, whose names are preserved for some or other aspect of their crime or their trial or their plea for pardon or the way they died. One by one their pitiful stories build up into an upsetting profile of the generally poor and wretched who committed often petty crimes and went to their deaths miserably.

As the number convicted of capital offences rose in the later 18th century the number of reprieves increased, if only to manage down the number of executions which threatened to swamp the system. The exhibition features letters written by the condemned, their friends and relatives and influential contacts. I like the story of the Dane Jørgen Jørgenson, who was convicted in 1820 of robbery but managed to get a letter to the Duke of Wellington for whom he had worked as a during the Napoleonic wars. The exhibition includes a letter from the Duke pardoning Jørgenson on condition he ‘transports’ himself out of the country.

The most famous victim: Charles I

Probably the most famous execution ever to take place in London was not of a common criminal or aristocratic traitor but of the king himself, namely Charles I, brought to trial by the Puritan junta and found guilty of treason against his own people. The exhibition devotes a large case to his execution, on 31 January 1649, with several contemporary illustrations and a number of artefacts said to be linked to it, namely a pair of royal gloves he was said to have taken with him, and even the silk undershirt he insisted on wearing to prevent him shivering with cold (it was January in London) which, he told his attendant, Sir Thomas Herbert, might be misinterpreted as fear.

Later on in the exhibition there are several objects pertaining to the punishment of his killers. 59 leading Puritan generals and MPs signed the king’s death warrant and so came to be known by their enemies as the ‘regicides’. On his Restoration in 1660, Charles II had special agents arrest any of the regicides living in England and track down those who had fled abroad and assassinate them.

Three of the leading regicides, Oliver Cromwell, John Bradshaw and Henry Ireton, had already died of natural causes and been buried at Westminster Abbey, but in 1661 Charles’s Cavalier Parliament ordered their bodies to be exhumed, executed and decapitated. Their heads were displayed on poles outside Westminster Hall. Cromwell’s head remained there until 1685.

The most famous criminal: Jack Sheppard

John ‘Jack’ Sheppard was convicted of robbery in 1724, aged 22. Sheppard was one of London’s greatest criminal heroes. Notorious for escaping multiple times from Newgate, he became a symbol of freedom for London’s working classes. An apprentice carpenter, Jack fell into a life of thieving, reputably led astray by ‘bad company and lewd women’. Although eventually executed at Tyburn at the age of 22, his effrontery and skill in challenging authority ensured his story was recounted in popular books and plays for generations. The artist James Thornhill paid one shilling and sixpence to visit him in his cell to draw this portrait.

Portrait of Jack Sheppard by Sir James Thornhill (1724)

In the 1850s the campaigning journalist Henry Mayhew discovered that ‘chapbooks’ recounting Sheppard’s exploits were hugely popular in low lodging houses, where they were read aloud to illiterate youths. He interviewed 13 boys who confessed to thieving in order to pay for a theatre ticket for the  current play about Jack’s life.

The most famous executioner: Jack Ketch

In 1685, the Duke of Monmouth, illegitimate son of Charles II, led a rebellion to seize the throne from his uncle, James II. The rebellion was defeated, Monmouth was captured, condemned for high treason and beheaded on Tower Hill. Despite asking to be killed with one clean blow, Monmouth’s executioner, Jack Ketch, made a right monkeys of the procedure, failing to despatch the Duke after two strikes with an axe and being forced to resort to a knife to cut through the neck while the Duke made a grim effort to rise from the block to the horror of onlookers. As a result of this heroic failure Ketch’s name became infamous and, eventually, became a byword for public executioners, who, by and large preferred to keep their identities secret.

Transportation

A final section of the exhibition explains how crimes which had previously resulted in execution were amended to ‘transportation’ to the colonies, generally meaning Australia. In fact the first convicts transported out of England had been despatched as long ago as 1718, when they were sent to America to supply plantations there with labour. Thus Moll Flanders, heroine of Daniel Defoe’s 1722 novel, is convicted of a capital offence but gets it commuted to transportation to British America.

Transport to America ended when that country became independent in 1776 but, as luck would have it, just a few years earlier (in 1770) Australia had been discovered and provisionally mapped by Captain James Cook. Between 1788 and 1868 over 160,000 convicts were sent to Australia from England and other parts of the Empire.

The exhibition includes a few paintings of the first settlement, which are fairly predictable – but I had never heard about ‘convict tokens’ before. Apparently, convicts awaiting transportation presented loved ones with smoothed coins engraved with messages of affection. Often created by prisoners skilled in metalwork, for a fee, the tokens could be highly decorative and became known as ‘leaden hearts’. Half a dozen examples are on display here.

A convict’s love token from the ‘Executions’ exhibition at the Museum of London Docklands © Museum of London

The campaign to abolish public executions

The advent of Queen Victoria to the throne in 1837 marked a sea change in social attitudes. The young queen consciously rebelled against the louche morals of her rakish predecessor, William IV. She wanted a chaste, sober court and her high moral tone and sincere Anglicanism set the style for the new reign among the aristocracy and aspiring upper middle classes. There was a general wish to make all aspects of public life more respectable and, in time, the new mood extended to the utterly disreputable practice of public executions, with all their opportunities for immorality of every description which this exhibition has chronicled.

In 1840 William Makepeace Thackeray attended the execution of the Swiss valet François Courvoisier, executed for murdering his master, Lord William Russell. He wrote that ‘I feel myself ashamed and degraded at the brutal curiosity which took me to that brutal sight…I came away…that morning with a disgust for murder, but it was for the murder I saw done.’

In 1849 Charles Dickens had attended the execution of Maria and Frederick Manning and wrote a furious letter to The Times criticising the ‘inconceivably awful behaviour’ of the crowd. Describing public execution as a ‘moral evil’, he doubted communities could prosper where such scenes of ‘horror and demoralisation’ could take place.

Prison reform had been an issue since the start of the nineteenth century and combined with the campaign to abolish public executions. The exhibition cites the MP Thomas Hobhouse in 1866 arguing that the spectacle, instead of instilling fear of crime and respect for the law, resulted in the crowds who became ‘hardened and literally acquired a taste for blood.’

The exhibition features a powerful satirical cartoon published in Punch magazine mocking the commercialisation of state executions. The scaffold is a theatrical stage with a sign for ‘opera glasses’ and a booth selling tickets while the mixed crowd is worked by hawkers and costermongers. ‘Ere’s lots o’ the rope which ‘ung the late lamented Mr Greenacre, only a penny an inch!’

The Trial for Murder Mania, illustration for Punch, 1850

After several attempts to move a bill in Parliament, the Capital Punishment Amendment Act was finally passed in 1868 public executions in Britain were officially banned. The last person to be publicly executed in London was the Irish republican Michael Barrett, on 26 May 1868. Three days later the practice was outlawed.

But it wasn’t the abolition of the death penalty, though. Another century was to pass before that occurred. Only in 1965 was the death penalty for murder in Britain suspended for five years and in 1969 was this made permanent. And it wasn’t until 1998 that the death penalty in Britain was finally abolished for all crimes. The last people executed in the UK were Peter Allen and Gwynne Evans on 13 August 1964.

Amnesty International

Things take a very earnest turn at the end of the exhibition with a large video screen showing an interview with Paul Bridges from Amnesty International. He reminds us that 55 countries still retain the death penalty (although, admittedly, many have not used it for some time). Nonetheless, Amnesty International recorded 579 executions in 18 countries in 2021.

Summary

This is an outstandingly interesting, comprehensive, thought-provoking, sometimes funny, but mostly grisly and gruesome exhibition, beautifully staged, with absorbing interactive elements. You have two more weeks to catch it.


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The Pharsalia by Lucan – 2: Summary

In this book-by-book summary of Lucan’s Pharsalia, I started with the short text summaries provided by Wikipedia, pasted in the section summaries provided by A.S. Kline’s online translation, and then added my own observations.

Book 1 The civil war begins (695 lines)

After a brief introduction lamenting the idea of Romans fighting Romans there is a flattering dedication to Nero (‘to me you are already divine…you alone grant power to Roman verse’). Considering that Nero had Lucan killed, some critics read this as deeply ironic. But Susan Braund (translator of the Oxford University Press edition of the Pharsalia) sees no reason to. Before their falling out, while he was writing the early books of the poem, they were close friends and the first part of Nero’s reign was seen by many as ideal, peaceful and just.

The narrative summarizes background material leading up to the present war and introduces Caesar in northern Italy. Despite an urgent plea from the Spirit of Rome to lay down his arms, Caesar crosses the Rubicon, rallies his troops and marches south to Rome, joined by Curio along the way. The book closes with panic in the city, terrible portents and visions of the disaster to come.

Lines 1 to 32: The ruinous nature of civil war on earth and chaos in the heavens

33 to 66: Sycophantic homage to Nero, saying that if it took a civil war to produce such a wise and good emperor, then maybe it was worth it

67 to 97: The motives of the two leaders

98 to 157: Comparisons, Pompey the old oak tree and Caesar the unstoppable bolt of lightning

158 to 182: The hidden causes of the war, namely Rome’s wealth and decadence, bribery and corruption

183 to 227: Despite a vision of Italy as a weeping woman, Caesar denies her accusations and crosses the Rubicon

228 to 265: Caesar’s entry into Ariminum whose citizens lament that they are the first stopping point for all invaders

266 to 351: The exiled tribunes: Curio’s speech whips Caesar up to a speech detailing his grievances against Pompey and the Senate

352 to 391: The troops hesitate but are convinced by the speech of Laelius, the chief centurion

392 to 465: Caesar gathers his forces

466 to 525: Rumour triggers panic in Rome which is cowardly abandoned by its population

526 to 583: Ghosts and portents, anarchy in heaven, terrify the world

584 to 637: The soothsayer Arruns reads the future in the rotten entrails of a sacrificed bull and predicts disaster

638 to 672: Figulus reads the prophecies in the heavens

673 to 695: Apollo inspires a Roman matron in a frenzied vision to see the locations of all the forthcoming battles and bloodshed

Book 2 Pompey flees Italy (736 lines)

In a city overcome by despair, an old veteran presents a lengthy interlude regarding the previous civil war that pitted Marius against Sulla. Cato the Younger is introduced as a heroic man of principle; as abhorrent as civil war is, he argues to Brutus that it is better to fight than do nothing. After siding with Pompey—the lesser of two evils—he remarries his ex-wife, Marcia, and heads to the field. Caesar continues south through Italy and is delayed by Domitius’ brave resistance. He attempts a blockade of Pompey at Brundisium, but the general makes a narrow escape to Greece.

Lines 1 to 66: In Rome women beat their breasts in lamentation and men wish they were fighting Rome’s enemies not each other

67 to 138: An elder gives a detailed account of Marius’s career i.e. flight, then vengeful bloody return to Rome

139 to 233: The same elder recalls Sulla’s victory and vengeance against the Marian party, recalls seeking the body of his murdered brother, the Tiber was clogged with corpses

234 to 285: Marcus Junius Brutus the Younger visits Cato and makes a long speech

286 to 325: Marcus Porcius Cato the Younger’s speech of reply: wherever fate leads, virtue must follow without fear; he wishes his death could unite the enemies

326 to 349: Marcia knocks on the door; she has come from burying her husband, Hortensius, and wants to remarry Cato in order to share his tribulations

350 to 391: So Marcia and Cato marry on the spot, with Brutus as witness, but Lucan emphasises Cato’s stern devotion to duty and Rome above personal reward or pleasure

392 to 438: Pompey bases himself at Capua, with an extended geographical description of the city’s location among the Apennine mountains

439 to 461: Caesar advances into Italy

462 to 525: Commander after commander abandons his post and cities fall before Caesars advance, with the noble exception of Domitius who tried to defend Corfinium, before being given up his soldiers and then ignominiously granted clemency by Caesar (the fate Cato is determined to avoid)

526 to 595: Pompey’s speech to the army defending his cause against Caesar’s ‘pitiful madness’ and listing his many triumphs

596 to 649: But little applause follows his speech, and Pompey leads his troops to Brindisi, which is given an extended geographical description, like Capua, above; he sends his son and envoys to raise allies in Greece and the East

650 to 703: Caesar lays siege to Brindisi

704 to 736: Pompey escapes Brindisi, taking his fleet across the Adriatic to Illyricum

Book 3 War in the Mediterranean (762 lines)

As his ships sail, Pompey is visited in a dream by Julia, his dead wife and Caesar’s daughter. Caesar returns to Rome and plunders the city while Pompey reviews potential foreign allies. To protect his read Caesar heads for Spain, but his troops are detained at the lengthy siege of Massilia (Marseille). The city ultimately falls in a bloody naval battle.

Lines 1 to 45: Pompey’s vision of Julia, his previous wife, daughter of Caesar, who bound the two rivals together until her early death in 54 BC

46 to 83: Caesar sends officers to secure the grain supply from Sicily and Sardinia, then marches on Rome

84 to 140: While the senators are ignominously summoned to the House to hear Caesar, the tribune Lucius Metellus defends the treasury with his life

141 to 168: Metellus is pushed aside and the cumulated treasury of the ages seized

169 to 213: A long list of cities in Greece and Asia Minor who send men to Pompey

214 to 263: The Middle East and India rally to Pompey

264 to 297: The Black Sea and North Africa rally to Pompey – these three sections comprise a massive list of tribes and cities and peoples on the model of the List of Allies in the Iliad, itself copied in the Aeneid

298 to 357: speech of the Greek inhabitants of Marseille opposing Caesar, arguing to remain neutral

358 to 398: Caesar blockades Marseille, throwing up an enormous earthwork

399 to 452: Caesar destroys the sacred grove

453 to 496: Caesar leaves for Spain but the siege of Marseille continues, Roman siege techniques described in detail

497 to 537: The Greek inhabitants of Marseille mount a successful sortie so the Romans initiate a naval battle

538 to 582: The fleets engage with a vivid description of grappling irons, hand to hand fighting and thousands of soldiers dying in the sea, hit by random arrows, javelins, fire and sinking ships

583 to 634: The death of Catus, Telo, Gyareus, the mutilated twin

635 to 669: The death of Lycidas, the man skewered by two prows meeting

670 to 708: The death of Phoceus, who drowned many before hitting the keel of a ship, many more drown, are crushed, transfixed

709 to 751: Lygdamus, a Balearic sling-thrower, blinds Tyrrhenus who, in turn, throws a javelin which kills Argus, whose father is so distraught he stabs himself then jumps overboard – the focus on gruesome anatomical details recalls the Iliad

752 to 762: Lamentation of the women and parents of Marseille as they embraced mangled corpses or fought over headless bodies to place on funeral pyres

Book 4 Caesar victory in Spain

The first half of this book describes Caesar’s victorious campaign in Spain against Afranius and Petreius. Lucan then switches scene to focus on Pompey, his forces intercept a raft carrying Caesarians, who prefer to kill each other rather than be taken prisoner. The book concludes with Curio launching an African campaign on Caesar’s behalf, where he is defeated and killed by the African King Juba.

1 to 47: Caesar attacks the base of the two Pompeian leaders in Spain, Lucius Afranius and Marcus Petreius, but his soldiers, fighting uphill, are thrown back

48 to 120: Caesar’s camp is flooded, interesting because of the extended description of the geography of Spain and the causes of heavy rain and, after the flooding, the famine

121 to 156: The campaign is renewed: Caesar builds bridges across the river Sicoris, prompting Petreius to abandon the heights of Ilerda and head for central Spain

157 to 207: The two armies camp within sight of each other and this prompts many to call out then go and meet friends on the other side; Lucan praises the god Harmony, soon bitterly to be broken

208 to 253: Angry, Petreius gives a speech rousing his troops in the name of the Senate and Pompey and Freedom, whipping them up to attack the friends of Caesar’s army who had come among them, bloodshed, horror

254 to 318: Afranius loses the moral high ground with this action; Caesar pursues his army to high ground, with no water, and there surrounds it, ordering his army to resist attacks and wear the trapped enemy down from extreme thirst

319 to 362: Worn down by privations Lucius Afranius surrenders with a dignified speech

363 to 401: Pompey’s army in Spain disbands and immediately quench their thirst at the river Caesar had prevented them reaching; they are lucky, banned from fighting they will see out the long civil war in peace

402 to 447: Conflict in Dalmatia, where Gaius Antonius’s Caesarian force builds rafts to escape the island of Curicta

448 to 528: One of these rafts, bearing 600 Caesarians commanded by Vulteius, is surrounded by Pompeyan forces; as night falls Vulteius makes a long speech advocating their noble suicide

529 to 581: Vulteius and his men commit suicide

582 to 660: The myth of Hercules and Antaeus i.e. their legendary wrestling match

661 to 714: Pompey’s African army under Varus i.e. another long list of allied tribes and peoples; Caesarian Curio determines to throw his army against Varus

715 to 787: King Juba’s army lures Curio into an ambush, surrounds and massacres the Romans

788 to 824: How jarring that Pompey’s side could only triumph by pleasing the shades of Hannibal and the Carthaginians with a north African defeat of Roman legions; lament that so noble a figure as Curio was corrupted by the degenerate times to take Caesar’s shilling and inflame civil war

Book 5 Caesar in Illyria (815 lines)

The Senate in exile confirms Pompey the true leader of Rome. Appius consults the Delphic oracle to learn of his fate in the war, and leaves with a misleading prophecy. In Italy, after defusing a mutiny, Caesar marches to Brundisium and sails across the Adriatic to meet Pompey’s army. Only a portion of Caesar’s troops complete the crossing when a storm prevents further transit; he tries to personally send a message back but is himself nearly drowned. Finally, the storm subsides, and the armies face each other at full strength. With battle at hand, Pompey sends his wife to the island of Lesbos, despite her protests.

1 to 70: The consul Lentulus addresses the senators in exile in Epirus, telling them wherever they are, that is the Roman state; the senators appoint as allies the kings who have rallied to their cause

71 to 101: History of the oracle of Apollo at Delphi and speculation about how it works, what god lies buried deep in Mount Parnassus and speaks through the priestess

102 to 140: History of the oracle’s most famous predictions and why it was shut down; Appius Claudius tries to reopen the shrine, Phemonoe, the priestess, tries to resist him

141 to 197: The priestess pretends to prophesy but Appius realises she is faking and pushes her towards the chasm until she is possessed by Apollo and delivers a genuine prophecy which is that Appius will escape the storms of war

198 to 236: Further description the wild frenzy the priestess had been thrown into, then lament that Appius, like so many others, misread the oracle to mean that he was safe, when what it really meant was his premature death

237 to 299: Caesar’s troops on the verge of mutiny: given a long speech which displays Lucan’s skill at suasoria

300 to 373: Caesar quells the mutiny, exposing his chest to them, daring them to mutiny; but Lucan says shame on him for delighting in a war his own men condemn; Caesar more or less calls his men scum:

The gods will never stoop so low as to care about
the lives or deaths of such as you; events depend
on the actions of great men: humankind lives for
the few.

374 to 402: While his armies assemble at Brundisium Caesar hurried to half-empty Rome where has himself declared dictator; Lucan laments that this age ‘invented all the false titles that we have granted our masters for so long’

403 to 460: Arriving back at Brundisium Caesar finds the sea beset by storms; he persuades his fleet to set sail but, ironically, once out of sight of land it is becalmed; next morning a wind picks up and blows Caesar’s fleet to Paeneste

461 to 503: Caesar impatiently summons Mark Antony with the rest of his fleet and army

504 to 576: Caesar dresses in disguise and visits the hut of a humble fisherman, Amyclas, and persuades him, against his better judgement, to take him across the sea to Italy

577 to 637: Then the seas blow up into a real storm which Lucan with hyperbole describes as nearly drowning the entire world, till Jupiter intervenes

638 to 677: Exulting, Caesar defies the storm, saying its epic force matches his world-shattering ambition, at which point a freak wave carries the little boat back to shore and flings him safely on the beach

678 to 721: Next morning the troops in Caesar’s camp reproach him for risking his life without them; the sun comes out and Mark Anthony beings the rest of Caesar’s fleet over from Italy to Nymphaion

722 to 760: Pompey tells his wife Cornelia that Caesar’s army has landed in Illyria and so he is sending her to Lesbos for her own safety

761 to 815: Cornelia’s gives a long speech in which she laments that Caesar is forcing her and Pompey’s marriage to come to an end, laments that she won’t be with him (Pompey) when the great battle occurs, if Pompey is defeated would rather know the news at once so she can kill herself if he dies; then she packs hurriedly and is taken down to the ship to Lesbos; next night she sleeps alone in an alien bed – but Fate held worse in store

Book 6 Thessaly and Erictho the witch (830 lines)

Pompey’s troops force Caesar’s armies – featuring the heroic centurion Scaeva – to fall back to Thessaly. Lucan describes the wild Thessalian terrain as the armies wait for battle the next day. The remainder of the book follows Pompey’s son Sextus, who wishes to know the future. He finds the most powerful witch in Thessaly, Erictho, and she reanimates the corpse of a dead soldier in a terrifying ceremony. The soldier predicts Pompey’s defeat and Caesar’s eventual assassination.

Lines 1 to 27: Pompey moves to seize the town of Dyrrachium

28 to 63: Caesar hems Pompey in by building a vast fortification around his army; Lucan laments at so much effort expended for such a futile end

64 to 117: Both camps afflicted: horses die and illness spreads in Pompey’s camp, while Caesar’s men begin to starve

118 to 195: The super-heroism of the centurion Scaeva who single-handedly rallies Caesar’s troops when Pompey’s army attempts a breakout at Minicius

196 to 262: More of Scaeva’s superhuman resistance, fighting single-handed against a wall of enemies till his mutilated face is one mass of bleeding flesh; the arrival of Caesarian reinforcements puts the Pompeyans to flight, and only then does Scaeva collapse. But, Lucan asks, what was it all for?

But you can never adorn the Thunderer’s shrine
with your trophies, nor will you shout for joy
in the triumph. Unhappy man, how great your
bravery that merely paved the way for a tyrant!

263 to 313: Pompey attacks at points along the perimeter wall; at one of them Caesar counter-attacks but then Pompeyan forces charge from all sides; the civil war might have ended there in total defeat for Caesar except that Pompey ‘restrained his army’ and Caesar’s army regrouped and fought its way clear; Lucan laments the lost opportunity and lists all the disasters which would follow:

Cruel fate! Libya and Spain would not have mourned for
the disasters at Utica and Munda; neither would the Nile,
defiled by vile bloodshed, have borne that corpse nobler
than a Pharaoh’s; King Juba’s naked body would not have
burdened the African sand, nor Metellus Scipio appeased
the Carthaginian dead with his blood; nor the living have
lost their virtuous Cato. That day might have ended your
ills, Rome, and erased Pharsalia from the scroll of fate.

314 to 380: Caesar strikes camp and marches east into the interior, into Thessaly

381 to 412: Extensive description of the geography and legendary history of Thessaly or ‘the accursed land’ as Lucan calls it (see above)

413 to 506: The armies follow then camp near each other with a growing sense of Fate, that this is where the Great Confrontation will take place; but Pompey’s son, Sextus, wants to know more and, as it happens, his side have camped ‘near the dwellings of those Thessalian witches whom no conjuring of imaginary horrors can outdo’; a very long passage about their supernatural powers, especially to affect rain and tides, the oceans and even the earth’s rotation

507 to 568: An extended description of the wickedness of Erictho who is the worst witch ever

569 to 623: Erictho is pointed out to Sextus by a local guide, sitting on a high cliff, casting spells unknown to wizards in order to keep the armies at Pharsalus and make the great massacre happen here; Lucan blames Erictho for magically making the armies stay here; she’s doing this so that she can use the blood and bones and body parts of the dead soldiers in her magic rites

624 to 666: Erictho picks a corpse off the battlefield and drags it to her terrifying cave where she ties her hair with snakes and prepares to bring it back to life

667 to 718: Erictho invokes the infernal powers with tremendous power, at considerable length

719 to 774: Erictho raises the dead body to life to prophesy

775 to 830: The prophecy of the dead

Book 7 Pompey loses the Battle of Pharsalia (872 lines)

The soldiers are pressing for battle, but Pompey is reluctant until Cicero convinces him to attack. Against all the odds, the Caesarians are victorious, and Lucan laments the resulting loss of liberty. Caesar is especially cruel as he a) mocks the dying Domitius and b) forbids the cremation of the dead Pompeians. The scene is punctuated by a description of wild animals gnawing at the corpses and a lament from Lucan for Thessalia infelix, ill-fated Thessaly.

Lines 1 to 44: Pompey dreams that he is in Rome enjoying the cheers of his victories in Spain against Sertorius in 73 BC; he would have been happy if he had died at that moment; unlucky Rome, never to see him again

45 to 86: Cicero’s speech summing up the general mood, asking why Pompey is delaying battle

87 to 130: Pompey’s reply, pointing out that he is slowly winning and counselling patience, lamenting that he is being forced into a confrontation he will lose

What evil and suffering this day will bring
the nations! How many kingdoms will be ruined!

131 to 184: Omens and portents

185 to 214: The augur’s cry

215 to 234: Pompey deploys his army, including many foreign kings (Gauls and Spanish)

235 to 302: Caesar addresses his men, pointing out most of Pompey’s army is made of foreigners who care nothing for Rome

303 to 336: Continuation of Caesar’s speech in which he associates Pompey with Sulla, and says if that if the Caesarians lose, he, Caesar, will kill himself rather than be taken in chains to Rome to be punished in the Forum; his army tramples down their camp and trench and throw themselves into battle formation

337 to 384: Pompey addresses his men

385 to 459: The effects of the Battle of Pharsalia: Lucan attributes all Rome’s subsequent failings, the loss of an entire generation, the failure to expand the borders of empire, all to this fateful day:

The fields of Italy are tilled by men in chains, no one
lives beneath our ancient roofs, rotten and set to fall;
Rome is not peopled by citizens; full of the world’s
dross we have so ruined her, civil war among such
is no longer a threat. Pharsalia was the cause of all
that evil.

460 to 505: Battle is joined

506 to 544: Caesar destroys Pompey’s cavalry who Lucan depicts as mostly ill-disciplined foreigners and barbarians

545 to 596: Caesar seizes victory

597 to 646: ‘There all the glory of our country perished… a whole world died there’; Lucan associates the defeat with the birth of the imperial tyranny he says he and his generation still live under a hundred years later:

we were laid low for centuries, all
generations doomed to slavery were conquered
by those swords. What fault did we, their sons,
their grandsons, commit that we deserved to be
born under tyranny?

647 to 697: Pompey takes flight

698 to 727: Pompey reaches Larissa, where he is enthusiastically greeted, even though he has lost

728 to 780: Caesar encourages his men to loot Pompey’s abandoned camp, but that night his men have guilty dreams about murdering their kin

Neither Pentheus raving nor Agave newly sane
were subject to greater horror or mental turmoil.

781 to 824: Caesar also has poisonous dreams but awakes and orders his dining table to be set out on the battlefield which he can survey choked with Roman dead: Caesar denies them burial

825 to 872: Wolves, dogs, birds of prey, descend to ravage the many dead bodies on the battlefield; which god did Thessaly offend to not only host the disastrous battle of Pharsalus, but its echo, Philippi, six years later?

Book 8 The death of Pompey in Egypt (870 lines)

Pompey himself escapes to Lesbos, reunites with his wife, then goes to Cilicia to consider his options. He decides to enlist aid from Egypt, but the Pharaoh (Pharaoh Ptolemy XIII Theos Philopator) is fearful of retribution from Caesar and plots to murder Pompey when he lands. Pompey suspects treachery; he consoles his wife and rows alone to the shore, meeting his fate (assassination) with Stoic poise. His headless body is flung into the ocean, but washes up on shore and receives a humble burial from Cordus.

Lines 1 to 85: Pompey sails to Lesbos; Cornelia, scanning the seas, faints when she sees his approach; he revives her, saying now is the time for her love and loyalty

86 to 108: Cornelia says she brings a curse to everyone she marries and wishes Julia would come and take her as a sacrifice so as to spare Pompey; everyone bursts into tears

109 to 158: The people of Lesbos beg Pompey to stay another night and put themselves at his disposal; Pompey is moved by their loyalty, pays them tribute, but sets sail with Cornelia

159 to 201: Pompey asks the ship’s navigator to explain how he navigates by the stars

202 to 255: Though defeated, Pompey retains loyalty; he sends Deiotarus to rally the kingdoms of the East, especially Parthia, to his cause; detailed geographical description of his route by sea

256 to 330: Pompey sails along the coast of Cilicia (southern Turkey) till he arrives at the port of Syhedra where he addresses the senators and other leaders who followed him: he rejects Ptolemy of Egypt and King Juba of Africa as allies; instead he says they must ally in the East with the Parthians, with the bonus that Parthians killed in this civil

331 to 455: Lentulus speaks against Pompey’s plans, scandalised that he is considering relying on Rome’s most ancient enemy; also the Parthians are soft and lousy fighters, and Lentulus goes on to accuse Easterners in general of polygamy, sexual perversions, incest; all Roman armies should be uniting against the Parthians to avenge the infamous massacre of Crassus’s legions; he advocates going to Egypt

456 to 535: As Pompey reaches Egypt, debate among the young Pharaoh’s advisers, with a long speech by Pothinus, his regent, counselling amoral Realpolitik, namely that Pompey has obviously lost, that they don’t want to be dragged down with him: he argues they should kill Pompey

536 to 636: The Egyptian council approve this policy; thus Pompey approaches the sandy shore, is met by a rowing boat and invited to step down into it, is rowed to the beach and there stabbed to death, shamefully by a renegade Roman servant of Pharaoh’s, Septimius: Lucan gives Pompey a last internal soliloquy as he overcomes pain and fear at his death

637 to 662: Cornelia laments and begs to be killed, herself

663 to 711: The assassins hack off Pompey’s head and take it to Pharaoh who has it embalmed, leaving his headless body to be battered by the surf and rocks

712 to 822: Cordus, a former soldier of Pompey’s, claims his corpse from the sea, builds a makeshift pyre from a wrecked boat, places the body amidst it and lights it, hours later, at dawn, scoops up the bones, buries the ashes under sand and a stone, a memorial wildly out of keeping with Pompey’s world-straddling achievements

823 to 870: A curse on Egypt

Book 9 Cato in Libya

Pompey’s wife mourns her husband as Cato takes up leadership of the Senate’s cause. He plans to regroup and heroically marches the army across Africa to join forces with King Juba, a trek that occupies most of the middle section of the book. On the way, he passes an oracle but refuses to consult it, citing Stoic principles. Caesar visits Troy and pays respects to his ancestral gods. A short time later he arrives in Egypt. When Pharaoh’s messenger presents him with the head of Pompey, Caesar feigns grief to hide his joy at Pompey’s death.

It’s important to realise that Cato didn’t support Pompey, he went along with Pompey because he offered the best chances of achieving what Cato really wanted which was the restoration of the Republic with no strong men. When Pompey dies it doesn’t mean the end of the struggle (as it does for many of the allies); for Cato it means one strongman down, just one more to finish off (Caesar) then Freedom can be restored.

1 to 50: Pompey’s spirit rises into the lower heavens, realm of demi-gods, to watch the stars, then back down to earth to imbue Cato with more resolution to oppose Caesar (and later, to fortify Caesar’s assassin, Brutus)

51 to 116: Cornelia laments her fallen husbands (she was previously married to ill-fated Crassus) then repeats Pompey’s last message to his sons, namely to raise fleets to plague Caesar, recommending Cato as the only leader to follow; she locks herself belowdecks as a storm hits the fleet

117 to 166: Sextus Pompeius tells his older brother, Gnaeus, about the murder of their father; Gnaeus vows fierce revenge on Egypt

167 to 214: Cornelia sails west to meet with Cato at Utica, and burns all Pompey’s belongings in a big pyre; Cato eulogises Pompey and praises suicide

215 to 252: Many of the rulers who followed Pompey now depart Cato’s stronghold, explaining that they followed the man not the cause and now he is dead, they will return tom their homelands and take their chances

253 to 293: Cato wins them over (‘Shame on you, vile slaves’)

294 to 347: Another extended geographical description, of ‘the Syrtes’ on the coast of Libya, which Cato’s fleet skirts as it sails along the coast to Lake Tritonis

348 to 410: Mythological background of the region, including the story of Hercules stealing apples from the Garden of the Hesperides: Cato gives a speech encouraging the men to march inland from the coast across the desert

411 to 462: Geographical description of North Africa

463 to 510: The Romans battle on through a massive sandstorm

511 to 586: Description of the Libyans’ god Ammon; Labienus persuades Cato to consult the oracle because he has ‘always ruled your life according to heavenly law, a follower of the divine’; Cato gives a sound rebuttal, with the Stoic argument that God planted all the knowledge in our mind at birth to live virtuous lives, he doesn’t need oracles in the desert

587 to 618: Cato leads the men on the long march

619 to 699: Digression for the mythical tale of Perseus and Medusa; Perseus flew over Libya carrying Medusa’s severed head which dropped blood onto the desert and spawned countless species of poisonous snakes

700 to 760: Catalogue of the snakes of Libya; the gruesome death of standard bearer Aulus, bitten by a dipsas (species of poison snake)

761 to 788: The cruel death of Sabellus, bitten by a seps, which makes its victims’ bodies melt!

789 to 838: Further deaths by snake bite

839 to 889: The soldiers’ heroic endurance and many deaths, Cato always being at the soldier’s side to make them unafraid

890 to 937: One local tribe is immune to the snakebites, being the Psylli of Marmarica; they select their infants by exposing them to snakebites, the survivors joining the tribe; how they help Cato and his soldiers survive snake bites

938 to 986: Finally Cato and his men arrive at inhabited territory near to Leptis where they erect winter quarters. Cut to Caesar as he visits the site of Troy, taking a detailed tour; triggering Lucan to promise that his poem will live and preserve its protagonists’ names, as long as Homer’s did

987 to 1,063: Caesar prays to the gods of Troy that if they make his journey prosper, he will rebuild their city; sails to Egypt; is met by an envoy who presents him with Pompey’s head; Lucan flays Caesar’s hypocrisy at pretending to be upset and weeping

1,064 to 1,108: Caesar’s speech berating Pharaoh for murdering Pompey because it prevented Caesar from exercising his clemency; he had wanted to triumph, yes, but then be reconciled with Pompey; he orders the Egyptians to gather Pompey’s ashes and erect a proper shrine

Book 10 Caesar in Egypt and Cleopatra

Caesar in Egypt is beguiled by the Pharaoh’s sister, Cleopatra. A banquet is held. Pothinus, Ptolemy’s cynical and bloodthirsty chief minister, plots an assassination of Caesar but is killed in his surprise attack on the palace. A second attack comes from Ganymede, an Egyptian noble, and the poem breaks off abruptly as Caesar is fighting for his life.

Lines 1 to 52: Caesar visits Alexander’s grave; Lucan calls him a ‘chance marauder’, ‘a plague on earth’, another conqueror and tyrant

53 to 103: The people of Alexandria bridle at Roman occupation; Caesar takes Pharaoh hostage; Cleopatra smuggles herself into the palace, ‘Egypt’s shame, Latium’s Fury’; Lucan execrates Caesar for letting himself be seduced, giving into ‘adulterous lust’, engendering siblings for his dead Julia: Cleopatra’s speech, pointing out her father intended her to be co-ruler and saying her brother the Pharaoh is in the clutches of the advisor, Pothinus

104 to 135: Cleopatra seduces Caesar; they sleep together; description of Cleopatra’s magnificent palace

136 to 193: At a luxurious feast (‘Caesar learns how to squander the riches of a ransacked world’); Caesar asks Acoreus the priest to give him some background on Egypt’s geography and history, starting with the source and flooding of the Nile

194 to 267: Acoreus discourses on the sources of the Nile, invoking a lot of useless astrology and then reviewing a series of theories, all of them nonsense

268 to 331: Acorius discourses more on the source of the Nile, about which he knows nothing (cf my review of Explorers of the Nile by Tim Jeal)

332 to 433: A very long speech in which Pharaoh’s regent, Pothinus, tells Achillas (one of the two men who assassinated Pompey) that they must do the same to Caesar i.e. assassinate him that very evening; but when evening comes, they bottle out and miss the opportunity

434 to 485: Next morning the conspirators lead an entire army against Alexandria; seeing it approach the city, Caesar barricades himself into the royal palace, taking Pharaoh as a hostage, while the Egyptians set up a siege

486 to 546: The siege includes ships blocking the harbour; Caesar orders these set fire and the fire spreads to houses on the mainland; he seizes the Pharos, the island attached to the mainland by a mole, which controlled entrance to Alexandria’s port; Caesar has Pothinus beheaded; Cleopatra’s sister, Arsinoe, is smuggled out of the palace to take control of the besieging army where she in turn has the incompetent Achillas executed; Caesar is moving his troops onto the empty ships in the harbour when he is attacked from all sides, from the Pharos, from the sea, and from the mainland – at which point the poem abruptly stops

Horror and madness

Lucan emphasises the horrific nature of his subject matter in the poem’s first seven lines (the same number as the opening sentence of Virgil’s Aeneid):

I sing of a worse than civil war, of war fought between kinsmen
over Pharsalia’s plains, of wickedness deemed justice; of how
a powerful people turned their own right hands against themselves;
of strife within families; how, with the first Triumvirate broken,
the forces of the quivering globe contended in mutual sinfulness;
standard ranged against standard, eagle matched against eagle,
spear threatening spear. What madness, my countrymen, how wild
that slaughter!

Any civil war represents the complete inversion of all the normal rules and values of society, starting with patriotism and love of your fellow countrymen.

Events throughout the poem are described in terms of madness and sacrilege. Far from glorious, the battle scenes are portraits of bloody horror, where nature is ravaged to build terrible siege engines and wild animals tear mercilessly at the flesh of the dead (perhaps reflecting the taste of an audience accustomed to the bloodlust of gladiatorial games).

Horror

Arruns reading the entrails:

Behold, he saw a horror never once witnessed
in a victim’s entrails without disaster following;
a vast second lobe grew on the lobe of the liver,
so that one part hung flabby with sickness,
while the other quivered and its veins trembled
to an a-rhythmic beat.

Madness

War’s madness is upon us,
where the sword’s power will wildly confound
all law, and vicious crime be called virtue.
(1.665)

Say, O Phoebus,
what madness embroils Roman arms
and spears in battle, in war without a foe?
(1.679)

Terror

Julia doesn’t just appear as just a ghost to Pompey, but as a Fury:

Julia, a phantom full of menace and terror, raising her
sorrowful face above the yawning earth, stood there in
the shape of a Fury amid the flames of her funeral pyre.
(3.8 to 10)

But then again, if Seneca’s tragedies are anything to go by, elite audiences in Nero’s Rome revelled in horrific subject matter, in the depiction of madness, horror, incest, mutilation, all wrapped in the most lurid, extreme rhetoric the poet could concoct.

Anti-imperialism

Given Lucan’s clear anti-imperialism, the flattering Book I dedication to Nero is somewhat puzzling. Some scholars have tried to read these lines ironically, but most see it as a traditional dedication written at a time before the (supposed) true depravity of Lucan’s patron was revealed. The extant “Lives” of the poet support this interpretation, stating that a portion of the Pharsalia was in circulation before Lucan and Nero had their falling out.

Furthermore, according to Braund, Lucan’s negative portrayal of Caesar in the early portion of the poem was not likely meant as criticism of Nero, and it may have been Lucan’s way of warning the new emperor about the issues of the past.

The poem as civil war

A critic named Jamie Masters has come up with a clever idea which is that the Pharsalia is not just a poem about a civil war but, in a metaphorical way, is a civil war. Not only are the two characters, Caesar and Pompey, at war with each other, but the poem can be divided into Pompeian and Caesarian styles and approaches.

Thus the sections about Pompey are slow, embody delay, and revels in delay, and dwell on the horrors of civil war. The passages describing Caesar are noticeably faster, cover more ground, with less lamenting and more energy.

This leads Masters to maybe overdo it a bit, suggesting the conflict was ultimately within Lucan’s mind so that the binary opposition that he sees throughout the entire poem embodies Lucan’s own ‘schizophrenic poetic persona.’

Lucan’s influence

Lucan’s work was popular in his own day and remained a school text in late antiquity and during the Middle Ages. Over 400 manuscripts survive. Its interest to the court of Charlemagne is proved by the existence of five complete manuscripts from the 9th century. Dante includes Lucan among other classical poets in the first circle of the Inferno, and draws on the Pharsalia in his scene with Antaeus (the giant depicted in Lucan’s book 4).

Christopher Marlowe wrote a translation of Book 1. Thomas May followed with translation of the other nine books in 1626, and then went on to invent a continuation, adding seven books to take the story up to Caesar’s assassination.

Suetonius’s Life of Lucan

Suetonius’s Life of Lucan is very short. This is it, in its entirety, in the Loeb Classical Library 1914 translation:

Marcus Annaeus Lucanus of Corduba made his first appearance as a poet with a ‘Eulogy of Nero’ at the emperor’s Quinquennial Contests,​ and then gave a public reading of his poem on the ‘Civil War’ waged between Pompey and Caesar. In a kind of introduction to the latter, comparing his time of life and his first essays with those of Vergil, he had the audacity to ask:

“How far, pray, do I fall short of the Culex”?​

In his early youth, learning that his father was living in the remote country districts because of an unhappy marriage…He was recalled from Athens by Nero and made one of his intimate friends, besides being honoured with the quaestor­ship; but he could not keep the emperor’s favour. For piqued because Nero had suddenly called a meeting of the senate and gone out when he was giving a reading, with no other motive than to throw cold water on the performance,​ he afterwards did not refrain from words and acts of hostility to the prince, which are still notorious. Once for example in a public privy, when he relieved his bowels with an uncommonly loud noise, he shouted out this half line of the emperor’s, while those who were there for the same purpose took to their heels:

“You might suppose it thundered ‘neath the earth.”

He also tongue-lashed not only the emperor but also his most power­ful friends in a scurrilous poem. Finally, he came out almost as the ringleader​ in the conspiracy of Piso, publicly making great talk about the glory of tyrannicides, and full of threats, even going to the length of offering Caesar’s head to all his friends. But when the conspiracy was detected, he showed by no means equal firmness of purpose; for he was easily forced to a confession, descended to the most abject entreaties, and even named his own mother among the guilty parties, although she was innocent, in hopes that this lack of filial devotion would win him favour with a parricidal prince.

But when he was allowed free choice of the manner of his death, he wrote a letter to his father, containing corrections for some of his verses, and after eating heartily, offered his arms to a physician, to cut his veins. I recall that his poems were even read in public,​ while they were published and offered for sale by editors lacking in taste, as well as by some who were painstaking and careful.


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Seneca’s Plays

What follows are notes on E.F. Watling’s introduction to his translation of Seneca’s plays, published by Penguin Books in 1966, then a summary with comments of the four Seneca plays it contains:

Seneca’s biography

Lucius Annaeus Seneca was born in 4 BC Corduba, Spain, the second son of Annaeus Seneca the Elder. His father had studied rhetoric in Rome and returned to Spain to bring his sons up with respect for the traditional virtues of the Roman Republic, which had ceased to exist a generation earlier, following the victory of Octavian against Anthony at Actium in 31 BC.

As a young man Seneca the Younger studied Stoic philosophy. He lived in Egypt for a while, probably due to ill health (tuberculosis?) and because his aunt was the wife of the prefect there. By 33 AD he was back in Rome, married to his first wife (whose name is unknown) and achieving recognition as a lawyer and teacher of rhetoric.

Seneca had run-ins with several of the early emperors. At one point he was forced to retire into private life due to the suspicions of Caligula. He returned to public life on the accession of the emperor Claudius but in the very same year, 41 AD, was exiled to Corsica, accused of adultery with the new emperor’s niece, Julia, probably at the instigation of Claudius’s scheming third wife, Valeria Messalina. Seneca spent eight years on Corsica during which he wrote a number of philosophical works.

In 48 Claudius had Messalina executed for (supposedly) conspiring to overthrow him, and married his fourth wife, the equally scheming Agrippina. But it was Agrippina who asked for the recall of Seneca and made him tutor to her 12-year-old son, Lucius Domitius, the future emperor Nero. When Nero came to power 6 years later, in 54 AD, aged just 17, Seneca became his principal civil adviser (Nero had a separate adviser for military affairs, Sextus Afranius Burrus).

Some attribute the fact that the first five years of Nero’s reign were relatively peaceful and moderate to Seneca’s restraining influence. According to Tacitus’s Annals, Seneca taught Nero how to speak effectively, and wrote numerous speeches for him to address the senate with, praising clemency, the rule of law, and so on.

However, palace politics slowly became more poisonous, Nero came to rule more despotically, and Seneca’s position and wealth made him the target of increasing political and personal attacks. In 62 Seneca asked to be allowed to retire from public life, a conversation with Nero vividly described (or invented) in Tacitus’s Annals. Emperor and adviser parted on good terms but, over the next few years, Seneca’s name was cited in various plots and conspiracies.

The largest of these was the conspiracy of Gaius Calpurnius Piso in 65, a plot to assassinate Nero which was discovered at the last moment (the morning of the planned murder), and which, as the suspects were interrogated and tortured by Nero’s Guard, turned into a bloodbath of the conspirators.

Historians think Seneca was not an active conspirator, and debate how much he even knew about the plot, but whatever the precise truth, Nero ordered him put to death. Hearing of this, Seneca, en route back to Rome from Campania, committed suicide with a high-minded detachment that impressed the friends who attended the deed, and made him a poster boy for Stoic dignity. Many classic paintings depict the noble scene. Nero himself was, of course, to commit suicide just three years later, in 68 AD.

The Death of Seneca by Manuel Dominguez Sanchez (1871)

Seneca’s works

Seneca was a prolific writer. He wrote 12 philosophical essays, an extensive work of natural science, and 124 letters of moral exhortation to his friend Lucilius. The letters are probably his most accessible and popular work.

But Seneca is also credited as the author of ten plays (though scholars bicker: maybe it’s nine; maybe it’s eight). The plays are all tragedies, loosely modeled on Greek tragedy and featuring Greek tragic protagonists. The Romans had a technical term for these, fabula crepidata, meaning a Roman tragedy with a Greek subject.

Seneca’s plays make a striking contrast to his philosophical works not only in tone but also in worldview. The Letters to Lucilius go into great detail about how to banish all attachments, emotions and feelings from your life in order to achieve a calm, rational, Stoic detachment. By contrast, the plays are full of gruesomely bloodthirsty plots and characters wrought to the utmost degree of emotional extremity. Throughout the Middle Ages and Renaissance the works seemed so utterly different in worldview that scholars thought Seneca the moral philosopher and Seneca the dramatist were two different people.

Critics have been very harsh indeed about these plays. The editor of the Penguin edition, E.F. Watling, accuses them of ‘bombastic extravagance’, of ‘passionate yet artificial rhetoric’. The German critic Schlegel is quoted accusing them of ‘hollow hyperbole’, ‘forced and stilted’. Watling cites the consensus among scholars who condemn them as:

horrible examples of literary and dramatic incompetence, travesties of the noble Greek drama, the last wretched remnant of declining Roman taste. (Introduction, p.8)

And yet Seneca’s plays had a very important influence on Renaissance theatre, influencing Shakespeare and other playwrights in England, and Corneille and Racine in France.

Seneca’s tragedies are customarily considered the source and inspiration for what became known as the genre of ‘Revenge Tragedy’ in Elizabethan theatre, starting with Thomas Kyd’s The Spanish Tragedy of the 1580s, and continuing on into the Jacobean era (the reign of King James I, 1603 to 1625).

Their importance to Elizabethan drama explains why so fastidious a critic as T.S. Eliot, obsessed as he was with the period, praised Seneca’s plays, singling out Phaedra and Medea – although most critics consider Thyestes to be Seneca’s ‘masterpiece’.

Seneca’s tragedies

  • Agamemnon
  • Hercules or Hercules furens (The Madness of Hercules)
  • Medea
  • Oedipus
  • Phaedra
  • Phoenissae (The Phoenician Women)
  • Thyestes
  • Troades (The Trojan Women)

The Penguin paperback edition of the plays, edited and translated by E.F. Watling, contains four of the ‘best’ plays – Thyestes, Phaedra, Oedipus and The Trojan Women. (It also contains an oddity, a play titled Octavia, which resembles Seneca’s tragedies in melodramatic tone but, since it features Seneca as a character, and describes his death, cannot have been by him. Scholars guesstimate that it was probably written soon after Seneca’s death by someone influenced by his style and aware of the events of his lifetime.)

Watling’s critique

Watling’s introduction pulls no punches in detailing Seneca’s shortcomings:

He was not a constructor of tragic plots; his plays are not concerned with the moral conflict between good and good which is the essence of true tragedy: he only recognises the power of evil to destroy good. He does not delay or complicate the issue by any moral dilemma exhibiting the conflict of justifiable but mutually incompatible ambitions; his tragedy is simply a disastrous event foretold and anticipated from the start and pursued ruthlessly to its end. (p.25)

Seneca routinely stops the action of his ‘plots’ to give characters long, highly-strung, melodramatic speeches, which might not even be particularly relevant to the plot and often take no account of who else is on stage at the time.

His technique of dramatic speech is extremely narrow, having only two modes: either a character is delivering a long monologue, or he deploys stichomythia, where just two characters swap exchanges of dialogue; rarely anything more complicated than that.

Many of the long speeches and even some of the exchanges are so stock and stereotyped that they could easily be swapped from one play to another without anyone noticing. Watling names some of these stock topics – the ‘simple life’ speech, the ‘haunted grove’ speech and ‘the king must be obeyed’ dialogue, which all crop up in several of the plays.

The climax of all the plays is always a gruesome barbarity and Seneca uses the Greek conventions of having it take place offstage and described by a breathless messenger who comes onstage hotfoot from the scene. The messengers’ speeches all follow the exact same formula: the description of the place, the horror of the act, the stoical courage of the sufferer.

Seneca’s use of the Chorus is for the most part flaccid and unconvincing. (p.24)

The Chorus declaims its verse in a different metre from the rest of the play. They are known as Choric odes. The Choric odes’s main purpose is to comment on the main action but they often feature a clotted recital of myths or legends similar or related to the one we are witnessing.

The Chorus also often expresses ideas which contradict the worldview of the play and even of the main action. For example they will powerfully express the idea that death is the end of life and there is nothing after, except that… the plays feature ghosts and numerous descriptions of the classic souls in hell (Sisyphus, Tantalus, Ixion). There is no attempt at consistency – immediate and sensational effect is what is strived for.

The sense of unnecessary repetition is echoed at a verbal level where Seneca creates a drenched and intense effect by repeating synonyms for just one idea – Watling says examples in English would be larding a speech with the synonymous words anger-rage-ire, or fear-terror-dread. No idea is left to float subtly but is bludgeoned into submission by repetition.

Watling sums up Seneca’s plays as 1) sporting a bombastic, over-the-top rhetoric, deriving from 2) gruesomely bloodthirsty plots, which 3) are staged with a remarkable lack of dramatic invention i.e. very clumsily and straightforwardly.

But despite all these shortcomings, the sheer visceral intensity of his plays goes some way to explain why they were useful models for the earliest Elizabethan playwrights writing the first attempts at English tragedy, influencing Kyd, Marlowe and the early Shakespeare of Titus Andronicus (which contains several quotes from Seneca’s Phaedra).

To return to T.S. Eliot who I mentioned above, we can now see why Eliot (in an introduction to a 1927 reprint of Elizabethan translations of Seneca) made the characteristically perceptive remark that, foregrounding vivid rhetoric over more traditional notions of plot or characterisation as the do, might make Seneca’s plays suitable for what was (in 1927) the very new medium of radio – rhetoric i.e. the power of words alone, triumphing over all other factors. A surf of sensationalist sound. The bombastic power of words superseding all considerations of ‘plot’ or ‘characterisation’.

**********

Plots of the four plays

1. Thyestes

Summary

It’s a tragedy of two brothers who hate each other, Atreus who takes a horrific vengeance on his brother, Thyestes.

Background

Tantalus was a son of Jupiter. He killed, cooked and served up his own son, Pelops, at a banquet of the gods. For this atrocity he was condemned to eternal punishment in hell, fixed in a pool of water, dying of thirst but unable to bend down to scoop up any of the water, and dying of hunger, but unable to touch any of the fruit growing just out of reach above him. Hence the English verb to tantalise. Jupiter restored Pelops to life but he himself went on to win a wife and a kingdom by treachery. Pelops banished his two grown-up sons, Atreus and Thyestes, for the murder of their half-brother, Chrysippus. When Pelops died, Atreus returned and took possession of his father’s throne, but Thyestes claimed it too. Thyestes seduced Atreus’s wife, Aërope, who helped him steal the gold-fleeced ram from Atreus’s flocks which was said to grant the kingship. But instead of gaining the crown he was banished. Despite sitting pretty, Atreus wants to make his ascendancy over his brother complete, so he is now planning to recall Thyestes from banishment on the pretext of sharing the throne with him, but in fact carrying out an atrocious act of revenge.

Act I

A Fury raises Tantalus’s miserable spirit from the underworld. He moaningly asks if even more pain and suffering await him. The Fury delivers an extraordinary vision of the sins of the house of Peolops, ramifying out to undermine all the order in the world. The Chorus comes onstage. It consists of citizens of Argos. They invoke the presiding gods of the cities of Greece in the hope they can prevent the tragedy.

Act II

Atreus consults with his minister about the best way of carrying out vengeance on his brother. The minister wonders how he can do this, allowing Atreus to explain that he will offer forgiveness and a share in the crown to lure Thyestes back to Argos, where he can carry out his revenge; what it will be, exactly, he is still considering but it will be awful. The Chorus reproves the ambition of rulers, describing the character of a true king, before singing the praises of a retired life.

Act III

Thyestes, having been invited back to his homeland by Atreus, arrives with his three young sons and expresses his distrust and sense of approaching disaster. Atreus applauds himself: his plan is working. The Chorus, apparently oblivious of the preceding act, praises the fraternal affection of Atreus for putting aside the brother’s enmity.

Act IV

With no development of plot or character, with melodramatic abruptness, a messenger appears who describes to the appalled Chorus the grotesque climax of the play which is that Atreus had Thyestes’s three children killed, cooked and served up to Thyestes at the brothers’ reconciliation feast. It takes the form of a question and answer session, the Chorus asking what happened next, the messenger answering. The Chorus, observing the going down of the Sun, hysterically fears that this criminal act might tear apart the whole fabric of the universe.

Act V

Atreus congratulates himself on his cruel revenge. Thyestes trembles with premonition that something terrible has happened. The Atreus reveals to him that he has just eaten his own beloved sons.

(Incidentally, the curse on the house of Pelops was to continue into the next generation in the persons of Agamemnon, son of Atreus, who was murdered on his return from the Trojan War, by Aegisthus, son of Thyestes – the subject of one of Seneca’s other plays.)

Thyestes demonstrates the classic characteristics of a Seneca play. It maintains a continuous, shrill, hyperbolic tone. Hyperbolic exaggeration Here’s the Fury seeing the feud escalate into end-of-the-world anarchy:

Vengeance shall think no way forbidden her;
Brother shall flee from brother, sire from son,
And son from sire; children shall die in shames
More shameful than their birth; revengeful wives
Shall menace husbands, armies sail to war
In lands across the sea; and every soil
Be soaked with blood; the might of men of battle
In all the mortal world shall be brought down
By Lust triumphant. In this house of sin
Brothers’s adultery with brothers’ wives
Shall be the least of sins; all law, all faith
All honour shall be dead. Nor shall the heavens
Be unaffected by your evil deeds:
What right have stars to twinkle in the sky?
Why need their lights still ornament the world?
Let night be black, let there be no more day.
Let havoc rule this house; call blood and strife
And death; let every corner of this place
Be filled with the revenge of Tantalus!
(Fury, Act 1)

Here’s Atreus whipping himself up to commit the worst crime in the world:

Sanctity begone!
If thou wast ever known within these walls.
Come all the dread battalions of the Furies!
Come, seed of strife, Erinys! Come, Megaera,
With torches armed! My spirit yet lacks fire;
It would be filled with still more murderous rage!
(Atreus, Act 1)

In the introduction Watling talks up the discrepancy between Seneca the lofty Stoic and Seneca the author of blood-thirsty, amoral plays. But there is some overlap, some places where characters appear to speak the language of Stoic detachment, such as the second Choric ode which describes the true nature of kingship as not being power or riches but resilience and mental strength. The true king

is the man who faces unafraid
The lightning’s glancing stroke; is not dismayed
By storm-tossed seas; whose ship securely braves
The windy rage of Adriatic waves;
Who has escaped alive the soldier’s arm,
The brandished steel; who, far removed from harm,
Looks down upon the world, faces her end
With confidence, and greets death as a friend.
(Chorus, Act 2)

That’s the Chorus, but Thyestes himself also declaims an ‘advantages of the simple life‘ speech to his son as they arrive at Atreus’s palace:

While I stood
Among the great, I stood in daily terror;
The very sword I wore at my own side
I feared. It is the height of happiness
To stand in no man’s way, to eat at ease
Reclining on the ground. At humble tables
Food can be eaten without fear; assassins
Will not be found in poor men’s cottages;
The poisoned cup is served in cups of gold.
(Thyestes, Act 3)

(Words which resonate with Seneca’s experiences in the fraught court of the emperor Nero.) In the final act, just before Atreus reveals to Thyestes what he’s done, Thyestes feels a powerful, world-shaking sense of doom, very reminiscent of the same premonition characters experience in Shakespeare’s tragedies:

The table rocked, the floor is shaking.
The torches’ light sinks low; the sky itself
Hangs dull and heavy, seeming to be lost
Between the daylight and the dark. And why –
The ceiling of the heavens seems to shake
With violent convulsions – more and more!
The murk grows darker than the deepest darkness,
Night is engulfed in night; all stars have fled!
(Thyestes, Act 5)

Once the deed has been revealed, here’s the Chorus reciting a welter of classical precedents in an effort to capture the enormity of the event:

Are the Giants escaped from their prison and threatening war?
Has tortured Tityos found strength in his breast again to renew his old aggression?
Or has Typhoeus stretched his muscles to throw off his mountain burden?
Is Ossa to be piled on Pelion again
To build a bridge for the Phlegrean Giants’ assault?
Is all the order of the universe plunged into chaos?
(Chorus, Act 4)

These are all formulae or stock ingredients, which are repeated in all the other plays, and were to be enthusiastically taken up by the Elizabethan playwrights striving for sensational effects in the 1590s and early 1600s.

2. Phaedra

Background

Theseus was a typical Greek ‘hero’ i.e. an appalling human being, guilty of countless crimes, infidelities, murders and rapes. But the play isn’t about him, it’s about his second wife and his son. In his first marriage Theseus married the Amazon warrior Antiope, also known as Hippolyta, who bore him a son, Hippolytus. This Hippolytus grew up despising love, refusing to worship at the temples of Venus. He preferred Diana and the joys of the hunt. During this time, Theseus divorced his first wife and married Phaedra, daughter of Minos, king of Crete (following his adventure on Crete where he slew the Minotaur).

Now, Hyppolitus had grown to be a handsome young man and Phaedra was a mature woman when Theseus left his kingdom for a while to help his friend Peirithous rescue Persephone from the underworld. During his absence, the goddess of love, Venus, determined to take her revenge on Hippolytus for spurning her worship, inflamed his stepmother, Phaedra’s, heart with insatiable desire for the handsome young man.

Prelude (Hippolytus)

Hippolytus soliloquises on the joys of the hunt, delivering a long list of Greek hunting locations to his companions. It not only reveals Hippolytus’s character but impresses the audience with Seneca’s detailed and scholarly knowledge of Greek geography.

Act 1 (Phaedra and the nurse)

Phaedra soliloquy in which she laments that Theseus has gone off to the underworld, abandoning her in a place she has never liked, exiled from her beloved Crete. She wonders that she has recently become obsessed with the hunt.

(Her mother was Pasiphae, wife of King Minos who notoriously allowed herself to be impregnated by a bull, giving birth to the Minotaur. More relevant, though, is that Pasiphae was a daughter of Phoebus the sun god, and Venus the goddess of love has a long-running feud with him. Which explains why Venus is also against Phaedra.)

It is the nurse who makes explicit the fact that Phaedra has fallen in love with her stepson. Phaedra says her infatuation is driving her so mad she wants to kill herself.

Unreason reigns
Supreme, a potent god commands my heart,
The invincible winged god, who rules all earth,
Who strikes and scorches Jove with his fierce flame…

Interestingly, the nurse insists that all this talk of Venus and Eros is rubbish. There is no little god with a bow and arrow fluttering about in the sky. Instead it is the corruption of the times: ‘Too much contentment and prosperity and self-indulgence’ lead to new desires. In fact she states the Stoic theme that the simple life is best and luxury leads to decadence.

Then the Chorus delivers a long impressive hymn to the power of Eros or Love, as demonstrated by mating behaviour throughout the animal kingdom. As a Darwinian materialist I, of course, agree that the urge to mate and reproduce is the primary function of all life forms, including humans.

Act 2

The nurse describes to the Chorus Phaedra’s ever more miserably lovelorn state, pale face, tearful eyes etc. We are shown Phaedra in her boudoir angrily bossing her attendants about, despising her traditional dresses and jewellery, wanting to wear the outfit of a hunting queen and roam through the woods after her beloved.

Enter Hippolytus. The nurse tells him to stop hunting so hard, relax, find love, enjoy his youth. She counsels him to reproduce; if all young men were like him, humanity would cease to exist. Hippolytus replies not really to her points, instead declaring that he prefers simple rustic rural life in its honest simplicity to the deceit of courts and the city, mob rule, envy etc – turns into an extended description of that old chestnut, the sweet and innocent life of the age of Saturn, before cities or ships or agriculture, before war itself. Illogically this long speech ends with a swerve into his hatred of women, who he blames for all conflict and wars, and explains why he shuns women like the plague.

Enter Phaedra and metaphorically falls at Hippolytus’s feet, swearing she will be his slave and do anything for him. He mistakes, thinking she is upset because of the long absence of her husband, his father, Theseus in the underworld. He tries to reassure her, while Phaedra cannot contain her made infatuation:

Madness is in my heart;
It is consumed by love, a wild fire raging
Secretly in my body in my blood,
Like flames that lick across a roof of timber.

Phaedra describes how beautiful Theseus was as a young man when he came to Crete to kill the Minotaur and sue King Minos for the hand of his daughter, Ariadne. But all this leads up to Phaedra kneeling in front of Hippolytus and declaring her love for him. Hippolytus responds with end-of-the-world bombast:

For what cause shall the sky be rent with thunder
If no cloud dims it now? Let ruin wreck
The firmament, and black night hide the day!
Let stars run back and all their courses turn
Into confusion!..
Ruler of gods in heaven and men on earth,
Why is thy hand not armed, will not thy torch
Of triple fire set all the world ablaze?
Hurl against me thy thunderbolt, thy spear,
And let me be consumed in instant fire.

He rebuffs her. She throws herself into his arms, swearing to follow him everywhere. He draws his sword. Yes! She begs to be killed and put out of her misery. He realises it will defile his sword and all the oceans will not be able to clean it. (A very common trope in tragedy, originating with the Greeks, repeated in, for example, Macbeth, one thousand five hundred and fifty years later.)

Phaedra faints, Hippolytus flees. The nurse steps forward to comment and make the suggestion that, now Phaedra’s criminal love is revealed and Hippolytus has rejected her, to deflect blame she ought to accuse him of propositioning her. She yells ‘Help! Rape!’ as the Chorus enters, representing ‘the people’, showing them the sword Hippolytus dropped in his flight and the Queen, lying distraught on the ground, her hair all dishevelled.

The Chorus apparently ignores the cries of the nurse and instead proceeds with a 3-page hymn to Hippolytus’s matchless male beauty.

Act 3

Weirdly, act 3 opens with the self-same Chorus only now summarising the situation i.e. the queen intends to pursue her utterly false claim of rape against Hippolytus. But the Chorus hasn’t got far before who do we see arriving but Theseus, the mature hero, who describes how he has been in the underworld for four long years, only able to return because Hercules rescued him. But what is all this weeping and lamentation he hears?

The nurse explains her wife is distraught and some kind of curtain is lifted or something removed to reveal an ‘inner scene’ where we see Phaedra holding a sword as if to kill herself. Theseus interrogates Phaedra who refuses to explain. So – in the kind of casual mention of hyper violence to servants and slaves which always disturbs me – Theseus says he’ll have the nurse bound and scourged and chained and whipped till she spills the beans.

But before he can do this, Phaedra says Hippolytus tried to rape her, saying this is his sword which he left in his flight. Theseus now delivers the ‘Great gods, what infamy is this!’ type speech. Interestingly, he accuses Hippolytus not only of the obvious things, but accuses him of hypocrisy in his ‘affectation of old time-honoured ways’ i.e. Seneca has expanded Hippolytus’s traditional character of hunter to include this extra dimension of him being a proponent of the whole back-to-the-ways-of-our-ancestors movement, a view Seneca himself propounds in the Letters to Lucilius.

Theseus accuses Hippolytus of being the worst kind of hypocrite, in language which reminds me of Hamlet berating his uncle Claudius, then vows to track him down wherever he flees. He tells us that the god Neptune granted him three wishes, and now he invokes this promise, demanding that Hippolytus never sees another dawn.

The Chorus steps in to lament why the king of the gods never intervenes to ensure justice, why men’s affairs seem governed by blind fate, why the evil triumph and the good are punished.

Act 4

Enter the messenger with stock tears and reluctance to tell what he has seen. Theseus commands him and so the messenger describes the death of Hippolytus. The youth fled, jumped into his chariot, and whipped the horses off at great speed but that is when a strange enormous storm arose at sea, vast waves attacking the land, and giving birth to a monster, a bull-shaped thing coloured green of the sea with fiery red eyes. This thing proceeds to terrify Hippolytus’s horses which run wild, throwing him from the chariot but tangling his arms and legs in the traces, so that he is dragged at speed over the clifftop’s ragged rocks and flayed alive, his body disintegrating into pieces until he collided with a fallen tree trunk and was transfixed in the groin. Theseus laments that his wish has been so violently fulfilled.

The Chorus repeats the idea which I’m coming to see as central to the play, less about love or lust etc but the safeness of the humble life, not exposed to the decadent living, random lusts and shocking violence associated with the rich.

Peace and obscurity make most content,
In lowly homes old age sleeps easily…
For Jupiter is on his guard
And strikes whatever comes too near the sky.
The thunder rumbles round his throne,
But no great harm can come to common folk
Who dwell in modest homes.

If you think about this for a moment, you’ll realise it’s bullshit. Poor people living in lowly homes often have terrible lives, scarred by poverty, ignorance and, of course, the random violence of their superiors who might, for example, decide to start a civil war and devastate the homes and livelihoods of ‘common folk’ in entire regions. Think of Julius Caesar laying waste entire regions of Gaul, burning cities to the ground and selling their entire populations into slavery. It’s the kind of patronising crap rich people tell themselves to convince themselves that they, the filthy rich, living in the lap of luxury, eating at gluttonous banquets, waited on hand and foot by literally hundreds of slaves, and filling their day with sexual perversions, that they are the ones who have it rough.

Act 5

Barely has Theseus heard all from the messenger than Phaedra enters, wailing and wielding the sword. She begins her lament as the ruined corpse of Hippolytus is brought onstage and continues, lamenting his death, berating her treachery and falsehood, confessing to Theseus that Hippolytus was totally innocent, then stabbing herself to death.

Theseus then laments a) was it for this that he was allowed to escape from hell, into a hell of his own devising? And then lists all the ingenious punishments he saw in hell and says none of them are adequate for him.

The Chorus intervenes to advise that they honour and bury the body first and then, very gruesomely, specifically directs Theseus in placing the left hand here and the right hand over here, and so on, as they assemble his body parts, a ghoulish jigsaw.

In the final lines, Theseus orders his staff to a) go scour the landscape to find the last missing bits of Hippolytus and b) and as for the wicked Phaedra:

let a deep pit of earth conceal
And soil lie heavy on her cursed head.

3. The Trojan Women

Background

The Trojan War has ended. Troy has fallen. Outside the smouldering ruins of the city huddle the surviving royal women, rounded up by the victorious Greeks and awaiting their fate. The leading women are Hecuba, widow of King Priam, and Andromache, widow of the great Trojan warrior, Hector.

Act 1

Hecuba opens the play with a long lament about the fall of Troy, symbol of the uncertainty on which all pomp and power is based. She interacts with the Chorus of Trojan women. She makes them unbind their hair and loosen their tunics to expose their bare breasts which they then proceed to beat in lament for Hector, wall of Troy, and Priam its murdered king. But at least they are at peace now and will never be led as slaves to foreign lands.

Happy is Priam, happy every man
That has died in battle
And taken with him his life’s fulfilment.

(The literal baring and beating of their own breasts occurs in several of the plays. Was it performed literally in ancient times? Women mourning in ancient times were meant to not only beat their bare breasts but scratch their faces till they bled. If taken literally, surely this would be as difficult to perform persuasively onstage as a sword fight.)

Act 2

The Chorus wonders why the Greeks are delaying. Talthybius describes the momentous appearance of the ghost of Achilles, demanding the sacrifice he was promised before the fleet can sail. A prime slab of Senecan bombast:

A rift appeared,
Caves yawned, hell gaped, earth parted and revealed
A way from worlds below to worlds above.
His tomb was burst asunder and there stood
The living ghost of the Thessalian leader…

Pyrrhus, son of dead Achilles, takes up the case for his father, first listing his great victories before he even came to Troy, then insisting the Greeks fulfil their vow and make a human sacrifice at his tomb. Agamemnon sharply refuses, saying he regrets the blood and cruelty of the night of the sack of Troy but it was sort of justified by bloodlust. But now in the cold light of day, sacrifice a human being? No. This dialogue turns really bitter as the two Greeks insult each other, accusing each other of cowardice and crimes.

Agamemnon calls for Calchas the soothsayer. Enter Calchas who announces that the gods demand two sacrifices: a young woman dressed as a bride must be sacrificed on Achilles’ tomb; and Priam’s grandson must be thrown from the battlements of Troy. Then the Greek fleet can sail.

The Chorus delivers quite a profound speech about death: is there anything afterwards, does the spirit live on, or is this all? It concludes:

There is nothing after death; and death is nothing –
Only the finishing post of life’s short race.

Therefore, ambition give up your hopes, anxiety give up your fears. (This is the third play in which, contrary to Watling’s comments in the introduction, we find Seneca’s characters delivering very clearly Stoic beliefs, entirely in line with Seneca the philosopher.)

Act 3

Andromache berates the Trojan women for only just learning grief, whereas for her Troy fell and the world ended when her husband, Hector, was killed. Now she only resists the death she wants to protect their son, Astyanax. An Elder performs the function of the nurse in other plays i.e. asks questions and is a sounding board for Andromache’s thoughts. She tells how the ghost of Hector came to her in a dream warning her to hide their son. Now she has come to the tomb of her husband and pushes the boy to go inside it (through gates) and hide, which he does without a word.

Then the Elder warns that Ulysses approaches. Ulysses announces he has been drawn by lot to ask Andromache for her son. While the son of Hector lives no Greek can rest, knowing he will grow up to restore Troy and relaunch the war. Andromache pretends her son was stolen from her during the sack of the city and laments his whereabouts and fate. Ulysses sees through her lies and threatens her with torture. Andromache welcomes torture and death. Ulysses understands her mother love and says it is love of his son, Telemachus, which motivates him.

At which point Andromache, to the accompaniment of fierce oaths, makes the ironic lie that her son right now is entombed with the dead (he, as we saw, is hiding in the tomb of Hector). Ulysses detects that Andromache is still anxious, pacing, muttering, as one who had lost everything would not. She is lying. He orders his men to tear down Hector’s tomb with the aim of scattering the ashes on the sea.

Andromache agonises over whether to surrender her son to save the ashes of her husband. She places herself before the tomb defying the soldiers to kill her first. Ulysses orders them on. She falls to her knees and clasps Ulysses’ legs and begs him to have mercy. She calls forth the boy, who comes from the tomb, she tells him to kneel before Ulysses.

Andromache ridicules the idea that this poor boy but himself could rebuild the walls of the ruined city. She begs Ulysses to let the boy become his slave. But Ulysses ducks responsibility, saying it is not his decision but Calchas’s.

Andromache despises him, but Ulysses says time is marching on, the ships have weighed anchor. He allows her a moment to lament her son and Andromache gives a page-long speech describing Astyanax growing to manhood and being a wise and noble king, which will not now happen. Andromache bids him go with the Greeks, but the boy clings on to his mother and doesn’t want to leave, but Andromache says there is no choice and bids him take a message from her to his father. Ulysses, bored of all this yap, commands his soldiers to take him away.

The Chorus of Trojan women pulls back, as it were, from this immediate scene, to consider the general problem, what will become of them, where will they be sent, whose slaves will they become?

Act 4

Helen laments that she has been ordered by the victorious Greeks to lie to Priam’s daughter Polyxena, and persuade her she is to be married to Pyrrhus. It is, of course, a lie, she is going to be sacrificed, but Helen dutifully tells her to rejoice and dress as a bride. Andromache, hearing all this, is filled with disgust that anyone can think of rejoicing at this disastrous time, and at the unremitting evil Helen represents, ‘bringer of doom, disaster and destruction’.

Helen replies to this attack, saying she had no say in the matter, was handed over like an object won in a competition, has endured 10 years of exile, and is now hated by all sides. Andromache knows Helen is telling lies and orders her to tell the truth. Herself weeping, Helen comes clean and says Polyxena is to be sacrificed, burned, and her ashes scattered over Achilles’ tomb.

Andromache is shocked that Polyxena takes the news that she is about to die with alacrity and enthusiastically changes clothes, braids her hair etc. It means exit from this misery and avoiding a lifetime of slavery. Not so happy is her mother, Hecuba, who laments.

Now Helen tells the Trojan women have been parcelled out to, Andromache to Pyrrhus, Hecuba to Ulysses, Cassandra to Agamemnon. Hecuba rains down curses on Ulysses, hoping that storm and sea will plague his return to Ithaca. And, as Pyrrhus appears, she extends her curse of storms and shipwreck to the entire Greek fleet.

The Chorus of Trojan women point out there is comfort in numbers, it is easier to mourn or suffer with colleagues, and describes how it will feel to be rounded up into the ships and sail away and slowly lose sight of their homeland, the smoke rising from their ruined city, Mount Ida, all fading over the horizon.

Act 5

The messenger arrives and announces the boy has been flung from the tower, the girl has met her death. The women ask for a detailed account, which he gives them. Both died with tremendous bravery, shaming the Greeks.

The last word goes to Hecuba who laments that death has come to everyone in her family, but will not come to her, to ease her suffering.

Thoughts

  1. The supernatural element of Achilles’ ghost rising up from the underworld is very unlike the chaste, restrained style of Euripides’ tragedy on the same subject. it feels closer in style to the Middle Ages or Gothic horror.
  2. The choral ode in act 2 persuasively argues that there is nothing after death, death is the end, our minds expire with our bodies – which is flatly contradicted by everything else in the play, including Achilles’ miraculous appearance, the ghost of Hector, and so on.
  3. The other plays feature a unified chronological plot. The Trojan Women is interesting because it has what feels like two plots, featuring two women (Hecuba and Andromache) running in parallel, though linking up at places. Its emphasis on the suffering of women reminds me of Ovid’s Heroides. It’s my favourite.

4. Oedipus

Background

The most famous Greek myth. A soothsayer tells Oedipus’s parents, Laius and Jocasta, the rulers of Thebes, that their unborn son will kill his father and sleep with his mother. Horrified, the royal couple deliver the baby, but then expose him in the country. To avoid the prophecy coming true they have the baby’s ankles pierced and joined together with a strap. (This caused the child’s feet to swell up and gave rise to Oedipus’ name, which literally means ‘swollen foot’.)

A peasant finds him and takes him to the king of the neighbouring realm, Polybus of Corinth who, being childless, considers him a providential gift from the gods and adopts him. As Oedipus grows to be strong and virile, his peers taunt him that he can’t be the son of the mild and gentle Polybus. So he travels to Delphi where the oracle tells him he is fated to kill his father and sleep with his mother. Horrified, Oedipus vows never to return to Corinth. On the way back he gets into an argument in a narrow path with an old man driving a chariot and hits him so hard he accidentally kills him. On the same journey he comes across the half-human, half-animal sphinx who won’t let him pass unless he answers the riddle: What walks on 4 legs in the morning, 2 legs at noon, and 3 legs in the evening. Oedipus answers correctly that it is Man. He travels on to Thebes to discover that the entire city had been terrorised by the Sphinx but he has saved them all. Not only that, but news has come that old King Laius has been killed. As saviour of the city, Oedipus is offered the hand of the widowed queen and marries Jocasta and becomes the new king.

The play opens as a plague is ravaging Thebes. A sequence of events, and messengers bringing news, slowly reveal to Oedipus that he was never the natural son of King Polybus, that he was adopted, that his true parents were Laius and Jocasta and then…that the old man he killed in the fight in the road was Laius and…he has been sleeping with Jocasta, his own mother, for years. At which point a) Jocasta hangs herself and b) Oedipus blinds himself.

Act 1

Oedipus outlines the situation i.e. he is king at Thebes, the city is stricken with plague which is striking down everyone but himself, he has sent to the oracle at Delphi which has sent back the horrifying prediction that he will kill his father and sleep with his mother. He is pleased he fled his homeland and his father Polybus, but feels a terrible sense of dread.

I see
Disaster everywhere, I doubt myself.
Fate is preparing, even while I speak,
Some blow for me.

Of course the blight of the plague gives Seneca scope for some typical hyperbole, ‘the murk of hell has swallowed up the heavenly citadels’ and so on. The description of the plague goes on at length, describing people too sick to bury the dead and so on, reminding me of the vivid description of the plague which ends Lucretius’s long poem De Rerum Natura, premonitory of Albert Camus’s great novel about a 20th century plague. Oedipus says maybe he brought the bad luck, maybe must leave the city.

His queen (and unbeknown to him, his mother) tells him a true king grasps misfortune with a steady hand.

Oedipus describes his encounter with the Sphinx who is made to sound a hellish beast surrounded by the bones of those who failed her riddle. Well, he triumphed over her but now seems to have himself brought the plague to Thebes.

The Chorus is made up of Theban elders. It gives a 4-page-long, vivid description of the plague, how it first struck animals then moved to humans. With characteristic bombast it then shrilly describes:

Out of the depths of Erebus their prison
The Furies have rushed upon us with the fire of hell.
Phlegethon, river of fire, has burst its banks,
The River of Hades is mingled with the River of Cadmus.

The act ends as Oedipus sees Creon, Jocasta’s brother, arriving. He has been to the oracle.

Act 2

Creon described to Oedipus the mood of horror at the oracle, till a superhuman voice declared that only when the murderer of Laius is driven out will Thebes know peace. Oedipus then makes one of those ironic vows, vowing to all the gods that the murderer of Laius will never know rest but live in permanent exile, a wandering nomad, and find no pardon – ignorant of the fact he is cursing himself.

On a more mundane note Oedipus now asks Creon how Laius met his death. He was attacked and murdered at a crossroads out in the countryside, says Creon.

Enter the old blind prophet Tiresias, led by his daughter, Manto. He tells Oedipus he can interpret the situation through a sacrifice, so a bull and heifer are brought in and the sacrificial flame rises and parts in two parts which fight each other.

[This is a classic example of the way these plays would be hard to stage but work very well when read, or read aloud, or broadcast. The getting onstage of the animal, its execution and especially the behaviour of the flame would be impossible to create onstage but work pretty well when read out.]

Manto describes the strange behaviour of the flame which Tiresias interprets as the gods themselves being ashamed of the truth. Tiresias asks how the animals behaved when sacrificed and Manto tells him the heifer submitted but the bull shied and defied the blows. The heifer bled freely but the bull’s blood not at all, while dark blood poured from its eyes and mouth. When they examined the entrails, they were in bad shape, the heart was shrunk, the veins were livid, part of the lungs was missing, the liver was putrid. Far, far worse, the virgin heifer turned out to be pregnant and the deformed life in her stirred. The fire on the altar roared, the hearth quaked etc.

Oedipus begs to know what this all means, but Tiresias pushes the play deep into Gothic territory by saying they will have to perform a magic rite to call the soul of the dead king himself up from hell to tell them. Oedipus must not attend, so he nominates Creon to go in his place.

Incongruously, oddly, the Chorus sing a sustained hymn to the Bacchus, god of the vine, listing his adventures and achievements – notably the occasion when he scared pirates who had captured him into jumping overboard and being changed into dolphins, and the time he rescued Ariadne from Naxos and proceeded to marry her.

Act 3

Creon enters. Oedipus asks what he saw at the ceremony. Creon is so terrified he repeatedly refuses to speak until Oedipus forces him. Then Creon gives a terrific description of the dark and ill-fated glade where they took Tiresias and dug a ditch and burned animal sacrifices and chanted evil spells and a great chasm opened up and hordes of the dead appeared before them. Last of all came the reluctant figure of Laius, still dishevelled and bloody, who proceeds to give a long speech saying the plague on Thebes is due to the current king, who killed his father and has slept with his mother and had children by her. Only when he is cast out as an unclean thing will Thebes be cured.

Oedipus is appalled but refuses to believe it: after all, his father Polybus lives on at Corinth and he’s never laid a finger on his mother, Merope. Oedipus refuses to believe it and says Creon is conspiring with Tiresias to seize the crown. Creon, for his part, advises Oedipus to abdicate now, to step down to a humbler position before he is pushed. They proceed to have a page of dialogue which turns into a debate about whether a subject should stand up to the king, Oedipus dismissing these as typical arguments of the revolutionary.

The Chorus gives a potted history of the land of Thebes, and the wider region of Boeotia, populated by Cadmus in search of his abducted sister Europa, of the many monsters which have been spawned in this region, with a final mention of the myth of Actaeon, turned into a stag and ripped apart by his own hunting dogs.

Act 4

Oedipus is confused, he asks Jocasta how Laius died and is told he was struck down by a young man when travelling with his entourage at a place where three roads meet. It jogs a faint memory in Oedipus’s mind but then a messenger comes to interrupt his attempts to remember with news that his ‘father’, King Polybus of Corinth, has passed away peacefully in his sleep.

The old man/messenger requests him to come to Corinth to attend the dead king’s funeral, but Oedipus refuses, saying he is afraid of being alone in the company of his mother. The old man reassures him that Meropa was not his real mother and proceeds to tell the full story of how he, the old man, was given Oedipus as a baby, his ankles bound together with a metal pin. ‘Who by?’ Oedipus asks. ‘The keeper of the royal flocks,’ the man replies. ‘Can he remember his name?’ Oedipus asks. No, but he might remember the face. So Oedipus orders his men to assemble all the royal shepherds.

The old man warns Oedipus to stop probing while he still has time, but Oedipus insists he has nothing to fear and the truth will set him free. Poor dupe of fate.

Enter Phorbas, head of Thebes’s royal flocks. He begins to remember the old man. He confirms that he handed the old man a baby but doubts if it can have lived because its ankles were pierced through with an iron bolt and infection had spread.

Who was the baby, Oedipus demands. Phorbas refuses to say so Oedipus says he will order hot coals to torture him with. Phorbas replies with one line: ‘Your wife was that child’s mother.’

With that one line the truth comes flooding in on Oedipus. He is not Polybus and Meropa’s child; they adopted him; he is the child of Laius who he killed at the crossroads and of…Jocasta, the woman he has married and had children with. Oedipus is, understandably, distraught, and expresses it with full Senecan hyperbole:

Earth, be opened!
Ruler of darkness, hide in deepest hell
This monstrous travesty of procreation!

The Chorus continues its very tangential relationship with the story, not commenting on this amazing revelation at all, but instead wishing its ship of life was riding on milder waters to a gentler wind. And then goes off at a real tangent, briefly describing the story of Daedalus and Icarus to show that living in moderation, the golden mean, is best.

Act 5

The Chorus sees a messenger approaching. Never good news these messengers, and this one is no exception. He describes in great detail how distraught Oedipus went into the palace, grabbed a sword and made a great speech about killing himself, but then realised it wasn’t punishment enough, was too quick and easy. Something was demanded to placate the gods and end the curse and the plague, more like a living death, where he would die again and again every day. Then it comes to him to blind himself and the messenger gives a very gory description of Oedipus plucking his own eyes out.

The Chorus gives a brief didactic explanation that Fate is unchangeable, one iron chain of endless causes and consequences. No man can escape it.

Enter Oedipus blinded, freed from the light of the accusing sun.

The Chorus describes Jocasta coming onstage, distraught, uncertain whether to address her son and husband.

Jocasta addresses Oedipus who is horrified and says they must never speak, never be in the same country together. Jocasta seizes his sword and, after some debate exactly where to stab herself, stabs herself in her womb, seat of all her sinfulness, and falls dead.

In his final soliloquy Oedipus says he has expiated his sin and now will set out on his wanderings. He promises the poor suffering people of Thebes that he will take with him the capitalised allegorised figures of infliction and free them at last. What better companions and tormentors could he hope for on his endless wanderings and punishments.

Moral of the story

Even if you’re a childless couple, desperate for a baby, do not accept the gift of a little baby boy whose ankles are pierced together by an iron bar!

*************

Big ideas

When I was a boy reading these Penguin introductions, it was often not specific criticism of specific aspects of the play which stuck with me, but when the scholars and editors made throwaway generalisations which in a flash helped me make sense of an entire genre or period of history.

Thus, in among his detailed critique of specific plays or aspects, Watling offers three big, memorable ideas about Seneca’s influence on English Renaissance literature.

1. One is that Seneca is often blamed for Elizabethan and Jacobean playwrights’ addiction to ghosts, ghosts of gruesomely murdered figures who return to the land of the living to trigger the action of the plot (p.28). The ghost of the dead Spanish officer Andrea appears at the start of the archetypal Elizabethan revenge tragedy, Thomas Kyd’s The Spanish Tragedy, and ghosts are important in Shakespeare’s Macbeth and Julius Caesar and central to the plot of his greatest play, Hamlet. In fact, Watling refutes this by pointing out there are only two ghosts in Seneca’s oeuvre, Tantalus in Thyestes and Thyestes in Agamemnon.

2. The other is the simple but illuminating comment that:

The language of Elizabethan drama would not have reached its height of poetic eloquence without the infusion of the classical voice – the Ovidian mythology and the Senecan rhetoric. (p.32)

Aha, Ovid and Seneca – so that was their influence and how they fit together to flow through all Elizabethan drama: Ovid for mythological stories, with their bucolic settings, flowers and curlicues; Seneca for accusing ghosts, characters howling for revenge and invoking the shadows of Erebus and darkest night.

3. There’s a third insight, not so striking as the first two, maybe, and this is that, despite the best efforts of scholars and academically-minded authors like Philip Sidney or Ben Jonson to import the so-called Dramatic Unities and impose them on contemporary drama, they failed; they failed to dent the English preference for ‘straggling narrative plays‘ which cheerfully ignore the cardinal unities of time or place or even action (p.35).

In Watling’s words 1) Senecan rhetoric of extreme emotions was grafted onto 2) plots which lacked Senecan focus and concision, to create a ‘fusion of classical uniformity with romantic multiformity in the Elizabethan theatre.’ (p.37).

In the greatest Elizabethan plays, the theme, the form and the language may have crystallised into an impressive whole:

but yet not so perfect as to tidy up all the loose ends or exclude the superfluities and irrelevances which make the Elizabethan drama of life a different thing from the Roman sculptured monument of death. (p.38)

Messy, mongrel literature has always been our style.


Credit

E.F. Watling’s translation of Four Tragedies and Octavia was published by Penguin Books in 1966.

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