The factual historicity of Esther is pretty questionable, but that debate is a bit beside the point for purposes of the present post. As folklore or fact, the story of Esther and Mordecai, of their near-destruction and the consequent execution of their persecutor, is a staple of tradition and literature.
The thumbnail version of the Purim story has Esther (Hadassah), a Jew living in the Persian capital of Susa, plucked out of obscurity to become the (or a) queen of a “King Ahasverus”.
If Esther has a historical basis, this would be about the fourth or fifth century B.C.E., and “Ahasverus” could be Xerxes (the guy who invaded Greece and made Herotodus famous), or the much later Artaxerxes II.
Esther is an orphan being raised by her cousin Mordecai, and when Esther wins “Who Wants To Live In The Persian Harem?” Mordecai advises her to keep judiciously silent about her Hebrew lineage.
Mordecai doesn’t manage the same trick, however, and offends the king’s powerful minister Haman by refusing to bow to him. This gets the overweening Haman upset at not only Mordecai but at all Jews who share his anti-idolatry scruples, and Haman persuades King Ahasverus to authorize their indiscriminate slaughter:
“There is a certain people scattered abroad and dispersed among the peoples in all the provinces of your kingdom; their laws are different from those of every other people, and they do not keep the king’s laws, so that it is not for the king’s profit to tolerate them. If it please the king, let it be decreed that they be destroyed.”
13 Adar is the date fixed for the Jews’ destruction, by pur, a casting of lots — hence the festival’s eventual date and name. Haman, of course, does not realize that this policy makes Esther his enemy.
In order to save her cousin and her people, Esther must risk a death sentence of her own by approaching the king unbidden in his inner chambers. Mordecai charges her to her duty with a timeless moral force:
“Think not that in the king’s palace you will escape any more than all the other Jews. For if you keep silence at such a time as this, relief and deliverance will rise for the Jews from another quarter, but you and your father’s house will perish. And who knows whether you have not come to the kingdom for such a time as this?”
Esther pulls this dangerous maneuver off, and gains thereby a private audience with just the king and Haman. There, she springs her trap — revealing her Jewish identity.
The king again said to Esther, “What is your petition, Queen Esther? It shall be granted you. And what is your request? Even to the half of my kingdom, it shall be fulfilled.”
Then Queen Esther answered, “If I have found favor in your sight, O king, and if it please the king, let my life be given me at my petition, and my people at my request. For we are sold, I and my people, to be destroyed, to be slain, and to be annihilated. If we had been sold merely as slaves, men and women, I would have held my peace; for our affliction is not to be compared with the loss to the king.”
Then King Ahasverus said to Queen Esther, “Who is he, and where is he, that would presume to do this?”
And Esther said, “A foe and enemy! This wicked Haman!” Then Haman was in terror before the king and the queen.
Word arrives at this inopportune juncture that Haman, who has been gleefully preparing his vengeance, has just had completed a 50-cubit (~20-meter) gallows to execute Mordecai upon. The enraged king instead orders Haman hung on it.
“Hanging” Haman on the “gallows” was traditionally interpreted in the ancient and medieval world as crucifixion,* or some analogously excrutiating way to die.
By any method of execution, though, the dramatic power of the scene — sudden reversal of fortune, virtue elevated over wickedness, the oppressed turning the tables on their oppressors, divine deliverance — is obvious.
At least the guy was remembered. Hands up if you can name any other ancient Persian courtier.
“The Punishment of Haman” is a corner of Michelangelo’s Sistine Chapel.
However, this satisfying palace politics turnabout is not the end of the story, and punishment is not reserved only for the wicked minister.
Esther persuades the king not only to revoke Haman’s order, but to issue a new one — one that Esther and Mordecai will write tabula rasa over the king’s seal.
The writing was in the name of King Ahasverus and sealed with the king’s ring, and letters were sent by mounted couriers riding on swift horses that were used in the king’s service, bred from the royal stud. By these the king allowed the Jews who were in every city to gather and defend their lives, to destroy, to slay, and to annihilate any armed force of any people or province that might attack them, with their children and women, and to plunder their goods, upon one day throughout all the provinces of King Ahasverus, on the thirteenth day of the twelfth month, which is the month of Adar
So the Jews smote all their enemies with the sword, slaughtering, and destroying them, and did as they pleased to those who hated them. In Susa the capital itself the Jews slew and destroyed five hundred men, and also slew Parshandatha and Dalphon and Aspatha and Poratha and Adalia and Aridatha and Parmashta and Arisai and Aridai and Vaizatha, the ten sons of Haman the son of Hammedatha, the enemy of the Jews; but they laid no hand on the plunder. That very day the number of those slain in Susa the capital was reported to the king.
And the king said to Queen Esther, “In Susa the capital the Jews have slain five hundred men and also the ten sons of Haman. What then have they done in the rest of the king’s provinces! Now what is your petition? It shall be granted you. And what further is your request? It shall be fulfilled.”
And Esther said, “If it please the king, let the Jews who are in Susa be allowed tomorrow also to do according to this day’s edict. And let the ten sons of Haman be hanged on the gallows.”
So the king commanded this to be done; a decree was issued in Susa, and the ten sons of Haman were hanged. The Jews who were in Susa gathered also on the fourteenth day of the month of Adar and they slew three hundred men in Susa; but they laid no hands on the plunder.
Now the other Jews who were in the king’s provinces also gathered to defend their lives, and got relief from their enemies, and slew seventy-five thousand of those who hated them; but they laid no hands on the plunder.
This bloodbath is obviously a bit more ethically problematic than Haman’s individual fate.
Now, sure, this is an event of questionable authenticity situated in Iron Age tribal mores and exaggerated by the ubiquitous ancient inflation of head counts. The subtext (“defend their lives” … “relief from their enemies”) also implies something like civil strife, blows exchanged rather than merely blows delivered. The overt text says that the victims were people who intended to do exactly the same thing to the Jews.
Still, the plain words on the page says 75,000 humans were slaughtered by a mobilized ethno-nationalist group, “children and women” among them. Just imagine the same parable about a Serb in a Bosnian king’s court, and say a little thanksgiving that the Book of Esther doesn’t identify these 75,000 as constituents of any specific demographic group that remains a going concern today.
Purim is a beloved holiday among its celebrants, but most any explication of it on the Internet comes with a comment thread agonizing over (or rationalizing) the body count. (For example.)
The fact that the story was told, and that it gained great popularity among the Jews, and by some of those in later ages came to be regarded as one of the most sacred books of their canon is, however, a revelation to us of the extent to which the most baleful and horrible passions may be cherished in the name of religion … it is not merely true that these atrocities are here recited; they are clearly indorsed.
Blessedly Purim Fest is not ultimately defined by the likes of Streicher, nor by the bloodthirstiness that is this site’s regrettable stock in trade. For most observants it’s simply one of the most joyous holidays of the year, a time for gifts and feasting and dress-up and carnivals and celebration sometimes thought of as the “Jewish Mardi Gras” or “Jewish Halloween”. Adherents have even been encouraged in all religious solemnity to drink in celebration until they can no longer tell “blessed be Mordecai” from “cursed be Haman.”
Deliverance indeed. L’chaim.
* The concept of Haman crucified in turn encouraged Jews under Christendom to use the figure of Haman (who once upon a time, could be subject to Guy Fawkes-like effigy-burning on Purim) as a veiled stand-in for the current oppressor Christ, and/or encouraged Judeophobic Christians to impute this intention to Purim observances.
On an unspecified Monday in what seems to be an unspecified autumn of the 1830s, Charles Dickens had hanged one of his most memorable characters: Oliver Twist‘s Jewish pickpocket-magnate Fagin.*
The prolific English scribbler who conjured Fagin had keen empathy for the man or woman on the scaffold, leading him to contribute some of literature’s most poignant execution scenes.
Detail view (click for the full image) of the condemned Fagin in his cell, from an 1867 edition of Oliver Twist/
This from the serialized novel that hit print from 1837 to 1839 is no exception.
Dickens does not stage Fagin’s actual hanging; the writer’s predilection is for the mind of the doomed as it reaches the precipice, and let the reader fill in the final details.
And in Fagin’s case, that mind belongs to a complex character for whom the reader likely has some empathy: despite Fagin’s villainy, he’s also the orphan Oliver’s surrogate father-figure and said urchin’s ticket out of the anonymous desperation of the urban poor.
As for the date, the murder committed by Fagin’s partner-in-crime Bill Sikes occurs in “autumn” (chapter 47) — probably early autumn since the relatively proximate chapter 38 is in “summer”. That murder precipitates Sikes’s death and Fagin’s capture almost immediately: though the ensuing juridical sequence is not directly, or even indirectly, delineated, the narrative’s sense certainly suggests that Fagin was prosecuted with all speed. A sequence of arrest-trial-execution in London at this period could easily take place within just a few weeks.**
The court was paved, from floor to roof, with human faces. Inquisitive and eager eyes peered from every inch of space. From the rail before the dock, away into the sharpest angle of the smallest corner in the galleries, all looks were fixed upon one man—Fagin. Before him and behind: above, below, on the right and on the left: he seemed to stand surrounded by a firmament, all bright with gleaming eyes.
He stood there, in all this glare of living light, with one hand resting on the wooden slab before him, the other held to his ear, and his head thrust forward to enable him to catch with greater distinctness every word that fell from the presiding judge, who was delivering his charge to the jury. At times, he turned his eyes sharply upon them to observe the effect of the slightest featherweight in his favour; and when the points against him were stated with terrible distinctness, looked towards his counsel, in mute appeal that he would, even then, urge something in his behalf. Beyond these manifestations of anxiety, he stirred not hand or foot. He had scarcely moved since the trial began; and now that the judge ceased to speak, he still remained in the same strained attitude of close attention, with his gaze bent on him, as though he listened still.
A slight bustle in the court, recalled him to himself. Looking round, he saw that the juryman had turned together, to consider their verdict. As his eyes wandered to the gallery, he could see the people rising above each other to see his face: some hastily applying their glasses to their eyes: and others whispering their neighbours with looks expressive of abhorrence. A few there were, who seemed unmindful of him, and looked only to the jury, in impatient wonder how they could delay. But in no one face—not even among the women, of whom there were many there—could he read the faintest sympathy with himself, or any feeling but one of all-absorbing interest that he should be condemned.
As he saw all this in one bewildered glance, the deathlike stillness came again, and looking back he saw that the jurymen had turned towards the judge. Hush!
They only sought permission to retire.
He looked, wistfully, into their faces, one by one when they passed out, as though to see which way the greater number leant; but that was fruitless. The jailer touched him on the shoulder. He followed mechanically to the end of the dock, and sat down on a chair. The man pointed it out, or he would not have seen it.
He looked up into the gallery again. Some of the people were eating, and some fanning themselves with handkerchiefs; for the crowded place was very hot. There was one young man sketching his face in a little note-book. He wondered whether it was like, and looked on when the artist broke his pencil-point, and made another with his knife, as any idle spectator might have done.
In the same way, when he turned his eyes towards the judge, his mind began to busy itself with the fashion of his dress, and what it cost, and how he put it on. There was an old fat gentleman on the bench, too, who had gone out, some half an hour before, and now come back. He wondered within himself whether this man had been to get his dinner, what he had had, and where he had had it; and pursued this train of careless thought until some new object caught his eye and roused another.
Not that, all this time, his mind was, for an instant, free from one oppressive overwhelming sense of the grave that opened at his feet; it was ever present to him, but in a vague and general way, and he could not fix his thoughts upon it. Thus, even while he trembled, and turned burning hot at the idea of speedy death, he fell to counting the iron spikes before him, and wondering how the head of one had been broken off, and whether they would mend it, or leave it as it was. Then, he thought of all the horrors of the gallows and the scaffold—and stopped to watch a man sprinkling the floor to cool it—and then went on to think again.
At length there was a cry of silence, and a breathless look from all towards the door. The jury returned, and passed him close. He could glean nothing from their faces; they might as well have been of stone. Perfect stillness ensued—not a rustle—not a breath—Guilty.
The building rang with a tremendous shout, and another, and another, and then it echoed loud groans, that gathered strength as they swelled out, like angry thunder. It was a peal of joy from the populace outside, greeting the news that he would die on Monday.
The noise subsided, and he was asked if he had anything to say why sentence of death should not be passed upon him. He had resumed his listening attitude, and looked intently at his questioner while the demand was made; but it was twice repeated before he seemed to hear it, and then he only muttered that he was an old man—an old man—and so, dropping into a whisper, was silent again.
The judge assumed the black cap, and the prisoner still stood with the same air and gesture. A woman in the gallery, uttered some exclamation, called forth by this dread solemnity; he looked hastily up as if angry at the interruption, and bent forward yet more attentively. The address was solemn and impressive; the sentence fearful to hear. But he stood, like a marble figure, without the motion of a nerve. His haggard face was still thrust forward, his under-jaw hanging down, and his eyes staring out before him, when the jailer put his hand upon his arm, and beckoned him away. He gazed stupidly about him for an instant, and obeyed.
They led him through a paved room under the court, where some prisoners were waiting till their turns came, and others were talking to their friends, who crowded round a grate which looked into the open yard. There was nobody there to speak to him; but, as he passed, the prisoners fell back to render him more visible to the people who were clinging to the bars: and they assailed him with opprobrious names, and screeched and hissed. He shook his fist, and would have spat upon them; but his conductors hurried him on, through a gloomy passage lighted by a few dim lamps, into the interior of the prison.
Here, he was searched, that he might not have about him the means of anticipating the law; this ceremony performed, they led him to one of the condemned cells, and left him there—alone.
He sat down on a stone bench opposite the door, which served for seat and bedstead; and casting his blood-shot eyes upon the ground, tried to collect his thoughts. After awhile, he began to remember a few disjointed fragments of what the judge had said: though it had seemed to him, at the time, that he could not hear a word. These gradually fell into their proper places, and by degrees suggested more: so that in a little time he had the whole, almost as it was delivered. To be hanged by the neck, till he was dead—that was the end. To be hanged by the neck till he was dead.
As it came on very dark, he began to think of all the men he had known who had died upon the scaffold; some of them through his means. They rose up, in such quick succession, that he could hardly count them. He had seen some of them die,—and had joked too, because they died with prayers upon their lips. With what a rattling noise the drop went down; and how suddenly they changed, from strong and vigorous men to dangling heaps of clothes!
Some of them might have inhabited that very cell—sat upon that very spot. It was very dark; why didn’t they bring a light? The cell had been built for many years. Scores of men must have passed their last hours there. It was like sitting in a vault strewn with dead bodies—the cap, the noose, the pinioned arms, the faces that he knew, even beneath that hideous veil.—Light, light!
At length, when his hands were raw with beating against the heavy door and walls, two men appeared: one bearing a candle, which he thrust into an iron candlestick fixed against the wall: the other dragging in a mattress on which to pass the night; for the prisoner was to be left alone no more.
Then came the night—dark, dismal, silent night. Other watchers are glad to hear this church-clock strike, for they tell of life and coming day. To him they brought despair. The boom of every iron bell came laden with the one, deep, hollow sound—Death. What availed the noise and bustle of cheerful morning, which penetrated even there, to him? It was another form of knell, with mockery added to the warning.
The day passed off. Day? There was no day; it was gone as soon as come—and night came on again; night so long, and yet so short; long in its dreadful silence, and short in its fleeting hours. At one time he raved and blasphemed; and at another howled and tore his hair. Venerable men of his own persuasion had come to pray beside him, but he had driven them away with curses. They renewed their charitable efforts, and he beat them off.
Saturday night. He had only one night more to live. And as he thought of this, the day broke—Sunday.
It was not until the night of this last awful day, that a withering sense of his helpless, desperate state came in its full intensity upon his blighted soul; not that he had ever held any defined or positive hope of mercy, but that he had never been able to consider more than the dim probability of dying so soon. He had spoken little to either of the two men, who relieved each other in their attendance upon him; and they, for their parts, made no effort to rouse his attention. He had sat there, awake, but dreaming. Now, he started up, every minute, and with gasping mouth and burning skin, hurried to and fro, in such a paroxysm of fear and wrath that even they—used to such sights—recoiled from him with horror. He grew so terrible, at last, in all the tortures of his evil conscience, that one man could not bear to sit there, eyeing him alone; and so the two kept watch together.
He cowered down upon his stone bed, and thought of the past. He had been wounded with some missiles from the crowd on the day of his capture, and his head was bandaged with a linen cloth. His red hair hung down upon his bloodless face; his beard was torn, and twisted into knots; his eyes shone with a terrible light; his unwashed flesh crackled with the fever that burnt him up. Eight—nine—then. If it was not a trick to frighten him, and those were the real hours treading on each other’s heels, where would he be, when they came round again! Eleven! Another struck, before the voice of the previous hour had ceased to vibrate. At eight, he would be the only mourner in his own funeral train; at eleven—
Those dreadful walls of Newgate, which have hidden so much misery and such unspeakable anguish, not only from the eyes, but, too often, and too long, from the thoughts, of men, never held so dread a spectacle as that. The few who lingered as they passed, and wondered what the man was doing who was to be hanged to-morrow, would have slept but ill that night, if they could have seen him.
From early in the evening until nearly midnight, little groups of two and three presented themselves at the lodge-gate, and inquired, with anxious faces, whether any reprieve had been received. These being answered in the negative, communicated the welcome intelligence to clusters in the street, who pointed out to one another the door from which he must come out, and showed where the scaffold would be built, and, walking with unwilling steps away, turned back to conjure up the scene. By degrees they fell off, one by one; and, for an hour, in the dead of night, the street was left to solitude and darkness.
The space before the prison was cleared, and a few strong barriers, painted black, had been already thrown across the road to break the pressure of the expected crowd, when Mr. Brownlow and Oliver appeared at the wicket, and presented an order of admission to the prisoner, signed by one of the sheriffs. They were immediately admitted into the lodge.
‘Is the young gentleman to come too, sir?’ said the man whose duty it was to conduct them. ‘It’s not a sight for children, sir.’
‘It is not indeed, my friend,’ rejoined Mr. Brownlow; ‘but my business with this man is intimately connected with him; and as this child has seen him in the full career of his success and villainy, I think it as well—even at the cost of some pain and fear—that he should see him now.’
These few words had been said apart, so as to be inaudible to Oliver. The man touched his hat; and glancing at Oliver with some curiousity, opened another gate, opposite to that by which they had entered, and led them on, through dark and winding ways, towards the cells.
‘This,’ said the man, stopping in a gloomy passage where a couple of workmen were making some preparations in profound silence—’this is the place he passes through. If you step this way, you can see the door he goes out at.’
He led them into a stone kitchen, fitted with coppers for dressing the prison food, and pointed to a door. There was an open grating above it, through which came the sound of men’s voices, mingled with the noise of hammering, and the throwing down of boards. There were putting up the scaffold.
From this place, they passed through several strong gates, opened by other turnkeys from the inner side; and, having entered an open yard, ascended a flight of narrow steps, and came into a passage with a row of strong doors on the left hand. Motioning them to remain where they were, the turnkey knocked at one of these with his bunch of keys. The two attendants, after a little whispering, came out into the passage, stretching themselves as if glad of the temporary relief, and motioned the visitors to follow the jailer into the cell. They did so.
The condemned criminal was seated on his bed, rocking himself from side to side, with a countenance more like that of a snared beast than the face of a man. His mind was evidently wandering to his old life, for he continued to mutter, without appearing conscious of their presence otherwise than as a part of his vision.
‘Good boy, Charley—well done—’ he mumbled. ‘Oliver, too, ha! ha! ha! Oliver too—quite the gentleman now—quite the—take that boy away to bed!’
The jailer took the disengaged hand of Oliver; and, whispering him not to be alarmed, looked on without speaking.
‘Take him away to bed!’ cried Fagin. ‘Do you hear me, some of you? He has been the—the—somehow the cause of all this. It’s worth the money to bring him up to it—Bolter’s throat, Bill; never mind the girl—Bolter’s throat as deep as you can cut. Saw his head off!’
‘Fagin,’ said the jailer.
‘That’s me!’ cried the Jew, falling instantly, into the attitude of listening he had assumed upon his trial. ‘An old man, my Lord; a very old, old man!’
‘Here,’ said the turnkey, laying his hand upon his breast to keep him down. ‘Here’s somebody wants to see you, to ask you some questions, I suppose. Fagin, Fagin! Are you a man?’
‘I shan’t be one long,’ he replied, looking up with a face retaining no human expression but rage and terror. ‘Strike them all dead! What right have they to butcher me?’
As he spoke he caught sight of Oliver and Mr. Brownlow. Shrinking to the furthest corner of the seat, he demanded to know what they wanted there.
‘Steady,’ said the turnkey, still holding him down. ‘Now, sir, tell him what you want. Quick, if you please, for he grows worse as the time gets on.’
‘You have some papers,’ said Mr. Brownlow advancing, ‘which were placed in your hands, for better security, by a man called Monks.’
‘It’s all a lie together,’ replied Fagin. ‘I haven’t one—not one.’
‘For the love of God,’ said Mr. Brownlow solemnly, ‘do not say that now, upon the very verge of death; but tell me where they are. You know that Sikes is dead; that Monks has confessed; that there is no hope of any further gain. Where are those papers?’
‘Oliver,’ cried Fagin, beckoning to him. ‘Here, here! Let me whisper to you.’
‘I am not afraid,’ said Oliver in a low voice, as he relinquished Mr. Brownlow’s hand.
‘The papers,’ said Fagin, drawing Oliver towards him, ‘are in a canvas bag, in a hole a little way up the chimney in the top front-room. I want to talk to you, my dear. I want to talk to you.’
‘Yes, yes,’ returned Oliver. ‘Let me say a prayer. Do! Let me say one prayer. Say only one, upon your knees, with me, and we will talk till morning.’
‘Outside, outside,’ replied Fagin, pushing the boy before him towards the door, and looking vacantly over his head. ‘Say I’ve gone to sleep—they’ll believe you. You can get me out, if you take me so. Now then, now then!’
‘Oh! God forgive this wretched man!’ cried the boy with a burst of tears.
‘That’s right, that’s right,’ said Fagin. ‘That’ll help us on. This door first. If I shake and tremble, as we pass the gallows, don’t you mind, but hurry on. Now, now, now!’
‘Have you nothing else to ask him, sir?’ inquired the turnkey.
‘No other question,’ replied Mr. Brownlow. ‘If I hoped we could recall him to a sense of his position—’
‘Nothing will do that, sir,’ replied the man, shaking his head. ‘You had better leave him.’
The door of the cell opened, and the attendants returned.
‘Press on, press on,’ cried Fagin. ‘Softly, but not so slow. Faster, faster!’
The men laid hands upon him, and disengaging Oliver from his grasp, held him back. He struggled with the power of desperation, for an instant; and then sent up cry upon cry that penetrated even those massive walls, and rang in their ears until they reached the open yard.
It was some time before they left the prison. Oliver nearly swooned after this frightful scene, and was so weak that for an hour or more, he had not the strength to walk.
Day was dawning when they again emerged. A great multitude had already assembled; the windows were filled with people, smoking and playing cards to beguile the time; the crowd were pushing, quarrelling, joking. Everything told of life and animation, but one dark cluster of objects in the centre of all—the black stage, the cross-beam, the rope, and all the hideous apparatus of death.
* Fagin was named for a workman named Bob Fagin, who showed a few tricks of the trade when the boy Dickens did his own turn in a workhouse.
** For instance, the the London Burkers in 1831 and Benjamin Courvoisier in 1840 were each condemned to death less than two months after their arrests, and each hanged within days of sentence.
On this date* in French-occupied Moscow of the War of 1812, many alleged arsonists — unnamed and unnumbered — were shot by Napoleon’s army in the ashes of Moscow.
Although real, flesh-and-blood Muscovites died, they are best known via their bespectacled fictional companion, Pierre Bezukhov, whose miraculous escape is one of the pivotal episodes of Tolstoy’s War and Peace.
Merely the greatest novel in history by some reckonings — we’ll just let Tolstoy fight it out with Dostoyevsky for top of table in the competitive 19th Century Russia literary scene — the epic War and Peace tracks that country’s transformation under the revolutionary pressures of the Napoleonic age.
In Russian director Sergey Bondarchuk’s sprawling cinematic adaptation of War and Peace, the part of Pierre Bezukhov is played by Bondarchuk himself.
Pierre Bezukhov (“without ears”) is one of the book’s central figures, the illegitimate son of a count who unexpectedly inherits, forever consumed with his next impulsive, passionate quest for meaning (boozing around, freemasonry, religion …).
Pierre finds himself present in Moscow when the Grande Armeerolls in following its Pyrrhic victory at the Battle of Borodino. His fancy of the moment is to assassinate Napoleon: “he suddenly felt that what before had seemed to him merely a possibility had now become absolutely necessary and inevitable. He must remain in Moscow, concealing his name, and must meet Napoleon and kill him, and either perish or put an end to the misery of all Europe.” And to think, a younger Pierre actually used to admire Napoleon.
Historically, the city of Moscow started burning as soon as the French occupied it. The reasons for this conflagration have been widely disputed; Tolstoy detours in War and Peace to characterize it as nothing more than the natural consequence of the occupation, when the city’s civil infrastructure has broken down and the everyday fires that spark in wooden buildings are more liable to grow out of control.
The French blamed terrorists.
A bulletin of the Grande Armee dated September 20 (Gregorian date; this corresponds to the Julian date September 8) reports on the successful efforts to bring arsonists to heel through the expedient of mass executions.
Three hundred incendiaries have been arrested and shot; they were provided with fuse six inches long, which they had between two pieces of wood: they had also squibs, which they threw upon the roofs of the houses. The wretch Rastapchin had these prepared, on the pretence that he wished to send a balloon, full of combustible matter, amidst the French army …
The fires subsided on the 19th and 20th; three quarters of the city are burned; among other palaces that beautiful one of Catherine, which had been newly furnished: not above a quarter of the houses remain. …
Manufactures were beginning to flourish at Moscow: they are destroyed. The conflagration of this capital will throw Russia one hundred years back. The weather is becoming rainy: the greatest part of the army is in barracks in Moscow.
In this paranoid occupation, the fictional Pierre, wandering Moscow armed without a good excuse, gets himself picked up by French troops.
The travail of his resulting drumhead trial offers the anti-authoritarian (and anti-death penalty) Tolstoy the opportunity to reflect on the “legal” arrangements, a passage Tolstoy dates September 8 on the Julian calendar — the same day that army bulletin above was penned.
[Pierre] learned that all these prisoners (he, probably, among them) were to be tried for incendiarism. On the third day he was taken with the others to a house where a French general with a white mustache sat with two colonels and other Frenchmen with scarves on their arms. With the precision and definiteness customary in addressing prisoners, and which is supposed to preclude human frailty, Pierre like the others was questioned as to who he was, where he had been, with what object, and so on.
These questions, like questions put at trials generally, left the essence of the matter aside, shut out the possibility of that essence’s being revealed, and were designed only to form a channel through which the judges wished the answers of the accused to flow so as to lead to the desired result, namely a conviction. As soon as Pierre began to say anything that did not fit in with that aim, the channel was removed and the water could flow to waste. Pierre felt, moreover, what the accused always feel at their trial, perplexity as to why these questions were put to him. He had a feeling that it was only out of condescension or a kind of civility that this device of placing a channel was employed. He knew he was in these men’s power, that only by force had they brought him there, that force alone gave them the right to demand answers to their questions, and that the sole object of that assembly was to inculpate him. And so, as they had the power and wish to inculpate him, this expedient of an inquiry and trial seemed unnecessary. It was evident that any answer would lead to conviction.
It’s only by Pierre’s chance ability to forge a human connection with the officer detailed to condemn him that he’s mysteriously, and arbitrarily, not sentenced to death — a fact that Pierre doesn’t even realize until he’s led out with the rest of the prisoners only to see that it’s “only” the others who are being shot. This is the narration at length from Book XII, Chapters 10-11.
On the eighth of September an officer- a very important one judging by the respect the guards showed him- entered the coach house where the prisoners were. This officer, probably someone on the staff, was holding a paper in his hand, and called over all the Russians there, naming Pierre as “the man who does not give his name.” Glancing indolently and indifferently at all the prisoners, he ordered the officer in charge to have them decently dressed and tidied up before taking them to the marshal. An hour later a squad of soldiers arrived and Pierre with thirteen others was led to the Virgin’s Field. It was a fine day, sunny after rain, and the air was unusually pure. The smoke did not hang low as on the day when Pierre had been taken from the guardhouse on the Zubovski rampart, but rose through the pure air in columns. No flames were seen, but columns of smoke rose on all sides, and all Moscow as far as Pierre could see was one vast charred ruin. On all sides there were waste spaces with only stoves and chimney stacks still standing, and here and there the blackened walls of some brick houses. Pierre gazed at the ruins and did not recognize districts he had known well. Here and there he could see churches that had not been burned. The Kremlin, which was not destroyed, gleamed white in the distance with its towers and the belfry of Ivan the Great. The domes of the New Convent of the Virgin glittered brightly and its bells were ringing particularly clearly. These bells reminded Pierre that it was Sunday and the feast of the Nativity of the Virgin. But there seemed to be no one to celebrate this holiday: everywhere were blackened ruins, and the few Russians to be seen were tattered and frightened people who tried to hide when they saw the French.
Pierre had been taken by one set of soldiers and led first to one and then to another place with dozens of other men, and it seemed that they might have forgotten him, or confused him with the others. But no: the answers he had given when questioned had come back to him in his designation as “the man who does not give his name,” and under that appellation, which to Pierre seemed terrible, they were now leading him somewhere with unhesitating assurance on their faces that he and all the other prisoners were exactly the ones they wanted and that they were being taken to the proper place. Pierre felt himself to be an insignificant chip fallen among the wheels of a machine whose action he did not understand but which was working well.
He and the other prisoners were taken to the right side of the Virgin’s Field, to a large white house with an immense garden not far from the convent. This was Prince Shcherbatov‘s house, where Pierre had often been in other days, and which, as he learned from the talk of the soldiers, was now occupied by the marshal, the Duke of Eckmuhl (Davout).
They were taken to the entrance and led into the house one by one. Pierre was the sixth to enter. He was conducted through a glass gallery, an anteroom, and a hall, which were familiar to him, into a long low study at the door of which stood an adjutant.
Davout, spectacles on nose, sat bent over a table at the further end of the room. Pierre went close up to him, but Davout, evidently consulting a paper that lay before him, did not look up. Without raising his eyes, he said in a low voice:
“Who are you?”
Pierre was silent because he was incapable of uttering a word. To him Davout was not merely a French general, but a man notorious for his cruelty. Looking at his cold face, as he sat like a stern schoolmaster who was prepared to wait awhile for an answer, Pierre felt that every instant of delay might cost him his life; but he did not know what to say. He did not venture to repeat what he had said at his first examination, yet to disclose his rank and position was dangerous and embarrassing. So he was silent. But before he had decided what to do, Davout raised his head, pushed his spectacles back on his forehead, screwed up his eyes, and looked intently at him.
“I know that man,” he said in a cold, measured tone, evidently calculated to frighten Pierre.
The chill that had been running down Pierre’s back now seized his head as in a vise.
“You cannot know me, General, I have never seen you…”
“He is a Russian spy,” Davout interrupted, addressing another general who was present, but whom Pierre had not noticed.
Davout turned away. With an unexpected reverberation in his voice Pierre rapidly began:
“No, monseigneur,” he said, suddenly remembering that Davout was a duke. “No, monseigneur, you cannot have known me. I am a militia officer and have not quitted Moscow.”
“Your name?” asked Davout.
“What proof have I that you are not lying?”
“Monseigneur!” exclaimed Pierre, not in an offended but in a pleading voice.
Davout looked up and gazed intently at him. For some seconds they looked at one another, and that look saved Pierre. Apart from conditions of war and law, that look established human relations between the two men. At that moment an immense number of things passed dimly through both their minds, and they realized that they were both children of humanity and were brothers.
At the first glance, when Davout had only raised his head from the papers where human affairs and lives were indicated by numbers, Pierre was merely a circumstance, and Davout could have shot him without burdening his conscience with an evil deed, but now he saw in him a human being. He reflected for a moment.
“How can you show me that you are telling the truth?” said Davout coldly.
Pierre remembered Ramballe, and named him and his regiment and the street where the house was.
“You are not what you say,” returned Davout.
In a trembling, faltering voice Pierre began adducing proofs of the truth of his statements.
But at that moment an adjutant entered and reported something to Davout.
Davout brightened up at the news the adjutant brought, and began buttoning up his uniform. It seemed that he had quite forgotten Pierre.
When the adjutant reminded him of the prisoner, he jerked his head in Pierre’s direction with a frown and ordered him to be led away. But where they were to take him Pierre did not know: back to the coach house or to the place of execution his companions had pointed out to him as they crossed the Virgin’s Field.
He turned his head and saw that the adjutant was putting another question to Davout.
“Yes, of course!” replied Davout, but what this “yes” meant, Pierre did not know.
Pierre could not afterwards remember how he went, whether it was far, or in which direction. His faculties were quite numbed, he was stupefied, and noticing nothing around him went on moving his legs as the others did till they all stopped and he stopped too. The only thought in his mind at that time was: who was it that had really sentenced him to death? Not the men on the commission that had first examined him — not one of them wished to or, evidently, could have done it. It was not Davout, who had looked at him in so human a way. In another moment Davout would have realized that he was doing wrong, but just then the adjutant had come in and interrupted him. The adjutant, also, had evidently had no evil intent though he might have refrained from coming in. Then who was executing him, killing him, depriving him of life — him, Pierre, with all his memories, aspirations, hopes, and thoughts? Who was doing this? And Pierre felt that it was no one.
It was a system — a concurrence of circumstances.
A system of some sort was killing him — Pierre — depriving him of life, of everything, annihilating him.
From Prince Shcherbatov’s house the prisoners were led straight down the Virgin’s Field, to the left of the nunnery, as far as a kitchen garden in which a post had been set up. Beyond that post a fresh pit had been dug in the ground, and near the post and the pit a large crowd stood in a semicircle. The crowd consisted of a few Russians and many of Napoleon’s soldiers who were not on duty- Germans, Italians, and Frenchmen, in a variety of uniforms. To the right and left of the post stood rows of French troops in blue uniforms with red epaulets and high boots and shakos.
The prisoners were placed in a certain order, according to the list (Pierre was sixth), and were led to the post. Several drums suddenly began to beat on both sides of them, and at that sound Pierre felt as if part of his soul had been torn away. He lost the power of thinking or understanding. He could only hear and see. And he had only one wish- that the frightful thing that had to happen should happen quickly. Pierre looked round at his fellow prisoners and scrutinized them.
The two first were convicts with shaven heads. One was tall and thin, the other dark, shaggy, and sinewy, with a flat nose. The third was a domestic serf, about forty-five years old, with grizzled hair and a plump, well-nourished body. The fourth was a peasant, a very handsome man with a broad, light-brown beard and black eyes. The fifth was a factory hand, a thin, sallow-faced lad of eighteen in a loose coat.
Pierre heard the French consulting whether to shoot them separately or two at a time. “In couples,” replied the officer in command in a calm voice. There was a stir in the ranks of the soldiers and it was evident that they were all hurrying — not as men hurry to do something they understand, but as people hurry to finish a necessary but unpleasant and incomprehensible task.
A French official wearing a scarf came up to the right of the row of prisoners and read out the sentence in Russian and in French.
Then two pairs of Frenchmen approached the criminals and at the officer’s command took the two convicts who stood first in the row. The convicts stopped when they reached the post and, while sacks were being brought, looked dumbly around as a wounded beast looks at an approaching huntsman. One crossed himself continually, the other scratched his back and made a movement of the lips resembling a smile. With hurried hands the soldiers blindfolded them, drawing the sacks over their heads, and bound them to the post.
Twelve sharpshooters with muskets stepped out of the ranks with a firm regular tread and halted eight paces from the post. Pierre turned away to avoid seeing what was going to happen. Suddenly a crackling, rolling noise was heard which seemed to him louder than the most terrific thunder, and he looked round. There was some smoke, and the Frenchmen were doing something near the pit, with pale faces and trembling hands. Two more prisoners were led up. In the same way and with similar looks, these two glanced vainly at the onlookers with only a silent appeal for protection in their eyes, evidently unable to understand or believe what was going to happen to them. They could not believe it because they alone knew what their life meant to them, and so they neither understood nor believed that it could be taken from them.
Again Pierre did not wish to look and again turned away; but again the sound as of a frightful explosion struck his ear, and at the same moment he saw smoke, blood, and the pale, scared faces of the Frenchmen who were again doing something by the post, their trembling hands impeding one another. Pierre, breathing heavily, looked around as if asking what it meant. The same question was expressed in all the looks that met his.
On the faces of all the Russians and of the French soldiers and officers without exception, he read the same dismay, horror, and conflict that were in his own heart. “But who, after all, is doing this? They are all suffering as I am. Who then is it? Who?” flashed for an instant through his mind.
“Sharpshooters of the 86th, forward!” shouted someone. The fifth prisoner, the one next to Pierre, was led away- alone. Pierre did not understand that he was saved, that he and the rest had been brought there only to witness the execution. With ever-growing horror, and no sense of joy or relief, he gazed at what was taking place. The fifth man was the factory lad in the loose cloak. The moment they laid hands on him he sprang aside in terror and clutched at Pierre. (Pierre shuddered and shook himself free.) The lad was unable to walk. They dragged him along, holding him up under the arms, and he screamed. When they got him to the post he grew quiet, as if he suddenly understood something. Whether he understood that screaming was useless or whether he thought it incredible that men should kill him, at any rate he took his stand at the post, waiting to be blindfolded like the others, and like a wounded animal looked around him with glittering eyes.
Pierre was no longer able to turn away and close his eyes. His curiosity and agitation, like that of the whole crowd, reached the highest pitch at this fifth murder. Like the others this fifth man seemed calm; he wrapped his loose cloak closer and rubbed one bare foot with the other.
When they began to blindfold him he himself adjusted the knot which hurt the back of his head; then when they propped him against the bloodstained post, he leaned back and, not being comfortable in that position, straightened himself, adjusted his feet, and leaned back again more comfortably. Pierre did not take his eyes from him and did not miss his slightest movement.
Probably a word of command was given and was followed by the reports of eight muskets; but try as he would Pierre could not afterwards remember having heard the slightest sound of the shots. He only saw how the workman suddenly sank down on the cords that held him, how blood showed itself in two places, how the ropes slackened under the weight of the hanging body, and how the workman sat down, his head hanging unnaturally and one leg bent under him. Pierre ran up to the post. No one hindered him. Pale, frightened people were doing something around the workman. The lower jaw of an old Frenchman with a thick mustache trembled as he untied the ropes. The body collapsed. The soldiers dragged it awkwardly from the post and began pushing it into the pit.
They all plainly and certainly knew that they were criminals who must hide the traces of their guilt as quickly as possible.
Pierre glanced into the pit and saw that the factory lad was lying with his knees close up to his head and one shoulder higher than the other. That shoulder rose and fell rhythmically and convulsively, but spadefuls of earth were already being thrown over the whole body. One of the soldiers, evidently suffering, shouted gruffly and angrily at Pierre to go back. But Pierre did not understand him and remained near the post, and no one drove him away.
When the pit had been filled up a command was given. Pierre was taken back to his place, and the rows of troops on both sides of the post made a half turn and went past it at a measured pace. The twenty-four sharpshooters with discharged muskets, standing in the center of the circle, ran back to their places as the companies passed by.
Pierre gazed now with dazed eyes at these sharpshooters who ran in couples out of the circle. All but one rejoined their companies. This one, a young soldier, his face deadly pale, his shako pushed back, and his musket resting on the ground, still stood near the pit at the spot from which he had fired. He swayed like a drunken man, taking some steps forward and back to save himself from falling. An old, noncommissioned officer ran out of the ranks and taking him by the elbow dragged him to his company. The crowd of Russians and Frenchmen began to disperse. They all went away silently and with drooping heads.
“That will teach them to start fires,” said one of the Frenchmen.
Pierre glanced round at the speaker and saw that it was a soldier who was trying to find some relief after what had been done, but was not able to do so. Without finishing what he had begun to say he made a hopeless movement with his arm and went away.
* It’s our practice (although we’re sure it’s been violated here and there) to utilize Gregorian dates universally after the mid-18th century, even for executions in Orthodox Christendom where the Julian calendar prevailed into the 20th century. For this post, seeing as it’s straight from the text of Tolstoy himself, in his magnum opus, channeling the soul of the Russian rodina, we’re making an exception: the 12-day-slower, local-to-Russia Julian calendar prevails … just like the Russians themselves did.
Late this night* in 1628 was the fictional execution of The Three Musketeers antagonist Milady de Winter.
Milady de Winter, as the heroine of Agnes Maupre’s revisionist French graphic novel series (Author interview | Another (Both in French)).
This conniving minx bears the fleur-de-lis brand of a teenage crime upon her shoulder — a very naughty beauty-mark indeed — but becomes a secret agent of Cardinal Richelieu. (Richelieu is a point of friction for the Musketeers right from the start.)
To skip to the end of things, Milady is portrayed as having orchestrated at Richelieu’s behest the (actual, historical) assassination of the Musketeers’ buddy the (actual, historical) Duke of Buckingham, which Milady accomplishes by seducing and manipulating his (actual, historical) assassin, John Felton. In reality, Felton was motivated by the stirring Republican sentiment that would soon generate a revolution; in Dumas, he’s a horny dupe who sees his seductress escaping by sea even as he’s placed under arrest.
Buckingham was (actually, historically) murdered on August 23.
The fictional narrative picks up on August 25, when the escaped Milady writes to Cardinal Richelieu from the safety of Boulogne. Unknown to her, her hours are numbered.
Milady proceeds the next morning to a convent in Bethune where she chances to encounter the mistress of her old foe d’Artagnan … and, by that night, to slay said mistress with poison just ahead of the arrival of the Musketeers.** But the Musketeers are able to track the escaping murderess down by the next evening. There, they subject her to a snap “trial”:
“We wish to judge you according to your crime,” said Athos; “you shall be free to defend yourself. Justify yourself if you can. M. d’Artagnan, it is for you to accuse her first.”
“Before God and before men,” said he, “I accuse this woman of having poisoned Constance Bonacieux, who died yesterday evening.”
He turned towards Porthos and Aramis.
“We bear witness to this,” said the two Musketeers, with one voice.
D’Artagnan continued: “Before God and before men, I accuse this woman of having attempted to poison me, in wine which she sent me from Villeroy, with a forged letter, as if that wine came from my friends. God preserved me, but a man named Brisemont died in my place.”
“We bear witness to this,” said Porthos and Aramis, in the same manner as before.
“Before God and before men, I accuse this woman of having urged me to the murder of the Baron de Wardes; but as no one else can attest the truth of this accusation, I attest it myself. I have done.” And d’Artagnan passed to the other side of the room with Porthos and Aramis.
“Your turn, my Lord,” said Athos.
The baron came forward.
“Before God and before men,” said he, “I accuse this woman of having caused the assassination of the Duke of Buckingham.”
“The Duke of Buckingham assassinated!” cried all present, with one voice.
“Yes,” said the baron, “assassinated. On receiving the warning letter you wrote to me, I had this woman arrested, and gave her in charge to a loyal servant. She corrupted this man; she placed the poniard in his hand; she made him kill the duke. And at this moment, perhaps, Felton is paying with his head for the crime of this fury!”
And so forth.
Then these obviously impartial judges judge her guilty, and have the executioner of Lille — whom they have thoughtfully procured in advance — chop off her head and dump her in a river.
“The executioner may kill, without being on that account an assassin,” said the man in the red cloak [i.e., the executioner himself], rapping upon his immense sword. “This is the last judge; that is all. Nachrichter, as say our neighbors, the Germans.”
Extrajudicial is as extrajudicial does. And in this case, Richelieu is just as happy to be rid of his duplicitous agent and, admiring the protagonist’s moxie, commissions d’Artagnan a lieutenant in the Musketeers. D’Artagnan is the fourth of the titular “three Musketeers”, so this denouement means that he’s finally made it … and he should stand by for duty in sequels continuing to mix-and-match Dumas’s fictional characters with actual, historical events.
This date’s captivating femme fatale has appropriately been portrayed by a ravishing host of silver screen sirens including Lana Turner, Mylene Demongeot, Antonella Lualdi, Faye Dunaway, Rebecca de Mornay, Emmanuelle Beart, and (most recently as of this writing), Milla Jovovich.
* August 27-28, right around midnight. Dumas isn’t specific as to pre- or post-midnight.
“Everything passed simply, decorously, and without affectation on his part,” is the entirety of Stendhal’s death scene for his man.
Julien Sorel, the flawed (or anti-) hero of The Red and the Black (Le Rouge et le Noir), is the intelligent son of a provincial carpenter who puts his wits to use trying to climb Restoration France’s treacherous social ladder.
Ambition, says Stendhal, is “the very essence of his existence,” much as it is for his milieu, and through Julien’s exertions — brilliant and resourceful at times; infuriatingly handicapped by social prejudice against the protagonist’s low birth at others — the author sets down one of the most psychologically forceful works in the canon.
Julien Sorel’s ambition also powers his youthful passion, and his fall: to conquer the mother of the children he tutors, and to likewise conquer the daughter of a nobleman.** This latter conquest has him a made man, married into the aristocracy and set with a plum military assignment that has Julien dreaming of Napoleon … so when the spurned former conquest denounces Julien to the father of that latter conquest as an upstart seducer cynically shagging his way into decent society, the incensed Julien hauls off and shoots that previous conquest. (As she kneels at Mass, no less.)
Is it a mere jealous fit? Even though his victim survives the attack, and forgives her lover, Julien obstinately pleads guilty, and insists on his own maximum culpability. It’s not only an individual criminal culpability, but a culpability of class aspiration.
‘I ask you for no mercy,’ Julien went on, his voice growing stronger. ‘I am under no illusion; death is in store for me; it will be a just punishment. I have been guilty of attempting the life of the woman most worthy of all respect, of all devotion. Madame de Renal had been like a mother to me. My crime is atrocious, and it was premeditated. I have, therefore, deserved death, Gentlemen of the Jury. But, even were I less guilty, I see before me men who, without pausing to consider what pity may be due to my youth, will seek to punish in me and to discourage forever that class of young men who, born in an inferior station and in a sense burdened with poverty, have the good fortune to secure a sound education, and the audacity to mingle with what the pride of rich people calls society.
‘That is my crime, Gentlemen, and it will be punished with all the more severity inasmuch as actually I am not being tried by my peers. I do not see, anywhere among the jury, a peasant who has grown rich, but only indignant bourgeois …’
The Red and the Black is available in its French original here; in English translation here; and as a free French audio book here. And here’s some literary analysis
* The date is not explicit in the text. The Red and the Black was subtitled Chronique de 1830, but several past-tense allusions to the event show that the main action takes place after the July Revolution of 1830 that toppled Charles X and raised Louis-Philippe to the throne. There is, however, a late and seemingly anachronistic allusion to Julien’s lover/victim intending to “throw herself at the feet of Charles X” to appeal for his life. Oh well: ambiguity is the novel’s stock in trade.
** These (fictional) de la Moles are very proud of being descended from the (actual) Joseph Boniface de la Mole, whose signal achievement was his April 30, 1574 beheading.
Sartre published “The Wall” at almost the exact same time — summer 1937 — as Picasso finished Guernica. (Guernica was bombed in April 1937.)
“The Wall” is highly non-specific as to time and circumstance; a mention of “winter” — as of writing, the winter of 1937 was the only one yet elapsed in the conflict — and a few disembodied calendar indicators like “the 9th” and “Tuesday”.
Instead, it’s an existential reflection on the inscrutability of death. The narrator, one Pablo Ibbieta, awaits the morning’s firing squad with an International Brigade volunteer named Tom Steinbock and a Spanish innocent named Juan Mirbal.
All three of us watched [a Belgian doctor] because he was alive. He had the motions of a living human being, the cares of a living human being; he shivered in the cellar the way the living are supposed to shiver; he had an obedient, well-fed body. The rest of us hardly felt ours — not in the same way anyhow. I wanted to feel my pants between my legs but I didn’t dare; I watched the Belgian, balancing on his legs, master of his muscles, someone who could think about tomorrow. There we were, three bloodless shadows; we watched him and we sucked his life like vampires. …
In the state I was in, if someone had come and told me I could go home quietly, that they would leave me my life whole, it would have left me cold: several hours or several years of waiting is all the same when you have lost the illusion of being eternal. I clung to nothing, in a way I was calm. But it was a horrible calm — because of my body; my body, I saw with its eyes, I heard with its ears, but it was no longer me; it sweated and trembled by itself and I didn’t recognize it any more. I had to touch it and look at it to find out what was happening, as if it were the body of someone else. …
[Juan] wept: I could clearly see he was pitying himself; he wasn’t thinking about death. For one second, one single second, I wanted to weep myself, to weep with pity for myself. But the opposite happened: I glanced at the kid, I saw his thin sobbing shoulders and I felt inhuman: I could pity neither the others nor myself. I said to myself, “I want to die cleanly.”
Tom and Juan go to the wall that morning.
Pablo, an anarchist, is subjected to one last interrogation before he’s shot: the fascists are hunting a confederate of his, and they offer Pablo his life in exchange for giving up the whereabouts of this Ramon Gris. “His life had no more value than mine; no life had value,” Pablo muses. “They were going to slap a man up against a wall and shoot at him till he died, whether it was I or Gris or somebody else made no difference.” Impulsively, almost whimsically, he directs them to a cemetery as a bogus location: “It was a farce. I wanted to see them stand up, buckle their belts and give orders busily.”
Except … unbeknownst to Pablo, Ramon Gris had just moved his hiding place to that very cemetery. For reasons as nonsensical as Ibbieta’s own initial condemnation, his life is swapped for Gris’s at the last moment.
Over the course of 1802, Leclerc made headway towards accomplishing just that, as much with carrots as with sticks.
Maurepas was one of the Haitian commanders tasked by Toussaint L’Ouverture with defending Saint-Domingue, in his case, Port-de-Paix. Faced with a French landing, Maurepas burned the town to the ground and withdrew for an effective guerrilla resistance in the mountains.
But he eventually came to terms with the French, as did other Haitian officers, L’Ouverture included — reintegrating forces back with the French on the understanding that all that liberte, egalite, fraternite stuff would at least extend as far as not reintroducing slavery.
The French had other plans for their lucrative once-and-future colony, and when the Haitians caught wind of them, trouble resumed — now under the leadership (since the French had sagely deported L’Ouverture) of Jean-Jacques Dessalines.**
Leclerc had the, er, “fortune” of succumbing to yellow fever shortly after Dessalines’ promising revolt got underway; he was succeeded by the brutal Rochambeau, who threw away the carrots and relied on naked violence to control the island. (Again, not uncharacteristic of Napoleonic conquests.)
Maurepas had not actually gone over to Dessalines, but the fact that he was a black Haitian general was reason enough for his white French superior officer to arrest him preventively. Immediately upon assuming command, Rochambeau made an example of Maurepas.
The sea off the Cape was chosen to be the theatre of an execution, unparalleled in what is called civilized life. For fear that Maurepas, who had gained distinction under Toussaint L’Ouverture, after having embraced the side of France, should join the insurgents, Leclerc had written to him to come by sea, with his family and his troop, to take the command of the Cape, which he destined for him as a reward for his services. No sooner had he arrived than he and his soldiers were seized and disarmed. Rochambeau ordered preparations to be made for a barbarous punishment in order to put the negro general to death, with his troop, consisting of 400 blacks. It was also put in deliberation whether death should be inflicted on his children, in order to prevent them from rising up to avenge their father.
After having been bound to the mast of a vessel, Maurepas was frightfully insulted. His wife, his children, and his soldiers were brought to be drowned under his eyes. The executioners were astounded when they beheld a father fix his dying eyes by turns on his children, his wife, and his companions in arms, undergoing a violent death; while they, on their part, turned their eyes away from a father, a husband, a general, whose countenance was disfigured by the tortures he was enduring. After being made to contemplate each other’s sufferings, they were all tossed into the ocean. They died without complaining in a manner worthy the champions of liberty. With a reversal of the order of nature, the father died last; he also suffered most.
Thus died Maurepas, whose character was a compound of frankness and severity. Thrice had he repulsed the French at the gorge of Trois-Rivières; he had at once the glory and the misfortune to go over to the French with victorious arms. The elevation of his soul equalled his valor. He preserved a tender feeling for the master whose slave he had been; he caused funeral honors to be paid to that master, and when his grave had been negligently prepared, he threw off his upper garment in order to perform the pious office properly. Among men of his own blood he was a powerful chief. A spirit of order and justice prevailed in his life. His riches, which were considerable, were given up to pillage. It would almost seem as if so much excellence were subjected to so much ignominy, expressly to show that while black men are capable of any virtue, white men are capable of any crime. Certainly, my narrative is replete with instances which, beyond a question, prove that moral as well as mental excellence is independent of the varieties of color.
This brutal punishment, preceded by vile perfidy, filled the camps of the insurgents with horror. That horror was augmented when Rochambeau, at the Cape, put to death five hundred prisoners. On the place of execution, and under the eyes of the victims, they dug a large hole for their grave, so that the poor wretches may be said to have been present at their own funeral.
Far from cowing the rebels into submission, this savagery fired more ferocious resistance from men, women, and children who now perceived that their race subjected them to wholesale and arbitrary cruelty that no display of loyalty could overcome.
A terrible retribution was determined upon. Dessalines erected 500 gibbets, and hanged half a regiment of French that he had captured by a bold countermarch. A war of extermination followed, and in December, 1803, aided by an English squadron, the French were compelled to evacuate the island.
January 1, 1804 is Haiti’s Independence Day.
* By way of marriage to Napoleon’s sister Pauline. Pauline enjoyed the Saint-Domingue adventure more than did her spouse; she sported with lovers and balked at returning to France. “Here,” she noted, “I reign like Josephine; I hold first place.”
This character is the subject of a recent biography.
** After expelling the French and becoming the first ruler of independent Haiti, Dessalines took a page from Napoleon’s own playbook and crowned himself Emperor.
In this non-chronological story, Peyton Farquhar, “a well to do planter, of an old and highly respected Alabama family,” is entrapped by a Union spy purporting to be a Confederate agent to attempt an act of sabotage in the face of a hanging warning issued by the Union army.
It can be ballparked in late August or early September based on its location in northern Alabama, which essentially didn’t see Civil War activity until the very end of the war. Except, that is, for the maneuvering building up to the Battle of Chickamauga fought just over the border in southeastern Tennessee September 19-20, 1863.* That also squares with seasonal indicators in the text pointing to summer, e.g.: “the flood of last winter had lodged a great quantity of driftwood against the wooden pier at this end of the bridge. It is now dry and would burn like tinder.”
At any rate, the story begins with Farquhar stationed on Owl Creek Bridge awaiting execution … but the rope snaps as he falls, giving him a bid for freedom. As for what happens next: read the story, or take in this economical screen adaptation by French director Robert Enrico aired for American audiences on The Twilight Zone.
The heroine, “goodness made interesting” — or “A Pure Woman Faithfully Presented,” in the words of the subtitle — has been torn between the man she loves, Angel Clare, and one she loathes, Alec d’Urberville. Alec’s early, unwelcome attentions lead him to forcibly deflower young Tess, and the revelation that she is not a virgin ultimately shatters her prospectively happy marriage to Angel.
Years later, Angel returns from seeking his fortune in Brazil to find Tess miserably wed to her onetime rapist. But no sooner has Tess sent Angel away than she chases him down in the streets of Sandbourne.
“Angel,” she said, as if waiting for this, “do you know what I have been running after you for? To tell you that I have killed him!” A pitiful white smile lit her face as she spoke.
“What!” said he, thinking from the strangeness of her manner that she was in some delirium.
“I have done it — I don’t know how,” she continued. “Still, I owed it to you, and to myself, Angel. I feared long ago, when I struck him on the mouth with my glove, that I might do it some day for the trap he set for me in my simple youth, and his wrong to you through me. He has come between us and ruined us, and now he can never do it any more.”
The two flee together overland, intending to wait out the search that must pursue them and slip away to a ship. They have a few days’ idyllic refuge in an abandoned house, and at once blissful and tragic, Tess foreshadows her fate:
“I fear that what you think of me now may not last. I do not wish to outlive your present feeling for me. I would rather not. I would rather be dead and buried when the time comes for you to despise me, so that it may never be known to me that you despised me.”
Finally forced to move on, they cinematically take their rest at Stonehenge — Tess literally sleeping on an altar.
One of the illustrations of the original serialized version of Tess.
There they are captured — on a pagan shrine, their love long frustrated in its licit form, at last fulfilled on the lam. (“Fulfillment” is the title of the novel’s last section.)
Hardy wastes no words on his heroine’s travail with the judiciary, which is merely inexorable.
The city of Wintoncester, that fine old city, aforetime capital of Wessex, lay amidst its convex and concave downlands in all the brightness and warmth of a July morning. The gabled brick, tile, and freestone houses had almost dried off for the season their integument of lichen, the streams in the meadows were low, and in the sloping High Street, from the West Gateway to the mediæval cross, and from the mediæval cross to the bridge, that leisurely dusting and sweeping was in progress which usually ushers in an old-fashioned market-day.
From the western gate aforesaid the highway, as every Wintoncestrian knows, ascends a long and regular incline of the exact length of a measured mile, leaving the houses gradually behind. Up this road from the precincts of the city two persons were walking rapidly, as if unconscious of the trying ascent — unconscious through preoccupation and not through buoyancy. They had emerged upon this road through a narrow, barred wicket in a high wall a little lower down. They seemed anxious to get out of the sight of the houses and of their kind, and this road appeared to offer the quickest means of doing so. Though they were young, they walked with bowed heads, which gait of grief the sun’s rays smiled on pitilessly.
One of the pair was Angel Clare, the other a tall budding creature — half girl, half woman — a spiritualized image of Tess, slighter than she, but with the same beautiful eyes — Clare’s sister-in-law, ‘Liza-Lu. Their pale faces seemed to have shrunk to half their natural size. They moved on hand in hand, and never spoke a word, the drooping of their heads being that of Giotto’s “Two Apostles”.
When they had nearly reached the top of the great West Hill the clocks in the town struck eight. Each gave a start at the notes, and, walking onward yet a few steps, they reached the first milestone, standing whitely on the green margin of the grass, and backed by the down, which here was open to the road. They entered upon the turf, and, impelled by a force that seemed to overrule their will, suddenly stood still, turned, and waited in paralyzed suspense beside the stone.
The prospect from this summit was almost unlimited. In the valley beneath lay the city they had just left, its more prominent buildings showing as in an isometric drawing — among them the broad cathedral tower, with its Norman windows and immense length of aisle and nave, the spires of St Thomas’s, the pinnacled tower of the College, and, more to the right, the tower and gables of the ancient hospice, where to this day the pilgrim may receive his dole of bread and ale. Behind the city swept the rotund upland of St Catherine’s Hill; further off, landscape beyond landscape, till the horizon was lost in the radiance of the sun hanging above it.
Against these far stretches of country rose, in front of the other city edifices, a large red-brick building, with level gray roofs, and rows of short barred windows bespeaking captivity, the whole contrasting greatly by its formalism with the quaint irregularities of the Gothic erections. It was somewhat disguised from the road in passing it by yews and evergreen oaks, but it was visible enough up here. The wicket from which the pair had lately emerged was in the wall of this structure. From the middle of the building an ugly flat-topped octagonal tower ascended against the east horizon, and viewed from this spot, on its shady side and against the light, it seemed the one blot on the city’s beauty. Yet it was with this blot, and not with the beauty, that the two gazers were concerned.
Upon the cornice of the tower a tall staff was fixed. Their eyes were riveted on it. A few minutes after the hour had struck something moved slowly up the staff, and extended itself upon the breeze. It was a black flag.
“Justice” was done, and the President of the Immortals, in Aeschylean phrase, had ended his sport with Tess. And the d’Urberville knights and dames slept on in their tombs unknowing. The two speechless gazers bent themselves down to the earth, as if in prayer, and remained thus a long time, absolutely motionless: the flag continued to wave silently. As soon as they had strength, they arose, joined hands again, and went on.
It’s at dawn on this date in 1800 that the republican Mario Cavaradossi is shot at Castel Sant’Angelo in the climax of the Puccini opera Tosca.
This opera was adapted from the play La Tosca, by Victorien Sardou. That author does this site the considerable favor of exactly dating the action; a character at the end of Act 1, Scene 1 announces, “this evening, 17 June, a celebration at the Palazzo Farnese in honor of this victory.” The remaining story unfolds over that night and into the next morning.
En route to Marengo: Jacques-Louis David‘s heroic picture of Napoleon crossing the Alps comes from this campaign.
“This victory” worth the proposed palazzo party is the Austrian defeat of Napoleon at the Battle of Marengo during Bonaparte’s 1800 invasion of Italy.
But there’s a minor problem. Said seesaw battle went not to Austria but (decisively) to Napoleon, after a late French rally.
The action of Tosca takes place in a Rome which has received an initial, incorrect notice of Austrian victory. This is of particular import in the Eternal City because it’s under the temporary receivership of the Hapsburg Queen Maria Carolina, a virulent foe of the French Republic as befits a sister of Marie Antoinette.
(France-supported Italian revolutionaries had already deposed Maria Carolina once; the Corsican’s reappearance on her peninsula gave her good cause to fear that it would happen again.*)
At any rate, “Queen Caroline” and her husband Ferdinand were not above spilling blood to hold down the republican elements in Rome. Harold Acton pegged their harvest at “8,000 political prisoners … 105 were condemned to death, six of whom were reprieved.”
Our date’s fictional principal would reckon among those.
We meet him as a painter with subversively liberal inclinations, in love with the titular heroine as she with him — but opposed by police chief Scarpia: his profession is to pursue revolutionaries; his passion, to pursue Tosca.
Scarpia captures, and tortures, Cavaradossi for aiding an escaped official of the recently destroyed Roman Republic, and forces Tosca to yield herself to him in exchange for her lover’s life.** This is Tosca’s aria lamenting her position:
One thing: because Scarpia doesn’t want to be implicated in the release of a dangerous radical, he insists on a mock-execution in which the prisoner will appear to be shot and feign death, the better to spirit Cavaradossi away and on to happily-ever-after.†
And because Scarpia is a villain, he arranges for his rival’s “mock” execution to be not so mock after all … to the suicidal horror of Tosca.
There are scads more Tosca excerpts on YouTube. Here’s an Italian-English libretto, and here a handy summary.