ExecutedToday.com

On this date in 1794, proto-Romantic poet Andre Chenier went to the guillotine the unfortunate victim of his father’s love.

In the operatic version of this Istanbul-born poet’s life story, Chenier is accused by a rival in love, convicted, and guillotined the next day together with his beloved Maddalena, who effects a Sydney Carton-like swap into the lot of the condemned in order to share his fate.

Chenier’s real end was both more mundane, and far more tragic.

A revolutionary of the constitutional monarchist variety and an open opponent of the Jacobins bold enough to compose an ode to Marat’s murderess, Chenier had spent a year staying out of sight when the police picked him up almost accidentally.

Prisoners suffocating in the Paris jails were suspended horribly between life and death, but the anonymity of this living tomb offered — as with Tom Paine — a measure of occasional safety.

When Chenier’s father blunderingly appealing to the authorities for his son, he accidentally stripped away that anonymity. Chenier had been under lock and key for three-plus months — writing, the whole time, in minuscule letters on scraps of paper he arranged to have smuggled out to his father — but once reminded of the writer’s existence, the authorities promptly had it snuffed out. (A friend and fellow poet, Jean-Antoine Roucher, shared his tumbril.)

Chenier’s prison verses are among the most affecting of his 32 years — like the acidic Iambes blistering his persecutors, and the heartbreaking “La Jeune Captive”, in which he gives voice to the young fellow-prisoner who has smitten him, excerpted here:

Mon beau voyage encore est si loin de sa fin!
Je pars, et des ormeaux qui bordent le chemin
J’ai passé les premiers à peine.
Au banquet de la vie à peine commencé,
Un instant seulement mes lèvres ont pressé
La coupe en mes mains encor pleine.

Je ne suis qu’au printemps, je veux voir la moisson;
Et comme le soleil, de saison en saison,
Je veux achever mon année.
Brillante sur ma tige et l’honneur du jardin,
Je n’ai vu luire encor que les feux du matin:
Je veux achever ma journée.

Chenier was not broadly published or extremely well-known in his own lifetime; many critics think he was pinched out while still maturing. The poet himself told a friend in parting, “I leave nothing for posterity; and yet, (touching his forehead) I had something there.” In the backstory to one of the tales in Balzac’s La Comedie Humaine, a grocer who annoys one of Robespierre’s associates is also among this day’s batch and arouses more notice than the man of letters:

Though Descoings died, he had the honour, at any rate, of going to the scaffold with Andre de Chenier. There, no doubt, grocery and poetry embraced for the first time in the flesh; for they have always had, and will always have, their private relations. Descoings’ execution made a far greater sensation than Andre de Chenier’s. Thirty years elapsed before it was recognised that France had lost more by Chenier’s death than by that of Descoings.

Robespierre’s sentence had this good result — until 1830 grocers were still afraid of meddling in politics.

The salutary effect upon grocers has long faded, but Chenier’s reputation has steadily ripened like wine since his demise. And the title part of the late-19th century opera Andrea Chenier — however scant its resemblance to the man who inspired it — is one of the most gorgeous tenor roles in opera.

Part of the Themed Set: Thermidor.

On this date one year ago, a teenager who saved himself with a flute cheated Iran’s hangman by the narrowest of margins.

Sina Paymard had had the hemp about his throat the previous fall for murdering — at the tender age of 16 — a drug dealer in a pot buy gone bad.

The bipolar young musician’s last request was to play the ney (a Persian flute), and in a feat fit for legend, he played so movingly that the family of the victim reprieved him.

This power under Islamic sharia law comes with a price: the reprieve bought time for the families to negotiate alternative financial compensation known as diyeh. Come July, the lad’s family was still $90,000 short, and he was shifted to Tehran’s Evin prison to do the whole thing over again.

Sina’s new execution date received worldwide attention:

… helping them scrape together enough from donors (”notably a substantial donation from a university lecturer”) to make good his escape.

Such are the vicissitudes of the Iranian judiciary that Paymard went from all but dancing on air twice to outright liberty: he’s a free man today, or was as of a few months ago.

Though things worked out for Sina Paymard, other juvenile offenders continue to face the ultimate sanction in Iran — virtually the last outpost of the practice on the globe. Earlier this month, StopChildExecutions.com detailed 138 Iranian prisoners condemned for crimes committed as children; Iran has executed at least two such prisoners this year.

There is a joke in which some tyrant, having tired of a quick-witted minister in his employ, condemns the wretch to death — but adds that, in view of past good service, the victim will have liberty to choose the method. Thinking fast, the minister chooses old age.

On this date in 1987, something like that finally happened to Sadamichi Hirasawa, who died at age 95 after 37 years under sentence of death and 32 on death row. He was thought at the time to be the longest-serving condemned prisoner in the world, and few before or since could contend with him for the “honor.”

Hirasawa’s self-portrait at age 88. From a pro-Hirasawa site, via the blog hmmm.

Hirasawa, a tempera artist of some note, was convicted and death-sentenced in 1950 for a bizarre crime known as the “Teigin Incident” in which the culprit posed as an official in the American occupation and convinced the staff of a bank to take an elixir against an alleged dysentery outbreak. The potion turned out to be cyanide, and the culprit ransacked the bank while its staff lay dying around him.

Though the Japanese Supreme Court confirmed the sentence in 1955, exposing Hirasawa to immediate execution upon the authorization of any justice minister, widespread doubt about his guilt made the case a hot potato from the start. Time magazine reported authorities hoping that he’d be conveniently killed by poor prison conditions instead of hanging — in 1963.

Hirasawa just kept living, and justice ministers just kept his death warrant on the to-do list. The infamy of the crime made it too dicey to clear him;* the potential infamy of the hanging made equally dicey to carry out the sentence. Hirasawa knew it himself. In a secret 1980 recording after a rejected appeal, he jibes, “If they think they can hang me, they should go ahead and try.”

Eventually, Hirasawa provided the rare test case of the question of whether a 30-year statute of limitations could apply to a hanging. (Answer: no.)

The powers that be must have been relieved to see him go this day, but he’s not out of their hair yet. Hirasawa’s art is still being exhibited and his heirs are still fighting to clear his name.

* Innocence theories also focus on a chemical and biological warfare unit with a serious rap sheet from the occupation of China; at least one investigator suspected them early on, before official attention suspiciously switched to Hirasawa. No Japanese government ever had an interest in reopening that story, nor the comcomitant police cock-ups (or cover-ups) it would imply.

On April 23, 1945, in Nazi Germany’s Berlin-Moabit prison, with the Red Army fast approaching, the SS executed Albrecht Haushofer for his part in the previous year’s July 20 plot to assassinate Adolf Hitler.

A social and political conservative and driving force behind the nascent field of “geopolitics,” which held views of the State “as a geographic organism or a spatial phenomenon” that were incorporated into the National Socialist ideology of “Lebensraum,” Haushofer was an early darling of the drive to find academic and scientific justification for Nazi beliefs and ideals — this despite his own part-Jewish parentage.

Haushofer had reservations about the intentions of the Nazi party following its rise to power in the 1930s, but he nonetheless consented to represent it in foreign affairs, having spent significant time abroad as a geopolitics student in the 1920s. Acting as chief foreign affairs adviser to Rudolf Hess, Hitler’s chief deputy, Haushofer traveled widely to promote German foreign policy. During this time, he wrote a series of historical dramas — Scipio (1934), Sulla (1938), and Augustus (1939) — containing progressively more strident symbolic criticisms of his age.

Believing that Germany must not get involved in another disastrous foreign war, Haushofer was a significant force in negotiating for peace with Britain and France. “The peoples of Europe are in a position in which they have to get on together lest they all perish,” he wrote; “and although one realises that it is not common sense but emotional urges which govern the world, one must try to control such urges.” As Hitler’s desire for war became ever more paramount, however, Haushofer lost his position with the government and returned to Germany, remaining active in secret talks to persuade the British to accept a new peace agreement.

With the outbreak of the Second World War, Haushofer remained a professor of geopolitics at the University of Berlin, but distanced himself from his Nazi past and began associating with elements of the German resistance. As the war wore on, he consistently opposed any attempt on Hitler’s life, but finally agreed to join the July plot as the only way to end the war without bringing further disaster upon Germany. With the plot’s failure, he was arrested by the Gestapo, and executed just days before the Red Army liberated Berlin.

Haushofer composed the Moabiter Sonette (pdf) while in prison, a series of poems posthumously published in 1946 regarded as among the most powerful documents of the German antiwar movement. One of his most well-known sonnets, “Schuld,” attemps to express — in sad retrospect — the weight of his moral guilt in the face of impending death:

The poem’s last line can be variously translated as “And today I know what I was guilty of” or “And today I know what my obligation had been.” Through this subtle play on words, Haushofer created a powerful poetic link between his failure to act decisively and the supposed “guilt” — “not in the way you think” — for which he had been condemned. His poems remain a testament to the power as well as the responsiblities of the individual under dictatorship, and have earned their writer a place in the annals of history as well as modern-day memorials to the German resistance movement.

(Thanks to Jeff at BrainMortgage for the guest post -ed.)

On this day in 1302, the governing commune of the city of Florence condemned to death Dante Alighieri, statesman, philosopher, and above all, poet. Arguably the greatest mind of his generation, Dante is most famous for his authorship of the Divine Comedy, relating his journeys through, successively, hell, purgatory, and heaven.

Born in 1265 to a noble family of Florence that, while not the city’s most prominent family, had already seen several of his ancestors banished as a result of political turmoil, Dante could hardly have avoided becoming embroiled in public life had he even wanted to. In brief, a long-running struggle between pro-imperial (the so-called Holy Roman Empire) and pro-papal factions was finally won by the pro-papal forces, known as the Guelphs. Two decisive battles in 1289 established both Florence’s independence (particularly from their old nemesis, Pisa) and the rule of the Guelphs, Dante’s own party.

Dante is likely to have taken part in those battles and was active in city politics in the following decade, culminating in a turn in 1300 as prior (one of six key counsellors to the city, serving a two-month term). Florence prided itself on a tradition of democratic rule going back to the death of the Holy Roman Emperor Frederick II in 1250.

Persona Non Grata

Giotto painted Dante prior to his exile — the oldest portrait of Dante known.

Unfortunately, by the time Dante took on the priorate, the old rivalries had reshaped themselves into new factions eerily parallel to their predecessors: the so-called “Black” Guelphs, who aligned themselves with the Pope (as of 1294, Boniface VIII), and “White” Guelphs, who took a more moderate political stance and saw themselves as defending an independent Florence from the Pope and his allies (namely, the Blacks).

Things got so bad that, at the time of Dante’s priorate, the city’s ruling body banished leaders of both sides in an effort to stabilize the city. The pope took the opportunity to send emissaries to Florence on the pretext of negotiating a peace. After more than a year of this maneuvering, the commune sent Dante and two others to have words with Boniface in Rome in 1301.

The Pope “invited” Dante to stay in Rome while his companions returned to Florence to try to bring the commune around. In the meantime, the Pope’s key man had got himself into Florence and helped the Blacks take power, whereupon they confiscated properties and levied fines.

Dante was ordered to appear before a tribunal to answer for his alleged crimes. When he did not show up, he was banished to two years of exile, permanently banned from holding city office, and ordered to pay a further fine of some five thousand florins–a staggering sum–within three days. When that did not happen, either (Dante was apparently in Siena, a short ways from Florence, when he heard this news), the commune confiscated all of his goods and condemned him to death by burning should he ever return.

Fortunately, there were others in Italy at the time who had more sense, but Dante spent the rest of his life–almost another twenty years–wandering from city to city with his sons. He was excluded from an amnesty in 1311, and when he refused the terms of another in 1315, his death sentence was not only reaffirmed, but extended to include his sons. Despite all this, he still held out hope of returning to Florence to be crowned as poet, declining to be so crowned in Bologna as little as a year or two before he died.

Art in Exile

It was over the course of that time in exile that Dante composed his political and philosophical works, together with what must be considered his single greatest contribution to letters, the three-volume Divina Commedia.

There is no way to do justice to any of these works, much less all of them, but in the present context it is worth noting that in three key works — the Commedia (Dante’s title is this simple), Il Convivio (or The Banquet), and De Monarchia (On Monarchy) — Dante develops a serious, even strikingly modern, religious political philosophy.

In contrast to many of his religious contemporaries, taking issue with the great St. Augustine even as he espouses positions derived from Thomas Aquinas, Dante argues in favor of a strong central secular authority, specifically an emperor, and even more particularly, that this authority should be understood by Christians as co-equal with, not subordinate to, the spiritual authority of the Church: “two suns,” he says, rather than the sun and the moon (which merely reflects the light of the sun).

Indeed, he held out an almost messianic hope for the return of an emperor who would restore peace and order. He even wrote public letters to the Emperor Henry VII requesting that he restore justice in Florence (and this is surely a factor in the commune’s treatment of him with respect to amnesty). When Henry died before accomplishing these things, much of Dante’s hope for imperial cohesion died along with him.

He Knew Beatrice All Along

It would be nothing short of travesty to write anything of this length about Dante and not mention Beatrice, the love of his life from the age of nine, when he first laid eyes on her, to the day he died in exile. Beatrice, who only spoke to Dante once and who died an early death, directly inspired his poetic-explicatory work, the Vita Nuova (New Life), an exemplar of the dolce stil nuovo (”sweet new style”) movement in poetry. As a character in the Commedia, Beatrice sends Virgil to rescue Dante from a dark forest in the Inferno, and guides him through the spheres of Heaven in Paradiso.

Despite two decades of exile, Dante never gave up hope of returning to Florence in his lifetime, and clearly hoped (perhaps “expected” is more accurate) to be united with his other true love in the next. His body remains in Ravenna, where he died and was buried in 1321.

Florentines wish they could have him back.

Part of the Themed Set: The Written Word.

It was not only the destroyers of the Warsaw ghetto who left their testimony.

Emanuel Ringelblum, a Polish-Jewish historian and social worker, was among the 450,000 trapped in the ghetto.*

Ringelblum organized a monumental project to document its life — the “Oyneg Shabbos”. Ringelblum’s ring cast a network throughout the ghetto, systematically collecting its written history: public proclamations, ration cards and identity papers, and most precious of all, personal diaries and memoirs of hundreds of inhabitants, testament to the gathering madness encircling Warsaw’s Jews. Ringelblum sat up nights, sifting and categorizing a stupendous trove — over 25,000 surviving sheets — that was still never equal to his vision:

“To our great regret, however, only part of the plan was carried out … We lacked the necessary tranquillity for a plan of such scope and volume.” (Source)

Shortly before the Warsaw Ghetto Uprising, Ringelblum and his family were spirited out of the Jewish quarter and into the protection of friendly Poles. There, they outlived the ghetto by nearly a year.

But on March 7, tipped by a neighborhood teenager who would himself receive a death sentence after the war for the act, the Gestapo captured both Ringelblum’s family and that of his protectors. Around this date — just a few days after their arrest — they would be summarily shot with other fugitives in the ruins of the community he chronicled. Ringelblum reportedly spurned a rescue attempt, preferring to swallow the same draught as his wife and son.

A few years before, another writer living under another dictator scratched in his secret novel — still secret at the time of Ringelblum’s death — words that would become a signature of literary integrity in a totalitarian age:

Manuscripts don’t burn.

While Ringelblum himself fell victim at last, like most of Warsaw’s Jews, to the Holocaust, the burning — his manuscripts did not. Shortly before capture, the diligent historian had secreted them in buried coffee tins. Years after the war, many of those tins were recovered.

Their contents form the basis for Notes from the Warsaw Ghetto, one of the most moving and penetrating first-person Holocaust histories.

This French-language page on an exhibition of Ringelblum’s archives covers some of its history, with a number of photographs.

* This Time magazine article claims that Ringelblum was safe in Switzerland as of 1939, but voluntarily returned to Poland to witness and share his fellows’ fate. Noble if true, but I have been unable to find corroboration of this elsewhere.

Part of the Themed Set: The Written Word.

On this date in 1644, Italian satirist Ferrante Pallavicino was beheaded by the papacy at Avignon for apostasy for his witty attacks on the Roman curia.

Pallavicino, himself a cleric, was a notable producer of pasquinades, the politically-charged mockeries named for one of the “talking statues” in Rome to which they were often affixed.* Pallavicino’s expertise at this art found something affixed to him: a bounty, which a Frenchman earned by luring him from the safety of Venice to papal territory in France and betraying him.

The pontiff upon whom Pallavicino poured his execrations, Urban VIII, only survived the beheaded man by a few months. There were more than Pallavicino found distasteful his decidedly terrestrial politics — he fought wars of conquest (the last pope to do so), practiced rampant nepotism, and buried the Church in debt. Urban’s family was forced to leave Rome after he passed.

A minor figure — his body of work was truncated in its springtime, of course — Pallavicino is rather better covered in Italian than in English; this biography page, for instance, expands somewhat upon his career.

* A number of Pallavicino’s works had posthumous printings elsewhere in Europe. One of them, La retorica delle puttane is available online in an English interpretation (it’s a bit more intervention than a mere translation) of the equivalent title, The Whores Rhetorick.

Part of the Themed Set: The Written Word.

On this date in 1388, royal retainer Thomas Usk was convicted in a one-day trial of treason and immediately drawn, hanged and beheaded at Tyburn.

The man’s end was savage: cut down alive to savor his beheading, which took nearly 30 strokes of the sword. And by all odds, this minor character’s demise would have had scant legacy as one more drop in the ocean of Albion’s blood long-ago spilt.

It was Usk’s misfortune to enter the political arena during a violently evolving political crisis in the 1380’s, when the boy-king Richard II and the English nobility struggled for power. A self-taught scrivener, Usk comes to posterity’s notice in the train of London mayor John Northampton. He was arrested for this association, and having no aspiration to become “a stinking martyr,” obligingly switched to the king’s side and informed on his former master.

This act of faithlessness made Usk (among many others) a marked man when the nobles’ faction gained a decisive upper hand after the Battle of Radcot Bridge and sat in what history records as the Merciless Parliament. Many were executed or forced into exile.

Usk would number among the victims, but before being launched into eternity — as the euphemism went — with the rope, he touched eternity from his prison cell by writing The Testament of Love (several versions linked here).

Long attributed wrongly to Usk’s contemporary Geoffrey Chaucer, the Testament — regrettably not available in anything like its original form — consists of the imprisoned author’s dialogue with Love, who descends as a spirit into his dungeon to counsel him as he pines for the affection of the (presumably) symbolic woman “Margaret”. The work is reminiscent in its dialectal style of that produced by another client of the executioner — Boethius’ Consolation of Philosophy.

ALAS! Fortune! alas! I that som-tyme in delicious houres was wont to enjoye blisful stoundes, am now drive by unhappy hevinesse to bewaile my sondry yvels in tene! … witless, thoughtful, sightles lokinge, I endure my penaunce in this derke prison, caitived fro frendshippe and acquaintaunce, and forsaken of al that any word dare speke.

Part of the Themed Set: The Written Word.

On this date in 1902, two Australian officers were shot in virtual secrecy at Pretoria for atrocities they committed in service of the crown during the Second Boer War.

Harry “Breaker” Morant — he got the nickname from his aptitude with horses — was the famous one of the pair and the reason the date is so well-known to posterity as to merit its own cinematic treatment (review):

A colorful son of the Commonwealth’s hardscrabble strata, Breaker Morant led a life that has been improved into mythology, not least by his own efforts. Impoverished but educated, he migrated in 1883 from England to Australia where he carved out a larger-than-life profile as a bush poet, married the (subsequently) famous anthropologist Daisy Bates and eventually — fatefully — volunteered for service in South Africa.

The Second Boer War, Britain’s (ultimately successful) fight to corral the Dutch-descended Boer republics into the empire, started sunnily enough for the English, but as the Boers abandoned a conventional war they could not win and adopted guerrilla tactics, it descended into an exceedingly dirty conflict — notable for Britain’s pioneering use of concentration camps.

It was also notable for savagery between combatants. When Morant’s best friend in the unit was tortured and mutilated by Boer guerrillas, the poet went on a rampage, ordering a number of prisoners’ summary executions over a period of weeks. It was for this that he and his confederate were shot this day. The fact of his confinement was not communicated to the Australian government; Peter Handcock’s wife only learned of his execution weeks later, from press reports.

The defendants maintained that there was a standing order from the top to kill any Boer caught wearing British khaki, a tactic the Boers were known to employ, and that the order was frequently enforced. Though the prosecution strenuously maintained otherwise at trial, the existence of that (unwritten) directive has become accepted to posterity.

What remains murky is the matter of why — why these two, why now? And is Breaker Morant a hero or a villain? Those questions are also prisms for the many currents of Morant’s case so strikingly prescient for the century that lay ahead.*

Asymmetric warfare and the legal status of guerrillas. Human rights and war crimes. Corruption and plausible deniability. The moral culpability of subordinates for the orders of the brass. And certainly all the contradictory forces of empire and resistance entailed by an Australian adventurer shot by a Scottish detachment for killing Dutchmen in Africa at the behest of London.** It was an old-time colonial war in a world becoming, for we of the early 21st century, recognizably modern.

Hard-living to his dying breath, Morant stayed up the night before he was shot scribbling his last poem — piquantly titled “Butchered to Make a Dutchman’s Holiday”.

In prison cell I sadly sit,
A d__d crest-fallen chappie!
And own to you I feel a bit-
A little bit - unhappy!

It really ain’t the place nor time
To reel off rhyming diction -
But yet we’ll write a final rhyme
Whilst waiting cru-ci-fixion!

No matter what “end” they decide -
Quick-lime or “b’iling ile,” sir?
We’ll do our best when crucified
To finish off in style, sir!

But we bequeath a parting tip
For sound advice of such men,
Who come across in transport ship
To polish off the Dutchmen!

If you encounter any Boers
You really must not loot ‘em!
And if you wish to leave these shores,
For pity’s sake, DON’T SHOOT ‘EM!!

And if you’d earn a D.S.O.,
Why every British sinner
Should know the proper way to go
Is: “ASK THE BOER TO DINNER!”

Let’s toss a bumper down our throat, -
Before we pass to Heaven,
And toast: “The trim-set petticoat
We leave behind in Devon.”

His last words were hurled at his firing squad: “Shoot straight, you bastards! Don’t make a mess of it!”

* It is no coincidence that the Australian film excerpted in this post was released while the Vietnam War was still a fresh memory.

** Breaker Morant’s memory would develop into a point of Australian suspicion towards the British military, especially after Morant’s persecutor helped author World War I’s infamous hecatomb of Australian (and New Zealand) troops at Gallipoli. Morant and Handcock turned out to be the last Australians executed by the British military.

Update: Via Airminded, an Australian history program took a skeptical look at the Breaker Morant myth a few years ago.

On this date in 1942, Zionist freedom-fighter — or was he a terrorist? — Avraham Stern was captured by British colonial authorities and summarily executed.

Stern, as pictured on a 1978 Israeli stamp.

Born in 1907 in a part of eastern Poland then in Russian hands, Stern immigrated to British Palestine in 1925 and became an adherent of Revisionist Zionism — a maximalist strain of the fermenting Jewish homeland movement.

Various threads and factions within the Zionist movement pursued different territorial and political goals with different strategies; Stern was among the most militant foes of anything with the whiff of collaboration with the British. When the armed underground movement Irgun opted in 1940 to suspend attacks against British targets during World War II, Stern created a splinter organization with a programme of continuing anti-British violence.

The “Stern gang,” as imperial authorities knew it, had its reasons — controversial enough that some more moderate Jewish elements were happy to help the British hunt it, but reasons with their own logic, premised on the notion that London was the fundamental enemy of Jewish national interests while Berlin, for all its anti-Semitism, was not.

Between those two lay the room for wartime collaboration with Hitler against Britain with the object of establishing a Jewish state in the Levant open to unlimited immigration from a Reich eager to be rid of its Jews. In one fell swoop, it would solve Germany’s “Jewish question,”* realize Zionist state-building aspirations, and disrupt the Nazis’ wartime enemy. Stern, who had cultivated an affinity for fascism while studying in Italy and pitched a similar bargain to Mussolini, offered a pact with the devil: “the establishment of the historic Jewish state on a national and totalitarian basis, bound by a treaty with the German Reich.”

Berlin never took up the offer. Stern himself would have only a year to live, and his tiny splinter group didn’t get very far off the ground during it, carrying out a few murders and trying to raise money through crime. A high-profile bank robbery in January of 1942 that left several Brits and Jews dead brought down an intense manhunt that caught up with Stern on this day. He was handcuffed and shot on the spot.

His organization would come into its own after his death under leadership that included future Likud Prime Minister Yitzhak Shamir, carrying out a number of assassinations in the mid-40’s as Palestine slid towards the civil war that would give birth to Israel. In that incarnation, it valorized its creator:

He was a lion, and the cravings of the foxes were foreign to him. He was an eagle who did not know how to fly low … He was not of those who live and die, like all human beings. He was a Prometheus, one who appears but once over many generations. (Source)

That valorization has been contested but nonetheless lasting. The Knesset, just days ago as of this writing, voted laurels for Stern’s hundredth birthday. There’s almost no apolitical way to write his story, and given Israel’s persistence as a flashpoint — and its own ironic inheritance of a rebellious subject population reminiscent of pre-1948 Palestinian Jews — the radicalism of his words, deeds and persona invite debate.

There’s a fascinating first-person apologia from a former member of the Stern gang here.

Stern also dabbled as a poet, and wrote this anthem to the struggle with his wife:

Part of the Themed Set: Unruly Britannia.

* Germany itself was tarrying with “faraway Jewish homeland” plans at this time, specifically considering relocating European Jewry to Madagascar. The Final Solution would be implemented later, once these proved unavailing. Stern, for his part, also expected the Axis to win the war.