1933: Giuseppe Zangara, who is not on Sons of Italy posters

On this date in 1933, Giuseppe Zangara went to Florida’s electric chair for the murder of Chicago mayor Anton Cermak — the man he had accidentally shot while attempting to assassinate President-elect Franklin Delano Roosevelt.

Zangara had to stand on a chair to take the shot: he was only five feet tall. This image is from Miami Police of Yesterday, a site by a descendant of one of the officers who arrested Zangara.

A strange and strangely forgotten man, the Italian immigrant came within inches of dramatically altering American history.

On February 15, 1933, at a Roosevelt speech in Miami’s Bayfront Park, Zangara perched himself on a metal folding chair within ten meters of the man who was then President-elect, but somehow managed to miss him. A bystander, Lillian Cross, grabbed his arm, and others in the crowd wrestled him down.

Certainly Zangara would be better remembered if he had shot Roosevelt (and Roosevelt would be very much less remembered), but his head-scratching persona accounts for at least some of his obscurity.

He’s sometimes called an anarchist — the early 20th-century equivalent of calling him a terrorist — and he talked the talk. Here, his last words:

You give me electric chair. I no afraid of that chair! You one of capitalists. You is crook man too. Put me in electric chair. I no care! Get to hell out of here, you son of a bitch [said to the chaplain] … I go sit down all by myself… Viva Italia! Goodbye to all poor peoples everywhere!… Lousy capitalists! No picture! Capitalists! No one here to take my picture. All capitalists lousy bunch of crooks. Go ahead. Pusha da button!

Zangara was a working-class immigrant. But his specific motivation for murdering Roosevelt seems murky at best — there’s no clear subversive organization or cause with which Zangara seemed a dedicated fellow-traveler. The wikipedia page about him describes his lifelong stomach pains as the cause of his act, which seems a queer thing to make a fellow shoot a president.

The major conspiracy proposal, that the anti-mob mayor Cermak was the real target all along of a mafia-engineered hit (here (.doc) is a version) is highly speculative, to put it generously. (Update: More on this here, via Chicagoland) Certainly Zangara might have been, as he claimed and most believe, a lone nut — many have done worse for less cause.

The world didn’t have long to unravel this man’s mysteries; justice moved with a rapidity terrifying even by the standards of the time — as reflected in the title of one of the books about him, The Five Weeks of Giuseppe Zangara.

Zangara had already been sentenced to a long prison term for the several bystanders his errant shots had struck when Anton Cermak finally succumbed — after 19 painful days — to a gut shot. Two weeks after that, his killer was dead, too.

During his first trial, the judge pressed him on his motivation, as reported in a press clipping that became part of Zangara’s FBI file:

Q. Have you ever been in jail before? Ever been in any trouble?

A. No, this is the first time.

Q. Did you ever hurt anyone before?

A. No, me no hurt anyone.

…

Q. Did you plan this shooting?

A. No.

Q. When did you decide to do it?

A. I got it in my mind capitalist hurt people. They are to blame for my stomach hurting. My stomach was hurting bad. It was like I was on fire. It burns my mind, I act like a drunken man. It came in my mind when I was suffering.

At this trial — the one before Cermak died — he pled unsuccessfully for execution: “I am sorry only because I did not kill. I am sorry about nothing. Put me in the electric chair.” It reads like “suicide by cop”.

Zangara might not be a name of Oswaldesque dimensions among the assassinariat, but he comes in for a scene in Stephen Sondheim’s strange musical theater, Assassins.

Officially, Zangara was punished for the man he killed, not the soon-to-be-President he was (presumably) aiming at. But such a close scrape for such a transformative American leader, a man sometimes credited with saving capitalism from itself in an age of crisis, has made Zangara’s one famous act fodder for alternative history that asks the question “what might have been?”

On this day..

1741: Jenny Diver, a Bobby Darin lyric?

On this date in 1741,* at Tyburn‘s largest mass-execution of the mid-18th century, renowned cutpurse Jenny Diver was hanged along with 19 others.

Born Mary Young in Ireland around 1700, the girl was abandoned as a child but deserted a benefactor’s household to take passage to London where she meant to work as a seamstress.

What the Newgate Calendar reads as ingratitude, the modern reader might more sympathetically see as the allure of a burgeoning city for a teenager full of dreams.

Dreams may nurture the spirit, but flesh must have bread. Like countless others through time — indeed, like countless other clients of Tyburn — Jenny found metropolis less than convivial to aspirations of honest labor.

Unable to live on her stitching, Jenny found more lucrative employment for her manual dexterity in a sizable gang of thieves — of which her uncovered criminal puissance gave her mastery.

The Newgate Chronicle bursts with almost doting memoirs of her agile fingers, like this one:

[S]he procured a pair of false hands and arms to be made, and concealing her real ones under her clothes she repaired on a Sunday evening to the place of worship above mentioned in a sedan-chair, one of the gang going before to procure a seat among the more genteel part of the congregation, and another attending in the character of a footman.

Jenny being seated between two elderly ladies, each of whom had a gold watch by her side, she conducted herself with seeming great devotion; but when the service was nearly concluded she seized the opportunity, when the ladies were standing up, of stealing their watches, which she delivered to an accomplice in an adjoining pew.

Not neglecting also to celebrate the gang’s more Sting-like ruses, like this hilarious turn of the tables on a credulous cuckolder:

Jenny dressed herself in an elegant manner, and went to the theatre one evening when the king was to be present; and during the performance she attracted the particular attention of a young gentleman of fortune from Yorkshire, who declared, in the most passionate terms, that she had made an absolute conquest of his heart, and earnestly solicited the favour of attending her home. She at first declined a compliance, saying she was newly married, and that the appearance of a stranger might alarm her husband. At length she yielded to his entreaty, and they went together in a hackney-coach, which set the young gentleman down in the neighbourhood where Jenny lodged, after he had obtained an appointment to visit her in a few days, when she said her husband would be out of town.

…

The day of appointment being arrived, two of the gang appeared equipped in elegant liveries, and Anne Murphy [another thief] appeared as waiting-maid. The gentleman came in the evening, having a gold-headed cane in his hand, a sword with a gold hilt by his side, and wearing a gold watch in his pocket, and a diamond ring on his finger.

Being introduced to her bed-chamber, she contrived to steal her lover’s ring; and he had not been many minutes undressed before Anne Murphy rapped at the door, which being opened, she said, with an appearance of the utmost consternation, that her master was returned from the country. Jenny, affecting to be under a violent agitation of spirits, desired the gentleman to cover himself entirely with the bed-clothes, saying she would convey his apparel into another room, so that if her husband came there, nothing would appear to awaken his suspicion: adding that, under pretence of indisposition, she would prevail upon her husband to sleep in another bed, and then return to the arms of her lover.

The clothes being removed, a consultation was held, when it was agreed by the gang that they should immediately pack up all their moveables, and decamp with their booty, which, exclusive of the cane, watch, sword, and ring, amounted to an hundred guineas.

The amorous youth waited in a state of the utmost impatience till the morning, when he rang the bell, and brought the people of the house to the chamber-door, but they could not gain admittance, as the fair fugitive had turned the lock, and taken away the key; when the door was forced open the gentleman represented in what manner he had been treated; but the people of the house were deaf to his expostulations, and threatened to circulate the adventure throughout the town, unless he would indemnify them for the loss they had sustained. Rather than hazard the exposure of his character, he agreed to discharge the debt Jenny had contracted; and dispatched a messenger for clothes and money, that he might take leave of a house of which he had sufficient reason to regret having been an inhabitant.

Alas to say, they all can’t come off like clockwork. Jenny was caught a couple of times, dodging the noose in 1733 and 1738, sentenced on both occasions to transportation to the American colonies.

Finding little to recommend colonial Virginia, she returned illegally from both sentences at the risk of her life (she only survived her second arrest by passing herself off under an alias). The third time broke the charm, however: one is saddened to find her in her last adventure nabbed like a tyro trying to pick a younger woman’s pocket of a few shillings. The victim snatched Jenny’s wrist in the act: perhaps those nimble hands, now pushing 40, had finally slowed down.

Jenny Diver’s hands, in their time, had profited her far more than needlework could have; they had given her a life of some comfort to compensate its perils; and at the end, they afforded their owner the last indulgence of a “mourning coach,” an enclosed carriage separate from the carts that hauled this day’s other 19 (unrelated) victims.

It was a rowdy hanging day with an unusual guard detail of soldiery: one of the prisoners had reported a pending rescue attempt, and for her resources and gang affiliations, Jenny was thought to be its intended beneficiary. (If the stool pigeon was hoping his own tattling would reprieve him, he was disappointed.) For reasons related or not, the crowd was in an ugly mood, as reported by the Newgate Ordinary:

In this Manner were they convey’d through a vast Multitude of People to Tyburn, some of whom, notwithstanding the Guard of Soldiers, were very rude and noisy, hallooing, throwing Brickbats, Mud, &c. at the unhappy Prisoners, as they passed.


Her notoriety would live on in cheap publications hawked by itinerant peddlers — 18th century precursors of the penny dreadful — that in Jenny’s case helpfully doled out tips on foiling pickpockets.

About That Name

We also have a modern context** for the name “Jenny Diver” as one of several women mentioned in the song “Mack the Knife”:

This song is an English riff on a German tune from The Threepenny Opera, concerning its principal male character, the highwayman Macheath. (Possibly inspired by the recently-executed Jack Sheppard.)

The Threepenny Opera updated the 18th-century Beggar’s Opera, a satiric (and extraordinarily popular) production setting operatic tropes among society’s whores, criminals and castoffs.

The sequence of female names Bobby Darin rattles off in this version of “Mack the Knife” all draw from these operas: Suky (sometimes Sukey or Sukie) Tawdry and Jenny Diver are underworld women in The Beggar’s Opera who set Macheath up for arrest; Lucy Brown is The Threepenny Opera‘s version of the original character Lucy Lockit, who under either name is the daughter of a law enforcement officer in love with Macheath who helps him escape.†

One might suppose such a fortuitous connection of Jenny Divers was a calculated one, but it seems both the character’s name and the thief’s were independently and coevally drawn from the rich vein of English thieves’ cant.

Strictly coincidental.

“Diver” as street slang for a pickpocket dated back 150 years, according to Philip Rawlings, so it was a natural sobriquet for an expert thief … and for an author (whose script is chock full of suggestively-named characters — Wat Dreary, Molly Brazen, Jemmy Twitcher) conjuring such a character. There’s no direct evidence indicating that either the cutpurse or the dramatist knowingly cribbed from the other.

A pity it was for the real Jenny that art and life couldn’t imitate one another more strongly.

PLAYER. But, honest Friend, I hope you don’t intend that Macheath shall be really executed.

BEGGAR. Most certainly, Sir.—-To make the Piece perfect, I was for doing strict poetical Justice—-Macheath is to be hang’d; and for the other Personages of the Drama, the Audience must have suppos’d they were all hang’d or transported.

PLAYER. Why then Friend, this is a downright deep Tragedy. The Catastrophe is manifestly wrong, for an Opera must end happily.

BEGGAR. Your Objection, Sir, is very just, and is easily remov’d. For you must allow, that in this kind of Drama, ’tis no matter how absurdly things are brought about—-So—-you Rabble there—-run and cry, A Reprieve!—-let the Prisoner be brought back to his Wives in Triumph.

* 1740, according to the original documentation; 1741 by modern reckoning, since the new year’s onset was at the time not recognized on January 1.

** There’s still another Jenny Diver reference in the literate comic book series The League of Extraordinary Gentlemen.

† The fourth name of the sequence originally was Polly Peachum, Lucy’s rival for Macheath’s affections — but when Louis Armstrong made the first popular recording of Mack the Knife, he ad-libbed the line “Look out for Miss Lotte Lenya!” referring the actress who played Polly Jenny in both the original German production and the then-current Broadway importation, and who also happened to be present at Armstrong’s recording. Darin’s subsequent (and eventually canonical) version followed that lead and replaced the original name outright.

On this day..

1915: Four French Corporals, for cowardice

On this date in 1915, four French corporals were shot at a farm in Suippes for refusing to advance out of their trenches through the carnage of a World War I no man’s land.

It was not only Corporals Theophile Maupas, Louis Lefoulon, Louis Girard and Lucien Lechat who had refused. The entire 21st Company of the 336th Infantry regiment, exhausted and already decimated by combat, was ordered over the trench at dawn on March 10.

Under withering machine gun fire, and with French artillery carelessly dropping shells just in front of their own lines, the 21st stayed put. Frantic to force the advance, the French commander ordered artillery to drive the troops ahead by shelling his own trenches — an order the artillerists refused to carry out unless someone put it in writing.*

In that slaughterhouse of trench warfare, insubordination in the ranks met stern reprisals. Generals with no strategy but to make mincemeat of their countrymen could not well abide the meat’s reluctance to be minced. Examples must be made, especially inasmuch as the impracticality of executing entire companies impressed even the brass.

On March 16, six corporals and 18 soldiers of the intransigent company faced military trial in the Suippes town hall; the four condemned were shot the next day and buried under dishonorable black crosses.

According to Shot At Dawn, a campaign for rehabilitating soldiers executed during World War I, France carried out some 600 military executions during those bloody years, more than any other country. A 1999 study numbered 550 French executions. In an essay in Handbook on Death and Dying, Prof. J. Robert Lilly suggests that many more “unofficial” executions may have taken place, especially during the war’s panicked opening stages.

Whatever their precise number, the shootings, around Europe, of hundreds of men for cowardice — most in obscurity, many chosen arbitrarily, some whose descendants still struggle for recognition to this day — is one of the enduring legacies of World War I: the collision of that most individual penalty with that most faceless and indiscriminate war. A witness to a different French military execution discomfitingly describes the near-total dehumanization of the victims:

The two condemned were tied up from head to toe like sausages. A thick bandage hid their faces. And, a horrible thing, on their chests a square of fabric was placed over their hearts. The unfortunate duo could not move. They had to be carried like two dummies on the open-backed lorry, which bore them to the rifle range. It is impossible to articulate the sinister impression the sight of those two living parcels made on me.

The padre mumbled some words and then went off to eat. Two six-strong platoons appeared, lined up with their backs to the firing posts. The guns lay on the ground. When the condemned had been attached, the men of the platoon who had not been able to see events, responding to a silent gesture, picked up their guns, abruptly turned about, aimed and opened fire. Then they turned their backs on the bodies and the sergeant ordered “Quick march!”

The men marched right passed them, without inspecting their weapons, without turning a head. No military compliments, no parade, no music, no march past; a hideous death without drums or trumpets.

The shootings this day became emblematic of those lost and obscured legions. The circumstances of the “crime” — the senselessness of the advance, the order to bombard their own troops, the fury of the reprisal — recommended it to novelist Humphrey Cobb, and subsequently to a young Stanley Kubrick who adapted a fictionalized form to the 1957 film Paths of Glory. (The title comes from this poem.)

In the film, three soldiers face a firing squad under circumstances very similar to this day’s backstory, including the detail of the general ordering his own men shelled (and that of the order being refused). Kubrick renders the insanity of the resulting court-martial against hapless soldiers each of whom did little but what anyone in their situation would have done, with one of their officers, Kirk Douglas, mounting a vain defense.

This day’s executions, as with many of the others carried out across Europe in those years, sparked a long campaign for posthumous exoneration, in this case led by Maupas’ widow. In 1934, a French panel did exonerate them — awarding the surviving widows a symbolic one franc apiece.

Maupas himself was reinterred in a cemetery in Sartilly, where a monument was erected in honor of the four; just last year, opposite the courthouse where the Frenchmen were condemned, a life-sized white stone sculpture was dedicated, showing Maupas, Girard, Lechat and Lefoulon on their execution posts just after they have been shot.

The surety of the corporals’ posthumous exoneration contrasts intriguingly with the rigor of their sentence and points to the complex and shifting terms upon which the First World War entered subsequent national consciousness in France (and elsewhere) — the never-definitive story of the individual’s right place amid social structures hopelessly beyond individual control.

The history of the struggle over these men’s memory is extensively covered on this French website and the French blog Monuments aux morts pacifistes. The affair also has its own entry on the French wikipedia.

* Wisely.

On this day..

1457: László Hunyadi, the death before Hungary’s rebirth

On this date in 1457, Hungary lost a young prospective statesman and gained a national martyr.

A tale of noble bloodshed begins as so many do with a contested succession, this one amid the confusing feudal geometry of central Europe in the shadow of the rising Ottoman Empire. The untimely (albeit unsurprising) death in battle of warlike Albert II of Germany put the crown in the hands of a son born four months after his demise — the memorably named Ladislaus the Posthumous.

Effective government, needless to say, was in the hands of more senior gentlemen: the ambitious Slovenian-Croatian count Ulrich II and the able Hungarian commander John Hunyadi.* With two strapping Hunyadi boys who were contemporaries with the nominal king, it was only a matter of time before someone wound up dead.

Hunyadi pere saw it all coming. On his deathbed in 1456, he warned his children never to find themselves both together with Ladislaus.

Events moved fast after John Hunyadi’s passing. The Posthumous, now a teenager, set Hunyadi’s longtime rival up against the boys’ claim, but Laszlo, the elder brother, killed Ulrich. Ladislaus — answering the exigencies of the moment but possibly also sincerely relieved to be rid of his overbearing uncle — immediately pardoned the killer and offered to have him over to court.

Dad would have said, “I told you so.”

Upon arrival, Laszlo was seized, sentenced to death by a kangaroo court, and summarily beheaded. The most melodramatic version has the beheading botched three times and Laszlo demanding a reprieve on the grounds that heaven had attested his innocence by preserving him. Ladislaus had his guys keep at it until heaven threw in the towel.

The Buried Lead

So, hard going for some noble tit in the borderlands 551 years ago. What’s the relevance? Why, when Hungarian artists of the 19th century groped for an expression of national identity did they hark back to unlucky Laszlo on canvas …

The Mourning of Laszlo Hunyadi (1859) by Viktor Madarász shows the pallid-faced mother and bride of the prince bewailing his body, the fatal wound unmistakably suggested while remaining artfully concealed. Painted in Paris, it won a French state medal. (Source)

… and in opera?

The answer is less to do with Laszlo’s own qualities, courageous though they may have been.

A few months after having the young man put to death, Ladislaus himself died suddenly. Contemporaries suspected poison; others thought cosmic justice punished him for breaking faith. Modern science — vulture, whose wings are dull realities! — fingers something as unromantic as a medical condition.

One way or another, Ladislaus really was Posthumous, and into the empty throne stepped Laszlo’s 15-year-old brother Matthias — who had been more judicious about his head than his brother. Matthias would reign for 32 years and enter Hungarian folklore as “Matthias the Just”.

The long and adroit span of Matthias’ career and his father’s combined to immortalize the Hunyadi name (which fell extinct after Matthias’ passing before it could produce any buzzkilling scions of more doubtful abilities) as synonymous with Hungary’s golden age.

Laszlo’s reputation mostly just comes along for the ride — had, say, Ladislaus enjoyed Matthias’ run, the elimination of a boyhood rival would have been chalked down to the regrettable griminess of the day’s political reality; had some other claimant followed him to the throne, the Hunyadi name would never have had the luster to make him an attractive operatic subject.

A Symbol of National Rebirth

But they’re called “counterfactuals” for a reason: it may have happened by chance, but it did happen that Laszlo Hunyadi’s martyrology, in the victim’s very name, conveniently totes to the present day a pleasing theme of national redemption and greatness.

As described in this (.pdf) introduction to the opera (part of an extensive collection of information about Ferenc Erkel‘s operas, including a translated libretto of Hunyadi Laszlo):

In the national mythology the Hunyadi family’s descent into the underworld is symbolized by the fate of Laszlo Hunyadi, the firstborn of Janos Hunyadi who was 10 years Matyas’s senior. His life and death were preserved in the collective memory of the nation not as an independent legend but as the middle part of an imaginary trilogy about the Hunyadis. Laszlo Negyessy wrote that the opera Hunyadi Laszlo “has an air of incompleteness because the story is suspended at a point where all our senses appeal for continuation. However, this continuation and poetic justice is served in our national memory.”

Here is Erkel’s celebrated funeral march (“Gyaszindulo”) rendering the victim’s journey to his scaffold this day — the non-choral prelude to his mother’s dramatic plea for his life in the video above, and one of the signature compositions of Hungarian music**:

[audio:Hunyadi_Laszlo_funeral_march.mp3]

* John (Janos) Hunyadi wasn’t above meddling with the neighbors himself. Hungary figures as a bully of the kingdom of Wallachia (modern Romania) at this time; John Hunyadi deposed the father of, then (in the course of political alignment) helped raise to Wallachia’s throne, Vlad the Impaler, the sort-of historical model (and apparent historical namesake) for the vampire Dracula. When Vlad Dracula was deposed in turn, he fled to the protection of Matthias Hunyadi.

** Erkel also wrote the Hungarian national anthem.

On this day..

1963: Jean-Marie Bastien-Thiry, model for the Jackal

On this date in 1963, clutching a rosary, French officer Jean-Marie Bastien-Thiry was shot by a firing squad in the Paris suburb Ivry-sur-Seine for attempting to assassinate Charles de Gaulle.

Perhaps no anticolonial struggle left a more considerable intellectual and cultural footprint than the Algerian War of Independence against France. It gashed the French polity as well; the right violently rejected the swelling sentiment to end their country’s 132-year occupation. It is often said that the conservative Charles de Gaulle was the only man who could have engineered the departure with the support of a sufficient portion of the populace — but a sufficient portion by no means meant all, and every blunder multiplying the [French] body count was laid on de Gaulle’s head besides.

On August 22, 1962 — just weeks after that war successfully expelled the European power — an assassins’ team led by Bastien-Thiry (collaborating with the far-right Organisation de l’armée secrète) unleashed a machine gun fusillade at de Gaulle’s car. Hundreds of shots were fired; miraculously, the president and all his aides all escaped unharmed.

Although the actual gunmen were reprieved by their intended target, their manager was not. Said de Gaulle,

The French need martyrs … I gave them Bastien-Thiry. They’ll be able to make a martyr of him. He deserves it.

Certainly Bastien-Thiry had that in mind. At his trial (as recorded by a sympathetic French-language website), he addressed his conduct to posterity:

Nous avons exercé le droit de légitime défense contre un homme, au nom de ses victimes, au nom de nos concitoyens et au nom de nos enfants ; cet homme est ruisselant de sang français et il représente la honte actuelle de la France. Il n’est pas bon, il n’est pas moral, il n’est pas légal que cet homme reste longtemps à la tête de la France ; la morale, le droit et la raison humaine s’unissent pour le condamner. La vérité que nous avons dite, et que bien d’autres que nous ont dite avant nous, restera attachée au nom de cet homme, où qu’il aille et quoi qu’il fasse. Un jour cet homme rendra compte de ses crimes : devant Dieu, sinon devant les hommes.

Bastien-Thiry’s sensational plot, and the ongoing efforts of the OAS to murder de Gaulle, inspired Frederick Forsyth’s novel The Day of the Jackal, and a classic 1973 film of the same title:

Part of the Themed Set: The Written Word.

On this day..

1302: Dante Alighieri condemned

(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

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.

(Consider this Open Yale Courses podcast series for more Dante appreciation.)

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.

“Dante and Beatrice in the Constellation of Gemini and the Sphere of Flame”, one of William Blake‘s (uncompleted) series of watercolors illustrating Dante’s magnum opus.

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.

On this day..

1944: Emanuel Ringelblum, historian of the Warsaw Ghetto

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.

An interesting interview with Samuel Kassow, author of Who Will Write Our History?, is available from the New Books In History podcast.

This French-language page on an exhibition of Ringelblum’s archives covers some of its history, with a number of photographs. This site collects a number of Yiddish poems from the Ringelblum archive.

* 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 day..

1845: An Italian highwayman, as witnessed by Dickens

On this date in 1845, Charles Dickens witnessed a man beheaded in Rome for robbery and murder.

At 33, Dickens was well-established in his field; he already had to his credit The Pickwick Papers, Oliver Twist, Nicholas Nickleby and others.

Dickens spent a good part of the mid-1840’s abroad, with extended stays in North America, Italy and Switzerland, although without much abating his prodigious output. He intended the travelogue Pictures From Italy to help finance his journeys; it met an unenthusiastic reception and rates distinctly among Dickens’ minor works.

This day’s events took place during the latter stages of Dickens’ stay in Italy and — as the distinctly proscriptive last paragraphs of this excerpt indicate — touch a social theme very pressing to the author, one to which he would soon return again. Years later, the utterly unedifying scene of the public guillotine would be fodder for Dickens’ A Tale of Two Cities, whose tragic protagonist has already appeared in these pages.

Of note also is Dickens’ implication — though he doesn’t quite state it outright — that the criminal was uncovered by a secret revealed under the seal of confession, a touchy point for the priesthood as any viewer of television crime dramas will certainly be aware. We have to allow a considerable latitude for a misapprehension on the traveler’s part here, especially given that Pictures as a whole caught considerable heat from the moment of its publication for its relentless anti-Catholicism. (Update: More on the use of confessionals in Papal Rome in this post about the Vatican’s headsman.)

Here’s the scene in its entirety:

On one Saturday morning (the eighth of March), a man was beheaded here. Nine or ten months before, he had waylaid a Bavarian countess, travelling as a pilgrim to Rome – alone and on foot, of course – and performing, it is said, that act of piety for the fourth time. He saw her change a piece of gold at Viterbo, where he lived; followed her; bore her company on her journey for some forty miles or more, on the treacherous pretext of protecting her; attacked her, in the fulfilment of his unrelenting purpose, on the Campagna, within a very short distance of Rome, near to what is called (but what is not) the Tomb of Nero; robbed her; and beat her to death with her own pilgrim’s staff. He was newly married, and gave some of her apparel to his wife: saying that he had bought it at a fair. She, however, who had seen the pilgrim-countess passing through their town, recognised some trifle as having belonged to her. Her husband then told her what he had done. She, in confession, told a priest; and the man was taken, within four days after the commission of the murder.

There are no fixed times for the administration of justice, or its execution, in this unaccountable country; and he had been in prison ever since. On the Friday, as he was dining with the other prisoners, they came and told him he was to be beheaded next morning, and took him away. It is very unusual to execute in Lent; but his crime being a very bad one, it was deemed advisable to make an example of him at that time, when great numbers of pilgrims were coming towards Rome, from all parts, for the Holy Week. I heard of this on the Friday evening, and saw the bills up at the churches, calling on the people to pray for the criminal’s soul. So, I determined to go, and see him executed.

The beheading was appointed for fourteen and a-half o’clock, Roman time: or a quarter before nine in the forenoon. I had two friends with me; and as we did not know but that the crowd might be very great, we were on the spot by half-past seven. The place of execution was near the church of San Giovanni decolláto (a doubtful compliment to Saint John the Baptist) in one of the impassable back streets without any footway, of which a great part of Rome is composed – a street of rotten houses, which do not seem to belong to anybody, and do not seem to have ever been inhabited, and certainly were never built on any plan, or for any particular purpose, and have no window-sashes, and are a little like deserted breweries, and might be warehouses but for having nothing in them. Opposite to one of these, a white house, the scaffold was built. An untidy, unpainted, uncouth, crazy-looking thing of course: some seven feet high, perhaps: with a tall, gallows-shaped frame rising above it, in which was the knife, charged with a ponderous mass of iron, all ready to descend, and glittering brightly in the morning sun, whenever it looked out, now and then, from behind a cloud.

There were not many people lingering about; and these were kept at a considerable distance from the scaffold, by parties of the Pope’s dragoons. Two or three hundred foot-soldiers were under arms, standing at ease in clusters here and there; and the officers were walking up and down in twos and threes, chatting together, and smoking cigars.

At the end of the street, was an open space, where there would be a dust-heap, and piles of broken crockery, and mounds of vegetable refuse, but for such things being thrown anywhere and everywhere in Rome, and favouring no particular sort of locality. We got into a kind of wash-house, belonging to a dwelling-house on this spot; and standing there in an old cart, and on a heap of cartwheels piled against the wall, looked, through a large grated window, at the scaffold, and straight down the street beyond it until, in consequence of its turning off abruptly to the left, our perspective was brought to a sudden termination, and had a corpulent officer, in a cocked hat, for its crowning feature.

Nine o’clock struck, and ten o’clock struck, and nothing happened. All the bells of all the churches rang as usual. A little parliament of dogs assembled in the open space, and chased each other, in and out among the soldiers. Fierce-looking Romans of the lowest class, in blue cloaks, russet cloaks, and rags uncloaked, came and went, and talked together. Women and children fluttered, on the skirts of the scanty crowd. One large muddy spot was left quite bare, like a bald place on a man’s head. A cigar-merchant, with an earthen pot of charcoal ashes in one hand, went up and down, crying his wares. A pastry-merchant divided his attention between the scaffold and his customers. Boys tried to climb up walls, and tumbled down again. Priests and monks elbowed a passage for themselves among the people, and stood on tiptoe for a sight of the knife: then went away. Artists, in inconceivable hats of the middle-ages, and beards (thank Heaven!) of no age at all, flashed picturesque scowls about them from their stations in the throng. One gentleman (connected with the fine arts, I presume) went up and down in a pair of Hessian-boots, with a red beard hanging down on his breast, and his long and bright red hair, plaited into two tails, one on either side of his head, which fell over his shoulders in front of him, very nearly to his waist, and were carefully entwined and braided!

Eleven o’clock struck and still nothing happened. A rumour got about, among the crowd, that the criminal would not confess; in which case, the priests would keep him until the Ave Maria (sunset); for it is their merciful custom never finally to turn the crucifix away from a man at that pass, as one refusing to be shriven, and consequently a sinner abandoned of the Saviour, until then. People began to drop off. The officers shrugged their shoulders and looked doubtful. The dragoons, who came riding up below our window, every now and then, to order an unlucky hackney-coach or cart away, as soon as it had comfortably established itself, and was covered with exulting people (but never before), became imperious, and quick-tempered. The bald place hadn’t a straggling hair upon it; and the corpulent officer, crowning the perspective, took a world of snuff.

Suddenly, there was a noise of trumpets. ‘Attention!’ was among the foot-soldiers instantly. They were marched up to the scaffold and formed round it. The dragoons galloped to their nearer stations too. The guillotine became the centre of a wood of bristling bayonets and shining sabres. The people closed round nearer, on the flank of the soldiery. A long straggling stream of men and boys, who had accompanied the procession from the prison, came pouring into the open space. The bald spot was scarcely distinguishable from the rest. The cigar and pastry-merchants resigned all thoughts of business, for the moment, and abandoning themselves wholly to pleasure, got good situations in the crowd. The perspective ended, now, in a troop of dragoons. And the corpulent officer, sword in hand, looked hard at a church close to him, which he could see, but we, the crowd, could not.

After a short delay, some monks were seen approaching to the scaffold from this church; and above their heads, coming on slowly and gloomily, the effigy of Christ upon the cross, canopied with black. This was carried round the foot of the scaffold, to the front, and turned towards the criminal, that he might see it to the last. It was hardly in its place, when he appeared on the platform, bare-footed; his hands bound; and with the collar and neck of his shirt cut away, almost to the shoulder. A young man — six-and-twenty — vigorously made, and well-shaped. Face pale; small dark moustache; and dark brown hair.

He had refused to confess, it seemed, without first having his wife brought to see him; and they had sent an escort for her, which had occasioned the delay.

He immediately kneeled down, below the knife. His neck fitting into a hole, made for the purpose, in a cross plank, was shut down, by another plank above; exactly like the pillory. Immediately below him was a leathern bag. And into it his head rolled instantly.

The executioner was holding it by the hair, and walking with it round the scaffold, showing it to the people, before one quite knew that the knife had fallen heavily, and with a rattling sound.

When it had travelled round the four sides of the scaffold, it was set upon a pole in front — a little patch of black and white, for the long street to stare at, and the flies to settle on. The eyes were turned upward, as if he had avoided the sight of the leathern bag, and looked to the crucifix. Every tinge and hue of life had left it in that instant. It was dull, cold, livid, wax. The body also.

There was a great deal of blood. When we left the window, and went close up to the scaffold, it was very dirty; one of the two men who were throwing water over it, turning to help the other lift the body into a shell, picked his way as through mire. A strange appearance was the apparent annihilation of the neck. The head was taken off so close, that it seemed as if the knife had narrowly escaped crushing the jaw, or shaving off the ear; and the body looked as if there were nothing left above the shoulder.

Nobody cared, or was at all affected. There was no manifestation of disgust, or pity, or indignation, or sorrow. My empty pockets were tried, several times, in the crowd immediately below the scaffold, as the corpse was being put into its coffin. It was an ugly, filthy, careless, sickening spectacle; meaning nothing but butchery beyond the momentary interest, to the one wretched actor. Yes! Such a sight has one meaning and one warning. Let me not forget it. The speculators in the lottery, station themselves at favourable points for counting the gouts of blood that spirt out, here or there; and buy that number. It is pretty sure to have a run upon it.

The body was carted away in due time, the knife cleansed, the scaffold taken down, and all the hideous apparatus removed. The executioner: an outlaw ex officio (what a satire on the Punishment!) who dare not, for his life, cross the Bridge of St. Angelo but to do his work: retreated to his lair, and the show was over.

Pictures from Italy is available free online from Project Gutenberg.

The date and description would indicate that Dickens witnessed the death of 26-year-old Giovanni Vagnarelli. (See this list of the Holy See’s executions.)

Part of the Themed Set: The Written Word.

On this day..

203: Perpetua, the earliest Christian woman whose writings survive

(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

There are many accounts of Christian martyrs in the annals of Christianity, but none quite like that of Perpetua, thrown to the beasts and put to the sword on March 7, 203, in Carthage.

There is no doing justice to the Passion of Saints Perpetua and Felicity in a brief essay such as this; the fifteen minutes or so it takes to read the original document, which includes the earliest writing we have from a Christian woman (Perpetua herself), will be well spent.

In short, the twenty-two-year-old Perpetua, her slave girl Felicity, their friend Saturninus (whose first-person account is included in the Passion), and two of their companions were arrested for converting to Christianity, Septimius Severus having forbidden conversion on pain of death. As you might suspect, the document recounts their being browbeaten and intimidated, until eventually they are killed in public, as a matter of sport.

But this isn’t what’s really interesting about the story.

Women are common as saints and martyrs, and they often must resist or convert a pagan man, typically a husband. While Perpetua’s husband is peculiarly absent from her story, her pagan father appears repeatedly, pleading with her, begging her for his sake to renounce her Christianity and save her own life. Her retellings of these episodes are striking for the very human sympathy she has for her father, despite, or perhaps in part because of, the spare prose in which she relates it. She insists on maintaining her faith, but grieves for her father’s suffering, and not only when he is beaten before her eyes by the Roman governor.

Children also figure prominently in the Passion. Perpetua nurses her newborn son while in prison. At one point during prayer, she has a vision of her seven-year-old brother, who had previously died a horrible death, and is assured in a second vision that her fervent prayers for him had brought him peace. Felicitas worries that she will not be able to die with Perpetua and the others due to rules against executing pregnant women. Thankfully, the group’s prayers are answered and Felicity gives birth a mere three days before they are to be killed.

The most famous aspect of Perpetua’s account is a dream in which she climbs a ladder, arriving at a garden where a man in shepherd’s clothing, milking sheep, gives her some of the curd he has from the milk. The questions it presents are interesting but also perhaps at once too obvious and too thorny to enter into here.

More interesting for us, perhaps, is the description of the martyr’s death, which (like the account of her comforting her dead brother) does have some controversial elements. Suicide is not martyrdom, and while martyrs will submit to death (like Christ), there is a line (sometimes a blurry one) that divides willingness from desire. It is a key trick of any martyr to be able to persuade us that God could have saved her had God chosen to do so (and this persuasion often involves the failure of initial attempts to kill the martyr), but that God chooses to give the persecutor “victory” of a sort even as God grants greater victory to the martyr. Similarly, the martyr must be willing to die, even happy to die, and at the same time convey that this is only for special people at special times, because God created human beings to live their lives.

Consider the following from the account of Perpetua’s death, when the soldier comes to deliver the coup de grace:

But Perpetua, that she might have some taste of pain, was pierced between the bones and shrieked out; and when the swordsman’s hand wandered still (for he was a novice), herself set it upon her own neck. Perchance so great a woman could not else have been slain (being feared of the unclean spirit) had she not herself so willed it.

This cannot of course be precisely true, or she should have lived. But we are also supposed to understand that it is only through some concession to the weakness of the persecutor that the persecuted is finally slain. In this respect, the editor of the Passion might be said to do his subject a disservice, as she has rendered herself so much more “great a woman” than he (most likely a he) with his martyrologist’s tropes. He has, however, done her and us a tremendous service in preserving and handing down her story as she herself wrote it.

Part of the Themed Set: The Written Word.

On this day..

1952: Jurgen Stroop, the Warsaw Ghetto’s destroyer

On this date in 1952, SS Gruppenfuhrer Jurgen Stroop was hanged in Poland near the site of the Warsaw Ghetto he had liquidated nine years before.

A World War I veteran, Stroop caught the Nazi star as it ascended and was carried to various wartime posts in occupied Poland. The experience he thereby garnered in countering partisans made him a hot ticket when the Warsaw Ghetto revolted. Dissatisfied with the slow suppression of the Jewish quarter, Heinrich Himmler put Stroop in charge in April 1943.

Stroop got results: unburdened by the slightest need to save the village or win hearts and minds, he simply put it to the sword. Wholesale slaughter followed vicious house-to-house urban warfare, with buildings torched or demolished to drive out defenders. By mid-May, the Jewish ghetto in Warsaw had not been pacified: it had been annihilated.

His “Stroop Report”, a masterpiece of oblivious horror in the clipped narrative of the military bureaucracy, helped to hang him* with entries like this:

Progress of large-scale operation on 16 May 1943, start 1000 hours.

180 Jews, bandits, and subhumans were destroyed. The former Jewish quarter of Warsaw is no longer in existence. The large-scale action was terminated at 2015 hours by blowing up the Warsaw Synagogue.

…

Total number of Jews dealt with 56,065, including both Jews caught and Jews whose extermination can be proved.

In one of those ironies history is so unnervingly fond of, Stroop was imprisoned in Communist-controlled Poland in the same cell with a resistance fighter from the anti-Communist Home Army.**

Kazimierz Moczarski, who survived a death sentence of his own, infiltrated this bizarre roommate scenario into the (nonfiction) literary canon with his Conversations with an Executioner — published in the 1970s.

* Stroop was also condemned to death for war crimes by an American tribunal prior to being repatriated to Poland. He was separately convicted in Poland and hanged under that latter sentence.

** These pages have previously taken note of the anti-Nazi partisans’ rivalries.

Part of the Themed Set: The Written Word.

On this day..