Freed Slave Writes Letter to Former Master: You Owe Us $11,680 for 52 Years of Unpaid Labor (1865)

Jordan_Anderson_Image

No mat­ter how long I live, the dehu­man­iz­ing insan­i­ty of racism will nev­er fail to aston­ish and amaze me. Not only does it vis­it great phys­i­cal and psy­cho­log­i­cal vio­lence upon its vic­tims, but it leaves those who embrace it unable to feel or rea­son prop­er­ly. Con­tem­po­rary exam­ples abound in excess, but many of the most egre­gious come from the peri­od in U.S. his­to­ry when an entire class of peo­ple was deemed prop­er­ty, and allowed to be treat­ed any way their own­ers liked. In such a sit­u­a­tion, odd­ly, many slave mas­ters thought of them­selves as humane and benev­o­lent, and thought their slaves well-treat­ed, though they would nev­er have trad­ed places with them for any­thing.

One such exam­ple of this bewil­der­ing log­ic comes from a let­ter written—or dic­tat­ed, rather—by a man named Jor­dan Ander­son (or some­times Jour­dan Ander­son), pic­tured above: a man enslaved to one Colonel Patrick Hen­ry Ander­son in Big Spring, Ten­nessee. When he was freed from sub­jec­tion in 1864, Jor­dan moved to Ohio, found work—was paid for it—and set­tled down for the next 40 years to raise his chil­dren with his wife Aman­da. As Allen G. Breed and Hil­lel Ital­ie write, “he lived qui­et­ly and would like­ly have been for­got­ten, if not for a remark­able let­ter to his for­mer mas­ter pub­lished in a Cincin­nati news­pa­per short­ly after the Civ­il War.”

As did many for­mer slave own­ers, Colonel Ander­son found that he could not keep up his hold­ings after los­ing his cap­tive labor force. Des­per­ate to save his prop­er­ty, he had the temer­i­ty to write to Jor­dan and ask him to return and help bring in the har­vest. We do not, it seems, have the Colonel’s let­ter, but we can sur­mise from Jordan’s response what it contained—promises, as the for­mer slave writes, “to do bet­ter for me than any­body else can.” We can also sur­mise, giv­en Jordan’s sar­don­ic ref­er­ences, that the for­mer mas­ter may have shot at him—and that some­one named “Hen­ry” intend­ed to shoot him still. We can sur­mise that the Colonel’s sons may have raped Jordan’s daugh­ters, Matil­da and Cather­ine, giv­en the har­row­ing descrip­tion of them “brought to shame by the vio­lence and wicked­ness of their young mas­ters.”

And, of course, we know for cer­tain that Jor­dan received no rec­om­pense for his many years of hard work: “there was nev­er any pay-day for the negroes,” he writes, “any more than for the hors­es and cows.” Despite all this—and it is beyond my com­pre­hen­sion why—Colonel Ander­son expect­ed that his for­mer slave would return to help prop up the fail­ing plan­ta­tion. On this score, Jor­dan pro­pos­es a test of the Colonel’s “sin­cer­i­ty.” Tal­ly­ing up all the wages he and his wife were owed for their com­bined 52 years of work, less “what you paid for our cloth­ing” and doctor’s vis­its, he presents his for­mer own­er with a bill for “eleven thou­sand six hun­dred and eighty dol­lars” and an address to which he can mail the pay­ment. “If you fail to pay us for faith­ful labors in the past, we can have lit­tle faith in your promis­es in the future,” he writes. You can read the full letter—which appeared at Let­ters of Note—below.

Day­ton, Ohio,

August 7, 1865

To My Old Mas­ter, Colonel P.H. Ander­son, Big Spring, Ten­nessee

Sir: I got your let­ter, and was glad to find that you had not for­got­ten Jour­don, and that you want­ed me to come back and live with you again, promis­ing to do bet­ter for me than any­body else can. I have often felt uneasy about you. I thought the Yan­kees would have hung you long before this, for har­bor­ing Rebs they found at your house. I sup­pose they nev­er heard about your going to Colonel Mar­t­in’s to kill the Union sol­dier that was left by his com­pa­ny in their sta­ble. Although you shot at me twice before I left you, I did not want to hear of your being hurt, and am glad you are still liv­ing. It would do me good to go back to the dear old home again, and see Miss Mary and Miss Martha and Allen, Esther, Green, and Lee. Give my love to them all, and tell them I hope we will meet in the bet­ter world, if not in this. I would have gone back to see you all when I was work­ing in the Nashville Hos­pi­tal, but one of the neigh­bors told me that Hen­ry intend­ed to shoot me if he ever got a chance.

I want to know par­tic­u­lar­ly what the good chance is you pro­pose to give me. I am doing tol­er­a­bly well here. I get twen­ty-five dol­lars a month, with vict­uals and cloth­ing; have a com­fort­able home for Mandy,—the folks call her Mrs. Anderson,—and the children—Milly, Jane, and Grundy—go to school and are learn­ing well. The teacher says Grundy has a head for a preach­er. They go to Sun­day school, and Mandy and me attend church reg­u­lar­ly. We are kind­ly treat­ed. Some­times we over­hear oth­ers say­ing, “Them col­ored peo­ple were slaves” down in Ten­nessee. The chil­dren feel hurt when they hear such remarks; but I tell them it was no dis­grace in Ten­nessee to belong to Colonel Ander­son. Many dark­eys would have been proud, as I used to be, to call you mas­ter. Now if you will write and say what wages you will give me, I will be bet­ter able to decide whether it would be to my advan­tage to move back again.

As to my free­dom, which you say I can have, there is noth­ing to be gained on that score, as I got my free papers in 1864 from the Provost-Mar­shal-Gen­er­al of the Depart­ment of Nashville. Mandy says she would be afraid to go back with­out some proof that you were dis­posed to treat us just­ly and kind­ly; and we have con­clud­ed to test your sin­cer­i­ty by ask­ing you to send us our wages for the time we served you. This will make us for­get and for­give old scores, and rely on your jus­tice and friend­ship in the future. I served you faith­ful­ly for thir­ty-two years, and Mandy twen­ty years. At twen­ty-five dol­lars a month for me, and two dol­lars a week for Mandy, our earn­ings would amount to eleven thou­sand six hun­dred and eighty dol­lars. Add to this the inter­est for the time our wages have been kept back, and deduct what you paid for our cloth­ing, and three doc­tor’s vis­its to me, and pulling a tooth for Mandy, and the bal­ance will show what we are in jus­tice enti­tled to. Please send the mon­ey by Adams’s Express, in care of V. Win­ters, Esq., Day­ton, Ohio. If you fail to pay us for faith­ful labors in the past, we can have lit­tle faith in your promis­es in the future. We trust the good Mak­er has opened your eyes to the wrongs which you and your fathers have done to me and my fathers, in mak­ing us toil for you for gen­er­a­tions with­out rec­om­pense. Here I draw my wages every Sat­ur­day night; but in Ten­nessee there was nev­er any pay-day for the negroes any more than for the hors­es and cows. Sure­ly there will be a day of reck­on­ing for those who defraud the labor­er of his hire.

In answer­ing this let­ter, please state if there would be any safe­ty for my Mil­ly and Jane, who are now grown up, and both good-look­ing girls. You know how it was with poor Matil­da and Cather­ine. I would rather stay here and starve—and die, if it come to that—than have my girls brought to shame by the vio­lence and wicked­ness of their young mas­ters. You will also please state if there has been any schools opened for the col­ored chil­dren in your neigh­bor­hood. The great desire of my life now is to give my chil­dren an edu­ca­tion, and have them form vir­tu­ous habits.

Say howdy to George Carter, and thank him for tak­ing the pis­tol from you when you were shoot­ing at me.

From your old ser­vant,

Jour­don Ander­son.

Sev­er­al his­to­ri­ans have researched the authen­tic­i­ty of Jordan’s dic­tat­ed let­ter and the his­tor­i­cal details of his life in Ten­nessee and Ohio. As Kot­tke report­ed, a man named David Gal­braith found infor­ma­tion about Jordan’s life after the letter’s pub­li­ca­tion, includ­ing ref­er­ences to him and his wife and fam­i­ly in the 1900 Ohio cen­sus. Kot­tke pro­vides many addi­tion­al details about Jordan’s post-slav­ery life and that of his many chil­dren and grand­chil­dren, and the Dai­ly Mail has pho­tographs of the for­mer Ander­son plan­ta­tion and Jor­dan Anderson’s mod­ern-day descen­dants. They also quote his­to­ri­an Ray­mond Win­bush, who tracked down some of the Colonel’s descen­dants still liv­ing in Big Spring.

Colonel Ander­son, it seems, was forced to sell the land after his plea to Jor­dan failed, and he died not long after at age 44. (Jor­dan Ander­son died in 1907 at age 81.) “What’s amaz­ing,” says Win­bush, “is that the cur­rent liv­ing rel­a­tives of Colonel Ander­son are still angry at Jor­dan for not com­ing back.” Yet anoth­er exam­ple of how the ignominy of the past, no mat­ter how much we’d pre­fer to for­get it, nev­er seems very far behind us at all.

via Let­ters of Note

Relat­ed Con­tent:

1.5 Mil­lion Slav­ery Era Doc­u­ments Will Be Dig­i­tized, Help­ing African Amer­i­cans to Learn About Their Lost Ances­tors

Visu­al­iz­ing Slav­ery: The Map Abra­ham Lin­coln Spent Hours Study­ing Dur­ing the Civ­il War

Watch Vet­er­ans of The US Civ­il War Demon­strate the Dread­ed Rebel Yell (1930)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

The Interior of the Hindenburg Revealed in 1930s Color Photos: Inside the Ill-Fated Airship

Hindenburg 1

We’ve all seen the Hin­den­burg. Specif­i­cal­ly, we’ve all seen it explod­ing, an inci­dent cap­tured on film on that fate­ful day of May 6, 1937 — fate­ful for those aboard, of course, but also fate­ful for the pas­sen­ger air­ship indus­try, which nev­er recov­ered from this worst of all pos­si­ble press. The con­tem­po­rary rise of Pan Amer­i­can Air­lines did­n’t help, either, so now, when we want to go to a far­away land, we’ve usu­al­ly got to take a jet. I hap­pen to be mov­ing to Korea tomor­row, and to get there I sim­ply don’t have the choice of an air­ship (Hin­den­burg- class or oth­er­wise) nor have I ever had that choice. I’ve thus nev­er seen the inside of an air­ship — until today.

Hindenburg 2

These col­or images reveal the inte­ri­or of not just any old 1930s air­ship but the Hin­den­burg itself, look­ing as gen­teel and well-appoint­ed as you might expect, with accom­mo­da­tions up to and includ­ing, some­where below its hydro­gen-filled bal­loon, a smok­ing room. It brings to mind Sideshow Bob’s off­hand com­ment on one Simp­sons episode lament­ing the pas­sage of “the days when avi­a­tion was a gentleman’s pur­suit, back before every Joe Sweat­sock could wedge him­self behind a lunch tray and jet off to Raleigh-Durham.” But then, it also brings to mind anoth­er episode in which Bart gets a check­book print­ed with flip­book-style images of the famous Hin­den­burg dis­as­ter news­reel footage.

Hindenburg 3

That clip, often dubbed with Her­bert Mor­rison’s “Oh, the human­i­ty!” repor­to­r­i­al nar­ra­tion, has famil­iar­ized us with the last large pas­sen­ger air­ship’s exte­ri­or, but these images of its inte­ri­or have had less expo­sure. For more, have a look at Airships.net: a Diri­gi­ble and Zep­pelin His­to­ry Site, which offers a wealth of detail on the Hin­den­burg’s pas­sen­ger decks, con­trol car, flight instru­ment, flight con­trols, crew areas, and keel.

Passenger-Lounge1

The more you learn about air­ships, the more intrigu­ing a form of trav­el they seem — until you learn about all the oth­er dis­as­ters that pre­ced­ed the Hin­den­burg, any­way. And that aside, giv­en its top speed of 84 miles per hour, it would take a sim­i­lar­ly retro air­ship at least sev­en times longer to get me to Korea than a jet, so I guess I’ll have to stick with the air­lines for now.

Dining-Room-21

Relat­ed Con­tent:

Oh the Human­i­ty

An Ani­mat­ed His­to­ry Of Avi­a­tion: From da Vinci’s Sketch­es to Apol­lo 11

The Mir­a­cle of Flight, the Clas­sic Ear­ly Ani­ma­tion by Ter­ry Gilliam

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Hand-Colored 1860s Photographs Reveal the Last Days of Samurai Japan

Samurai Japan 1

Any fan of samu­rai movies knows the elab­o­rate lengths some pro­duc­tions can go to in order to recre­ate the look and feel of old Japan, but glo­be­trot­ting Ital­ian-British pho­tog­ra­ph­er Felice Beato (1832 — 1909) actu­al­ly man­aged to cap­ture those days on cel­lu­loid first-hand. He arrived in Japan in 1863, at the very twi­light of the era of the samu­rai, a time he doc­u­ment­ed evoca­tive­ly with a series of hand-col­ored pho­tographs of sub­jects like “kimonos, para­sols, baby’s toys, bas­ket sell­ers, cour­te­sans at rest and a samu­rai gang ready for action,” as the Guardian lists them in their gallery of Beat­o’s Japan­ese work.

Samurai Japan 2

“After spend­ing over two hun­dred years in seclu­sion, Japan was being forced by the Amer­i­cans — under a mis­sion led by Com­modore Matthew C. Per­ry — to expand its trade with the west,” writes Dan­ger­ous Minds’ Paul Gal­lagher, describ­ing the unprece­dent­ed moment of Japan­ese his­to­ry in which Beato found him­self, one that pro­vid­ed the oppor­tu­ni­ty to pho­to­graph not just the last of the samu­rais but also the cour­te­sans they loved. But all this had its risks: “Trav­el was dan­ger­ous in Japan,” Gal­lagher adds, “with many of the Shogu­nate samu­rai war­riors killing west­ern­ers,” a fate Beato nar­row­ly avoid­ed at least once.

samurai in color

Hav­ing pho­tographed in Con­stan­tino­ple, India, and Chi­na before Japan, Beato moved on after it to oth­er parts of Asia, includ­ing Korea and Bur­ma, before return­ing to his native Italy at the very end of his life. But his pic­tures of Japan remain among the most strik­ing of his entire career, per­haps because of their artis­tic use of col­or, per­haps because of a his­tor­i­cal time and place that we think we’ve come to know through so many sword-and-sui­cide epics. Their char­ac­ters, from the hon­or-bound samu­rai to the sly cour­te­san to the sim­ple mer­chant, can seem to us a bit the­atri­cal as a result, but Beat­o’s pho­tographs remind us that they all began as very real peo­ple. Who might they inspire to make a film about their real lives?

Samurai Japan 4

Samurai Japan 5

Samurai Japan 6

via The Guardian/Dan­ger­ous Minds

Relat­ed Con­tent:

Hand-Col­ored Pho­tographs of 19th Cen­tu­ry Japan

Adver­tise­ments from Japan’s Gold­en Age of Art Deco

Glo­ri­ous Ear­ly 20th-Cen­tu­ry Japan­ese Ads for Beer, Smokes & Sake (1902–1954)

Ear­ly Japan­ese Ani­ma­tions: The Ori­gins of Ani­me (1917–1931)

A Pho­to­graph­ic Tour of Haru­ki Murakami’s Tokyo, Where Dream, Mem­o­ry, and Real­i­ty Meet

Col­in Mar­shall writes else­where on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer, the video series The City in Cin­e­maand the crowd­fund­ed jour­nal­ism project Where Is the City of the Future? Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Fly Through 17th-Century London’s Gritty Streets with Prize-Winning Animations

Crit­ics did not love 2004 film The Lib­er­tine, star­ring John­ny Depp as dis­solute 17th cen­tu­ry poet and court favorite John Wilmot, the sec­ond Earl of Rochester. The Guardian fault­ed its grim tone and his­tor­i­cal inac­cu­ra­cies and called it “grimy and pre­ten­tious.” I dis­agree with this take, but a fond­ness for Rochester (and for the peri­od in gen­er­al) bias­es me in the movie’s favor. Addi­tion­al­ly, as some admir­ing crit­ics point­ed out, dour script­ing aside, the film’s depic­tion of 17th cen­tu­ry Lon­don is indeed most con­vinc­ing. You can almost feel the muck that clings to every­thing, and smell the rank stench of body odor bare­ly cov­ered by per­fume. Writer Kather­ine Ashen­burg has called the 17th cen­tu­ry “prob­a­bly the dirt­i­est cen­tu­ry in West­ern his­to­ry” (Lon­don didn’t clean up for anoth­er cou­ple hun­dred years), and The Lib­er­tine takes pains to bring the period’s filth to vivid, stink­ing life.

Which brings us to anoth­er authen­tic recre­ation of 17th cen­tu­ry Lon­don, one we’ve fea­tured here before and that you can see again at the top of the post. Designed by six plucky stu­dents from De Mon­fort Uni­ver­si­ty, the three-minute CGI tour through the city’s sooty Tudor streets before The Great Fire of 1666 resem­bles a video game; but it also gives us a per­sua­sive sense of the city’s scale, lay­out, and, yes, it’s grim­i­ness. In our pre­vi­ous post, we quot­ed Lon­don­ist, who not­ed, “Although most of the build­ings are con­jec­tur­al, the stu­dents used a real­is­tic street pat­tern [tak­en from his­tor­i­cal maps] and even includ­ed the hang­ing signs of gen­uine inns and busi­ness­es.” Though its unsan­i­tary streets are emp­ty, one can eas­i­ly imag­ine walk­ing them in this prize-win­ning ani­ma­tion. Less invit­ing, how­ev­er, are those 17-cen­tu­ry Lon­don streets at night in anoth­er, eight-minute ani­ma­tion below, cre­at­ed by anoth­er De Mont­fort team called Tri­umphant Goat.

Bra­ziers and lanterns glow­er in dank alley­ways, a fore­bod­ing haze hangs in the night air, hand-drawn want­ed posters adorn the walls, and pools of mud­dy water col­lect among rough cob­ble­stones. Here, I can imag­ine John­ny Dep­p’s Rochester pick­ing his way along a dusky side street, head­ed for some clan­des­tine assig­na­tion with a sta­ble­boy or scullery maid. You can read about the mak­ing of this night­time scene here, where team mem­ber James Teeple dis­cuss­es the research meth­ods and tech­ni­cal objec­tives of the project, in terms that make it sound as though this is one lev­el of a video game, although it isn’t clear what the game is about. “We real­ly pushed the idea of this being a His­tor­i­cal recre­ation,” writes Teeple, “so that meant too much cre­ative license was a bad thing in our eyes.”

Final­ly, in the video below, we see a bright­ly-lit tour of St. Paul’s Cathe­dral, beau­ti­ful­ly ren­dered, if over­all a less pol­ished pre­sen­ta­tion than the two tours above. This ani­ma­tion was pre­sum­ably cre­at­ed by De Mont­fort design stu­dents as well, though there’s lit­tle infor­ma­tion on its Vimeo page. Though the city was sig­nif­i­cant­ly redesigned after the 1666 fire, in these first two ani­ma­tions espe­cial­ly, we get a sense of the city Samuel John­son described sev­en­ty years after that great con­fla­gra­tion as a place where “mal­ice, rap­ine, acci­dent, con­spire, / And now a rab­ble rages, now a fire.”

Relat­ed Con­tent:

The Curi­ous Sto­ry of London’s First Cof­fee­hous­es (1650–1675)

A Drone’s Eye View of Los Ange­les, New York, Lon­don, Bangkok & Mex­i­co City

The Old­est Known Footage of Lon­don (1890–1920) Fea­tures the City’s Great Land­marks

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Mr. Rogers Goes to Congress and Saves PBS: Heartwarming Video from 1969

What kind of delu­sion­al self-aggran­diz­er, called to tes­ti­fy before a Unit­ed States Sen­ate Sub­com­mit­tee, uses it as an oppor­tu­ni­ty to quote the lyrics of a song he’s writ­ten… in their entire­ty!?

Sounds like the work of a cer­tain rapper/prospective polit­i­cal can­di­date or per­haps some daffy buf­foon as brought to life by Ben Stiller or Will Fer­rell.

Only children’s tele­vi­sion host Fred Rogers could pull such a stunt and emerge unscathed, nay, even more beloved, as he does above in doc­u­men­tary footage from 1969.

Mis­ter Rogers’ impulse to recite What Do You Do With the Mad That You Feel to then-chair­man of the Sub­com­mit­tee on Com­mu­ni­ca­tions, Sen­a­tor John Pas­tore, was ulti­mate­ly an act of ser­vice to the Cor­po­ra­tion for Pub­lic Broad­cast­ing and its child view­ers.

New­ly elect­ed Pres­i­dent Richard Nixon opposed pub­lic tele­vi­sion, believ­ing that its lib­er­al bent could only under­mine his admin­is­tra­tion. Deter­mined to strike first, he pro­posed cuts equal to half its $20 mil­lion annu­al oper­at­ing bud­get, a mea­sure that would have seri­ous­ly hob­bled the fledg­ling insti­tu­tion.

Mr. Rogers appeared before the Com­mit­tee armed with a “philo­soph­i­cal state­ment” that he refrained from read­ing aloud, not wish­ing to monop­o­lize ten min­utes of the Committee’s time. Instead, he sought Pas­tore’s promise that he would give it a close read lat­er, speak­ing so slow­ly and with such lit­tle out­ward guile, that the tough nut Sen­a­tor was moved to crack, “Would it make you hap­py if you did read it?”

Rather than tak­ing the bait, Rogers touched on the ways his show’s bud­get had grown thanks to the pub­lic broad­cast­ing mod­el. He also hipped Pas­tore to the qual­i­ta­tive dif­fer­ence between fre­net­ic kid­die car­toons and the vast­ly more thought­ful and emo­tion­al­ly healthy con­tent of pro­gram­ming such as his. Mr. Roger’s Neigh­bor­hood was a place where such top­ics as hair­cuts, sib­ling rela­tion­ships, and angry feel­ings could be dis­cussed in depth.

Rogers’ emo­tion­al intel­li­gence seems to hyp­no­tize Pas­tore, whose chal­leng­ing front was soon dropped in favor of a more respect­ful line of ques­tion­ing. By the end of Rogers’ heart­felt, non-musi­cal ren­di­tion of What Do You Do… (it’s much pep­pi­er in the orig­i­nal), Pas­tore has goose­bumps, and the Cor­po­ra­tion for Pub­lic Broad­cast­ing has its 2 mil’ back in the bag.

What do you do with the mad that you feel

When you feel so mad you could bite?

When the whole wide world seems oh, so wrong…

And noth­ing you do seems very right?

What do you do? Do you punch a bag?

Do you pound some clay or some dough?

Do you round up friends for a game of tag?

Or see how fast you go?

It’s great to be able to stop

When you’ve planned a thing that’s wrong,

And be able to do some­thing else instead

And think this song:

I can stop when I want to

Can stop when I wish.

I can stop, stop, stop any time.

And what a good feel­ing to feel like this

And know that the feel­ing is real­ly mine.

Know that there’s some­thing deep inside

That helps us become what we can.

For a girl can be some­day a woman

And a boy can be some­day a man.

Relat­ed Con­tent:

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

Mr. Rogers Takes Break­danc­ing Lessons from a 12-Year-Old (1985)

Pup­pet Mak­ing with Jim Hen­son: A Price­less Primer from 1969

Ayun Hal­l­i­day’s new play, Fawn­book, debuts as part of the Bad The­ater Fes­ti­val in NYC tomor­row night. Fol­low her @AyunHalliday

Hear the World’s Oldest Surviving Written Song (200 BC), Originally Composed by Euripides, the Ancient Greek Playwright

Imag­ine if you will that it is the year 4515, and future peo­ple slow­ly begin exca­vat­ing the musi­cal remains of mil­len­nia past. Now add the fol­low­ing wrin­kle to this sce­nario, cour­tesy of clas­sics schol­ar Armand D’Angour: “all that sur­vived of the Bea­t­les songs were a few of the lyrics, and all that remained of Mozart and Verdi’s operas were the words and not the music.” Would it be pos­si­ble to recov­er the rhythms and melodies from these scraps? Wouldn’t this music be for­ev­er lost to his­to­ry?

Not nec­es­sar­i­ly, D’Angour tells us; we could “recon­struct the music, redis­cov­er the instru­ments that played them, and hear the words once again in their prop­er set­ting.” Giv­en the inex­act, spec­u­la­tive nature of much ancient his­to­ry, I imag­ine the recon­struct­ed Bea­t­les might end up sound­ing noth­ing like them­selves, but then again, now that schol­ars have begun to recov­er the music of ancient Greek tragedy from a few frag­ments of text, sure­ly those future his­to­ri­ans could remake “Love Me Do”

Recon­struct­ing Don Gio­vani might be a lit­tle trick­i­er, and that’s often the scale aca­d­e­mics like D’Angour are work­ing with, since not only the love-poems of Sap­pho, but also “the epics of Homer” and “the tragedies of Sopho­cles and Euripides—were all, orig­i­nal­ly, music. Dat­ing from around 750 to 400 BC, they were com­posed to be sung in whole or part to the accom­pa­ni­ment of the lyre, reed-pipes, and per­cus­sion instru­ments.” This much we all like­ly know to some extent.

D’Angour goes on to describe in detail how schol­ars like him­self use “pat­terns of long and short syl­la­bles” in the sur­viv­ing verse to deter­mine musi­cal rhythm, and new rev­e­la­tions about ancient Greek vocal nota­tion and tun­ing to recon­struct ancient melody.

Orestes

The ear­li­est sur­viv­ing musi­cal doc­u­ment “pre­serves a few bars of sung music” from fifth-cen­tu­ry trage­di­an Euripi­des’ play Orestes. A “noto­ri­ous­ly avant-garde com­pos­er,” Euripides—scholars presume—“violated the long-held norms of Greek folk-singing by neglect­ing word-pitch.” You can see the papyrus frag­ment above, writ­ten around 200 BC in Egypt and called “Katolo­phy­ro­mai” after the first word in the “stasi­mon,” or choral song. Above the words, notice the vocal and instru­men­tal nota­tion schol­ars have used to recon­struct the music. The lines describe Orestes’ guilt after mur­der­ing his moth­er:

I cry, I cry, your mother’s blood that dri­ves you mad, great hap­pi­ness in mor­tals nev­er last­ing, but like a sail of swift ship, which a god shook up and plunged it with ter­ri­ble trou­bles into the greedy and dead­ly waves of the sea.

This trans­la­tion comes from “Greek Recon­struc­tion­ist Pagan­ism” site Bar­ing the Aegis, who also describe the song’s rhythm, Dochmius, and mode, Lydi­an, with a help­ful expla­na­tion for non-spe­cial­ists of what these terms mean. They also fea­ture the live per­for­mance of the stasi­mon at the top of the post, just one inter­pre­ta­tion by Spy­ros Giasafakis and Evi Ster­giou of neo­folk band Dae­mo­nia Nymphe. Below it, hear anoth­er inter­pre­ta­tion by Pet­ros Tabouris and Nikos Kon­stan­tinopou­los. And just below and at the bot­tom of the post are two more ver­sions of the ancient song.

Giv­en Euripi­des’ exper­i­men­tal­ism, we can’t expect that this recon­struct­ed song would be rep­re­sen­ta­tive of most ancient Greek music. “How­ev­er, we can rec­og­nize that Euripi­des adopt­ed anoth­er prin­ci­ple,” set­ting words to falling and ris­ing cadences accord­ing to their emo­tion­al import. As D’Angour puts it, “this was ancient Greek sound­track music,” and it was appar­ent­ly so well-received that his­to­ri­an Plutarch tells a sto­ry about “thou­sands of Athen­ian sol­diers held pris­on­er” in Syra­cuse: “those few who were able to sing Euripi­des’ lat­est songs were able to earn some food and drink.”

As for “the great­est of ancient poet-singers,” Homer, it seems accord­ing to recon­struc­tions by the late Pro­fes­sor Mar­tin West of Oxford that Home­r­ic tunes were “fair­ly monot­o­nous,” explain­ing per­haps why “the tra­di­tion of Home­r­ic recita­tion with­out melody emerged from what was orig­i­nal­ly a sung com­po­si­tion.”

Relat­ed Con­tent:

Hear the “Seik­i­los Epi­taph,” the Old­est Com­plete Song in the World: An Inspir­ing Tune from 100 BC

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

Hear the World’s Old­est Instru­ment, the “Nean­derthal Flute,” Dat­ing Back Over 43,000 Years

Free Cours­es in Ancient His­to­ry, Lit­er­a­ture & Phi­los­o­phy

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

How Cultured Are You? Test Your Knowledge With Cultural Quizzes from 1958

1ArtQuiz.jpg.CROP.original-original

Do you con­sid­er your­self well-edu­cat­ed? Cul­tured, even? By whose stan­dards?

We may super­fi­cial­ly assume these terms name immutable qual­i­ties, but they are in any analy­sis depen­dent on where and when we hap­pen to be sit­u­at­ed in his­to­ry. The most sophis­ti­cat­ed of Medieval doctors—a title then clos­er to the Euro­pean “docent” than our gen­er­al use of Dr.—would appear pro­found­ly igno­rant to us; and we, with our painful­ly inad­e­quate grasp of church Latin, Aris­totelian­ism, and arcane the­o­log­i­cal argu­ments, would appear pro­found­ly igno­rant to him.

What does it mean to be cul­tured? Is it the acqui­si­tion of most­ly use­less cul­tur­al cap­i­tal for its own sake, or of a set of codes that helps us nav­i­gate the world suc­cess­ful­ly? In an attempt to address these fraught ques­tions, Ash­ley Mon­tagu, a stu­dent of huge­ly influ­en­tial Ger­man-born anthro­pol­o­gist Franz Boas, wrote The Cul­tured Man in 1958. Rebec­ca Onion at Slate describes the book as con­tain­ing “quizzes for 50 cat­e­gories of knowl­edge in the arts and sci­ences, with 30 ques­tions each.” In the page above, we have the first 22 ques­tions of Montagu’s “Art” quiz (with the answers here).

You’ll prob­a­bly notice right away that while most of the ques­tions have def­i­nite, unam­bigu­ous answers, oth­ers like “Define art,” seem patent­ly unan­swer­able in all but the most gen­er­al and unsat­is­fac­to­ry ways. Mon­tagu defines art in one suc­cinct sen­tence: “Art is the mak­ing or doing of things that have form and beauty”—which strikes me as ane­mic, though func­tion­al enough.

1CultureHistoryQuiz

Mon­tagu intend­ed his book to test not only knowl­edge of cul­tur­al facts, but also of “atti­tudes”: a per­son “con­sid­ered ‘cul­tured,’” writes Onion, “would not just be able to read­i­ly sum­mon facts, but also to access humane feel­ings, which would nec­es­sar­i­ly come about after con­tact with cul­ture.” Many admin­is­tra­tors of “culture”—curators, art his­to­ri­ans, lit­er­a­ture pro­fes­sors, etc—would agree with the premise: ide­al­ly, the more cul­tur­al knowl­edge we acquire, the more empa­thy and under­stand­ing of oth­er peo­ples and cul­tures we should man­i­fest. Whether this rou­tine­ly occurs in prac­tice is anoth­er mat­ter. For Mon­tagu, Onion remarks, a “cul­tured man” is “curi­ous, unprej­u­diced, ratio­nal, and eth­i­cal.”

2CultureHistoryQuiz.jpg.CROP.original-original

Giv­en Montagu’s enlight­ened philo­soph­i­cal bent, we can char­i­ta­bly ascribe lan­guage in his book that itself seems prej­u­diced to our view­ing this arti­fact from a dis­tance of almost sev­en­ty years in the future. We might also find that many of his ques­tions push us to exam­ine our 21st cen­tu­ry bias­es more care­ful­ly. His approach may remind us of friv­o­lous inter­net diver­sions or the stan­dard­ized tests we’ve grown to think of as the pre­cise oppo­site of live­ly, crit­i­cal­ly-engaged edu­ca­tion­al tools. Yet Mon­tagu intend­ed his quizzes to be “both dynam­ic and con­struc­tive,” to alert read­ers to areas of igno­rance and encour­age them to fill gaps in their cul­tur­al knowl­edge. Many of his answers offer ref­er­ences for fur­ther study. “No one grows who stands still,” he wrote.

To see more of Montagu’s quiz questions—such as those above from the “Cul­ture His­to­ry” cat­e­go­ry (get the answers here)—and find out how you stack up against the cul­tured elite of the 50s, head over to Rebec­ca Onion’s post at Slate.

Relat­ed Con­tent:  

Watch Har­vard Stu­dents Fail the Lit­er­a­cy Test Louisiana Used to Sup­press the Black Vote in 1964

Her­mann Rorschach’s Orig­i­nal Rorschach Test: What Do You See? (1921)

Take the 146-Ques­tion Knowl­edge Test Thomas Edi­son Gave to Prospec­tive Employ­ees (1921)

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Hear The Epic of Gilgamesh Read in its Original Ancient Language, Akkadian

Tablet_V_of_the_Epic_of_Gligamesh._Newly_discovered._The_Sulaymaniyah_Museum,_Iraq.

Cre­ative Com­mons image by Osama Shukir Muhammed Amin

When one enters the world of The Epic of Gil­gamesh, the old­est epic poem we know of, one enters a world lost to time. Though its strange gods and cus­toms would have seemed per­fect­ly nat­ur­al to its inhab­i­tants, the cul­ture of Gil­gamesh has so far reced­ed from his­tor­i­cal mem­o­ry that there’s lit­tle left with which we might iden­ti­fy. Schol­ars believe Gil­gamesh the demi-god mytho­log­i­cal char­ac­ter may have descend­ed from leg­ends (such as a 126-year reign and super­hu­man strength) told about a his­tor­i­cal 5th king of Uruk. Buried under the fan­tas­tic sto­ries lies some doc­u­men­tary impulse. On the oth­er hand, Gil­gamesh—like all mythology—exists out­side of time. Gil­gamesh and Enkidu always kill the Bull of Heav­en, again and again for­ev­er. That, per­haps, is the secret Gil­gamesh dis­cov­ers at the end of his long jour­ney, the secret of Keats’ Gre­cian Urn: eter­nal life resides only in works of art.

And per­haps the only way to approach some com­mon under­stand­ing of myths as both prod­ucts of their age and as arche­types in realms of pure thought comes through a deep immer­sion in their his­tor­i­cal lan­guages. In the case of Gil­gamesh, that means learn­ing the extra­or­di­nar­i­ly long-lived Akka­di­an, a Mesopotami­an lan­guage that dates from about 2,800 BCE to around 100 CE. In order to do so, arche­ol­o­gists and Assyri­ol­o­gists had to deci­pher frag­ments of cuneiform stone tablets like those on which Gil­gamesh was dis­cov­ered. The task proved excep­tion­al­ly dif­fi­cult, such that when George Smith announced his trans­la­tion of the epic’s so-called “Flood Tablet” in 1872, it had lain “undis­turbed in the [British] Muse­um for near­ly 20 years,” writes The Tele­graph, since “there were so few peo­ple in the world able to read ancient cuneiform.”

Cuneiform is not a lan­guage, but an alpha­bet. The script’s wedge-shaped let­ters (cuneus is Latin for wedge) are formed by impress­ing a cut reed into soft clay. It was used by speak­ers of sev­er­al Near East­ern lan­guages includ­ing Sumer­ian, Akka­di­an, Urart­ian and Hit­tite; depend­ing on the lan­guage and date of a giv­en script, its alpha­bet could con­sist of many hun­dreds of let­ters. If this weren’t chal­leng­ing enough, cuneiform employs no punc­tu­a­tion (no sen­tences or para­graphs), it does not sep­a­rate words, there aren’t any vow­els and most tablets are frag­ment­ed and erod­ed.

Nonethe­less, Smith, an entire­ly self-edu­cat­ed schol­ar, broke the code, and when he dis­cov­ered the frag­ment con­tain­ing a flood nar­ra­tive that pre­dat­ed the Bib­li­cal account by at least 1,000 years, he report­ed­ly “became so ani­mat­ed that, mute with excite­ment, he began to tear his clothes off.” That sto­ry may also be leg­end, but it is one that cap­tures the pas­sion­ate­ly obses­sive char­ac­ter of George Smith. Thanks to his efforts, those of many oth­er 19th cen­tu­ry aca­d­e­mics, trea­sure hunters, and tomb raiders, and mod­ern schol­ars toil­ing away at the Uni­ver­si­ty of Lon­don, we can now hear Gil­gamesh read not only in Old Akka­di­an (the orig­i­nal lan­guage), but also lat­er Baby­lon­ian dialects, the lan­guages used to record the Code of Ham­mura­bi and a lat­er, more frag­ment­ed ver­sion of the Gil­gamesh epic.

The Uni­ver­si­ty of London’s Depart­ment of the Lan­guages and Cul­tures of the Ancient Near East hosts on its web­site sev­er­al read­ings in dif­fer­ent schol­ars’ voic­es of Gil­gamesh, The Epic of Anzu, the Codex Ham­mura­bi and oth­er Baby­lon­ian texts. Above, you can hear Karl Heck­er read the first 163 lines of Tablet XI of the Stan­dard Akka­di­an Gil­gamesh. These lines tell the sto­ry of Utnapish­tim, the myth­i­cal and lit­er­ary pre­cur­sor to the Bib­li­cal Noah. So impor­tant was the dis­cov­ery of this flood sto­ry that it “chal­lenged lit­er­ary and bib­li­cal schol­ar­ship and would help to rede­fine beliefs about the age of the Earth,” writes The Tele­graph. When George Smith made his announce­ment in 1872, “even the Prime Min­is­ter, William Glad­stone, was in atten­dance.” Unfor­tu­nate­ly, things did not end well for Smith, but because of his efforts, we can come as close as pos­si­ble to the sound of Gil­gamesh’s world, one that may remind us of a great many mod­ern lan­guages, but that unique­ly pre­serves ancient his­to­ry and age­less myth.

The Uni­ver­si­ty of Lon­don site also includes trans­la­tions and translit­er­a­tions of the cuneiform writ­ing, from Pro­fes­sor Andrew George’s 2003 The Baby­lon­ian Gil­gamesh Epic: Intro­duc­tion, Crit­i­cal Edi­tion and Cuneiform Texts. Fur­ther­more, there are answers to Fre­quent­ly Asked Ques­tions, many of which you may your­self be ask­ing, such as “What are Baby­lon­ian and Assyr­i­an?”; “Giv­en they are dead, how can one tell how Baby­lon­ian and Assyr­i­an were pro­nounced?”; “Did Baby­lon­ian and Assyr­i­an poet­ry have rhyme and metre, like Eng­lish poet­ry?”; and—for those with a desire to enter fur­ther into the ancient world of Gil­gamesh and oth­er Akka­di­an, Baby­lon­ian, and Assyr­i­an semi-myth­i­cal figures—“What if I actu­al­ly want to learn Baby­lon­ian and Assyr­i­an?”

Then, of course, you’ll want to learn about the 20 new lines from Gil­gamesh just dis­cov­ered in Iraq.…

Relat­ed Con­tent:

Lis­ten to the Old­est Song in the World: A Sumer­ian Hymn Writ­ten 3,400 Years Ago

Hear the “Seik­i­los Epi­taph,” the Old­est Com­plete Song in the World: An Inspir­ing Tune from 100 BC

Hear Beowulf Read In the Orig­i­nal Old Eng­lish: How Many Words Do You Rec­og­nize?

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

« Go BackMore in this category... »
Quantcast