Tag: Christianity

Extracting “Big History” from Hollywood “Sword-and-Sandal” Movies: Cleopatra (1963)

Seen in “deep time,” the movie is not about colorful personalities only but on a larger scale, the transition from the Roman Republic to the Roman Empire. This covers approximately one thousand years with some five centuries for each form of government, republic and empire.

The movie has as its background internecine power struggles in both Rome and Egypt.

The upshot of these struggles is the transition from the Roman Republic to the Roman Empire. This transition is “punctuated” by two momentous battles:

  1. Land Battle of Pharsalus, 48 BC (Cleopatra begins with this battle).
  2. Naval Battle of Actium, 31 BC.

Rome went from monarchy (Kings) to republic (Senators) for five hundred years to Emperors for another five hundred.

(Notice that Napoleon was crowned Emperor of the French in 1804. The King was executed during the French Revolution and the word “king” was to be avoided.)

Other movies like Ben-Hur with Charleton Heston playing the lead role, show you the unhappiness of colonial peoples (like the Hebrews) under the Roman Empire. Christianity became the official religion in 330 AD under Constantine and the capital was moved from pagan Rome to Christian Constantinople. The very name “Roman Catholic Church” shows you the fusion after centuries of conflict.

After the Battle of Pharsalus in 48 BC, Julius Caesar went to Egypt, under the pretext of being named the executor of the will of the father of the young Pharaoh Ptolemy XIII and his sister Cleopatra.

Ptolemy and Cleopatra are in the midst of a civil war of their own and she has been driven out of the city of Alexandria.

Ptolemy rules alone under the care of his three “guardians,” the chief eunuch Pothinus, his tutor Theodotus and General Achillas.

Cleopatra convinces Caesar to restore her throne from her younger brother. Caesar, in effective control of the kingdom, sentences Pothinus to death for arranging an assassination attempt on Cleopatra, and banishes Ptolemy to the eastern desert, where he and his outnumbered army would face certain death against Mithridates.

Cleopatra is crowned queen of Egypt and begins to develop megalomaniacal dreams of ruling the world with Caesar, who in turn desires to become king of Rome.

They marry, and when their son Caesarion is born, Caesar accepts him publicly, which becomes the talk of Rome and the Senate.

After he is made dictator for life, Caesar sends for Cleopatra. She arrives in Rome in a lavish procession and wins the adulation of the Roman people. The Senate grows increasingly discontented amid rumors that Caesar wishes to be made king, which is anathema to the Romans. On the Ides of March in 44 BC, a group of conspirators assassinated Caesar and fled the city, starting a rebellion. An alliance among Octavian (Caesar’s adopted son), Mark Antony (Caesar’s right-hand man and general) and Marcus Aemelius Lepidus puts down the rebellion and splits the republic. Cleopatra is angered after Caesar’s will recognizes Octavian, rather than Caesarion, as his official heir, and she returns to Egypt.

While planning a campaign against Parthia in the east, Antony realizes that he needs money and supplies that only Egypt can sufficiently provide. After refusing several times to leave Egypt, Cleopatra acquiesces and meets him on her royal barge in Tarsus. The two begin a love affair, and Cleopatra assures Antony that he is much more than a pale reflection of Caesar. Octavian’s removal of Lepidus forces Antony to return to Rome, where he marries Octavian’s sister Octavia to prevent political conflict. This upsets and enrages Cleopatra. Antony and Cleopatra reconcile and marry, with Antony divorcing Octavia. Octavian, incensed, reads Antony’s will to the Roman Senate, revealing that Antony wishes to be buried in Egypt. Rome turns against Antony, and Octavian’s call for war against Egypt receives a rapturous response.

The war is decided at the naval Battle of Actium on September 2, 31 BC, where Octavian’s fleet, under the command of Agrippa, defeats the lead ships of the Antony–Egyptian fleet. Cleopatra assumes that Antony is dead and orders the Egyptian forces home. Antony follows her, leaving the rest of his fleet leaderless and soon defeated.

Several months later, Cleopatra sends Caesarion under disguise out of Alexandria. She manages to convince Antony to resume command of his troops and fight Octavian’s advancing army. However, Antony’s soldiers abandon him during the night. Rufio, the last man loyal to Antony, kills himself. Antony tries to goad Octavian into single combat but is finally forced to flee into the city. When Antony returns to the palace, Apollodorus, in love with Cleopatra himself, tells him she is in her tomb as she had instructed, and lets Antony believe she is dead. Antony falls on his own sword. Apollodorus then confesses that he misled Antony and assists him to the tomb where Cleopatra and two servants have taken refuge. Antony dies in Cleopatra’s arms.

Octavian and his army march into Alexandria with Caesarion’s dead body in a wagon. He discovers the dead body of Apollodorus, who had poisoned himself. Octavian receives word that Antony is dead and that Cleopatra is holed up in a tomb. There he offers to allow her to rule Egypt as a Roman province if she will accompany him to Rome. Cleopatra, knowing that her son is dead, agrees to Octavian’s terms, including an empty pledge on the life of her son not to harm herself. After Octavian departs, she orders her servants in coded language to assist with her suicide. Octavian discovers that she is going to kill herself and he and his guards burst into Cleopatra’s chamber to find her dead, dressed in gold, along with her servants and the asp that killed her.

The Battle of Actium was a naval battle fought between a maritime fleet of Octavian led by Marcus Agrippa and the combined fleets of both Mark Antony and Cleopatra VII Thea Philopator.

The battle took place on 2 September 31 BC in the Ionian Sea, near the former Roman colony of Actium, Greece, and was the climax of over a decade of rivalry between Octavian and Antony.

In early 31 BC, the year of the battle, Antony and Cleopatra were temporarily stationed in Greece. Mark Antony possessed 500 ships and 70,000 infantry, and made his camp at Actium, and Octavian, with 400 ships and 80,000 infantry, arrived from the north and occupied Patrae and Corinth, where he managed to cut Antony’s southward communications with Egypt (via the Peloponnese) with help from Marcus Agrippa. Octavian previously gained a preliminary victory in Greece, where his navy successfully ferried troops across the Adriatic Sea under the command of Marcus Agrippa. Octavian landed on mainland Greece, opposite the island of Korkyra (modern Corfu) and proceeded south on land.

Trapped on both land and sea, portions of Antony’s army deserted and fled to Octavian’s side (daily), and Octavian’s forces became comfortable enough to make preparations for battle. Antony’s fleet sailed through the bay of Actium on the western coast of Greece, in a desperate attempt to break free of the naval blockade. It was there that Antony’s fleet faced the much larger fleet of smaller, more maneuverable ships under commanders Gaius Sosius and Agrippa. Antony and his remaining forces were spared only due to a last-ditch effort by Cleopatra’s fleet that had been waiting nearby. Octavian pursued them and defeated their forces in Alexandria on 1 August 30 BC—after which Antony and Cleopatra committed suicide.

Octavian’s victory enabled him to consolidate his power over Rome and its dominions. He adopted the title of Princeps (“first citizen”), and in 27 BC was awarded the title of Augustus (“revered”) by the Roman Senate. This became the name by which he was known in later times.

As Augustus, he retained the trappings of a restored Republican leader, but historians generally view his consolidation of power and the adoption of these honorifics as the end of the Roman Republic and the beginning of the Roman Empire.

Note: Shakespeare’s Antony and Cleopatra is of course relevant here.

Precursors of Trumpism in American Culture: The Great Gatsby

Donald Trump’s brand of “nativist populism” is prefigured very clearly in the 1925 classic American novel The Great Gatsby by F. Scott Fitzgerald, the subject of several film adaptations. The anxiety in the Trump movement is called “The Great Replacement” (i.e., white people supplanted by minorities—American non-whites will “link up” with Mexicans and Chinese, stealing the place, property and role of white people). It has never occurred to these people that most of the world’s population is non-white. In The Great Gatsby, Tom Buchanan, Daisy’s husband, represents this anxiety.

He links these fears to the anxiety that “the sun is getting hotter.” (That is, he’s being threatened cosmically too, not only by racial demography.) His fears are not of “climate change,” based on something rational, but obsessive and maniacal “threat assessments.” They mirror the “irrational clusters of threats” of Trump and his voters, who “want to be paid in advance forever for their being white, Christian and American.” They demand “racial tenure.” This Tom Buchanan syndrome may be considered a type of “globalization backlash.”

Tom Buchanan lays it out in the novel:

“Civilization’s going to pieces,” broke out Tom violently. “I’ve gotten to be a terrible pessimist about things. Have you read The Rise of the Colored Empires by this man Goddard?…Well, it’s a fine book, and everybody ought to read it. The idea is if we don’t look out the white race will be — will be utterly submerged. It’s all scientific stuff; it’s been proved…This fellow has worked out the whole thing. It’s up to us, who are the dominant race, to watch out or those other races will have control of things…The idea is that we’re Nordics. I am, and you are, and we’ve produced all the things that go to make civilization—oh, science and art, and all that. Do you see?”

(The Great Gatsby, Chapter 1)

“…Nowadays people begin by sneering at family life and family institutions, and next they’ll throw everything overboard and have marriage between black and white.”

Flushed with his impassioned gibberish, he saw himself standing alone on the last barrier of civilization.

“We’re all white here,” murmured Jordan.

Angry as I was, as we all were, I was tempted to laugh whenever he opened his mouth. The transition from libertine to prig was so complete.

(The Great Gatsby, Chapter 7)

The Brexit phenomenon in the United Kingdom is not identical but does overlap (i.e., the “left behind” people in England want “historical ethnic-national tenure” and a kind of re-segregation).

Education and “Then and Now” Thinking: Zola’s Novel L’Argent

It is amazing to see how certain nineteenth century phenomena, such as Émile Zola’s novel L’Argent (“Money”), eerily echo with our own times. The novel has fundamentalist evangelical Christianity, international financial chicanery, anti-Semitism, the signs of full-blown “casino capitalism” convulsing the whole of society, global technical innovations. The historical background as all this unfolds is explosive and complex.

L’Argent is the eighteenth novel in the Rougon-Macquart series by Émile Zola. It was serialized in the periodical Gil Blas beginning in November 1890, before being published in novel form by Charpentier et Fasquelle in March 1891.

The novel focuses on the financial world of the Second French Empire as embodied in the Paris Bourse and exemplified by the fictional character of Aristide Saccard. Zola’s intent was to show the terrible effects of speculation and fraudulent company promotion, the culpable negligence of company directors, and the impotency of contemporary financial laws. (Think of Dodd-Frank in our time and how insiders have “noiselessly” dismantled it.)

The novel takes place in 1864-1869, beginning a few months after the death of Saccard’s second wife Renée (see La Curée). Saccard is bankrupt and an outcast among the Bourse financiers. Searching for a way to reestablish himself, Saccard is struck by plans developed by his upstairs neighbor, the engineer Georges Hamelin, who dreams of restoring Christianity to the Middle East through great public works: rail lines linking important cities, improved roads and transportation, renovated eastern Mediterranean ports, and fleets of modern ships to move goods around the world.

Saccard decides to institute a financial establishment to fund these projects. He is motivated primarily by the potential to make incredible amounts of money and reestablish himself on the Bourse. In addition, Saccard has an intense rivalry with his brother Eugène Rougon, a powerful Cabinet minister who refuses to help him after his bankruptcy and who is promoting a more liberal, less Catholic agenda for the Empire. Furthermore, Saccard, an intense anti-Semite, sees the enterprise as a strike against the Jewish bankers who dominate the Bourse. From the beginning, Saccard’s Banque Universelle (Universal Bank) stands on shaky ground.

In order to manipulate the price of the stock, Saccard and his colleagues in the syndicate, which he has set up to jumpstart the enterprise, buy their own stock and hide the proceeds of this illegal practice in a dummy account fronted by a straw man.

While Hamelin travels to Constantinople to lay the groundwork for their enterprise, the Banque Universelle goes from strength to strength. Stock prices soar, going from 500 francs a share to more than 3,000 francs in three years. Furthermore, Saccard buys several newspapers which serve to maintain the illusion of legitimacy, promote the Banque, excite the public, and attack Rougon.

The novel follows the fortunes of about 20 characters, cutting across all social strata, showing the effects of stock market speculation on rich and poor. The financial events of the novel are played against Saccard’s personal life. Hamelin lives with his sister Caroline, who, against her better judgment, invests in the Banque Universelle and later becomes Saccard’s mistress. Caroline learns that Saccard fathered a son, Victor, during his first days in Paris. She rescues Victor from his life of abject poverty, placing him in a charitable institution. But Victor is completely unredeemable, given over to greed, laziness, and thievery. After he attacks one of the women at the institution, he disappears into the streets, never to be seen again.

Eventually, the Banque Universelle cannot sustain itself. Saccard’s principal rival on the Bourse, the Jewish financier Gundermann, learns about Saccard’s financial trickery and attacks, losing stock upon the market, devaluing its price, and forcing Saccard to buy millions of shares to keep the price up. At the final collapse, the Banque holds one-fourth of its own shares worth 200 million francs. The fall of the Banque is felt across the entire financial world. Indeed, all of France feels the force of its collapse. The effects on the characters of L’Argent are disastrous, including complete ruin, suicide, and exile, though some of Saccard’s syndicate members escape and Gundermann experiences a windfall.

History itself is of course “bubbling along” and does not go away:

Because the financial world is closely linked with politics, L’Argent encompasses many historical events, including:

By the end of the novel, the stage is set for the Franco-Prussian War (1870–1871) and the fall of the Second Empire.

The twentieth century world and the twenty-first century one do resonate with Zola’s novel. That tells you, the student, that there are deep structures underlying endless changes.

The arrival of cars and planes, computers and lasers, internet and AI have not altered these substructures entirely and that is educational, since “then and now” thinking is part of a meta-intelligent (i.e., perspectival) education process.