• Snow White arouses the jealousy of her stepmother, the queen, so the queen orders a hunter to take her into the forest, kill her, and bring back her lungs and liver for the queen to eat. When the queen realizes that Snow White has escaped, she makes three more attempts on her life, two by poison, one by asphyxiation. After the prince has revived her, the queen crashes their wedding, but “iron slippers had already been heated up for her over a fire of coals.... She had to put on the red-hot iron shoes and dance in them until she dropped to the ground dead.”
42
As we shall see, purveyors of entertainment for young children today have become so intolerant of violence that even episodes of the early Muppets have been deemed too dangerous for them. And speaking of puppetry, one of the most popular forms of children’s entertainment in Europe used to be the Punch and Judy show. Well into the 20th century, this pair of bickering glove puppets acted out slapstick routines in ornate booths in English seaside towns. The literature scholar Harold Schechter summarizes a typical plot:
It begins when Punch goes to pet his neighbor’s dog, which promptly clamps its teeth around the puppet’s grotesquely oversized nose. After prying the dog loose, Punch summons the owner, Scaramouche and, after a bit of crude banter, knocks the fellow’s head “clean off his shoulders.” Punch then calls for his wife, Judy, and requests a kiss. She responds by walloping him in the face. Seeking another outlet for his affection, Punch asks for his infant child and begins to cradle it. Unfortunately, the baby picks that moment to dirty itself. Always the loving family man, Punch reacts by beating the baby’s head against the stage, then hurling its dead body into the audience. When Judy reappears and discovers what’s happened, she is understandably upset. Tearing Punch’s stick from his hands, she begins to lay into him. He wrestles the cudgel away from her, pummels her to death, and then breaks into a triumphant little song:
Who’d be plagued with a wife
That could set himself free
With a rope or a knife
Or a good stick, like me?
43
Even Mother Goose nursery rhymes, which mostly date from the 17th and 18th centuries, are jarring by the standards of what we let small children hear today. Cock Robin is murdered in cold blood. A single mother living in substandard housing has numerous illegitimate children and abuses them with whipping and starvation. Two unsupervised children are allowed to go on a dangerous errand; Jack sustains a head injury that could leave him with brain damage, while Jill’s condition is unknown. A drifter confesses that he threw an old man down the stairs. Georgie Porgie sexually harasses underage girls, leaving them with symptoms of post-traumatic stress disorder. Humpty Dumpty remains in critical condition after a crippling accident. A negligent mother leaves a baby unattended on a treetop, with disastrous results. A blackbird swoops down on a domestic employee hanging up laundry and maliciously wounds her nose. Three vision-impaired mice are mutilated with a carving knife. And here comes a candle to light you to bed; here comes a chopper to chop off your head! A recent article in the
Archives of Diseases of Childhood
measured the rates of violence in different genres of children’s entertainment. The television programs had 4.8 violent scenes per hour; the nursery rhymes had 52.2.
44
HONOR IN EUROPE AND THE EARLY UNITED STATES
If you have an American ten-dollar bill handy, look at the man portrayed on it and give a moment’s thought to his life and death. Alexander Hamilton is one of American history’s most luminous figures. As a coauthor of the
Federalist Papers
, he helped to articulate the philosophical basis of democracy. As America’s first secretary of the treasury, he devised the institutions that support modern market economies. At other times in his life he led three battalions in the Revolutionary War, helped launch the Constitutional Convention, commanded a national army, established the Bank of New York, served in the New York legislature, and founded the
New York Post
.
45
Yet in 1804 this brilliant man did something that by today’s standards was astonishingly stupid. Hamilton had long exchanged bitchy remarks with his rival Vice President Aaron Burr, and when Hamilton refused to disavow a criticism of Burr that had been attributed to him, Burr challenged him to a duel. Common sense was just one of many forces that could have pulled him away from a date with death.
46
The custom of dueling was already on the wane, and Hamilton’s state of residence, New York, had outlawed it. Hamilton had lost a son to a duel, and in a letter explaining his response to Burr’s challenge, he enumerated five objections to the practice. But he agreed to the duel anyway, because, he wrote, “what men of the world denominate honor” left him no other choice. The following morning he was rowed across the Hudson to face Burr on the New Jersey Palisades. Burr would not be the last vice president to shoot a man, but he was a better shot than Dick Cheney, and Hamilton died the following day.
Nor was Hamilton the only American statesman to be drawn into a duel. Henry Clay fought in one, and James Monroe thought the better of challenging John Adams only because Adams was president at the time. Among the other faces on American currency, Andrew Jackson, immortalized on the twenty-dollar bill, carried bullets from so many duels that he claimed to “rattle like a bag of marbles” when he walked. Even the Great Emancipator on the five-dollar bill, Abraham Lincoln, accepted a challenge to fight a duel, though he set the conditions to ensure that it would not be consummated.
Formal dueling was not, of course, an American invention. It emerged during the Renaissance as a measure to curtail assassinations, vendettas, and street brawls among aristocrats and their retinues. When one man felt that his honor had been impugned, he could challenge the other to a duel and cap the violence at a single death, with no hard feelings among the defeated man’s clan or entourage. But as the essayist Arthur Krystal observes, “The gentry . . . took honor so seriously that just about every offense became an offense against honor. Two Englishmen dueled because their dogs had fought. Two Italian gentlemen fell out over the respective merits of Tasso and Ariosto, an argument that ended when one combatant, mortally wounded, admitted that he had not read the poet he was championing. And Byron’s great-uncle William, the fifth Baron Byron, killed a man after disagreeing about whose property furnished more game.”
47
Dueling persisted in the 18th and 19th centuries, despite denunciations by the church and prohibitions by many governments. Samuel Johnson defended the custom, writing, “A man may shoot the man who invades his character, as he may shoot him who attempts to break into his house.” Dueling sucked in such luminaries as Voltaire, Napoleon, the Duke of Wellington, Robert Peel, Tolstoy, Pushkin, and the mathematician Évariste Galois, the last two fatally. The buildup, climax, and denouement of a duel were made to order for fiction writers, and the dramatic possibilities were put to use by Sir Walter Scott, Dumas père, de Maupassant, Conrad, Tolstoy, Pushkin, Chekhov, and Thomas Mann.
The career of dueling showcases a puzzling phenomenon we will often encounter: a category of violence can be embedded in a civilization for centuries and then vanish into thin air. When gentlemen agreed to a duel, they were fighting not for money or land or even women but for honor, the strange commodity that exists because everyone believes that everyone else believes that it exists. Honor is a bubble that can be inflated by some parts of human nature, such as the drive for prestige and the entrenchment of norms, and popped by others, such as a sense of humor.
48
The institution of formal dueling petered out in the English-speaking world by the middle of the 19th century, and in the rest of Europe in the following decades. Historians have noted that the institution was buried not so much by legal bans or moral disapproval as by ridicule. When “solemn gentlemen went to the field of honor only to be laughed at by the younger generation, that was more than any custom, no matter how sanctified by tradition, could endure.”
49
Today the expression “Take ten paces, turn, and fire” is more likely to call to mind Bugs Bunny and Yosemite Sam than “men of honor.”
THE 20th CENTURY
As our tour of the history of forgotten violence comes within sight of the present, the landmarks start to look more familiar. But even the zone of cultural memory from the last century has relics that feel like they belong to a foreign country.
Take the decline of martial culture.
50
The older cities in Europe and the United States are dotted with public works that flaunt the nation’s military might. Pedestrians can behold statues of commanders on horseback, beefcake sculptures of well-hung Greek warriors, victory arches crowned by chariots, and iron fencing wrought into the shape of swords and spears. Subway stops are named for triumphant battles: the Paris Métro has an Austerlitz station; the London Underground has a Waterloo station. Photos from a century ago show men in gaudy military dress uniforms parading on national holidays and hobnobbing with aristocrats at fancy dinners. The visual branding of long-established states is heavy on aggressive iconography, such as projectiles, edged weapons, birds of prey, and predatory cats. Even famously pacifistic Massachusetts has a seal that features an amputated arm brandishing a sword and a Native American holding a bow and arrow above the state motto, “With the sword we seek peace, but under liberty.” Not to be outdone, neighboring New Hampshire adorns its license plates with the motto “Live Free or Die.”
But in the West today public places are no longer named after military victories. Our war memorials depict not proud commanders on horseback but weeping mothers, weary soldiers, or exhaustive lists of names of the dead. Military men are inconspicuous in public life, with drab uniforms and little prestige among the hoi polloi. In London’s Trafalgar Square, the plinth across from the big lions and Nelson’s column was recently topped with a sculpture that is about as far from military iconography as one can imagine: a nude, pregnant artist who had been born without arms and legs. The World War I battlefield in Ypres, Belgium, inspiration for the poem “In Flanders Fields” and the poppies worn in Commonwealth countries on November 11, has just sprouted a memorial to the thousand soldiers who were shot in that war for desertion—men who at the time were despised as contemptible cowards. And the two most recent American state mottoes are Alaska’s “North to the Future” and Hawaii’s “The life of the land is perpetuated in righteousness” (though when Wisconsin solicited a replacement for “America’s Dairyland,” one of the entries was “Eat Cheese or Die”).
Conspicuous pacifism is especially striking in Germany, a nation that was once so connected to martial values that the words
Teutonic
and
Prussian
became synonyms for rigid militarism. As recently as 1964 the satirist Tom Lehrer expressed a common fear at the prospect of West Germany participating in a multilateral nuclear coalition. In a sarcastic lullaby, the singer reassures a baby:
Once all the Germans were warlike and mean,
But that couldn’t happen again.
We taught them a lesson in 1918
And they’ve hardly bothered us since then.
The fear of a revanchist Germany was revived in 1989, when the Berlin Wall came down and the two Germanys made plans to reunite. Yet today German culture remains racked with soul-searching over its role in the world wars and permeated with revulsion against anything that smacks of military force. Violence is taboo even in video games, and when Parker Brothers tried to introduce a German version of Risk, the board game in which players try to dominate a map of the world, the German government tried to censor it. (Eventually the rules were rewritten so that players were “liberating” rather than conquering their opponents’ territories.)
51
German pacifism is not just symbolic: in 2003 half a million Germans marched to oppose the American-led invasion of Iraq. The American secretary of defense, Donald Rumsfeld, famously wrote the country off as part of “Old Europe.” Given the history of ceaseless war on that continent, the remark may have been the most flagrant display of historical amnesia since the student who complained about the clichés in Shakespeare.
Many of us have lived through another change in Western sensibilities toward military symbolism. When the ultimate military weapons, nuclear bombs, were unveiled in the 1940s and 1950s, people were not repelled, even though the weapons had recently snuffed out a quarter of a million lives and were threatening to annihilate hundreds of millions more. No, the world found them charming! A sexy bathing suit, the bikini, was named after a Micronesian atoll that had been vaporized by nuclear tests, because the designer compared the onlookers’ reaction to an atomic blast. Ludicrous “civil defense” measures like backyard fallout shelters and duck-and-cover classroom drills encouraged the delusion that a nuclear attack would be no big deal. To this day triple-triangle fallout shelter signs rust above the basement entrances of many American apartment buildings and schools. Many commercial logos from the 1950s featured mushroom clouds, including Atomic Fireball Jawbreaker candies, the Atomic Market (a mom-and-pop grocery store not far from MIT), and the Atomic Café, which lent its name to a 1982 documentary on the bizarre nonchalance with which the world treated nuclear weapons through the early 1960s, when horror finally began to sink in.