Showing posts with label book. Show all posts
Showing posts with label book. Show all posts

Wednesday, September 28, 2016

"England's Forgotten Muslim History"

Jerry Brotton, a professor of Renaissance studies at Queen Mary University of London, has written a book that gets the usual UK/USA treatment as to title and cover. In the UK his book is titled This Orient Isle: Elizabethan England and the Islamic World. In the USA, it's The Sultan and the Queen: The Untold Story of Elizabeth and Islam. The U.K. book description:

In 1570, when it became clear she would never be gathered into the Catholic fold, Elizabeth I was excommunicated by the Pope. On the principle that 'my enemy's enemy is my friend', this marked the beginning of an extraordinary English alignment with the Muslim powers who were fighting Catholic Spain in the Mediterranean, and of cultural, economic and political exchanges with the Islamic world of a depth not again experienced until the modern age. England signed treaties with the Ottoman Porte, received ambassadors from the kings of Morocco and shipped munitions to Marrakesh. By the late 1580s hundreds, perhaps thousands, of Elizabethan merchants, diplomats, sailors, artisans and privateers were plying their trade from Morocco to Persia.

These included the resourceful mercer Anthony Jenkinson who met both Süleyman the Magnificent and the Persian Shah Tahmasp in the 1560s, William Harborne, the Norfolk merchant who became the first English ambassador to the Ottoman court in 1582 and the adventurer Sir Anthony Sherley, who spent much of 1600 at the court of Shah Abbas the Great. The previous year, remarkably, Elizabeth sent the Lancastrian blacksmith Thomas Dallam to the Ottoman capital to play his clockwork organ in front of Sultan Mehmed. The awareness of Islam which these Englishmen brought home found its way into many of the great cultural productions of the day, including most famously Marlowe's Tamburlaine, and Shakespeare's Titus Andronicus and The Merchant of Venice. The year after Dallam's expedition the Moroccan ambassador, Abd al-Wahid bin Mohammed al-Annuri, spent six months in London with his entourage. Shakespeare wrote Othello six months later.

This Orient Isle shows that England's relations with the Muslim world were far more extensive, and often more amicable, than we have appreciated, and that their influence was felt across the political, commercial and domestic landscape of Elizabethan England. It is a startlingly unfamiliar picture of part of our national and international history.

Writing for The New York Times before the book comes out in the USA, Brotton summarizes his argument:

In the 1580s she signed commercial agreements with the Ottomans that would last over 300 years, granting her merchants free commercial access to Ottoman lands. She made a similar alliance with Morocco, with the tacit promise of military support against Spain.

As money poured in, Elizabeth began writing letters to her Muslim counterparts, extolling the benefits of reciprocal trade. She wrote as a supplicant, calling Murad “the most mighty ruler of the kingdom of Turkey, sole and above all, and most sovereign monarch of the East Empire.” She also played on their mutual hostility to Catholicism, describing herself as “the most invincible and most mighty defender of the Christian faith against all kind of idolatries.” Like Muslims, Protestants rejected the worship of icons, and celebrated the unmediated word of God, while Catholics favored priestly intercession. She deftly exploited the Catholic conflation of Protestants and Muslims as two sides of the same heretical coin.

The ploy worked. Thousands of English traders crossed many of today’s no-go regions, like Aleppo in Syria, and Mosul in Iraq. They were far safer than they would have been on an equivalent journey through Catholic Europe, where they risked falling into the hands of the Inquisition.

The Ottoman authorities saw their ability to absorb people of all faiths as a sign of power, not weakness, and observed the Protestant-Catholic conflicts of the time with detached bemusement. Some Englishmen even converted to Islam. A few, like Samson Rowlie, a Norfolk merchant who became Hassan Aga, chief treasurer to Algiers, were forced. Others did so of their own volition, perhaps seeing Islam as a better bet than the precarious new Protestant faith. . . .

Elizabeth’s Islamic policy held off a Catholic invasion, transformed English taste and established a new model for joint stock investment that would eventually finance the Virginia Company, which founded the first permanent North American colony.
Read the rest there.

Writing for The Catholic Herald, however, Francois Soyer, associate professor in Late Medieval and Early Modern History at the University of Southampton, sees some problems with Brotton's thesis:

England’s ties with the Muslim Ottoman Empire did indeed make an impact on military events but in a very different way. They must be studied within the wider background of diplomatic and military developments elsewhere in Europe, the Mediterranean and even the Middle East. . . .

For Philip II of Spain, the heretical Protestants in Northern Europe came to dominate all other issues: the Calvinist rebels in the Netherlands, their English allies, and the Protestants in France posed a danger to the Catholic Church and Philip’s own authority.

Similarly, the primary threat for the Sunni Ottoman Sultan became the Shiite Safavid dynasty in Persia (modern-day Iran). As Shiites, the Safavids challenged the theological legitimacy of the Sultan in the Islamic world and threatened the Ottoman heartlands in Anatolia. The Ottomans initiated a conflict against the Safavids in 1578 (until 1590) and the rivalry between both Muslim dynasties continued into the seventeenth century. Both the superpowers of the age had effectively decided that the enemies within their faith represented a great threat than the infidel.

It is therefore hard to see how the ties Elizabeth forged with the Ottoman played any role in “holding off a Catholic invasion”. Indeed, in this respect her strategy could be seen as having been a singular failure. When the Armada sailed against England in 1588, it comprised a number of ships that were redeployed from Mediterranean squadrons due to the absence of an Ottoman threat. The galleass La Girona, which sank off Country Antrim with tremendous loss of life in October 1588, was just one of these redeployed galleys and galleasses that were more suited to naval warfare in the Mediterranean than the North Atlantic.

The Ottoman Sultan and his officials may well have welcomed English envoys and trade links and made pleasing diplomatic noises. But they offered no real military help. Diplomatic relations in early modern Europe and the Mediterranean were often moulded by a brutal realpolitik in which expediency trumped religious loyalties: my enemy’s enemy was my friend, whether or not he was an infidel. Elizabeth wasn’t the first European monarch to seek a Muslim ally (the French Kings had previously sought Ottoman help against the Habsburgs); she wasn’t the last, either (even Philip III of Spain would later seek to cultivate relations with the Safavids to counter any Ottoman threat).


Read the rest there.

Wednesday, March 30, 2016

Be Kind to Animals: Happy Birthday to Anna Sewell

I've mentioned how much I loved to read when growing up on this blog before. The author of one of my favorite childhood books was born today in 1820, Anna Sewell:

Anna Sewell is born in Norfolk, England. The daughter of a successful children’s book writer, she helped edit her mother’s manuscripts from an early age but was not published herself until she was 57. Black Beauty, the first significant children’s story in the English language to focus on animal characters, established the precedent for countless other works.

Appalled by the cruel treatment of horses by some masters during her day, Sewell wrote the book “to induce kindness, sympathy, and an understanding treatment of horses.” The story, narrated by the horse, showed Black Beauty’s progression through a series of increasingly cruel owners until the exhausted, ill-treated animal collapses. In the end, the horse is saved by a kind owner.

Sewell wrote the book during the last seven years of her life, when she became an invalid confined to her home. The book was published shortly before her death in 1878 and became one of the best-loved children’s classics of all time. The book was made into a movie three times, in 1946, 1971, and 1994.

My husband and I could not stand to watch the 1994 movie; it's one thing to read about the cruelty, another to see it portrayed so realistically on film. Sewell's family was Quaker but then joined the Church of England in 1835. Did the participation of Anglican William Wilberforce in the efforts to pass the Slavery Abolition Act in 1833 influence this change in religious affiliation, I wonder? or his co-founding of the Society for the Prevention of Cruelty to Animals in 1824?

Another favorite book from my childhood, related to Black Beauty, was Beautiful Joe, written by (Margaret) Marshall Saunders, about a family that cares for and protects abused and abandoned animals. Both of these novels have a moral message but are still good stories, even if the device of the horse or the dog narrating his story requires tremendous suspension of disbelief. 

Tuesday, February 2, 2016

Democracy and Art: The Catholic Church?

I listened to an interview on the John Batchelor show with Victoria Coates about her book David's Sling: A History of Democracy in Ten Works of Art. Batchelor and Coates were discussing her book in the context of the recent event in Rome when the authorities hid the nude sculptures on the Capitoline Hill to avoid offending the President of Iran.

The book's premise, according to the publisher, Encounter Books, is:

Throughout western history, the societies that have made the greatest contributions to the spread of freedom have created iconic works of art to celebrate their achievements. Yet despite the enduring appeal of works from the Parthenon to Michelangelo’s David to Picasso’s Guernica, histories of both art and democracy have ignored this phenomenon. Millions have admired the works of art covered in this book but relatively few know why they were commissioned, what was happening in the culture that produced them, and what they were meant to achieve. Even scholars who have worked on these objects for decades often miss the big picture as these works have been traditionally studied in isolation.

In David’s Sling, Victoria C. G. Coates integrates the pursuits of creative excellence and human freedom to bring a fresh, new perspective into both lines of inquiry. David’s Sling places into context ten canonical works of art executed to commemorate the successes of free societies that exerted political and economic influence far beyond what might have been expected of them. The book fuses political and art history with a judiciously-applied dose of creative reconstruction to craft a lively narrative around each key work of art and the free system that inspired it. David’s Sling tells their stories.

As I heard them discuss the book, I noticed a few comments: Batchelor compares Friar Savonarola of Florence to the President of Iran; Coates mentions that Napoleon Bonaparte betrayed the ideals of the French Revolution. Those comments seemed to betray a rather simplistic view of history. What were the ideals of the French Revolution? The Terror and the destruction of the Catholic Church? The life and career of Savonarola was much more complicated than Batchelor's quip. You can hear the podcast here.

It made me wonder how she regards the Catholic Church, the greatest patron of the arts in the medieval and Renaissance eras: painting, sculpture, architecture, and music, etc., which has never been a political democracy. When they discuss the great statue of David as a symbol of freedom against the rule of the Medici, they conclude that Michelangelo leaves Florence because he believes the republic has been destroyed by the Medici family and lives in Rome. Rome was not a republic; Rome and the Papal States were ruled by the pope as a secular monarch (even Medici popes!): how does this prove either Michelangelo's devotion to democracy or that democracy and free societies are necessary for creating great art?

It made me think of ten great works of art inspired by one of the least politically democratic organizations in world history, the Catholic Church:

1. St. Peter's Basilica (various)
2. The ceiling of the Sistine Chapel (Michelangelo)
3. The Last Judgment (Michelangelo)
4. Statuary for the tomb of Pope Julius, including the Moses (Michelangelo)
5. The School of Athens by Raphael (The Vatican's Stanza della Segnatura)
6. The Disputation of the Sacrament, also by Raphael (The Vatican's Stanza della Segnatura)
7. The Transfiguration (Raphael)
8. The Baldachin in St. Peter's Basilica (Bernini)
9. The Ecstasy of St. Teresa of Avila (Bernini)
10. Sant'Andrea al Quirinale, Jesuit Church (Bernini)

And this is just from one period, the Renaissance, in Rome--not to mention the glories of High Gothic in France (the Notre Dames of Paris, Chartres, etc)--and does not consider music (Victoria, Palestrina, etc) in Renaissance Rome at all. The popes and bishops who commissioned great works of art and patronized great artists might be surprised that they should have been living in free democratic societies to encourage such masterpieces. I don't think that her thesis is that only free democratic societies create great works of art to celebrate their achievements; the Catholic Church and Catholic artists have created great works of art to celebrate the life of Our Savior and the truth of His teaching, so that's a very different source of inspiration and goal of creation. But I wonder.

Thursday, August 7, 2014

Will the Second Printing Sell Out at Scepter?


My publisher, Scepter, updates their inventory of titles on their website. Once a book drops below the 500 copy mark, the exact number of copies starts counting down. Supremacy and Survival: How Catholics Endured the English Reformation is in its second printing--the first sold out in November 2010 after publication in January 2009. The book really benefited by the timing of current events: Pope Benedict XVI announced the Personal Ordinariate and then visited Scotland and England, beatifying John Henry Newman in September 2010. The second printing, slightly revised (correcting a couple of errors and omissions) came out in 2011.

We'll see if it sells out again--thanks to everyone who bought a copy, reviewed it, or recommended it! If you want to buy a copy, here's the link!