Monday, January 29, 2024

Sacred Tree or Paradise Tree? The Christmas Tree and Nature

 

A red bauble on a Christmas tree
(a symbol of apples?)


 

The ancient Egyptians, Chinese, and Hebrews used evergreen wreaths, garlands, and trees to symbolise their respect for nature and their belief in eternal life. The pagan Europeans worshipped trees and had the custom of decorating their houses and barns with evergreens, or erecting a Yule tree during midwinter holidays. However, the modern Christmas tree can be shown to have roots in Christian traditions too.

 

The term ‘pagan’ originated in a contemptuous, disdainful, and disparaging attitude towards people who had a respect for nature, the source of their sustenance: “Paganism (from classical Latin pāgānus "rural", "rustic", later "civilian") is a term first used in the fourth century by early Christians for people in the Roman Empire who practiced polytheism, or ethnic religions other than Judaism. Paganism has broadly connoted the "religion of the peasantry".”


As people gradually converted to Christianity, December 25 became the date for celebrating Christmas. Christianity’s “most significant holidays were Epiphany on January 6, which commemorated the arrival of the Magi after Jesus’ birth, and Easter, which celebrated Jesus’ resurrection.” For the first three centuries of Christianity’s existence, “Jesus Christ’s birth wasn’t celebrated at all” and “the first official mention of December 25 as a holiday honouring Jesus’ birthday appears in an early Roman calendar from AD 336.” It is also believed that December 25 became the date for Christ's birth “to coincide with existing pagan festivals honouring Saturn (the Roman god of agriculture) and Mithra (the Persian god of light). That way, it became easier to convince Rome’s pagan subjects to accept Christianity as the empire’s official religion.”

 

During the Middle Ages, the church used mystery plays to dramatize biblical stories for largely illiterate people to illustrate the stories of the bible “from creation to damnation to redemption”. [1] Thus, we find evidence of a connection between the Christmas tree and the Tree of Life in the Paradise plays as well as pagan sacred trees.


In western Germany, the story of Adam and Eve was acted out using a prop of a paradise tree, a fir tree decorated with apples to represent the Garden of Eden:

 

“The Germans set up a paradise tree in their homes on December 24, the religious feast day of Adam and Eve. They hung wafers on it (symbolizing the eucharistic host, the Christian sign of redemption); in a later tradition the wafers were replaced by cookies of various shapes. Candles, symbolic of Christ as the light of the world, were often added. In the same room was the “Christmas pyramid,” a triangular construction of wood that had shelves to hold Christmas figurines and was decorated with evergreens, candles, and a star. By the 16th century the Christmas pyramid and the paradise tree had merged, becoming the Christmas tree.”


 


Full-page miniature of Adam, Eve and the Serpent, [f. 7r] (1445)
(The New York Public Library Digital Collections)


 

 The medieval Church “declared December 24 the feast day of Adam and Eve. Around the twelfth century this date became the traditional one for the performance of the paradise play.”

 The story of Adam and Eve begins with their disobedience, but the play cycle ends with the promise of the coming Saviour.

Over time the tree of paradise began to transcend the religious context of the miracle plays and moved towards a role in the Christmas celebrations of the guilds. [2]

 

For example:

“The first evidence of decorated trees associated with Christmas Day are trees in guildhalls decorated with sweets to be enjoyed by the apprentices and children. In Livonia (present-day Estonia and Latvia), in 1441, 1442, 1510, and 1514, the Brotherhood of Blackheads erected a tree for the holidays in their guild houses in Reval (now Tallinn) and Riga.”


 


“Possibly the earliest existing picture of a Christmas tree being paraded through the 
streets with a bishop figure to represent St Nicholas, 1521 (Germanisches National Museum)”.

(The Medieval Christmas by Sophie Jackson (2005) p68)

 

 

Early records show “that fir trees decorated with apples were first known in Strasbourg in 1605. The first use of candles on such trees is recorded by a Silesian duchess in 1611.”  Furthermore, the earliest known dated representation of a Christmas tree is 1576, seen on a keystone sculpture of a private home in Turckheim, Alsace (then part of the Holy Roman Empire of the German Nation, today France).


 



Keystone sculpture at Turckheim, Alsace (MPK)



The paradise tree represented two important trees of the Garden of Eden: the Tree of the Knowledge of Good and Evil and the Tree of Life. It is likely that “because most other trees were barren and lifeless during December, the actors chose to hang the apples from an evergreen tree rather than from an apple tree.”



The mystery plays of Oberufer

 

A good example of this old tradition is the mystery plays of Oberufer. The Austrian linguist and literary critic Karl Julius Schröer (1825-1900) “discovered a Medieval cycle of Danube Swabian mystery plays in Oberufer, a village since engulfed by the Bratislava's borough of Főrév (German: Rosenheim, today's Ružinov). Schröer collected manuscripts, made meticulous textual comparisons, and published his findings in the book Deutsche Weihnachtspiele aus Ungarn ("The German Nativity Plays of Hungary") in 1857/1858.”




The plates giving an impression of costume designs, based on Rudolf Steiner's (who studied under Karl Julius Schröer (1825-1900)) directions, were painted by the Editor's father, Eugen Witta, who saw the plays produced by Rudolf Steiner many times while working as a young architect on the first Goetheanum.


Before the actual performance the whole theatrical company went in procession through the village. They were headed by the ‘Tree-singer’, who carried in his hand the small ‘Paradise Tree’—a kind of symbol of the Tree of Life. The story of the tree and its fruit is mentioned in the text of the play:

 

But see, but see a tree stands here

Which precious fruit doth bear,

That God has made his firm decree

It shall not eaten be.

Yea, rind and flesh and stone

They shall leave well alone.

This tree is very life,

Therefore God will not have

That man shall eat thereof.


 


Actors portraying Adam and Eve are expelled from paradise
(Eve: Ye must delve and I shall spin - our bodily sustenance for to win.)

Performed by the Players of St Peter in the Church of St Clement Eastcheap,
London, England in 2004 November.


 

The Paradise Tree: Egyptian origins?

 

Gary Greenberg has compared many stories of the bible with earlier Egyptian myths to try and understand where the ideas contained in the Old Testament originated. He explains:

 

“In the Garden of Eden God planted two trees, the Tree of Knowledge of Good and Evil, and The Tree of Life. Eating from the former gave one moral knowledge; eating from the latter conferred eternal life. He also placed man in that garden to tend to the plants but told him he may not eat from the Tree of Knowledge (and therefore become morally knowledgeable). About eating from the Tree of Life, God said nothing: “But of the tree of the knowledge of good and evil, thou shalt not eat of it: for in the day that thou eatest thereof thou shalt surely die” (Gen 2:17). […] Adam and Eve did not die when they ate from the tree. Indeed, God feared that they would next eat from The Tree of Life and gain immortality.” [3]

 

Greenberg notes the similarity of these ideas with Egyptian texts and traditions, specifically the writings from Egyptian Coffin Text 80 concerning Shu and Tefnut:

 

“The most significant portions of Egyptian Coffin Text 80 concern the children of Atum, the Heliopolitan Creator. Atum’s two children are Shu and Tefnut, and in this text Shu is identified as the principle of life and Tefnut is identified as the principle of moral order, a concept that the Egyptians refer to as Ma’at. These are the two principles associated with the two special trees in the Garden of Eden, the Tree of Life and the Tree of Knowledge of Good and Evil. Not only does the Egyptian text identify these same two principles as offspring of the Creator deity, the text goes on to say that Atum (whom the biblical editors had confused with Adam) is instructed to eat of his daughter, who signifies the principle of moral order. “It is of your daughter Order that you shall eat. (Coffin Text 80, line 63). This presents us with a strange correlation. Both Egyptian myth and Genesis tell us that the chief deity created two fundamental principles, Life and Moral Order. In the Egyptian myth, Atum is told to eat of moral order but in Genesis, Adam is forbidden to eat of moral order.” [4]

 

In another description we can see the similarities between the Egyptian and biblical stories:


“Atum-Ra looked upon the nothingness and recognized his aloneness, and so he mated with his own shadow to give birth to two children, Shu (god of air, whom Atum-Ra spat out) and Tefnut (goddess of moisture, whom Atum-Ra vomited out). Shu gave to the early world the principles of life while Tefnut contributed the principles of order. Leaving their father on the ben-ben [the mound that arose from the primordial waters Nu upon which the creator deity Atum settled], they set out to establish the world. In time, Atum-Ra became concerned because his children were gone so long, and so he removed his eye and sent it in search of them. While his eye was gone, Atum-Ra sat alone on the hill in the midst of chaos and contemplated eternity. Shu and Tefnut returned with the eye of Atum-Ra (later associated with the Udjat eye, the Eye of Ra, or the All-Seeing Eye) and their father, grateful for their safe return, shed tears of joy. These tears, dropping onto the dark, fertile earth of the ben-ben, gave birth to men and women.”


However, Greenberg points out the differences between the two stories:


“Despite the close parallels between the two descriptions there is one glaring conflict. In the Egyptian text Nun (the personification of the Great Flood) urged Atum (the Heliopolitan Creator) to eat of his daughter Tefnut, giving him access to knowledge of moral order. In Genesis, God forbade Adam to eat from the Tree of Knowledge of Good and Evil, denying him access moral knowledge.” [5]


Why was Adam denied access to moral knowledge? Greenberg writes:

 

“God feared that he would obtain eternal life if he ate from the Tree of Life and it became necessary to expel him from the Garden. […] The Egyptians believed that if you lived a life of moral order, the god Osiris, who ruled over the afterlife, would award you eternal life. That was the philosophical link between these two fundamental principles of Life and Moral Order, and that is why Egyptians depicted them as the children of the Creator. In effect, knowledge of moral behaviour was a step towards immortality and godhead. That is precisely the issue framed in Genesis. When Adam ate from the Tree of Knowledge of Good and Evil, God declared that if Adam also ate from the Tree of Life he would become like God himself. But Hebrews were monotheists. The idea that humans could become god-like flew in the face of the basic theological concept of biblical religion, that there was and could be only one god. Humans can't become god-like.” [6]

Friedrich Nietzsche also discussed this problem of man-becoming-god in The Anti Christ but connects the Tree of Knowledge with modern science:
“God’s first mistake: to man these other animals were not entertaining — he sought dominion over them; he did not want to be an “animal” himself. — So God created woman. In the act he brought boredom to an end — and also many other things! Woman was the second mistake of God. — “Woman, at bottom, is a serpent, Heva”—every priest knows that; “from woman comes every evil in the world”—every priest knows that, too. Ergo, she is also to blame for science.... It was through woman that man learned to taste of the tree of knowledge. — What happened? The old God was seized by mortal terror. Man himself had been his greatest blunder; he had created a rival to himself; science makes men godlike — it is all up with priests and gods when man becomes scientific!”

This idea of the denial of access to the monotheistic heaven can be seen in the New Testament of the Bible whereby, according to John 3:13, it is stated: "No one has ever gone into heaven except the one who came from heaven—the Son of Man" and John 1:18: "No one has ever seen God, but the one and only Son, who is himself God and is in closest relationship with the Father, has made him known." The dead must wait until the last day, according to John 11:24: "“Yes,” Martha said, “he will rise when everyone else rises, at the last day”", when they will hear His call, according to John 5:28: "Don’t be so surprised! Indeed, the time is coming when all the dead in their graves will hear the voice of God’s Son".







Adam and Eve and the Serpent—Expulsion from Paradise,
ca. 1480-1500 (Anonymous)



Greenberg describes the fundamental differences between Hebrew monotheism and Egyptian polytheism:

 

“The Hebrew story is actually a sophisticated attack on the Egyptian doctrine of moral order leading to eternal life. It begins by transforming Life and Moral Order from deities into trees, eliminating the cannibalistic imagery suggested by Atum eating of his daughter. Then, Adam was specifically forbidden to eat the fruit of Moral Order. Next, Adam was told that not only wouldn't he achieve eternal life if he ate of Moral Order but that he would actually die if he did eat it. Finally, Adam was expelled from the Garden before he could eat from the Tree of Life and live for eternity. […]  When God told Adam that he would surely die the very day he ate from the Tree of Knowledge, the threat should be understood to mean that humans should not try to become like a deity. God didn't mean that Adam would literally drop dead the day he ate the forbidden fruit; he meant that the day Adam violated the commandment he would lose access to eternal life. […] Once he violated the commandment, he lost access to the Tree of Life and could no longer eat the fruit that prevented death.” [7]

 

The difference between the lord/slave relationship of monotheism and the nature-based ideology of polytheistic paganism is that the subject is denied an eternal place with the master in the former but is welcomed as an equal in the latter. This is because the subject is an integral part of nature in paganism:

“In the shamanic world, not only every tree, but every being was and is holy - because they are all imbued with the wonderful power of life, the great mystery of universal Being. “Yes, we believe that, even below heaven, the forests have their gods also, the sylvan creatures and fauns and different kinds of goddesses” (Pliny the Elder II, 3). [8]


The gradual change over from egalitarian pagan societies to the lord/slave relationship of monotheism has been theorised and associated with the coming of the Kurgan peoples across Europe from c. 4000 to 1000 BC is believed to have been a tumultuous and disastrous time for the peoples of Old Europe. The Old European culture is believed to have centred around a nature-based ideology that was gradually replaced by an anti-nature, patriarchal, warrior society.

 

In their book The Creation of Inequality, Kent Flannery and Joyce Marcus note that:

"Our early ancestors lived in small groups and worked actively to preserve social equality. As they created larger societies, however, inequality rose, and by 2500 BCE truly egalitarian societies were on the wane."


According to Deborah Rogers in her article, Inequality: Why egalitarian societies died out:

"For 5000 years, humans have grown accustomed to living in societies dominated by the privileged few. But it wasn’t always this way. For tens of thousands of years, egalitarian hunter-gatherer societies were widespread. And as a large body of anthropological research shows, long before we organised ourselves into hierarchies of wealth, social status and power, these groups rigorously enforced norms that prevented any individual or group from acquiring more status, authority or resources than others. [...] Keeping the playing field level was a matter of survival. These small-scale, nomadic foraging groups didn’t stock up much surplus food, and given the high-risk nature of hunting – the fact that on any given day or week you may come back empty-handed – sharing and cooperation were required to ensure everyone got enough to eat. Anyone who made a bid for higher status or attempted to take more than their share would be ridiculed or ostracised for their audacity. Suppressing our primate ancestors’ dominance hierarchies by enforcing these egalitarian norms was a central adaptation of human evolution, argues social anthropologist Christopher Boehm. It enhanced cooperation and lowered risk as small, isolated bands of humans spread into new habitats and regions across the world, and was likely crucial to our survival and success."


James DeMeo takes a more radical approach to inequality in his book, Saharasia: The 4000 BCE Origins of Child Abuse, Sex-Repression, Warfare and Social Violence in the Deserts of the Old World. He believes that climatic changes caused drought, desertification and famine in North Africa, the Near East, and Central Asia (collectively Saharasia) and this trauma caused the development of patriarchal, authoritarian and violent characteristics in roving groups that headed north and enslaved the more stable societies they encountered there.


Over the centuries paganism gradually gave way to monotheistic religions, while never dying out completely. Nature-based traditions and ideas were co-opted and changed but their meanings were never completely lost.


For example, it is important to note “that the “serpent in the tree” motif associated with the Adam and Eve story comes directly from Egyptian art. The Egyptians believed that Re, the sun God that circled the earth every day, had a nightly fight with the serpent Aphophis and each night defeated him. Several Egyptian paintings show a scene in which Re, appearing in the form of “Mau, the Great Cat of Heliopolis,” sits before a tree while the serpent Apophis coils about the tree, paralleling the image of rivalry between Adam and the serpent in the tree of the Garden of Eden.” [9]

 




The sun god Ra, in the form of Great Cat, slays the snake Apophis.
(Image credit:  Eisnel - Public Domain)



Thus, we have moved from the biblical story of Adam and Eve back to the earlier paganism (the connection with Nature) of the Egyptians. While there is much evidence that one of the sources of the origin of the Christmas tree is in the ancient pagan worship of trees and evergreen boughs, there is also a lot of evidence that another source of the Christmas tree is in the medieval mystery plays where the Paradise tree was a necessary prop for the biblical story of Adam and Eve. If we look back even further to Egyptian mythology, we can see parallels between the biblical stories of creation and the Egyptian myths that also illustrate fundamental philosophical and spiritual differences between monotheist and polytheist ideology, i.e. the differences between the ‘enslaved’ (with their Lord/Master who can reward or punish) and the people who work with and respect the cycles of nature (persons outside the bounds of the Christian community, ethnic religions, Indigenous peoples, etc.).

 

Indeed, Tuck and Yang (2012:6) propose a criterion (for the term Indigenous) based on accounts of origin: "Indigenous peoples are those who have creation stories, not colonization stories, about how we/they came to be in a particular place - indeed how we/they came to be a place. Our/their relationships to land comprise our/their epistemologies, ontologies, and cosmologies". The imposition of Christianity became the imposition of coloniser narratives of origin, which ultimately reflected their slave status and their exclusion from their own native concepts of heaven and the afterlife.


By the 1970s, the term Indigenous was used as a way of “linking the experiences, issues, and struggles of groups of colonized people across international borders”, thus politicising their resistance to the dominant colonising narratives that historically spread while using Christianity as a form of social control on a global scale.


Thus, whether the Christmas tree arises out of the pagan worship of trees or the nature-based polytheism of Egyptian lore about Life and Knowledge (as the Paradise Tree), the Christmas tree still plays an important and special part in our lives today, demonstrating that our relationship with nature goes back millennia. We can choose to be exiled from nature or become involved in the cycles of nature in ways that end our current destructive practices.


Notes:

[1] Inventing the Christmas Tree by Bernd Brunner (2012) p 15

[2] Inventing the Christmas Tree by Bernd Brunner (2012) p 16

[3] 101 Myths of the Bible by Gary Greenberg (2000) p48

[4] 101 Myths of the Bible by Gary Greenberg (2000) p49

[5] 101 Myths of the Bible by Gary Greenberg (2000) p51

[6] 101 Myths of the Bible by Gary Greenberg (2000) p51/52

[7] 101 Myths of the Bible by Gary Greenberg (2000) p51/52

[8] Pagan Christmas: The Plants, Spirits, and Rituals at the Origins of Yuletide by Christian Ratsch and Claudia Muller- Ebeling (2003) p24

[9] 101 Myths of the Bible by Gary Greenberg (2000) p49/50


Caoimhghin Ó Croidheáin is an Irish artist, lecturer and writer. His artwork consists of paintings based on contemporary geopolitical themes as well as Irish history and cityscapes of Dublin. His blog of critical writing based on cinema, art and politics along with research on a database of Realist and Social Realist art from around the world can be viewed country by country here. Caoimhghin has just published his new book – Against Romanticism: From Enlightenment to Enfrightenment and the Culture of Slavery, which looks at philosophy, politics and the history of 10 different art forms arguing that Romanticism is dominating modern culture to the detriment of Enlightenment ideals. It is available on Amazon (amazon.co.uk) and the info page is here.



Thursday, November 23, 2023

Art and Struggle: Olive Trees as Symbols of Palestinian Culture, Food, and Heritage

 
 

Painting by Sliman Mansour



"I hugged the olive tree. It was precious to me, so I hugged it. I felt like I was hugging my child. I'd raised the tree like my child. They attacked around 500 trees filled with olives. Each tree could have filled two sacks of olives. They destroyed my olive tree, but I grew them back. I tended them and they came back even better than before. Settlers will never be able to take my land. This is our land not theirs. We will keep resisting until the world ends."
Mahfodah Shtayyeh (2005 video)

November 26 will be World Olive Tree Day according to the 40th session of the UNESCO General Conference (2019). The olive tree has symbolised peace and harmony for millennia.

World Olive Tree Day was proclaimed at the 40th session of the UNESCO General Conference in 2019 and takes place on 26 November every year. The olive tree, specifically the olive branch, holds an important place in the minds of men and women. Since ancient times, it has symbolized peace, wisdom and harmony and as such is important not just to the countries where these noble trees grow, but to people and communities around the world.

Think ‘holding out an olive branch’, an idiom that comes from Genesis 8:11 where we read “And the dove came into him in the evening; and, lo, in her mouth was an olive leaf plucked off: so Noah knew that the waters were abated from off the earth.” 


@aljazeeraenglish "I hugged the olive tree... I'd raised the tree like my child." Mahfodah Shtayyeh . On November 27, 2005, a #Palestinian woman was photographed hugging an olive tree after it was attacked by #Israeli settlers. . The photograph became an iconic image symbolising the daily struggle of many Palestinian farmers in the occupied #WestBank. . Over 800,000 olive trees on #Palestinian ♬ Ambient-style emotional piano - MoppySound

However, in Palestine where the people have been cultivating olives for thousands of years, the olive tree has itself become a subject of destructive battles as settlers cut down or burn the olive groves. Al-Walaja, for example, is a Palestinian village in the occupied West Bank, four kilometres northwest of Bethlehem and is the site of Al-Badawi, an ancient olive tree “claimed to be approximately 5,000-year-old and therefore the second oldest olive tree in the world after "The Sisters" olive trees in Bchaaleh, Northern Lebanon.”

It is estimated that about 700,000 Israeli settlers are living illegally in the occupied West Bank and extremist elements are becoming more violent. In October this year (2023) a Palestinian farmer harvesting olives “was shot dead by settlers in the occupied West Bank city of Nablus. ‘We are now during the olive harvest season – people have not been able to reach 60 percent of olive trees in the Nablus area because of settler attacks,’ according to Ghassan Daghlas, a Palestinian Authority official monitoring settler activity.”

 

Olive Tree by the late Ismael Shammout


Traditionally, harvest time would bring families and neighbours together, helping each other in a process called “al Ouna”. The importance to these communities for unity and an income has led to the trees being depicted in the arts, and in particular the visual arts. Many paintings show farmers and families gathering the olives or show the ancient trees as symbols of their struggle and resilience.

 

Olive Harvest by Maher Naji.


The close connection between the farmers and their trees was famously illustrated in the photo of Mahfodah from the village of Salem hugging what is left of one of her olive trees. This photo has since been the source of many posters and paintings illustrating the political conflicts that the people have been forced to endure.

 

Salem (2005)


Life for the artists has not been easy either. They have focused on themes such as nationalism, identity, and land. As a result, their art can be political and the artists “sometimes suffer from the confiscation of artwork, refusal to license artists’ organizations, surveillance, and arrests.”

 

Olive picking (1988) by Sliman Mansour


According to Sliman Mansour, a Palestinian painter based in Jerusalem, the olive tree “represents the steadfastness of the Palestinian people, who are able to live under difficult circumstances”, and like the “way that the trees can survive and have deep roots in their land so, too, do the Palestinian people.”



Painting by Salam Kanaan


Sometimes the paintings and posters incorporate other symbols of Palestinian identity like the City of Jerusalem (al-Quds), plants like Jaffa oranges, watermelon and corn, religious symbols, or the Palestinian flag.

Other traditional Palestinian arts like embroidery have used the olive tree in different ways. For example, the Palestinian History Tapestry “uses the embroidery skills of Palestinian women to illustrate aspects of the land and peoples of Palestine – from Neolithic times to the present. In the past, Palestinian embroiderers have mainly used cross stitch (tatreez) and geometric designs to decorate dresses and other items.”

 

Olive harvest  [59 x 110 cm]. Design: Hamada Atallah [Al Quds] Al Quds, Palestine
Embroidery: Dowlat Abu Shaweesh [Ne’ane], Ramallah, Palestine


The symbolism in art can take on even harsher characteristics like Sliman Mansour’s painting of an olive tree wrapped in barbed wire (Quiet morning). The subject, a woman in a beautifully embroidered dress, is contrasted with the denial of access to the olive tree and therefore access to her birthright (the past) and an income (the future).


Quiet morning (2009) by Sliman Mansour


The olive trees have provided a steady source of income from their fruit and the “silky, golden oil derived from it”. Moreover, it is believed that “between 80,000 and 100,000 families in the Palestinian territories rely on olives and their oil as primary or secondary sources of income. The industry accounts for about 70 percent of local fruit production and contributes about 14 percent to the local economy.”

 


Poster by Abu Manu (1985)


However, the idea of recovery and renewal is also a common theme as the resilient olive tree with its deep roots is shown to be able to recover its vigour despite being chopped down. This has provided inspiration for the farmers and artists alike. The struggle for nature has always been intertwined with the struggle for life, and respect for the olive tree has always been reciprocated with abundance over the millennia.


Caoimhghin Ó Croidheáin is an Irish artist, lecturer and writer. His artwork consists of paintings based on contemporary geopolitical themes as well as Irish history and cityscapes of Dublin. His blog of critical writing based on cinema, art and politics along with research on a database of Realist and Social Realist art from around the world can be viewed country by country here. Caoimhghin has just published his new book – Against Romanticism: From Enlightenment to Enfrightenment and the Culture of Slavery, which looks at philosophy, politics and the history of 10 different art forms arguing that Romanticism is dominating modern culture to the detriment of Enlightenment ideals. It is available on Amazon (amazon.co.uk) and the info page is here.




Tuesday, October 31, 2023

The Afterlife: A Trick or a Treat? Halloween Celebrations Past and Present

  

Snap-Apple Night, painted by Daniel Maclise in 1833, shows people feasting and playing divination games on Halloween in Ireland. It was inspired by a Halloween party he attended in Blarney, Ireland, in 1832.

 

“We make up horrors to help us cope with the real ones.” – Stephen King

Halloween is creeping up on us again replete with all its ghostly traditions celebrated all over the world.

Also known as All Saints’ Eve, it is the time in the liturgical year or Christian year dedicated to remembering the dead, including saints (hallows), martyrs, and all the faithful departed. It is followed by All Saints’ Day, also known as All Hallows’ Day on the 1 November, and All Souls’ Day, a day of prayer and remembrance for the faithful departed, observed by certain Christian denominations on 2 November.

However, it is also believed that Halloween is rooted in the ancient pagan Gaelic festival of Samhain which marks the change of seasons and the approach of winter. Samhain begins at sunset on October 31 and continues until sunset on November 1, marking the end of harvest and the start of winter. This Celtic pagan holiday followed the great cycle of life as part of their year-round celebrations of nature along with Imbolc (February 1), Beltane (May 1) and Lughnasadh (August 1).

During Samhain people would:

“bring their cattle back from the summer pastures and slaughter livestock in preparation for the upcoming winter. They would also light ritual bonfires for protection and cleansing as they wished to mimic the sun and hold back the darkness. It was also a time when people believed that spirits or fairies (the Aos Sí ) were more likely to pass into our world. […] Dead and departed relatives played a central role in the tradition, as the connection between the living and dead was believed to be stronger at Samhain, and there was a chance to communicate. Souls of the deceased were thought to return to their homes. Feasts were held and places were set at tables as a way to welcome them home. Food and drink was offered to the unpredictable spirits and fairies to ensure continued health and good fortune.”

Dancing around the bonfire. The Graphic | 7 January 1893

The Celts believed in an afterlife called the Otherworld which was similar to this life but “without all the negative elements like disease, pain, and sorrow.”

Therefore, the Celts had little to fear from death when their soul left their body, or as the Celts believed, their head.

As Christianity spread in pagan communities, the church leaders attempted to incorporate Samhain into the Christian calendar. The Roman Empire had conquered the majority of Celtic lands by A.D. 43 and combined two Roman festivals, Feralia and Pomona with the traditional Celtic celebration of Samhain. Feralia was similar to Samhain as the Romans commemorated the passing of their dead, while Pomona, whose symbol was the apple, was the Roman goddess of fruit and trees, and may be the origin of the apple games of Halloween.

Some centuries later the church moved again to supplant the pagan traditions with Christian ones:

“On May 13, A.D. 609, Pope Boniface IV dedicated the Pantheon in Rome in honor of all Christian martyrs, and the Catholic feast of All Martyrs Day was established in the Western church. Pope Gregory III later expanded the festival to include all saints as well as all martyrs, and moved the observance from May 13 to November 1. By the 9th century, the influence of Christianity had spread into Celtic lands, where it gradually blended with and supplanted older Celtic rites. In A.D. 1000, the church made November 2 All Souls’ Day, a day to honor the dead.”

While on the surface the changes from the Celtic Otherworld to the Christian concepts of Heaven, Purgatory and Hell may not seem very radical yet when one looks further into the different beliefs about the afterlife a very different story emerges.

The Otherworld

The Celtic Otherworld is “more usually described as a paradisal fairyland than a scary place” and sometimes described as an island to the west in the Ocean and “even shown on some maps of Ireland during the medieval era.” It has been called, or places in the Otherworld have been called, “Tír nAill (“the other land”), Tír Tairngire (“land of promise/promised land”), Tír na nÓg (“land of the young/land of youth”), Tír fo Thuinn (“land under the wave”), Tír na mBeo (“land of the living”), Mag Mell (“plain of delight”), Mag Findargat (“the white-silver plain”), Mag Argatnél (“the silver-cloud plain”), Mag Ildathach (“the multicoloured plain”), Mag Cíuin (“the gentle plain”), and Emain Ablach (possibly “isle of apples”).”

As can be seen from the names given to the places of the Otherworld there are two important, salient points. One is the positive, almost welcoming aspect of the descriptions implied, and secondly their close relationship with nature and places in the real world. The Otherworld is described “either as a parallel world that exists alongside our own, or as a heavenly land beyond the sea or under the earth,” and could be entered through “ancient burial mounds or caves, or by going under water or across the western sea.”

We may then ask who could enter the Otherworld in the afterlife?

“Although there are no surviving texts from the continent which comment on this, on the basis of comparisons with comparable societies and burial practices we can guess that both the gods and the ancestral dead were believed to inhabit the Otherworld. The earliest literary texts in Irish reflect exactly this idea.”

These deductions about the afterlife then reflect the nature-based ideology of pagan religion which is focused on the cycles of nature, and also the fact that we ourselves are part of that nature, thus both the ancestral dead and the gods inhabited the Otherworld. It seems that the dead entered the Otherworld fairly quickly and could even return to visit the living when the darkness started to take over from the light at Samhain. Even the living could visit the Otherworld but these visits would have their own drawbacks, for example, Oisín discovers that what had only seemed a short stay in Tír na nÓg had been hundreds of years in the real world.

Ghosts walk the night in Brittany by F. De Haenen | The Graphic | 5 November 1910

Christian Heaven, Hell, and Purgatory

The differences between nature-based paganism and the Master and Martyr ethics of Christianity mean that entry to heaven is not guaranteed and may even be delayed for a long time in purgatory. For example:

“Christianity considers the Second Coming of Jesus Christ to entail the final judgment by God of all people who have ever lived, resulting in the approval of some and the penalizing of most. […] Belief in the Last Judgment (often linked with the general judgment) is held firmly in Catholicism. Immediately upon death each person undergoes the particular judgment, and depending upon one’s behavior on earth, goes to heaven, purgatory, or hell. Those in purgatory will always reach heaven, but those in hell will be there eternally.”

Hell is often depicted with fire and torture of the guilty. Thus, Christianity brings a strong element of fear into perceptions of the afterlife. The people whose behaviour needs to be controlled are frightened into being good and given long promises about eventual eternal bliss at the end of time.

The patriarchal element of Christianity and its desire to control and direct the remnants of pagan religion gave rise to other important aspects of Halloween. The dark symbolism of witches on broomsticks with black cats are an essential element of the Halloween imagery. By late medieval/early modern Europe, fears about witchcraft rose to fever pitch and sometimes led to large-scale witch-hunts. The Church saw these women (whose knowledge of nature was transformed into healing homoeopathic treatments) as a threat to their authority and demonised them before their own communities.

The witches “occasionally functioned as midwives, assisting the delivery and birth of babies, aiding the mother with different plant-based medicines to help with the pain of childbirth. […] The word Witch comes from the word for ‘wise one’ that was ‘Wicca’, and who were once considered wise soon became something to be feared and avoided.”

“Halloween Days”, article from American newspaper, The Sunday Oregonian, 1916

Like many traditional festivals Halloween has different historical sources, pagan and Christian, that have come together to form the holiday as we know it today.

Jack-o’-lantern

Jack-o’-lantern represents the soul caught between heaven and hell who can know no rest and must wander on the earth forever. It is believed to originate in an old Irish folk tale from the mid-18th century which tells of Stingy Jack, “a lazy yet shrewd blacksmith who uses a cross to trap Satan.”

A plaster cast of a traditional Irish Jack-o’-Lantern in the Museum of Country Life, Ireland. Rutabaga or turnip were often used.

Jack tricks Satan who lets him go only after he agrees to never take his soul. When the blacksmith dies he is considered too sinful to enter heaven. He could not enter hell either and asks Satan how he will be able to see his way in the dark. Satan’s response was to toss him “a burning coal, to light his way. Jack carved out one of his turnips (which were his favorite food), put the coal inside it, and began endlessly wandering the Earth for a resting place.”

The Irish emigrants to the United States are believed to have switched the turnip for a pumpkin as it was more accessible and easier to carve. Ironically, in Ireland now, pumpkins are grown and sold to make modern Jack-o’-lanterns.

Modern carving of a Cornish Jack-o’-Lantern made from a turnip.

Door to Door Traditions

Another American tradition, trick-or-treating, has also taken root in Ireland in recent decades. As a child growing up in the United States, I also went trick-or-treating in Boston. However, after our move to Dublin, our trick-or-treating questions at Halloween were met with bewilderment as Irish people were used to a simple request for ‘anything for the Halloween party’.

The tradition of going door to door on Halloween may come from the belief that supernatural beings, or the souls of the dead, roamed the earth at this time and needed to be appeased. In Europe, from the 12th century, special ‘soul cakes’ would be baked and shared. People would pray for the poor souls of the dead (in purgatory) in return for soul cakes. In Ireland and Scotland “mumming and guising (going door-to-door in disguise and performing in exchange for food) was taken up as another variation on these ancient customs. Pranks were thought to be a way of confounding evil spirits. Pranks at Samhain date as far back as 1736 in Scotland and Ireland, and this led to Samhain being dubbed ‘Mischief Night.’”

Antrobus Soul Cakers at the end of a performance in a village hall in or near Antrobus, Cheshire, England in the mid 1970s. The Soul Cakers are a traditional group of mummers, who perform around All Soul’s Day (October 31st, Hallowe’en) each year. The characters are (left to right) Beelzebub, Doctor, Black Prince, Letter-In, Dairy Doubt, King George, Driver, Old Lady, and Dick, the Wild Horse in the foreground.

Antrobus Soul Cakers at the end of a performance in a village hall in or near Antrobus, Cheshire, England in the mid 1970s. The Soul Cakers are a traditional group of mummers, who perform around All Soul’s Day (October 31st, Hallowe’en) each year. The characters are (left to right) Beelzebub, Doctor, Black Prince, Letter-In, Dairy Doubt, King George, Driver, Old Lady, and Dick, the Wild Horse in the foreground. 

It has also been suggested that trick-or-treating “evolved from a tradition whereby people impersonated the spirits, or the souls of the dead, and received offerings on their behalf.” It was thought that they “personify the old spirits of the winter, who demanded reward in exchange for good fortune”. Impersonating these spirits or souls was believed to protect oneself from them.

Thus, while Halloween may have become highly commercialised in recent years it is still an important custom that brings people and families together in their communities. It still marks an important part of the annual  cycles of nature as the bountifulness of harvestime is contrasted with the bareness of winter. It prepares us psychologically for the dark days ahead. In the past Halloween allowed people to celebrate the completion of the work of life (the production of food) to having the time to contemplate the absence of their forebears: the people who gave them life, nurtured them, and taught them the skills of survival. It is a time to make the young generation aware of their parents’ temporary existence too, in a fun way.

Halloween is a time for confronting our basic fears about death and darkness. It is a time to remember the ancestral spirits of past generations who have ‘passed’ (a word that has become more popular than ‘died’ in recent years) through the thin veil between life and death. And, most importantly, a time to rethink our relationship with nature.


Caoimhghin Ó Croidheáin is an Irish artist, lecturer and writer. His artwork consists of paintings based on contemporary geopolitical themes as well as Irish history and cityscapes of Dublin. His blog of critical writing based on cinema, art and politics along with research on a database of Realist and Social Realist art from around the world can be viewed country by country here. Caoimhghin has just published his new book – Against Romanticism: From Enlightenment to Enfrightenment and the Culture of Slavery, which looks at philosophy, politics and the history of 10 different art forms arguing that Romanticism is dominating modern culture to the detriment of Enlightenment ideals. It is available on Amazon (amazon.co.uk) and the info page is here

He is a Research Associate of the Centre for Research on Globalization (CRG).


Captain Rock: The Symbol of a Risen People. Paintings and the History of Irish Resistance

 “My unlucky countrymen have always had a taste for justice, a taste as inconvenient to them, situated as they always have been, as a fancy for horse-racing would be to a Venetian.” —Thomas Moore (1779–1852) – Memoirs of Captain Rock: The Celebrated Irish Chieftain, with Some Account of His Ancestors (1824) 

 

 

Featured image: Ralph Chaplin – Cartoon published in the Industrial Workers of the World (IWW) journal Solidarity on June 30, 1917.

 

The raised or clenched fist is a symbol of unity and solidarity that became associated with trade unionism and the labour movement going back to the 1910s in Europe and the USA. Soon after, it was taken up as a symbol of political unity by socialist, communist and various other revolutionary social movements. The clenched fist is ever more powerful than the individual fingers and in art it has been used as a metaphor for strength in unity of the peoples’ movements.

The painting, Le Soulèvement (The Uprising) by Honoré Daumier (1808–1879) of the French Revolution of 1848 includes a possible early example of a “political clenched fist,” according to curator Francesca Seravalle. She writes:

“A raised fist appeared for the first time as a political sign in a painting in 1848 by Daumier representing a woman during the Third French Revolution, until that time fists were just expressions of human nature.”

Le Soulèvement (The Uprising) by Honoré Daumier

However, another painting, The Installation of Captain Rock (1834), by the Irish artist Daniel Maclise (1806–1870) in the National Gallery of Ireland, depicts the protagonist with a raised, clenched fist as a political sign fourteen years earlier than Daumier’s revolutionary painting, surely demonstrating that the depth of oppression of colonialism in Ireland had already produced self-conscious radical political groups.

Captain Rock was a fictitious figure that was associated with the militant agrarian organisations in Ireland known as “the ‘Whiteboys’, the ‘Ribbonmen’, and the followers of ‘Captain Steel’ or ‘Captain Right'”.

The Installation of Captain Rock (1834) by Daniel Maclise (1806–1870)

These agrarian groups “issued warnings of violent reprisals against landlords and their agents who tried to arbitrarily put up rents, collectors of tithes for the Anglican Church of Ireland, government magistrates who tried to evict tenants, and informers who fingered out Rockites to the authorities,”  and involved many incidents of murder, arson, beatings and mutilation of cattle.

The source of the unrest was the hunger and death suffered by Irish families while their landlords shipped harvests and cattle to the English markets. Peter Berresford Ellis writes:

“This was the cause of the agrarian unrest among the rural population. Indeed, in 1822 a major artificial famine was about to occur. We have William Cobbett’s horrendous picture of people starving in the midst of plenty in that year. In June, 1822, in Cork alone, 122,000 were on the verge of starvation and existing on charity. How many people died is hard to say. A minimum figure of 100,000 has been proposed. Most likely around 250,000. At the same time, landowners were able to ship 7 million pounds (weight) of grain and countless herds of cattle, sheep and swine to the markets in England.”

Captain Rock’s Banditti – Swearing in a new member.

Insurrections occurred in 1822 that involved many thousands of ‘Rockites’ that had armed themselves with pikes and confronted British garrisons. According to Berresford Ellis:

“Colonel James Barry, commanding the garrison at Millstreet, reported that upwards of 5,000 ‘rebels’ had surrounded the town and many houses of loyalists between Inchigeelagh and Macroom were destroyed. The local Millstreet magistrate, E McCarty, added: ‘The people are all risen with what arms they possess and crown all the heights close to the town …’ Cork City and Tralee were cut off for two days before troops fought their way through.” 

‘Captain Rock’ had already made it into Irish literary history in the fictitious book, Memoirs of Captain Rock: The Celebrated Irish Chieftain, with Some Account of His Ancestors (1824) written by the Irish writer, poet, and lyricist Thomas Moore (1779–1852). In these ‘memoirs’ Captain Rock is depicted in a folkloric way, a character who brushes off lightly the dangers of his profession, as he states:

“Discord is, indeed, our natural element ; like that storm-loving animal, the seal, we are comfortable only in a tempest; and the object of the following historical and biographical sketch is to show how kindly the English government has at all times consulted our taste in this particular ministering to our love of riot through every successive reign, from the invasion of Henry II. down to the present day, so as to leave scarcely an interval during the whole six hundred years in which the Captain Rock for the time might not exclaim

“Quae regio in terris nostri non plena laboris?”
or, as it has been translated by one of my family : —
Through Leinster, Ulster, Connaught, Munster, Rock ‘s the boy to make the fun stir!”

Similar comparisons can be made with the contemporary Kenyan author, Ngũgĩ wa Thiong’o, who combines social realism of contemporary society with mythical elements as a way of illustrating his radical themes, for example in Devil on the Cross (1980), Jacinta Wariinga, is invited to a Devil’s Feast by a mysterious  figure called Munti that turns out to be a business meeting for the Organization for Modern Theft and Robbery.


Image: Devil on the Cross (1980) by Ngũgĩ wa Thiong’o



The high educational level of ‘Captain Rock’ is attributed to his associations with the teachers of the Irish ‘hedge schools’, which were small informal secret and illegal schools set up in the eighteenth and nineteenth century to provide primary education to children of ‘non-conforming’ Catholic and Presbyterian faiths.

According to Maeve Casserly, “the hedge schoolmaster played a pivotal role, as both an educator and prominent member in agrarian society, in encouraging the militant political and social sentiments” and that “in an age which promoted the utilitarian philosophy of Jeremy Bentham and emphasised ‘useful learning’ that subjects like Greek, Latin and Hebrew, which formed an intrinsic part of the hedge school curriculum, were wastefully taught instead of necessary vocation skills.” To direct attention away from their militant leadership roles, the hedge schoolmasters used poor grammar and mis-spelled words. She notes that “William Carleton was of a similar opinion that many of the letters, oaths and catechisms of the Rockite insurrectionists, were the work of village schoolmasters.”

Thus, the very public ‘Installation of Captain Rock’ in Maclise’s painting points to the symbolism of the patriotic movement rather than its reality. The clenched fist represents not only the unity of the gathered crowd but also the passing of responsibility for radical social and political change from the deceased elder leader to the vigorous, radical youth.

A depiction of a 19th century hedge school.

In the painting Maclise depicts the scene as a joyous occasion within a hall where many groups of ordinary people are busy getting on with life, yet plotting revolution. To the left a group is making a pact signified by their collective hand grasp, while behind them in a dark alcove appears to be a hedge school master surrounded by listeners and readers. To the right of the hall there is much merriment as a man and a woman dance wildly. Our eyes are drawn around a distracting group of young lovers as we suddenly realise that a gun is being pointed right at us by a young man in front who is just about to shoot (signified by a girl putting her hands to her ears), demonstrating that youthful ‘fun’ should never be underestimated and can suddenly turn deadly serious.

The background to Maclise’s painting looks more like a group of people digging their way down to the hall where the secret ceremony is taking place. This signifies the working class aspect of the dangers of mining work (often carried out by children in the nineteenth century), as well as the necessity for literal and metaphorical underground bunkers to hide from the often overwhelming force of the oppressor.

Overall, the people in the painting are portrayed as active, animated, excited, and fearless.


 Image: 1857 lithograph of Daniel Maclise by Charles Baugniet

Maclise excelled in paintings of large groups of people engaged in various activities grouped around a theme. Maclise had an ongoing interest in the ideology, history, and traditions of ordinary people as can be seen in the subject matter of some of his paintings, for example, Snap-Apple Night (1833) [Hallowe’en traditions], Merry Christmas in the Baron’s Hall (1838) [containing many figures of various ranks and degrees and depicts aspects of the declining traditional Christmas festivities of his time, see my article A Poem for Christmas: Christmas Revels (1838)], The Marriage of Strongbow and Aoife (1854) [depiction of the Norman conquest of Ireland and the death of Gaelic Ireland].

Maclise’s positive portrayal of people is in contrast with the often melancholy depictions of oppressed people around the world, an unfortunate side effect of Social Realism which tried to show the treatment of the poor in all its brutality. However, depictions of the moment of uprising also sows the seeds of hope for a better future, while at the same time providing a fair warning to all elites to beware of the retaliation of a community which has nothing left to lose.


Caoimhghin Ó Croidheáin is an Irish artist, lecturer and writer. His artwork consists of paintings based on contemporary geopolitical themes as well as Irish history and cityscapes of Dublin. His blog of critical writing based on cinema, art and politics along with research on a database of Realist and Social Realist art from around the world can be viewed country by country here. Caoimhghin has just published his new book – Against Romanticism: From Enlightenment to Enfrightenment and the Culture of Slavery, which looks at philosophy, politics and the history of 10 different art forms arguing that Romanticism is dominating modern culture to the detriment of Enlightenment ideals. It is available on Amazon (amazon.co.uk) and the info page is here.He is a Research Associate of the Centre for Research on Globalization (CRG).