Category Archives: Spain

Europa was an Asian woman, and other thoughts on the definition of Europe

Europa was Phoenician. She was a princess of Tyre, now in Lebanon, which is in Asia. If we take the myth literally, her native tongue would have been Semitic, part of the Afroasiatic language family. Zeus, disguised as a bull, carried her off to Crete, where she bore him three sons who ruled domains from Anatolia to the Cyclades. She gave her name to the continent where she landed.

That is one story about Europe and its neighbors. Here’s a more influential one. Long ago, Spain was populated by people who were Christian and European and whose language and culture derived from ancient Rome. A conquering army arrived from Africa, bringing a foreign religion and language (an Afroasiatic one, in fact). Their advance was checked by a European army at the Battle of Tours. Then, gradually, the surviving Christian leaders “reconquered” the peninsula and drove the foreigners away.

Now here are some problems with that story. Both Christianity and Islam (and Judaism) began in the same region of western Asia. Many people in both northwest Africa and the Iberian peninsula converted to one of those religions, or to one and then another. Members of the same families belonged to both. ‘Abd al-Rahman III, the powerful monarch who founded the Caliphate of Cordoba, had a Christian grandmother, Princess Onneca of Pamplona, and a Christian slave mother, Muzna. He dyed his fair beard dark to look more like one of his very distant patrilineal ancestors from the Arabian peninsula (Brian Catlos, Kingdoms of Faith, p. 130).

Although the origins of the peoples of both modern Spain and Morocco are unclear, there’s at least some evidence that they descended from a common “Ibero-maurusian” culture that spanned the straits. The invaders in 711 included many Christians as well as Muslims. Some people whose ancestors had lived in Spain before 711 thoroughly acculturated to Arab language and customs while remaining Catholic. However, it was largely because of the influence of the Muslim and Arabic-speaking Abassid Caliphate far to the east that texts, ideas, and aesthetic values that had been important in ancient Rome spread into the Iberian peninsula, and from there into northern Europe.

It is hard to shake an equation of European with Christian, Latinate, and white. But this is a misleading mental model, as well as often a racially prejudiced one. The Spanish story of “reconquest” is one of its sources.

We can trace the model one step back from Spain to the court of Charlemagne, where Alcuin of York (c. 735–804) used the word “Europe” for the region where he lived. For instance, Alcuin wrote, “Almost the whole of Europe was destroyed by the fire and the sword of the Goths or the Huns. But now, by the mercy of God, as the sky shines bright with stars, so Europe shines with the ornament of churches, and in them the offices of the Christian religion flourish and increase.”

Alcuin wanted to differentiate Charlemagne’s empire (headquartered in what is now the French/German border) from its pagan Nordic enemies, the Slavic peoples whom Charlemagne raided for slaves, the Iberian Arabs whom Charlemagne’s grandfather had fought at Tours, and especially the Greek-speaking Christians based in Constantinople. Hence Alcuin defined a continent that encompassed Charlemagne’s possessions while excluding all other lands, including the empire of the Greeks.

Alcuin didn’t invent the word “Europe”; he reformulated ancient precedents. For Herodotus (485-425 BCE) the line between Asian and Europe ran through the Kerch Strait (the site of Putin’s bridge today), the Bosphorus and Sea of Marmara, and then between the coast of Asia Minor and the Aegean islands. Herodotus described many closely associated cities and people on both sides of this line. Meanwhile, he defined the border between Asia and Africa as the River Nile, which split the Kingdom of Egypt between two continents:

I cannot guess for what reason the earth, which is one, has three names, all women’s, and why the boundary lines set for it are the Egyptian Nile river and the Colchian Phasis River [now in Georgia] … ; and I cannot learn the names of those who divided the world, or where they got the names which they used. For Libya is said by most Greeks to be named after a native woman of that name, and Asia after the wife of Prometheus … But as for Europe, no men have any knowledge whether it is bounded by seas or not, or where it got its name, nor is it clear who gave the name, unless we say that the land took its name from the Tyrian Europa, having been (it would seem) before then nameless like the rest. But it is plain that this woman was of Asiatic birth, and never came to this land which the Greeks now call Europe, but only from Phoenicia to Crete and from Crete to Lycia. Thus much I have said of these matters, and let it suffice; we will use the names established by custom.

Herodotus, The Histories (trans. A. D. Godley) 4:45

Thus, for Herodotus, the distinctions among continents were arbitrary (there was one connected “earth”) and did not mark cultural boundaries. These distinctions were basically local, because he admitted that he did not know how far the continents extended. He did not intend to contrast people from China, Scotland, and Nigeria, but rather those from Lycia and Lesbos, which lie a few miles apart. (One of Europa’s sons by Zeus, Sarpedon, was the mythical founder of Lycia, which Herodotus counted as Asian. Another son was Minos, the mythical king of Crete, which he considered Greek.)

However, Herodotus begins his histories with a strong binary opposition between the “Hellenes” and the “barbarians” (Hdt. 1.1.0). He retells a series of mythical tit-for-tat abductions or rapes–from Europa to Helen–and then blames the Greeks for escalating these conflicts into full-scale war by invading and destroying Troy. He offers what he calls the Persian take on this matter:

“From then, we have always held the Greeks to be our enemies.” For the Persians claim Asia and all the barbarian peoples who live there as theirs, and they consider Europe and the Greeks to be separate.

(Hdt. 1.4.4, my trans.)

Thus, for Herodotus, the Europe/Asia distinction is really a Persian construction–but it matters deeply to him because he sees the Persian Empire of his time as the chief threat to Greek liberty.

Thucydides may obliquely criticize Herodotus when he notes that Homer never named Agamemnon’s forces as “Hellenes,” nor did Homer use the word “barbarian” at all. Thucydides argues that the concept of Greekness arose long after the Trojan War, once the city states centered in Greece had developed sufficient wealth and power that they could act in concert (Thucy. 1.3). In other words, for Thucydides, Greek identity and opposition to Persian power were political accomplishments, not natural facts.

Twenty-five centuries later, these distinctions–much evolved and redefined–still influence us. Herodotus would be perplexed to hear barbarians from the distant west define themselves as Europeans, yet a long thread connects him to them.

The idea of “Europe” can be inspiring. I was exposed to benign propaganda in favor of European integration when I was a child in London in the 1970s, and for me, the EU still invokes cosmopolitan, peaceful, and democratic values. I was moved to see EU flags on many private buildings in Lviv and Chernivtsi in 2015. On the other hand, “Europe” can also be an exclusionary idea, a boundary. In the case of Brexit, it even serves as a way of turning very close neighbors into foreigners. It’s always worth recalling the arbitrary origins of the concept and remembering Herodotus’ point that the earth is really one.

See also: the history of the phrase “the West”; don’t name things Western but call out imperialism; to whom do the ancient Greeks belong?Jesus was a person of color; Brexit: a personal reflection; etc.

cities in an era of migration

(Montreal) I’ve had opportunities to visit several cities since July and have enjoyed watching migrants in those spaces.

In Cordoba, Spain, the cathedral was once one of the world’s great mosques. I watched many Muslim visitors, especially young Francophone Arabs. I wondered how they interpreted this space, with its Islamic heritage and its boldly Catholic symbolism. (In a terrible act of vandalism, Charles V dropped a cathedral right in the middle of its coolly harmonious aisles.) Meanwhile, Grenada now has a mosque for the first time since the renaissance, serving its substantial and growing Moroccan population.

Forty-five percent of Augsburg’s population consists of migrants. I heard second-hand about an African migrant’s strong critique of structural racism, which reinforces what I have learned on other recent visits to Germany. (I was in Weimar last November.) However, superficially, Augsburg appears to be a lively and diverse city in which people from many part of the world–including, now, thousands of displaced Ukrainians–interact quite productively. It’s also nice that Augsburg doesn’t seem to draw many tourists, despite being very attractive and interesting. That means that the diverse population seems committed to the place. For instance, they are rapidly learning German.

Iceland’s national citizen population is about 366,000, and each year before the pandemic it was receiving about 2.3 million visitors (counting the ones who stayed at least one night). Meanwhile, citizens of the Schengen zone can easily get Icelandic work permits. As a result, Reykjavik has turned into one of those global transit zones, where a sample of the world’s wealthier countries–plus a few refugees–parades through public spaces, being greeted and served by people who are almost as diverse as the visitors. Although Dubai is Iceland’s opposite in many other respects (from climate to politics), it is another example of this category.

Now I’m in Montreal, which I always enjoy as a bilingual city that is also a magnet for migrants from the whole world. I love the “bonjour hi” greeting, which invites one to respond in French or English. (As someone whose French is not bad, but is generally much worse than the locals’ English, I’m not sure what is expected of me.) I also enjoy watching the trilingualism of many recent immigrants. The men who served me my “shawarma poutine magique mix” communicated amongst themselves in Arabic, and with their customers in rapid-fire English and French. The actual dish combined tater tots, shawarma meat, hot sauce, cheese, and fresh parsley in an apt melange.

Velazquez, The Spinners Museo Nacional del Prado

Velazquez, The Spinners

One story

Minerva, goddess of weavers,
Had heard too much of Arachne.
She had heard
That the weaving of Arachne
Equalled her own, or surpassed it.

Arachne was just a poor girl, but her artistry had brought her fame.

The nymphs came down from the vines on Tmolus
As butterflies to a garden, to flock stunned
Around what flowered out of the warp and the weft
Under her fingers.

They did not merely admire Arachne’s creations but also loved to watch her working. The process moved them as much as the outcome.

A grace like Minerva’s, unearthly,
Moved her hands whether she bundled the fleeces
Or teased out the wool, like cirrus,
Or spun the yarn, or finally
Conjured her images into their places ...

Surely Minerva (a.k.a. Athena) had taught or inspired her. Arachne scoffed at this idea, claiming that she deserved sole credit for her own art. She openly challenged Minerva to a weaving competition. Minerva duly arrived, disguised as an old mortal woman, and lectured Arachne about giving proper credit to the gods. This speech threw Arachne into a rage.

As she spat at her: “Your brain totters
Like your decrepit body.
You have lived too long.
If you possess daughters or granddaughters
Waste your babble on them.
I am not such a fool
To be frightened by an owl-face and a few screeches.
I make up my own mind,
And I think as I always did.
If the goddess dare practise what she preaches
Why doesn’t she take up my challenge?
Why doesn’t she come for a contest?”

Hearing these words, Minerva abandoned her costume and seemed to grow twice as tall. Everyone was terrified except Arachne, who set about weaving. The competitors worked intently, each hardly aware of the other. Minerva wove an illustration of her own authority, depicting herself as the founder of the city of Athens and the just punisher of various mortals. Arachne vividly and sympathetically depicted a series of women raped by male gods–examples of domination rather than authority.

Arachne’s tapestry was perfect. Minerva could find no fault in it, which enraged her. The goddess tore it to shreds and began beating Arachne with her spindle. Unable to stand the pain, Arachne tried to hang herself. “Pity touched Minerva” and she chose to spare Arachne from her rightful fate. Minerva transformed the girl into a spider, working this magic of transformation skillfully, one stage at a time. From then on, Arachne spun and wove perpetually and (I assume) compulsively, “her touches / Deft and swift and light as when they were human.”

Another story

In 1560-62, Titian painted The Rape of Europa, which now hangs in the Isabella Stewart Gardner museum in Boston. Like the first scene in the tapestry that Arachne wove to defeat Minerva,

It showed Europa crying from out at sea
stride the bull that had deceived her.
The high god Jupiter, in his bull form,
Carrying her off—
And glistening with effort.
You could see her feet recoiling
From the swipe of the waves through which he heaved.

Titian added plump winged babies and an Adriatic coast in the background. By the 17th century, this work was in the royal collection in Madrid, where Peter Paul Rubens copied it while Diego Velazquez watched him.

Perhaps Velazquez thought: I am better than Titian and I don’t have to copy his works like Rubens does. My genius is my own. Perhaps that thought struck him with irony or even self-mockery, because he knew what he owed to his predecessors.

Velazquez owned translations of Ovid’s text in which the stories of Arachne and Europa were told. Perhaps he sympathized with Arachne, the artist who had sympathetically portrayed Europa. Or perhaps he recognized her arrogance in himself.

The painting

Las Hilanderas (The Spinners) by Velazquez (1655-1660, Museo Nacional del Prado) shows five women in contemporary clothes, plus a cat. They are weaving, spinning, collecting textile fragments, or watching others at these activities. As A.S. Byatt (1999) notes, the painting depicts light playing on many kinds of fabric, including fine filaments that behave like spiderwebs.

Behind these women, and two steps above them, is what first appears to be a single scene populated by noblewomen or mythological figures, including two flying putti and one woman in a resplendent helmet. Closer inspection distinguishes the background, which is a portion of Titian’s Rape of Europa (mainly the sky, with Europa herself hardly visible to the right), from a stage-like area that supports five women in fancy clothes who are boldly illuminated by sunlight from the left.

Like Las Meninas (painted at about the same time and now shown in a neighboring room), this is an enigmatic picture that may have been contrived to support several literal interpretations. One possibility is that the scene on the stage is the story of Arachne, with Athena in the helmet and Arachne standing before her own tapestry, which looks just like Titian’s Rape of Europa. Paintings were sometimes reproduced as tapestries by artisans who had less prestige and were seen as less creative than the original painters. In this case, Velazquez would have pretended to copy an imaginary woven copy of a real painting that he had watched Rubens actually copy in oil. (Today, that copy is displayed in the same room as The Spinners.)

The women in the foreground could just be ordinary workers, shown for contrast. Or they, too, could be figures from the Arachne story. Minerva could be the older lady on the left, shown before she sheds her costume. The steps might separate two episodes from the same story.

The working spinners are arranged in a way that resembles the goddesses and nymphs in Titian’s Diana and Callisto, another painting that Velazquez had watched Rubens copy in Spain (Alpers 2005). One possibility is that Velazquez’ depiction of the spinners is sexually suggestive (Bird 2007), alluding to Titian’s naked nymphs. Or perhaps the main suggestion is that one character is a goddess in disguise.

Evidently, this is a painting about art, coming after the apex of straightforward narrative painting represented by Titian. It is about whether artists are original or derivative–an explicit question in Ovid’s presentation of the Arachne myth. It is about sympathy or empathy for women confronted by unlimited power: male gods who commit rape and a goddess who tortures her victims. It may also be a demonstration of Velazquez’ superiority–as a male court painter–over female artisans. It is about the ability to represent the current physical world, imaginary pasts, and previous representations. It is about the relationship between written stories that unfold in time and three-dimensional space as captured on a flat plane. It is about comparison, assessment, and competition. It is about Velazquez–in a way that would be hard to imagine happening a century earlier.

Selections from Ovid as loosely (but brilliantly) translated by Ted Hughes. Secondary sources: Svetlana Alpers, The Vexations of Art: Velázquez and Others *New Haven: Yale University Press, 2005) Wendy Bird, “The Bobbin & The Distaff: Erotic Imagery and the Meaning of Velazquez’s ‘Las Hilanderas’,” Apollo, vol. 166, no. 548, Nov. 2007, pp. 58; A.S. Byatt, “Arachne,” The Threepenny Review, no. 78 (1999): 20–23. See also: Las Meninas and mirrors, was Velazquez left-handed?, Goya’s Familia del infante Don Luis; an accelerating cascade of pearls (on Galileo and Tintoretto); etc.

Miro, Aidez l’Espagne

We are fortunate to live near the Harvard Art Museums, and while visiting recently, I pulled open a drawer and saw one object inside: Joan Miro’s 1937 design for a fundraising stamp entitled “Help Spain” (Aidez L’Espagne). Miro’s handwritten text says, “In the current struggle, I see expired forces on the fascist side; on the other side, the people whose immense creative resources will give Spain a momentum that will astonish the world” (my translation).

Two years after this print was made, the Spanish fascists had won. For that reason, the image caught me short. I had to remind myself: sometimes the people do win; sometimes the creative forces prevail.

the international variation in COVID-19 mortality

The New York Times published a chart showing the number of reported COVID-19 deaths per capita and deaths above normal this year for selected countries. My graph demonstrates that the two variables correlate quite well–except in Russia. That is circumstantial evidence that Russia (and only Russia, among these countries) is failing to report COVID-19 deaths, as Anton Troianovski suggests in the reported article.

I wanted to check this correlation because I am interested in what explains the very large differences in national death rates. An explanation is not at all obvious. Consider these statistics:

countrydeaths Above NormalCOVID-19 DEAThs per 100kSocial Welfare Spending (%GDP)Health Care Spending Per Capita (PPP $US)Pop Density / Square KMUrban Pop. %Median AgeIndex of Stringency of COVID-19 regulations
Russia28%3914% $   1,488.00975%40.336.57
Spain23%10625% $   3,576.009281%43.969.44
Italy19%9228% $   3,624.0020071%46.580.56
U.K.17%12421% $   4,619.0028184%40.675.93
U.S.17%9619% $ 10,623.003682%38.558.8
Poland16%4521% $   2,015.0012160%41.975
Czech Rep.15%7819% $   3,040.0013674%43.381.48
Switzerland13%8417% $   8,113.0021174%42.760.19
Sweden12%8325% $   5,828.002388%41.169.44
France12%8331% $   5,250.0011981%41.778.8
Netherlands12%6116% $   5,634.0041092%42.875
Portugal12%5423% $   3,242.0011066%44.665.74
Austria12%5027% $   5,879.0010859%44.581.48
Hungary7%4818% $   2,115.0010472%43.679.63
Finland4%929% $   4,457.001688%42.852.31
Germany3%2726% $   6,098.0023577$47.875
SourcesNew York TimesNew York TimesOECDWHOWorld Population ReviewWorld BankCIA World Fact BookThis Oxford tracker.

The first point you may notice is a very high variation in many of these indicators. The excess death rate is 20 percentage-points worse in Spain than Germany. The UK has lost almost 14 times more people per capita to COVID-19 than Finland. France spends almost twice as much of its GDP on social welfare as the nearby Netherlands. Germany is 26 times more dense than Russia. Sweden is far more urban than Austria. Americans spend an average of five times more on healthcare than Hungarians. The only column with a small range is age expectancy.

The second point is that none of these variables correlates impressively with COVID-19 deaths. In a simple OLS regression, nothing comes anywhere near statistical significance.

It far from obvious why some countries have fared so much better or worse than the others. This is a smallish sample of countries (the only ones for which the NYT presented excess deaths) and maybe patterns would emerge in a larger sample. However, the situation seems noisy because so many variables may matter, and they can push in different directions in the same country.

For instance, Anne Applebaum recently wrote, “if the United States is very, very bad at social trust and public-health systems, it is very, very good at large-scale logistics.” I would gloss her second point this way: once the US government pays big companies a lot of money to do something, we often see impressive results. In this case, firms like Pfizer, FedEx, and CVS are administering millions of doses of vaccine per day with federal support. Yet we do a relatively bad job at changing behavior en masse because we tend to be distrustful and hyper-individualistic. The shifting performance of the US compared to other countries probably reflects these cross-pressures–and every other country has its own mix.