Ibn Warraq: Walter Scott, The Talisman, the Crusades, Richard I of England and Saladin: Myths, Legends and History (Part 3)

Walter Scott, The Talisman, the Crusades, Richard I of England and Saladin: Myths, Legends and History
by Ibn Warraq
Part 3
Part 1 / Part 2

In the novel, the Northerners are constantly painted as uncouth -- “uncultivated savages”, and the Byzantines as sophisticated and “enlightened”. Again, Scott does not follow the Crusaders to the principal theatre of action, the Holy Land and Jerusalem, and the First Crusade is not described, though obviously the motives of the Franks are not comprehensible without an understanding of the Crusader movement. We are nonetheless able to gather Scott’s attitude to the Crusaders and the Crusades. Scott presents one view of the Crusades through the character Nicephorus, son-in-law of the Greek Emperor of Constantinople, Alexius I Comnenus -- though we should be wary of assuming that this is Scott’s own view. Nicephorus sings the praises of Godfrey of Bouillon [c.1060 -1100], considered one of the heroes of the First Crusade [1096-1099]:

This Godfrey is one of the wisest, noblest, and bravest of the leaders who have thus strangely put themselves in motion; and among a list of independent princes, as many in number as those who assembled for the siege of Troy, and followed, most of them, by subjects ten times more numerous, this Godfrey may be regarded as the Agamemnon. The princes and counts esteem him, because he is the foremost in the ranks of those whom they fantastically call knights, and also on account of the good faith and generosity which he practises in all his transactions. The clergy give him credit for the highest zeal for the doctrine of religion, and a corresponding respect for the church and its dignitaries. Justice, liberality, and frankness have equally attached to this Godfrey the lower class of the people. His general attention to moral obligations is a pledge to them that his religion is real; and, gifted with so much that is excellent, he is already, although inferior in rank, birth, and power to many chiefs of the crusade, justly regarded as one of its principal leaders.

To which the Emperor replies: “Pity that a character such as you describe this prince to be should be under the dominion of a fanaticism scarce worthy of Peter the Hermit, or the clownish multitude which he led, or of the very ass which he rode upon; which I am apt to think the wisest of the first multitude whom we beheld, seeing that it ran away towards Europe as soon as water and barley became scarce.”

As we shall see shortly, Scott had expressed his views on the ambiguous legacy of the Crusaders in his earlier novel Ivanhoe [1820], but here we cannot take the Emperor’s views as Scott’s own. For later in Count Robert of Paris, Scott concedes that at least some Crusaders, including Godfrey, were motivated by higher principles: “A better principle determined the celebrated Godfrey, Raymond of Thoulouse [sic] , and some others, in whom devotion was something more than a mere burst of fanaticism”.

In the novel, Michael Agelastes, an old Greek sage, warns the Byzantine Emperor of the avaricious kind of Crusader: “…[T]hese European barbarians are like no others under the cope of the universe, either in the things on which they look with desire or in those which they consider as discouraging. The treasures of this noble empire [Byzantium], so far as they affected their wishes, would merely inspire them with the desire to go to war with a nation possessed of so much wealth, and who, in their self-conceited estimation, were less able to defend than they themselves are powerful to assail. Of such a description, for instance, is Bohemond of Tarentum [also known as Bohemund of Taranto], and such a one is many a crusader less able and sagacious than he; for I think I need not tell your Imperial Divinity that he holds his own self-interest to be the devoted guide of his whole conduct through this extraordinary war; and that, therefore, you can justly calculate his course when once you are aware from which point of the compass the wind of avarice and self-interest breathes with respect to him.”

However, there are nobler spirits among the Crusaders, continues the Greek Sage, “but there are spirits among the Franks of a very different nature. And who must be acted upon by very different motives, if we would make ourselves masters of their actions and the principles by which they are governed….This people -- I mean the more lofty-minded of these crusaders, who act up to the pretences of the doctrine which they call chivalry -- despise the thirst of gold, and gold itself, unless to hilt their swords, or to furnish forth some necessary expenses, as alike useless and contemptible”.

It remains an ambiguous compliment; what does the Greek Sage (Scott himself?) mean by “act up to the pretences of the doctrine which they call chivalry” -- that they are sincere but self-deluded, or even simply insincere? We need to go back to Scott’s earlier novel Ivanhoe to arrive at a sense of Scott’s attitudes to chivalry. Ivanhoe, set in late Twelfth Century England, displays Scott’s more general concerns, his commitment to religious and racial tolerance, and his Enlightenment abhorrence of superstition and fanaticism, whether the unreflective kind of the masses, or the more dogmatic variety of the religious bigot. Scott more generally is concerned with fanaticism; one could even take the motto, usually attributed to Scott himself, to Chapter XXXV as the motto to the entire novel:

Arouse the tiger of Hyrcanian deserts,
Strive with half-starved lion for his prey;
Lesser the risk, than rouse the slumbering fire
Of wild fanaticism.

To be continued.

Ibn Warraq is the author of numerous books, including Why the West Is Best and Why I Am Not A Muslim.

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Ibn, you are a Sherlock Holmes, no question of it.
Kind regards, Dr Watson.

But is Islam the only fanaticism out there? I've seen Marxist fanatics and a kind of my own religion gone off the deep end, too. Perhaps fanaticism is piety warped.

As for Sir Walter Scott, I hate to say this, but at this stage of history. when the spirit of the "enlightenment" has grown and mutated, he seems to be sort of a fuddy-duddy.

When I was sixteen years old, I was knocked flat when I first saw David Lean's "Lawrence of Arabia," an epic film the likes of which I'd not experienced before then. It was an instance of grand scale story-telling magnificently produced and directed, and perfectly cast. And when my first novel was published decades later, the dedication mentioned Robert Bolt, the screenwriter for the film. More years passed and as my understanding of the nemesis of Islam grew, the film faded in importance because it became clearer that it was a white-washing of Islam and Arabs. (I also learned that the film was inspired by Terence Rattigan's excellent play, "Ross," which tells a completely different story.) For me, the film still remains a gem in terms of the dialogue, acting, and pacing, but it has been demoted in my pantheon of cinematic marvels, and the heroism and efforts of the actual T.E. Lawrence are now dubious. (He also went to bat for the Arabs in the peace conference following WWI.)

"Lawrence of Arabia" can also be critiqued and examined in the same light as Ibn Warraq is examining Sir Walter Scott's novels. I am collecting Warraq's columns here to read in full when they are finished. It doesn't surprise me now that Islamic supremacists haven't criticized the film (although there is a kind of fatwa on Omar Sharif's life), because it portrays the Arabs as "victims." It makes me wonder how things would've turned out had Lawrence not "saved" the Arabs from the Turks. Very likely they would've remained "greedy, barbarous, and cruel" nomads, and we wouldn't be paying the gas prices we are today – among other things. The Sauds and all the other tribes would still be fighting amongst themselves, and we'd have no reason to give Islam a second thought.

An interesting article, but personally, I think all Scott was interested in was writing exciting and entertaining stories.

Insofar as he exhibited any pro-saracen feeling, I think it was just part of a lot of literary 19th century romanticism about the East.

"Insofar as he exhibited any pro-Saracen feeling, I think it was just part of a lot of literary 19th century romanticism about the East."

Warraq's article, among other lessons it teaches, proves that the "misunderstanding" of the nature of Islam by Westerners, especially those relatively unexposed to it, is deep-rooted. The article is an invaluable course in that respect. The naiveté was not exclusive to writers, however, but extended to the creators of some of the most beautiful paintings produced in the 19th century. See, for example:

http://www.orientalistart.net/ and http://www.jeanleongerome.org/

"I think all Scott was interested in was writing exciting and entertaining stories."

And all the 19th century painters were interested in were exotic and exciting locales and subjects. It's doubtful these same artists would have written about or depicted Muslim culture as generously as they did, had they known half of what we know about the brutal and suffocating stagnation of Islamic culture. They would never have "romanticized" it.

It can be a bit of a cliché that the novelist, no matter when he sets his works, is always writing about his own time—but I believe that it is nonetheless important to this keep in mind when we look at Scott's work.

Often, his crusaders are more fleshed out than his other figures, because they are largely standing in for people of his own era. His concern about greed, about chivalry or its passing away, his concerns about superstition and bigotry and religious fanaticism versus the scientific enlightenment were all concerns about his own time, and a fast urbanizing and industrializing Scotland.

He could—as he saw it at the time—afford to romanticize both the Muslim Saracens and the Byzantine Greeks, because neither of these groups were a force at the time. The Byzantines were long gone, and the Muslims appeared to be less of threat than ever to the West.

So—these novels should be read in the classic Western sense of being in many ways *self critical*, as much as idealizing Muslims.

It is only now, with a resurgent and aggressive Islam, that we can ill afford such rewriting of history.

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