Transient Small ‘e’ empires in the Americas: The Méxican Experiment 1

Posted on by E Curb Nottus
Biographical, Regional History

During the first half-century of México’s independence, having freed itself from the Spanish Empire in 1821, the country was subjected to two brief periods of monarchical rule. The two emperadores de México, whose reigns were separated by 40 years, were elevated to the Méxican throne through very different circumstances, though ultimately they both met the same fate. 

The first emperor, Agustín de Iturbide, was a Méxican caudillo (military chieftain) who after initially supporting Spain in the Méxican war for independence, switched sides, allying with the radical insurgents and took command of the independence movement. Iturbide formulated the Iguala Plan which called for an independent México to be ruled by a prince from the (Spanish) Bourbon house (or failing that, a Méxican one), with equal rights for creoles (mixed race citizens) and peninsulares (of Spanish ancestry born in either Spain or México). The Plan, also advocating the retention of all powers for the army and the exclusivity of the Roman Catholic Church, won a consensus of approval within Méxican society. The viceroy of New Spain, with a new liberal government in charge in Spain, acquiesced to the Plan (Treaty of Córdoba), and Iturbide, basking in the glory of his role of El Libertador de la Nueva España took the helm of the new state. 

(Image: www.onthisday.com)

Road to empire
Iturbide initially became the president of the governing Council of Regents. By May 1822, having several times previously declined appeals by the populace at large❋ to become emperor of México, Iturbide finally concurred and was crowned as Agustín the First in July. The empire of New Spain which fell to Iturbide certainly warranted the imperial tag, comprising an area of “Greater México” which included, in addition to modern-day México, the areas of Alto California right up to the Oregon territory, Arizona, New México, Utah, Nevada, Colorado, Texas, plus all of lower Meso-America down to Panama.

Mismanaging the finances
Within a few months things in Agustín’s empire had started to go badly “pear-shaped” and the image of Iturbide who had led the country to an almost bloodless war of independence was receding in peoples’ minds. Despite the country’s shaky financial situation the Agustín administration overspent catastrophically – a cost blowout of more than 25,000 pesos a month, nearly five times that of the New Spain Viceroyalty. Equally scandalously, the extravagance and imperial pomp of Agustín’s court drew widespread criticism and fostered republican sentiment at a time when ordinary Méxicans were bearing the brunt of salary cuts and newly imposed taxes [Anna, Timothy E. “The Rule of Agustin De Iturbide: A Reappraisal.” Journal of Latin American Studies 17, no. 1 (1985): 79-110. Accessed November 13, 2020. http://www.jstor.org/stable/157498]. In addition, Agustín increasingly couldn’t afford to pay the army (his power base) which to was prove critical to the chances of his own political longevity.

México, 1825 (image: Library of Congress (US)

Emperor v Congress
From the onset of the empire Agustín was at loggerheads with an increasingly hostile Congress, eventually resulting in a more authoritarian response by the ruler…press freedoms were curtailed, an alleged conspiracy within the parliament gave Iturbide a pretext to jail republican member, suspend Congress and replace it with a 45 man-junta. Key sections of the army deserted the emperor in 1823 including his most trusted generals. Other leading army generals, Santa Anna and Victoria, declared the Casa Mata Plan, calling for Agustín’s ouster and the installation of a republican form of government✫. Finding his position untenable Agustín abdicated in March 1823 and sought exile in Europe. Unaware that Congress had sentenced him to death in absentia, Iturbide returned to México in 1824 and was arrested and promptly executed. Iturbine’s constitutional monarchy was replaced with a federalist structure along US lines—de Los Estados Unidos Méxicanos, the ‘USM’—a constitution giving more power to the legislative branch than to the executive.

PostScript: Agustín the ‘Unpraised’
Historians on the whole have tended to give Iturbide rather short shrift, especially when compared to the other, lavishly acknowledged, great liberadores of Spanish American history such as Bolivár and San Martin. Many seem have taken a leaf from the book of Iturbide’s contemporaries who unrestrainedly vilified him, eg. the opposition El Sol Méxican newspaper who labelled the emperor “a traitor, a hypocrite and an impious man” (30th April 1823)✪, “betraying his patria (homeland) for personal wealth and tyrannical power” [Review, Timothy E. Anna, The Mexican Empire of Iturbide, (1990), Michael P. Costeloe, (Cambridge University Press: 05 February 2009, www.cambridgeunivesitypress.org/]. 

(attributed: JA Huerta)

Historian TE Anna proffered a fresh reappraisal of the embattled first emperor of México three decades ago in an attempt to give some balance. On the charge that Iturbide usurped power for himself, while conceding there were lingering questions of legality about his accession to the throne—Congress lacked the required quorum to ratify the move—Anna nonetheless contends that there was no substantial nationwide opposition to the imperial elevation at the time. Anna also evidences Iturbide’s reluctance to assume the title of emperor, noting that it was only at the urging of others that he eventually took the job. Moreover he affirms that the consensus in favour of Iturbide reflected the existence of a “cult of Iturbide”, a genuine and spontaneous groundswell of popular support that was “not manufactured by the Hero himself”. On the question of why did Iturbide, having already consolidated power in his hands, go the emperor route, Anna argues that there was very few voices raised against the establishment of a monarchy in 1822 (mainly Fray de Mier and El Sol)…and that Méxicans, after centuries of rule by the Spanish viceroys, were accustomed to an imperial form of government▣. Anna also addresses why Agustín made the decision to abdicate, concluding that he “gave up because the political price of remaining on the throne was more than he would pay”. To continue as emperor, Anna argues, Iturbide recoiled from the grim prospect of having his power emasculated… conceding sovereignty to Congress meant imperilling the planks of his cherished Iguala Plan (Anna). 

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❋ excluding republicans

✫ Santa Anna’s other co-conspirators against Agustín were generals Guerrero and Echàverri

✪ Other pejorative adjectives heaped on Agustín include ‘fraud’, ‘usurper’, ‘dictator’…his decriers have even described him as “México’s most significant non-person” [Anna Macias,  TIMOTHY E. ANNA. The Mexican Empire of Iturbide. Lincoln: University of Nebraska Press. 1990. Pp. xii, 286. The American Historical Review, Volume 96, Issue 2, April 1991, Pages 642–643, http://doi.org/10.1086/age/96.2.642-a]

▣ conversely the republican form of rule was still not very well understood at the time, even by its advocates

✦ Anna’s basic thesis seems to be that at heart Iturbide wanted the Méxican regime to be a constitutional monarchy but was thwarted by enemies in and outside of Congress (Macias)

Sifting the Devil from the Dragon: Dracula versus Vlad Ţepeş

Posted on by Sloane Snodgrasse
Biographical, Cinema, Creative Writing, Literary & Linguistics, Popular Culture, Regional History

(Image: Lonely Planet)

Romanians, especially those from the region of Transylvania, must view Bram Stoker’s 1897 novel Dracula with at best mixed feelings. On the one hand, the immense popularity of Stoker’s imaginative work of fiction helped put Transylvania on the international tourist map…on the other hand, its dark and ghoulish tale of chilling evil with its genesis in the mountains and forests of trans-silvae (“the land beyond the forest”), projects a negative and deceptively gloomy picture of the country. The association of one of the greatest heroes in Romanian history and a defender of Christianity, the Medieval ruler Vlad Ţepeş III, with the fictional Dracula, would be displeasing to many patriotic Romanians.

Dracula’s transformation into a classic of the Gothic horror genre captured the imagination of film-makers, inspiring numerous silver-screen interpretations of Dracula – from the silent German feature Nosferatu to countless Western film versions which made actors such as Bela Lugosi and Christopher Lee famous – and typecast. The Dracula character’s pervasion of especially American popular culture has seen the trope extend to parody cartoon versions on TV (Duckula), to female teen “vampire-slayers” (Buffy) and even to “blaxploitation” movies asserting the emergence of a self-conscious black culture in the US (eg, Blacula).

Vlad’s signature punishment
In some screen interpretations of the novel, like the 1992 Francis Ford Coppola movie Bram Stoker’s Dracula, the identities of Dracula and Vlad Ţepeş are presented as if they are one and the same person! (see also PostScript). Entirely fanciful of course but Stoker’s character did draw inspiration from the real-life Vlad Ţepeş III (or Vlad Împalatul). Vlad was the voivode✱ of Wallachia in the mid-15th century, infamous for impaling victims such as his own troublesome boyars or foreigners captured in conflicts (Ottomans, Bulgarians, Saxons, Hungarians▣). Such an horrific torture technique earned him the nickname “the Impaler”.

⇩ 1499 woodcut, Vlad the Impaler

Vlad Ţepeş, voivode and resident of Wallachia, not Transylvania
Stoker did get the name ‘Dracula’ from the Medieval Romanian prince, or at least from his family. Vlad’s father—Wallachian voivode before him—was Vlad II, also known as Vlad Drâcul…Drâcul (or Drâc) was a word for ‘dragon’ in the 15th century※, today in Modern Romanian it means “the devil” – something noted by Stoker in his research for the book as an apt descriptor for his fictional arch-nemesis. There is however a great deal of the character of Count Dracula that Stoker didn’t derive from the circumstance of Vlad Ţepeş. The Impaler had nothing to do with vampires or any supernatural beings and his associations with Transylvania were largely peripheral and tenuous. Vlad was supposedly born within Transylvania in Sighişoara although there are some doubts about this (an alternative view has his birthplace in Wallachia). Bran Castle, a Transylvanian tourist attraction identified with Stoker’s Dracula, has no connection with Vlad at all [Florin Curta, referenced in ‘The Real Dracula: Vlad the Impaler’, (Marc Lallanilla), Live Science, (2017), www.livescience.com].

⇩ Bran Castle (Photo: Daniel Mihailescu/AFP/Getty Images)

Constructing the Ur-vampire
Transylvania, being to outsiders, “a mysterious land of vampires and other supernatural things”, handed down a long tradition of folklore and legends, it’s not surprising that Stoker drew on this source for inspire and inform his vampire story. Superstitions and beliefs of Romanian peasants in Stoker’s time fuelled a plentiful supply of tales about vampiri (vampires), vârcolaci (werewolves) and other supernatural monstri. Stoker’s library research would also have acquainted him with the strigol, a Romanian figure of legend—“a reckless spirit that returns to suck the lifeblood from his relatives”—the type of vampirish “undead souls” that would find a place in Stoker’s horror novel [‘The Use of History in Dracula Tourism in Romania’, (Tuomas Hovi), www.folklore.ee].

⇧ Whitby, England (Image credit: www.visitwhitby.com)

Non-Romanian influences on Dracula
In the Dracula novel the undead Count travels to Britain in search of more victims, journeying to Whitby in Yorkshire. This echoes Stoker’s own earlier visit to Whitby in which the author was reportedly quite taken with the town, its colony of bats circling round the churches, its whole creepy atmosphere, all of which he would have found good material for a Gothic novel [‘How Dracula Came to Whitby’, English Heritage, www.english-heritage.org.uk]. Stoker apparently found more inspiration in Port Erroll (these days, Cruden Bay) in Aberdeenshire – Slains Castle with its “fang-like rocks” is thought to have also inspired the Transylvanian Dracula castle home in the book [‘Slains Castle’, www.visitabdn.com].

Vampires: not the exclusive preserve of Transylvania⦿
Bram Stoker was Irish and never visited Romania in his lifetime, prompting some to speculate that the Dracula story may equally have been influenced by the author’s own experiences growing up in Ireland. Stoker would have been exposed to homegrown myths of the supernatural (such as those involving the sidhe, the fairy people of Irish folklore), as well as to the nightmarish ordeal of living through a cholera epidemic [‘How Bram Stoker creates Dracula with the aid of Irish Folklore’, (Leonie O’Hara), Irish Central, 04-Oct-2020, www.irishcentral.com].

PostScript: Vampire tourism
Vampire tourism in Transylvania has not been waylaid by coronavirus, tourist operators in Romania are still offering up a raft of tour packages—with titles like “7-Day Dracula Highlights Tour” and “Fun With Fangs: Vampire Tours in Romania”—to lure the “vampire-curious”. The tours, tend to wallow in all the predictable cliches and stereotypes, milking the prevailing craze for all things vampire, staying in Dracula-themed hotels, etc. Vampire tourism is an intriguing admixture of history, tradition and fiction…taking a leaf from Hollywood some of the tours indulge in considerable conflating of the historic Vlad Ţepeş with the fictional Count Dracula (Hovi).

↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↝↜↜↝↜↝↜

✱ ruler, a sort of military governor of a region

▣ Prince Vlad’s political fortunes generally hovered in the vacuum between the two regional powerhouses Hungary and the Ottomans, who he fought both with and against at different times

※ Drâculeşti is the patronymic – Vlad Ţepeş was also known as Drâculea, “son of the dragon”

☒ descendants of Saxon (German) merchants and craftsmen who migrated to Romania, commencing in the 12th century

⦿ though the tradition is a strong one in the Balkans and Eastern Europe, eg, Greece vrykolakas, Albania shtriga

Inspiring the Creation of Secret Agent 007: The Template of a World War 2 Yugoslav Spy

Posted on by E Curb Nottus
Biographical, Cinema, Creative Writing, Literary & Linguistics, Popular Culture


The James Bond film series, is the world’s most successful and enduring movie franchise, since 1962, 24 completed feature films and with another currently cooling it’s post-production heels in Covid lockdown…a franchise that seemingly has not yet run out of steam. The 007 phenomenon has inspired countless imitations in cinema and television. This has ranged from blatant rip-off imitators trying to capitalise on its impetus in the Sixties (“Matt Helm”, “Our Man Flint”, “The Man From U.N.C.L.E.”, etc.) to playing it for laughs parodies (“Get Smart”, “Austin Powers”, “Johnny English”).

(Photo: Britannica)

But where did the original creator of the James Bond novels, Ian Fleming, get his inspiration for the iconic character from? We know that Fleming’s own lived experience and background—as a British naval intelligence officer in WWII—made him an insider in the world of espionage, double deceptions and counter-agents. Obviously when the Caribbean-domiciled Fleming came to put pen to paper and create the fictional James Bond in the early Fifties, he drew on many of the real-life acquaintances he had met in the ‘workplace’❋.

In his lifetime Fleming never said definitively who the principal model for 007 was, but the consensus seems to gravitate towards a Serbian double agent Dušan (‘Duško) Popov, someone Fleming came across in the course of his own intelligence career. A famous scene in Casino Royale (Fleming’s first James Bond novel) further advances the association of the world’s most celebrated fictional spy with Popov. Bond’s besting of a powerful Russian criminal at the baccarat table in Casino Estoril (Portugal) in the book/film mirrors an exchange Fleming observed first-hand when the real-life spy spectacularly called the bluff of a boastful Lithuanian gambler in a baccarat game at the same location.

Popov stumbled into the espionage game after being arrested by the Gestapo. To get out of that pickle Popov agreed to spy for the Abwehr (German intelligence agency). While in England he was recruited by MI6 and turned double agent✫. During the war Popov managed to feed a steady stream of misinformation to the Nazis about the Allies’ movements, strength, etc. Most productive for the Allies was his role in Operation Fortitude – Popov helped to convince German military planners that the D-Day invasion of France would occur in Pas de Calais, not Normandy, the actual landing point. As a consequence of Popov’s disinformation, when Operation Overlord was launched in 1944 there were seven German divisions stuck in Calais and unavailable to the Reichswehr in Normandy [‘My name is Popov, Duran Popov’, (Marta Levai), www.0011info.com].

(Image: Getty)

The Serbian counter-spy also tried in August 1941 to alert the US military as to high-level Nazi and Japanese interest in Pearl Harbor, however the critical information which could have averted the military disaster on 7th December was blocked from reaching its target by CIA director Hoover. Hoover distrusted Popov as a double agent, an attitude not allayed by Popov’s reputation as a womaniser and playboy.

(Source: www.newspapers.com)

After the war Popov’s services were rewarded by the Brits with an OBE, but it wasn’t until 1974 that Popov himself lifted the cover on his war-time espionage activities when he published his autobiography. When asked about comparisons between himself and 007, Popov was dismissive of the hedonistic, jet-setting spy as portrayed on the big screen, remarking that “a spy who drank like Bond would be drunk the first night and dead the second” [‘From the archive: the real James Bond, 1973’, (Observer archive), (Chris Hall), The Guardian, 22-Mar-2020, www.theguardian.com].

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❋ and on those Fleming only knew of, such as the legendary master spy Sidney Reilly [‘Novel Man’, (William Cook), New Statesman, 28-Jun-2004]

✫ at one point Popov was also spying for the Yugoslav intelligence service, making him a triple agent

The Fiume Enterprise and d’Annunzio: A Peculiar but Prophetic Prelude to the Italian Fascist State

Posted on by Sloane Snodgrasse
Biographical, International Relations, Political geography, Regional History

In the aftermath of the Great War, among the numerous issues facing the post-world war peacemakers was what to do about the status of Fiume, which had been part of the  (dissolved) Austro-Hungarian Empire. Both the newly established Kingdom of the Serbs, Croats and Slovenes (KSCS), and Italy, laid claims to the city whose population included significant numbers of Italians as well as Croats and Slovenes. While the Paris Peace Conference deliberated over Fiume’s fate❈, an Italian poet-adventurer named Gabriele d’Annunzio took advantage of the city’s state of flux to invade with a small private force in the name of Italian irredentism.

The “Poet-Warrior”
D’Annunzio was an international celebrity in his time, an unconventional, physically small but larger-than-life, multi-faceted character, an Italian man of letters who also saw himself as un uomo d’azione (‘a man of action’)⌖. Having seized the disputed Adriatic port of Fiume, d’Annunzio offered his prize to the Italian government who not wanting to endorse d’Annunzio’s dubious coup, rejected the offer [‘An Irishman’s Diary on Gabriele d’Annunzio — the “John the Baptist of Fascism” and would-be IRA quartermaster’, (Mark Phelan), The Irish Times, 07-Mar-2018, www.irishtimes.com]. Spurned, d’Annunzio reacted by declaring Fiume’s independence as the “Italian Regency of Carnaro”, AKA Impresa di Fiume (‘Endeavour (or Enterprise) of Fiume’).


Progressive reforms and a repudiation of the Versailles Treaty
The constitution (la carta del Carnaro) of d’Annunzio’s unrecognised enclave contained an idiosyncratic “grab-bag” of ideas, including elements from both the Left and Right. The charter included many progressive articles – calling for the full equality of women in society, tolerance for both religion and atheism, a social security system, medical insurance and age pensions✪[Michael A Leeden, The First Duce: D’Annunzio at Fiume, (1977)]. D’Annunzio’s regime was the first to recognise the Soviet Union and pitched the idea of a kind of “anti-league of nations” for (select) oppressed peoples of the world—which in d’Annunzio’s thinking was those countries which fared badly in the post-WWI territory carve-up and were holding a grudge—including offering assistance in the form of arms to the IRA in its struggle to free itself from British colonialism (🔺photo: d’Annunzio and some of his supporters in Fiume).


Culture, ‘counterculture’, plus proto-fascism
La carta del Carnaro made music a key principle of the state, the arts flourished with daily public poetry readings and concerts. Impresa di Fiume established a corporatist state along anarcho-syndalicalist lines. The Adriatic city exuded a veritable bohemian buzz, becoming, as Hughes-Halley notes, a “political laboratory” for all manner of political persuasion including anarchists, syndicalists, socialists and ultimately, fascists. It wasn’t all politics either…all manner of perceived ‘subversives’ and outliers, including the socially marginalised, the unorthodox and the disenfranchised, flocked to d’Annunzio’s enclave – fugitives, drug dealers (and takers), prostitutes, discontented idealists, ‘pirates’, dandies, homosexuals, artistic “drop-outs”, runaways, and so on⊞ [Lucy Hughes-Halley, The Pike: Gabriele D’Annunzio, Poet, Seducer and Preacher of War, (2013)].

Although the Fiuman duce wasn’t a fully-fledged fascist himself, his political ideas and his aesthetics in inspired an imitator in Benito Mussolini and informed the blueprint for the future Italian corporatist-fascist state – d’Annunzio’s legacy which prompted many to see him as a kind of “godfather of Italian Fascism” includes the staging of mass rallies, demagogic speechifying, black-shirted vigilantism and Roman salutes (Phelan). Moreover, d’Annunzio’s adventurism in the Regency of Carnaro contributed to a weakening of Italian democracy and paved the way for the Fascist takeover and consolidation of the corporatist state (Hughes-Hallett).

D’Annunzio’s exile and defenestration
Under a deal between Italy and KSCS (Treaty of Rapallo, 1920), the enclave’s name was changed to the Free State of Fiume. D’Annunzio refused to acknowledge the agreement and having failed to reach a modus vivendi with the Italian government, impetuously and unwisely declared war on Italy – with predictable, disastrous results. Fiume was bombarded and d’Annunzio was forced to flee—relocating in exile to Lake Garda in the eastern Lombard region—leaving his Reggenza and his schemes for a new world order in tatters. A later agreement (Treaty of Rome, 1924) sealed Fiume’s full annexation by Italy. Injuries sustained by the still popular d’Annunzio in 1922 when he mysteriously fell from a window (possibly an assassination attempt) worked to Mussolini’s favour, whether he was implicated or not. D’Annunzio withdrew from politics and Mussolini secured his continued inactivity through the payment of inducements. D’Annunzio however characteristically did not remain entirely mute, proffering advice to Mussolini whenever he felt the inclination◰, such as his warning, unheeded, in the 1930s to Il Duce not to enter into an axis pact with Hitler.

Topnymic end-note: Flume, Fiume, Rijeka
Fiume today is the city of Rijeka (‘River’ in Croatian) within the Republic of Croatia (post-Yugoslavia space)… roughly, a bit over twice the size of Fiume in d’Annunzio’s day, it comprises the most important deep-water port on the Croatian coast.

 


⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜ ∘ ⋄ ⏦ ∝ ⧜

❈ the Allies’ (and US president, Wilson’s) preference had been to make Fiume into a buffer state, a prime candidate for the headquarters of the soon-to-be created League of Nations

⌖ d’Annunzio was many more things as well — decadent artist and musician, aesthete, war-monger and war-hero, necromancer, pioneering aeronautist, serial debt-defaulter, libertine and cad, above all perhaps, an indefatigable self-publicist (Hughes-Halley)

✪ progressive platform aside, Comandante d’Annunzio retained an elitist perception of his own role in national affairs, inspired by Nietzsche, that of the Übermensch or superuomo (the “superior man” who rises above society’s mediocrity)

⊞ it would be interesting to know if the Fiume Enterprise had any influence on the creation of contemporary Užupis, the bohemian “independent republic” of artists ensconced within the city of Vilnius, Lithuania 🇱🇹 – see blog Vilnius I, Senamiestis & Užupis: From Old Town to Artistocrazy? (06-November 2015)

◰ Mussolini and d’Annunzio exchange some 578 letters and telegrams until the latter’s death in 1938 [Peterson, Thomas E. “Schismogenesis and national character: the D’Annunzio-Mussolini correspondence.” Italica, vol. 81, no. 1, 2004, p. 44+. Gale Academic OneFile, Accessed 21 Sept. 2020].