Showing posts with label eunuchs in literature. Show all posts
Showing posts with label eunuchs in literature. Show all posts

Monday, August 22, 2022

The eunuch Mithredath in the short story 'Counting Potsherds'

"Counting Potsherds" is a story by Harry Turtledove, originally published in 1989 and included in his 1993 collection Departures. It’s set in an alternate version of Greece in the early 2nd century BCE in which Greece had lost to the Persian invaders several centuries earlier.

Mithredath is introduced to the reader as a eunuch who speaks in “a nameless tone between tenor and contralto” that is “cool, precise, and intelligent.” He also introduces himself to others as a eunuch — a saris. He is the servant of Khsrish, the Persian king who defeated the Greeks, and a worshipper of Ahura Mazda. He has learned to keep his cards close to his vest. On this journey, he is served by a Phoenician captain named Agbaal.

(One might note that “employment of eunuchs in top positions was so frequent in some Near-Eastern monarchies that the term eunuch sometimes, as in Hebrew, for example, lost its original meaning and was used as a synonym for court official or minister, regardless of whether these men were true eunuchs or not.” "The Political Functions of Eunuchism." Lewis A. Coser. American Sociological Review, Vol. 29, No. 6 (Dec., 1964), pp. 880-885 (6 pages) https://doi.org/10.2307/2090872 https://www.jstor.org/stable/2090872 Quotation from p. 880. However, in this story, he is indeed a beardless eunuch.)

When Mithredath meets Lord Vahauka, he is introduced to the “clean-shaven” Hermippos. Hermippos is not “his own kind” (i.e., he’s not a eunuch), and Mithredath reflects on how rare it is for him to meet a clean-shaven man: “Not being the only beardless person present made him feel extraordinarily masculine.”

Vauhaka sends away the scantily clad girl musicians, saying publicly that his guest Mithredath “will not miss them in any way.” Mithredath recognized this as “a sly dig at his condition,” and since “eunuchs’ memories for slights were notoriously long,” he might have his revenge on Vauhaka, but during this hearing, “Mithredath remained the soul of courtesy.”

One of Vauhaka’s men, Polydoros, who is bilingual in Aramaic and Greek, leads Mithredath uphill to an akropolis that Khsrish destroyed. Mithredath sacrifices a sheep by cutting its throat, explaining to Polydoros that the god Ahura Mazda doesn’t require any special ritual and lets people keep all the meat from the animal.

It is gradually revealed that the purpose of Mithredath’s journey is to discover the name of a king of Athens. He’s hoping to find it on an inscription on the akropolis. He didn’t want to fail in his expensive quest. “Nothing was more dreadful for a eunuch—for anyone, but for a eunuch especially—than losing the favor of the King of Kings.” He’s almost ready to give up, but they find names written on pieces of broken pottery scattered around, and he begins to piece together a political history.

Back at Vauhaka’s court, he’s taunted as “no-stones” and “no-balls.” Vauhaka tells him that a rival, Kurdish, had “overthrown and slain your worthless Khsrish the day you left...Now we have a real King of Kings again, and now I don’t have to toady to a half-man anymore, either.”

colored pencil sketch of a eunuch

Wednesday, December 1, 2021

Have you seen inside the book 'To Climates Unknown'?

The alternate history novel To Climates Unknown by Arturo Serrano was released on November 25, the 400th anniversary of the mythical First Thanksgiving in what is today the United States. It asks: What if the Mayflower never made it? I've got a hardcover at home, and I want to show you how cool it is. Never mind a summary — let me show you some scenes.

Book cover of TO CLIMATES UNKNOWN by Arturo Serrano

Part 1

      “...palace, I was the best köçek.” He took two spoons from a side table and started clanking them in his hands. “I learned to charm the eyes of a man like no harem ever can,” he added, gradually twirling his shoulders and tracing endless circles with his hips. “I sweetened the weary days of palace officials and ministers.” The rhythmic sound of the spoons became hypnotic, and he moved around the dining table with a gracefulness that should have been impossible for his massive frame.
      “You’ve made your point, Signor Fulla,” said Brigitte, but he continued dancing, oblivious to their astonished stares.
To Climates Unknown, Part 1: '...palace, I was the best köçek.. He took two spoons from a side table and started clanking them in his hands. 'I learned to charm the eyes of a man like no harem ever can,' he added, gradually twirling his shoulders and tracing endless circles with his hips. 'I sweetened the weary days of palace officials and ministers.' The rhythmic sound of the spoons became hypnotic, and he moved around the dining table with a gracefulness that should have been impossible for his massive frame. 'You’ve made your point, Signor Fulla,' said Brigitte, but he continued dancing, oblivious to their astonished stares.

Part 2

      “...nature of time, the properties of divine foreknowledge, the number of types of the gift of grace, the limits of unaided human choice, the truth value of counterfactual claims, every shred of Scriptural evidence, and the other side’s counterarguments. It was fascinating, but exhausting.”
      “Were any new doctrines formulated?” asked René, with evident excitement.
      “That is not what philosophy is for! Now pay attention, Monsieur du Perron, to what I’m trying to explain to you.”
To Climates Unknown, Part 2: '...nature of time, the properties of divine foreknowledge, the number of types of the gift of grace, the limits of unaided human choice, the truth value of counterfactual claims, every shred of Scriptural evidence, and the other side’s counterarguments. It was fascinating, but exhausting.' 'Were any new doctrines formulated?' asked René, with evident excitement. 'That is not what philosophy is for! Now pay attention, Monsieur du Perron, to what I’m trying to explain to you.'

Part 3

      “A mirror?” asked Christian.
      “He’s thinking of Archimedes,” said Sophie. “He used reflected sunlight to burn enemy ships.”
      The king turned toward her, greatly surprised. “And why aren’t we doing that?”
To Climates Unknown, Part 3: 'A mirror?' asked Christian. 'He’s thinking of Archimedes,' said Sophie. 'He used reflected sunlight to burn enemy ships.' The king turned toward her, greatly surprised. 'And why aren’t we doing that?'

Part 4

      ...that formed the Forbidden City. The way he stared at her across the desk was unmistakable: he had more serious matters to think of, and she should be prepared to offer an acceptable excuse to merit his attention.
      “Agent Ma Liang, I have just wasted hours of work reviewing your assignment history. The picture that this office has of you is that of an efficient, resourceful, and loyal member. Did we miss a side of you that you were hiding until now?”
To Climates Unknown, Part 4: that formed the Forbidden City. The way he stared at her across the desk was unmistakable: he had more serious matters to think of, and she should be prepared to offer an acceptable excuse to merit his attention. 'Agent Ma Liang, I have just wasted hours of work reviewing your assignment history. The picture that this office has of you is that of an efficient, resourceful, and loyal member. Did we miss a side of you that you were hiding until now?'

Part 5

      Azlor’s voice shook as he asked, “For how long have they been hiding this machine?” He tried to retrace mentally the milestones in the ascent of the Canutic Empire, knowing that everyone in the room was doing the same exercise, afraid to venture a number of years, feeling the seed of anger sprout from fertile speculations.
      “Are you suggesting,” asked Gerbaut, “that this is why our ships vanish?”
To Climates Unknown, Part 5: Azlor’s voice shook as he asked, 'For how long have they been hiding this machine?' He tried to retrace mentally the milestones in the ascent of the Canutic Empire, knowing that everyone in the room was doing the same exercise, afraid to venture a number of years, feeling the seed of anger sprout from fertile speculations. 'Are you suggesting,' asked Gerbaut, 'that this is why our ships vanish?'

Part 6

      “Neema, are you awake? Please open the door.”
      She had never had an interest in poetry. What she had started writing had no name yet, but it felt necessary to her. Everything was poured through her quill: the wars of Vedic gods, the laws of motion, the rivers of Brazil, the moons of Saturn, declensions in Ottoman, the alloys of tin, Canutic dynasties, the burning of Tenochtitlán, the strange animals of Encoberta, the months of the Hebrew calendar, every single lake in Novadania...
      “Neema, today we’re teaching the refraction of light. I need some silver paper. Can you open the door?”
To Climates Unknown, Part 6: 'Neema, are you awake? Please open the door.' She had never had an interest in poetry. What she had started writing had no name yet, but it felt necessary to her. Everything was poured through her quill: the wars of Vedic gods, the laws of motion, the rivers of Brazil, the moons of Saturn, declensions in Ottoman, the alloys of tin, Canutic dynasties, the burning of Tenochtitlán, the strange animals of Encoberta, the months of the Hebrew calendar, every single lake in Novadania... 'Neema, today we’re teaching the refraction of light. I need some silver paper. Can you open the door?'

Part 7

      “What happens to someone who is hit by this bomb?” asked Gediminas, and Gilberto’s face stiffened.
      Yakub wanted to ask what unspoken disagreement existed between Gilberto and his secretary, but didn’t think it was the right moment. “Those at the center of the explosion simply disappear. Their bodies turn to nothing. It may not even hurt; I don’t know.”
To Climates Unknown, Part 7: 'What happens to someone who is hit by this bomb?' asked Gediminas, and Gilberto’s face stiffened. Yakub wanted to ask what unspoken disagreement existed between Gilberto and his secretary, but didn’t think it was the right moment. 'Those at the center of the explosion simply disappear. Their bodies turn to nothing. It may not even hurt; I don’t know.'

This is the book

Bookshop will ship it within the US. The ebook is on Kobo. Yes, also Amazon. Exquisite book.

Monday, November 15, 2021

Castration in 'The Temple of My Familiar' by Alice Walker

Two stories in Alice Walker's 1989 novel The Temple of My Familiar discuss castration.

The first is an origin myth of womb envy that leads to misogyny.

"What the mind doesn't understand, it worships or fears. I am speaking here of man's mind. The men both worshiped and feared the women." The men try "to show their worshipful intent" and bring the women "feathers, bones, bark for dyes, animal teeth and claws" (since the women are mostly vegetarian and don't cultivate hunting skills). The men finally observe "that some of the children the women were making bore a striking resemblance to themselves," and the men raise the boys. Finally they discover "that the life that woman produced came out of a hole at her bottom! But not the hole man also had." The men chose to become priests, "that they could be the ones through whom life passed! They began to operate on themselves, cutting off and flinging away their maleness, and trying to fashion a hole through which life could come." The men died, and they learned to "cut off the balls," and "not the whole of the genitals," and to abandon the task of creating "the hole through which life passes." Instead: "What they remembered was that they must be like women, and if they castrated themselves at a certain age — the time of puberty, when they chose or were chosen for the priesthood — they could sound like woman and speka to the universe in woman's voice." This was the meaning of being a priest in those days. With these castrations, their pain seemed to last longer than women's pain in childbirth, and they complained and resented women, developing "hatred of woman."

Mr. Hal tells a story:

"Lulu was the name Lissie had had when she was part of a harem in the northern pan of Africa... how happy she was in the harem, because themaster was old and sickly and had hundreds of women it tired him just to see, not to mention to try to do anything to, and Lissie (Lulu) had had two lovers. One of them was another woman in the harem, named Fadpa, and the other was one of the eunuchs, named Habisu, whose job it was to keep the women from running away. They used to all sit around and plot about how to run away together, but Habisu was afraid to leave the safety of the harem, and he liked the sweets the women shared with him and the colorful clothing he got to wear. He was from a poor family, and he thought it wasn't such a bad thing to give up his nuts for such pleasant room and board. Now I don't know whether this was really the truth or whether Lissie was committing slander on poor Habisu." Eventually Lulu and Fadpa "became devoutly religious" and "could perform miracles." They prayed for their freedom for 80 years and were finally freed from the harem at ages 96 and 103." In a different part of the story, later, he says: "I could see in her [Lissie's] eyes the hundreds of times she had suffered in giving birth, and I swore it would never happen again, and my desire for her, for sex with her or with any woman, died, and I became a eunuch myself. I just knew I would never be able to deal with making love to a woman ever again."

Monday, October 4, 2021

'Joy Over Denmark' by Poul Martin Møller

Poul Martin Møller (1794-1838) is known for his poem "Joy Over Denmark." As I collect references to eunuchs, here, I point out the eunuch in the third-to-last stanza. The translator wrote "Listen to the eunuchs' voices whining," but Möller's original Danish is "Lytte paa den sorte Halvmands Triller" ("Listen to the black half-man's trilling"). The implication is that the eunuch is a harem guard, as he is physically near an Eastern lord and the women he has paid for ("Østens Drot blandt kjøbte Friller"). The poem's overall point is that, while other countries are imagined or known to be wealthy or exotic, the relatively modest Denmark remains beautiful to the poet. The exoticized treatment of other lands is unlovely to me, but it is typical of Western literature that mentions eunuchs.

Joy Over Denmark

Roses proudly glow in Dana's bowers;
Horses graze where sleep heroic dead;
Bees distill the sweetness from the flowers;
Starlings scatter notes in silver showers;
Children gather berries, ripe and red.

Here between the shadows of the shifting
Ocean never come the budding springs;
Only heavy whales go slowly drifting.
While the silent seagulls hover, lifting
Quarry from the waves, with moveless wings.

Friends afar in shining Danish summer,
Do you hail your comrade any more?
Here the tropic wind, a tireless drummer,
Beats against the sails, and this newcomer
Dreams of native fields by Dana's shore.

East or west, however far I wander,
I will think of you by Denmark's Sound;
Even where Constantia's vineyards squander
Splendid beauty, I imagine yonder
Bright Charlottë's beechwood, summer-crowned.

Monks in hovels of Manila grumble,
"Denmark is a little, beggar land."
Java's sons confirm it, even humble
Pedlars of Batavia scornfully mumble,
"Denmark is a little, beggar land."

Slaves of silk-clad Orientals hear them
Stir their fans in torrid discontent,
With their heartless, jeweled mates that fear them,
Gorgeous birds, but not a song to cheer them,
Gaudy tinsel flowers that have no scent.

Could you buy the faith of Northern maiden
With the promise of a golden boon?
Buy a gust of sea-waves fragrance-laden,
Clover fields for slumber, or a glade in
Denmark's fields to dream away the noon?

Poor men who have ploughed their Danish furrow
Shake the fruit from their own orchard trees;
Mind and body quick at work and thorough,
Corn and milk aplenty for to-morrow;
Heifers drowse in grass up to their knees.

Denmark's soil is rich, her sons laborious;
There are virtues in the Danish bread;
Wherefore Danish courage is so glorious,
Wherefore was the Northman's sword victorious,
Wherefore is the Danish cheek so red.

Let the Master of the East, reclining
With his purchased women, doze and nod,
Listen to the eunuchs' voices whining
Through the columns echoing and twining,
While he dozes, an exhausted god.

Underneath the beech, the Danish lover
To the loveliest repeats his vows.
Drifting moonlight showers white above her;
Mirrored swans on haunted waters hover;
Nightingales sing loudly in the boughs.

If such things be poverty's true measure,
Silk-clad eastern prince, I understand;
Then I break my Danish bread at leisure,
Thanking God, I too exclaim with pleasure,
'Denmark is a little, beggar land!'

Poul Martin Møller, translated by Robert Silliman Hillyer

Some stanzas (page 1 of 3) of the poem Joy Over Denmark.
Some stanzas (page 2 of 3) of the poem Joy Over Denmark.
Some stanzas (page 3 of 3) of the poem Joy Over Denmark.

Images from A Book of Danish Verse translated to English by S. Foster Damon and Robert Silliman Hillyer. New York: The American Scandinavian Foundation, 1922. pp. 63-65. Retrieved from Archive.org.

Wednesday, January 6, 2021

The eunuch ambassador in 'The King at the Edge of the World' by Arthur Phillips

The eunuch here is a supporting character (though one who instigates the main character's life conflict) and does not even have a name. The eunuch — originally “born a Christian in Portugal," captured at the age of 11, and converted to Islam — is the ambassador sent by Ottoman Sultan Murad the Great in 1591 to spend several months negotiating with the Queen of England.

“He carried for the island’s sultana [a.k.a the Queen of England], among many other gifts, a pair of lions, a scimitar, a unicorn’s horn, and ten English pirates captured by Turkish sailors," so he was "welcomed to London by a torchlight parade through the gawping crowds near St. Lawrence Jewry church, winding to the large house where they would live for five months before returning to Constantinople.” The envoys spent months in negotiations with the English “in matters of sea-lanes and free overland passages, the exchange of captured pirates/sailors, various immunities and protections for Englishmen voyaging in the empire of the Ottomans.”

Among his 14-man entourage are his chief adviser, Cafer bin Ibrahim, and a physician, Mahmoud Ezzedine. The physician is supposed to support the eunuch's health on this journey, but the eunuch is accustomed to the food and climate from his own youth and is not ill, so the physician does little more for him than draw up his astrological charts. Ezzedine is, however, needed to treat an Englishman, the Baron of Moresby. His work so pleases the Queen that the Queen "passed to the ambassador a ring set with a blue stone" with the intent that it be given to the physician as a gift. The eunuch ambassador makes a sudden decision to leave the physician with the Queen, essentially presenting him as a gift to her. The ambassador is described as “the puffy man, lovingly grateful in turn to Ezzedine for having played his role so gently, without any strife.” Being left behind in England is painful to Ezzedine because he had expected to return to his wife and child in Constantinople.

That is the last we hear of the eunuch character. The novel follows Ezzedine for the next ten years.

Other quotes of interest:

“The English knight was, as many of the Englishmen were, so languid and thin in arm and leg, so peculiar and effeminate in affect, that Ezzedine wondered how many of them were eunuchs.”

Ezzedine “was here to protect the health of the ambassador, but somehow that eunuch was, without effort, in good health, unaffected by the English air. …The ambassador was ceremonially protected from the English food, too, and mechanically untempted by the grotesque Englishwomen…”

An actor jokes privately to his friend that he could play “a Turk eunuch…If we put a cushion under your shirt? And tied your eggs back between your legs?”

Later...his wife is jealous that he might treat concubines for menstrual cramps. “…if you do, I will have to make you a eunuch.”

Book

Arthur Phillips. The King at the Edge of the World. New York: Random House, 2020.

Wednesday, September 30, 2020

Mentions of eunuchs in 'The Dance of Genghis Cohn' (1968)

Quotes from Romain Gary's 1968 novel The Dance of Genghis Cohn that allude to eunuchs.

“He was...inoffensive. He had been the victim of a shooting accident in France...you see what I mean?”
”What was he doing in France?”
“Well, he is a German, isn’t he? He was doing his duty.”
“Why should the Baroness have gone off with a eunuch?”
“Because he is harmless.”
“Then one might just as well stay with one’s husband.” (p. 53)

“Who was that gentleman, Florian?”
* * *
“Just another small-timer, my darling. There was no need for you to bother. I’ve told you a million times: they can’t deliver. They don’t have what it takes. Eunuchs, all of them.” (p. 95, pp. 118-119)

“Florian, you’re crying? You!”
“This dog’s life!” wails Florian. “I get fed up with it sometimes.”
“But what is it? What’s the matter now?”
“What’s the matter, what’s the matter? ... There are moments when I would like to...well, when I too would like to be able to...Watching them do it all the time...it’s upsetting, in the end!”
“You would like to? You would like to be able to?”
“Well, nobody’s perfect.”
“Oh, Florian...You mustn’t!”
“I’m not saying I want to be a man. No, not that, thanks awfully. But they end by getting on my nerves...”
“You shouldn’t envy them.”
“All I can say is that it looks damned good. You’ve only got to look at their faces...”
“But they pass so quickly! A man, Florian, as you should know better than anyone, only passes. He retreats almost at once. It’s so ephemeral! They always talk about building for a thousand years, but when they actually get down to the job...A thousand years! They make me laugh.”
“Yes, I know, it’s always that dream of endurance. It’s a well-known symptom. They’re all impotent.” (p. 127)

“You’ve no idea the things men ask me to do, to get themselves in the mood.”
“It’s always like that when genuine inspiration is missing. Tricks. Techniques. Systems. ideologies. They completely lack love. Impotent people always fall back on vice, my peach.” (p. 140)

“It is in vain that, in the second parable, Eleazar ben Zohai speaks of the 'terrestrial Cow fulfilled by the celestial Bull.'" (p. 97)

Romain Gary. The Dance of Genghis Cohn. (1968) New York: Signet Books, 1969.

Friday, May 22, 2020

The eunuch in Russell Hoban's 'Pilgermann' (1983)

Some highlights of the eunuch narrator in Russell Hoban's Pilgermann (originally 1983). The novel presents as a stream-of-consciousness dream experience across time and beyond mortality. To the extent that this can be said to have a "plot," there are spoilers.

Pilgermann is a German Jew who, having transcended his human existence, has become "waves and particles" and may choose to "turn up as an owl." He is narrating from some far-off spot in history. He most vividly remembers the early morning of July 31, 1096 C.E., which was the Jewish holiday of Tisha b'Av. He is not especially religious but does go to synagogue on occasion. He remembers nothing of his profession — "I think I may have been a tailor or a surgeon or something of that sort" — but he remembers lusting after a woman who he sees through her upper-floor bedroom window.

She happens to be married to a tax-collector who leads the town's militia. Of him, Pilgermann remarks, "such a man as that cannot live without a Jew to be other than. If there were no Jews he would invent them, he would dress up as a Jew and flog himself." And of her, Pilgermann says: "...such nakedness! It continues in my eye, splendouring. It will always be there, an image of such power as to confer unending Now upon the mind that holds it. Always now the great dark house in the Keinjudenstrasse late at night. Always now I, the solitary late-night Jew walking where he is not wanted."

He climbs a ladder, and she welcomes him: "Thou Jew! My Jew!" and reveals her name to be Sophia. He reflects: "The centre of time is, as I have said, the waiting. This is now off the centre, this is the motion of the everything, the action of the universe, the destined world-line of the soul, the living heart of the mystery." As he walks home in the early morning hours, he is assaulted by Christians who lift his robe and remove his pants, noting his circumcision and saying, "You can be sure he's had Christian women with it, filthy brute." As they mutilate him with a knife, allegedly to "make a Christian of him," removing his "member and testicles," he says: "I think of Rabbi Hananiah ben Teradyon martyred in the Hadrianic persecutions, wrapped in the Scroll of the Law and burned at the stake. As he died he said that he saw the parchments burning but the letters of the Torah flying up out of the fire. I too now see the black letters shimmering and twisting as they rise on the heated air, soaring above the flames like birds of holy speech to the blue sky. I see the black letters writhing round the holy nakedness of Sophia going up, up, out of sight into the blue morning." His assailants argue whether to kill him, and just then the tax-collector shows up and orders them to let him live.

He lies alone on the road, in pain, expecting that a nearby sow has eaten his severed genitals, and observes that in the distance the synagogue is burning. Just then, a vision of a blond, blue-eyed Jesus appears to him. "He was no one in whom I had any belief but there he was and there was no mistaking who he was." The injured man objects: "You're not the one I was calling." And Jesus answers: "I'm the one who came through. I'm the one you'll talk to from now on."

Jesus insists that his mutilation “is what you wished.”

He denies it. “I am young, the blood in me runs hot, I lust but I am unmanned. I lust, I long, I yearn, I hunger, I hum like a tuning fork, I flutter like a torn banner in the wind. That which I was I can never be again, that which I am is intolerable, that which I shall be I cannot imagine. I glimmer like a distant candle, I mottle like the sunlight on the carpet, like the shadows of leaves. I am something, I am nothing, I am here, I am gone.” He didn’t want to be talking to Jesus, either, he insists.

Jesus says: “Always you wished it, and most of all when you put hand and foot to that ladder of love and pleasure…the only wholeness is in letting go, and I am the letting go.”

He decides to set out as a pilgrim to Jerusalem. What happens then seems to be a continuous dream-sequence in which he collapses the concept of time. At one point, attacked in the forest, he slashes back with a knife, and says to himself: "When I had balls I didn't have this much balls."

He fights with a woman, who says, as he wrestles her down and sits on her: "Are you just going to sit there, aren't you going to have me?"

"I can't," I say. "I'm a eunuch."
"Yet God be thanked!" she says.
"For what?" I say.
"That they didn't cut out your tongue as well!" she says.

Soon he begins to reflect that, had he not been castrated, none of this adventure would be happening. And eventually he compliments his own transformation: "When I had my proper parts I must have been blind and deaf, the world had not come alive for me, I had never talked with Christ, had never put my feet into the footsteps of my road away, had never, alone in a dark wood, seen the light of Now. So, Pilgermann, let your heart have balls, and on to Jerusalem."

In one episode, he comes across a man who is hanging a bear by a rope. The man calls to the bear as he strangles it: "My God, my God, why hast thou forsaken me!" Pilgermann uses his knife to cut the rope. The bear falls from a great height and lies still. The man accuses Pilgermann of having killed God. "He was a bear," Pilgermann attempts to correct him. The man explains: "God can be whatever he likes, completely and divinely; he always used to find me honey trees. And you've killed him, you've killed God." The man is going to shoot Pilgermann with a bow and arrow, but the bear stands up, so the man shoots the bear instead. The man again mourns: "O my God, my God, why hast thou forsaken me!" Pilgermann responds that "he hasn't forsaken you—you've killed him. The man clarifies that he forsook him in this manner: "He wouldn't show me any more honey trees."

He asks: "Who is this Pilgermann, this drifting wave-and-particle vestige of a castrated Jew, who is this Pilgermann to have an opinion on the matter?"

Propositioned by a sow, he muses silently "whether a penis and testicles might have such a thing as a ghost, and whether a live eunuch might couple with a dead sow by means of the ghost of a penis. Never in my life had there been so many sexual invitations as now when I was castrated."

A ghost insults him as a "clipcock" and then revises the insult: "I forgot, you ain't even that no more, you're a no-cock clipcock."

He boards a ship which is taken by pirates, and he is sold to the pirates, who strip the new slaves of their clothes and possessions. "The pirate captain was delighted to find that I was a eunuch in good condition; he made that gesture of kissing the fingers made by all vendors who reckon that they have something especially fine to sell." They go to a slave market in Tripoli. He is mildly excited at the thought of serving a harem, since "orchards are pleasant even if one can't climb the trees." He is bought by a merchant in Antioch, and immediately they make the arrangement that he is not to be a slave but rather a free man and a friend. The merchant interprets for him the verse in Isaiah about the eunuch being given "an everlasting memorial, that shall not be cut off." The merchant says: "Better than sons and daughters is to be with the stillness that is always becoming motion."

He narrates his ordinary life: "Every morning when I woke up I had perforce to put on the identity of Eunuch....I would say, 'Yes, but still there are things to be done, still there is life and world, still there is action required of me.'"

The merchant tells him that Noah in the Bible "ended up like you" and adds that "the crux of the matter is whether you start out as a eunuch or only end up as one. Did you start out complete?" Pilgermann says he did, "at least physically." The merchant tells him to contemplate "this tradition of a castrated Noah" and says that there is a cosmic system of "debits and credits." He admits: "I don't know what the Lord has given you in exchange for what has been taken from you."

Pilgermann's next difficulty is confronting his status as dhimmi, a non-Muslim in a Muslim land. Dhimmis "wore yellow turbans and belts and were not allowed to ride horses or carry weapons. Perhaps because I was already castrated I found this further diminution galling. I had not so far flouted the law by carrying weapons or riding a horse but I had not put on a yellow belt and turban. In my mind I tried to, but could not, put into words my reasons for not wanting to be welcomed into a community of yellow turbans. Nor would I ever again be a member of any congregation other than that vast and erring one called the human race." The Rabbi warns him that he can't "pass for a Muslim" anyway and "will simply be known as the eunuch Jew who does not wear the yellow belt and turban." Pilgermann replies: "So be it." He is later questioned by a Muslim, and he claims that Jews don't consider a eunuch to be properly a Jew. Pilgermann expects the man to reply that he is nonetheless Jewish according to Muslim standards, and therefore still a dhimmi, but the man says nothing.

He then muses that mortality itself is a kind of castration. He imagines God telling him: "I have already castrated you with mortality but you pay no attention to it. So now let it be done with a knife, then let's see what happens. Let's see if you'll grow yourself some new balls and jump into the mystery with me."

He then dreams he sees Sophia's murdered body on a pile of corpses, but her two-year-old son is alive, and he realizes it is his son.

Russell Hoban. Pilgermann. London: Bloomsbury, 1983.

Sunday, May 6, 2018

Crotilda, disguised as a eunuch, in 'The Fatal Contract' (1639)

The publisher's dedication says that this 1654 book was a posthumous publication. It was originally written c. 1639 according to this plot summary. Previously it had been circulating in "private Transcripts, where it past through many hands".

As the Blogging the Renaissance plot summary explains, "one of [Queen Fredigond's] sons (Clotair) raped the fair Crotilda, and one of Crotilda's family killed the queen's brother (Clodimir) by mistake." Thus begins a dark tragicomedy of errors in which everyone is mad at everyone. Crotilda is in disguise as a dark-skinned, villainous eunuch for the entire play. This is known to the reader at the very beginning, as "Crotilda, by the name of Castrato, as an Eunuch" is named in the character list, but it probably would not have been obvious to an audience when the play was performed.

In his first appearance, the eunuch (Crotilda) summons two soldiers, her relatives (who for some reason do not recognize her), to the Queen. Disguised as the queen's eunuch, he hands them bags of gold and a letter and walks offstage with no words exchanged. One soldier says to the other, "It was the Eunuch." The other replies: "That needs no deciding." The soldiers correctly perceive that the Queen is extending a false olive branch and she intends to punish them for crimes of their parents against her brother.

Next, the queen, alone with her eunuch, contemplating her revenge against the soldiers, says:

“Hark, hark Castrato, the musick of the Sphæres,
O ravishing touch, hark how the others voice
Ecchoes the Lute, is’t not a divine softnesse?"

The eunuch replies:

Eu. Oh were I but a man as others are,
As kind and open-handed nature made me,
With Organs apt and fit for womans service.
Qu. What if thou wert?
Eu. What if I were great Queene?
I'd search the Deserts, Mountaines, Vallies, Plaines,
Till I had met Chrotilda, whom by force
I'd make to mingle with these sootie limbs,
Till I had got on her one like to me,
Whom I would nourish for the Dumaine line;
That time to come might story to the world,
They had the Devil to their Grand-father.
Qu. I find thee Eunuch apt for my imployments,
Therefore I will unclaspe my soul to thee.
I've alwaies found thee trusty, and I love thee.
Eu. With thanks I ever must acknowledge it,
And lay my life at my great Mistress feet,     Kneels.
To spend it when she pleases.
Qu. We need it not
As yet Castrato, but we may hereafter.

The queen begins to detail the physical punishment she'd like to mete out. The eunuch praises her: "You are the Goddess of invention." The queen then announces her attraction to him:

Now by this light I'm taken strangely with thee,
Come kiss me, kiss me sirra, tremble not.     (Queene kisses him.)
Fie, what a January lip thou hast,
A paire of Iscicles, sure thou hast bought
A paire of cast lips of the chast Diana's,
Thy blood's meere snow-broth, kiss me again:     (again)

The two soldiers are brought into the presence of the queen and the young king Clotair, and the queen immediately and discreetly poisons the king, planning to blame it on the soldiers.

Eu. Madam, is't done?
Qu. I my black Genius, such a fatal dram
I have administred, will wing his soul
With expedition to the other world...

In this passage, the queen is referring to her eunuch as a "black Genius" (as in, "Aye, my black Genius," a spelling that is used later in the play when Clotair says "I Dumain" to Dumain).

She then asks the eunuch: "See'st thou not death thron'd in his hollow eye, / Great tyrant over Nature?" It is a little unclear whether she is referring to the king or the eunuch as a "tyrant over Nature" (a king is more likely to be described as a tyrant, but a eunuch is more likely to be described as unnatural).

In a following scene, the eunuch, carrying a candle, leads Aphelia to Clotair, assuring her that the Clotair will not advance sexually on her. Clotair, however, threatens violence against her if she does not submit to him. The eunuch acknowledges his own villainy in the play's violent intrigues: "Thus on all sides the Eunuch will play foul, / And as his face is black he'll have his soul."

In a following scene, the eunuch comments: "The venom'd poyson of a womans tongue / Is more sublim'd than Mercurie." The queen spars verbally with Clotair, and the eunuch comments again:

How cunningly she spits her poyson forth!
I know her soul is light, she's glad he's dead,
And joyes in the opportuntie to curse the killer,
For which she gaines the name of pious mother;
Here's pretty woman-villany and dissimulation.

The queen asks, "Eunuch is our bed ready?" suggesting that bedchamber arrangement was an expected duty of his. She then invites her lover Landry to bed. The eunuch says to himself: "to cover my discoverie / I'll set on fire the Queens Bed-chamber". He also says he'll warn King Clotair to send help to rescue his mother. "About it then, this is a happie night, / The more it works their woe more's my delight."

Clotair, still dying from poison, says, "Castrato stay, / And with they Counsell cure they dying Prince; / Thou art my bosome, Eunuch, and to thee / I dare unclasp my soul..." The eunuch tells him he saw Landrey, a former page, in his mother's bed. He also tells him that Landrey and the Queen wanted to kill Aphelia so she would not become queen.

The queen then wonders aloud, to the eunuch, how she could have been found out. The eunuch says: "This is strange, / Some comick Devil crosses our designes..." She conspires with the eunuch, telling him, "My dul Æthiope, I will instruct thy blacknesse," that she intends to hide with Landrey in a secret chamber. "Excellent mistris, I applaud your brain," he replies. She asks him to inform Landrey of the plan. He anticipates her request for him to kill either Aphelia or the young king, and she replies:

Thou hast a brain which doth ingender thoughts
As regall as our own, which do beget
A race of rare events; what pitty 'tis
Thy body should be sterril, since thy mind
Is of so pregnant and a fruitful kind;
Farewell, remember me.

The eunuch says to himself: "Learn ye that pamper up your flesh for lust, / The Eunuch in his wickedness is just." He brings Landry and the queen poisoned food, first saying, "You'll let me tast it for you, will you not?" Then, after they have eaten, he laughs: "Ha, ha, ha, y'have both eat and drunk abominable poyson," adding, "The poyson's sure, I did prepare it for ye, / And have my self taken an Antidote". He taunts Landry: "You are our cushion, and i'l sit on you. / I am not very heavie, am I sir? / I do not altogether weigh a man." The queen calls him a "Villanous Traytor," and he responds: "So perish all that love Adulterie."

The eunuch's next mischief is to tell Clotair that his wife Aphelia is pregnant by another, unnamed man. Aphelia denies it, and Clotair calls a torturer with hot irons and threatens to destroy her breasts so she cannot "suckle lawless issue". Clotair, despairing of his overall situation, then asks the eunuch to shoot him with a pistol that he'd previously intended for Landrey. One of the soldiers who was originally selected by the Queen to be framed for the poisoning of her son asked the "Hel-hound Eunuch" to "tell us who ha's done these fatall deeds." The eunuch responds, "Chrotilda and a woman." To the disbelieving soldier, Clotair supports Chrotilda's reveal, and says that even the Queen didn't know the truth: "no Eunuch she; / No sun-burnt vagabond of Æthiope, / Though entertain'd for such by Fredigond." The revealed Chrotilda says, "I should have kill'd thee King, and had put on / A masculine spirit to perform the deed," but claims she was prevented by "A womans weakness".

It is free on Google or can be bought printed on demand.

Friday, February 23, 2018

Perceptions of eunuchs in Claudian's 'In Eutropium'

Claudian wrote In Eutropium (Against Eutropius) to denounce the prominent eunuch by that name. Eutropius was a Roman consul in the late fourth century CE and Claudian acknowledges him as the third founder of the city after Byzas and Constantine (2.83), but that doesn't stop Claudian from making pejorative references to eunuchs as "half men" (1.171, 2.22). Jacqueline Long writes, “Any androcentric culture would find emasculation a natural invective tactic.” (Long, p. 122) Claudian depicts Eutropius as greedy, a stereotype of eunuchs that may have formed from the assumption of the displacement of lust for sex toward lust for money. A spin on the meaning of a eunuch’s childlessness — namely, that it leaves him emotionally stunted and not learning how to bond or serve others (rather than affording an opportunity for displacement of the tendency to bond and serve) — appears in Claudian’s words: “a eunuch is moved by no devotion, nor does he fear for family and children,” (1.83-88, as quoted by Long, p. 135).

Much of the criticism is not just abstract, but sensory:

“The figure of the eunuch makes an irreconcilable antithesis with all the honors Eutropius achieves. Creating a vivid sensory impression that will remain in the audience’s mind is the imagery’s most important task. An example of its effect, with supporting details further elaborated, is given by the contrast of the slavish, effeminate, shameless, sagging, filthy, whining, bibulous eunuch’s impersonation of a triumphator.” (Long, p. 121)

Claudian asked sarcastically, "Have we ever seen a temple built or altars raised to a eunuch god?" Of course we have — the Egyptian god Osiris. This point of Claudian's does not stand up to scrutiny.

Furthermore, within Claudian's poem, Cybele watches the self-mutilating Curetes dance. See also Luc. 1.559-63; after this section, there is mention of Bellona and Cybele’s self-mutilating priests. (Long, p. 110)

In "Don Juan: Dedication," George Gordon Lord Byron (1788-1824) used the term "intellectual eunuch" to complete the metaphor of the adoration of a sultan in Stanza XI. In Stanza XV, the words "emasculated" and "Eutropius" appear, associating castration with servitude.

Sources

Jacqueline Long. Claudian's In Eutropium: Or, How, When, and Why to Slander a Eunuch. Chapel Hill: University of North Carolina Press, 1996.

Sunday, July 31, 2016

Eunuchs in 'The Prisoners of Fate' by Jeremy Han

This fictionalization of a 15th-century Ming dynasty rebellion of the palace eunuchs features many eunuch characters. It is a long action story with combat descriptions like “the arterial spray sullied the wall” and dialogue like: "You fool! Do you know who I work for? I am the Emperor’s personal eunuch! He is afraid of the smell coming from the burnt animals rotting, so the Empress Dowager wants me to personally make sure the Pit of Hair and Blood is cleaned. Do you understand?"

It is the second book in a trilogy, sequel to The Emperor's Prey.

Political context of the palace eunuch system

At the beginning, Grand Eunuch Kong Wei, “vice-director of the Office of Ceremonies and one of the highest ranking eunuchs in the empire,” plots against the boy emperor. Kong asks a younger eunuch to spy on the Empress Dowager. "Punishment for spying was swift, but Kong could turn his life into a living hell within the vast world of eunuch slavery, where having a patron, or an enemy, could make all the difference."

“The fear of government officers colluding or military commanders conspiring was deeply entrenched, so the [Ming] monarchs introduced a third element into the system of governance: the eunuchs. Grand eunuchs held as much power as a government minister or a general. Sometimes powerful castrates held dual appointments such as military and civilian. This had led to systemic rivalry between the three institutions – the civil service, the military and the eunuchs. The eunuchs were personally appointed by emperors and thus were not accountable to the official hierarchy of the government.”

Emperor Yong Le’s son Emperor Hong Xi had given formal education to the eunuchs. This increased their power. But they were still slaves. “The power of the castrates was not usually formalized, but depended largely on their relationship to the royal family.”

Grand Eunuch Kong Wei wears “the uniform of a high-ranking eunuch.” He watches the scribes issuing edicts, actually given by the Empress Dowager, but given the seal of the Emperor. He thinks to himself: “I am a slave, a highly prized animal in a gilded cage.” He goes on to reflect:

“He had seen how eunuchs rose and fell, good, dependable men who served with distinction discarded as political scapegoats. Often emperors put blame on their most loyal of servants, the eunuchs, to appease the military or the civil service. If they were lucky, they were demoted to become the ordain of tombs and if not, they were imprisoned and executed after years of dedication. In his mind eunuchs were the most dedicated simply because they had nowhere else to go. Their fate rose and fell with an emperor’s favor, hence they always worked hard to gain it. But emperors were political creatures who had to balance the military and the bureaucracy and sometimes the Son of Heaven had to throw his hunting dogs a bone to appease them. Few grand eunuchs had died holding their post. The grand admiral Zheng He who died at sea was a rare example.”

Physical appearance

One eunuch is described as "lean and tall," and when he is considered together with another eunuch, it is said that "both of them had smooth cheeks that hardly ever needed to be shaved once their bodies had been altered by castration. They were both high ranking and powerful taipans ‘castrates’, and as they spoke their voices sounded too high for ordinary men.” Referring to someone as wearing the uniform of a "purple tunic" was understood to indicate that he was a eunuch.

At the end of the novel, one of the eunuchs killed in combat is said to have an “Adam’s apple.” It is worth noting that the Adam's apple of a male castrated before puberty would typically resemble a female's.

Feelings

One eunuch reflects on how he “had seen how eunuchs were treated as emotionless creatures just because they were sexually neutered.”

Ten-year-old Wang Zhen equates being "made castrate" not with his physical castration but with his social emasculation:

“He was sold. He had failed to protect his brother. He had been weak and defenseless.

He was made castrate.”

Eunuchs do not have romantic or sexual relationships in this novel. The only brief mentions of the topic are contradictory. In one place: “Contrary to popular belief, castration did not eliminate a eunuch’s sex drive, the mutilation merely preventing them from impregnating woman. [sic] Some of the devious ‘half-men’ used their positions to extract [sexual] favours from desperate concubines.” Later, Grand Eunuch Kong’s speech: “We may not feel sexual desire anymore but we yearn to have families too.”

Rebellion

When the carnage begins in earnest:

“All the corpses bore the same mutilation: their body structure was clearly male but they had no genitals. Their pubic area bore pink, rough scarring, a sign that the flesh there had healed from a hideous wound. They had a hole to pass urine, but it was not finely shaped and delicate like a woman’s vagina. The opening was rough, deformed and had a wooden plug inserted to prevent urine leaking. It was a known fact that castration damaged the genital nerves, rendering the victim incontinent. It was the only thing that gave a clue to who they were. In fact, it was conclusive. Such a mutilation was reserved for only one class of people in society.

They were eunuchs. Sold at a young age into a life of humiliation, the deceased were people who had suffered in life, and they had not chosen the path that led to their dying tonight. Zhao and Li did not miss the significance of the disfigurement as they observed the dead bodies.”

The dead eunuchs are called huanguan (‘half-male servants’) by those standing over their bodies. The massacre is seen as an indication that the palace believes that eunuchs are plotting against the whole Eastern Depot and ultimately the emperor.

Ji Gang, commander of the Eastern Depot, explained that the Empress wanted “a strong regent to bring stability, someone who is not tainted by the influence of the eunuchs. The past emperors were firm, and the castrates, though powerful, behaved.” With the death of Jian Wen, “there is no longer a soft option to deal with the eunuchs.” They might have to be massacred to the last man. “But the eunuchs are so entrenched in the system it is like a disease. To fight them, you may have to destroy vital organs in the process.”

On a boat, Ji Gang says “Bring all the eunuchs before me.” Four men are brought before him. He commands them: “Strip,” and three are revealed to be castrated. He ordered them pushed overboard. They protest: “What have we done? Spare us! We are good sailors," but they are tossed over nonetheless. A man challenges his decision immediately after the fact: “There are thousands of eunuchs. Is every one of them your enemy?” Ji Gang replies: “I do not know if they are innocent or not, but I cannot take that risk. I must assume any one of them could snitch and reveal your identities.”

To fight back, the Western Depot forms its own eunuch army of "secret police" trained in combat and sorcery. Ji Gang comments, “Just because they don’t have balls does not mean they can’t fight. But what makes them deadly is their utter loyalty to [Grand Eunuch] Kong.”

It should not come as a historical surprise that the Ming Dynasty prevails over the eunuch rebellion.

Sunday, November 1, 2015

The character of Jana in 'Dance of the Eunuch'

“Dance of the Eunuch” is a short story by Jehangir Bux published by Amazon in 2013. The story begins with “the first get together of the Emerson College dramatic society.” They gather with instruments including a harmonium and a Dijree Doo. This “boy’s college” does not allow female singers, so a boy named Luddan ties ghungroos to his wrists and takes a woman’s role in the performance.

Later, another performer appears who identifies himself as Jana. His father explains: “Jana was born a eunuch...At first we kept it a secret...In school it could not be hidden any longer, soon every schoolfellow started taunting him and he gave up going to school.” Jana has been rejected by his siblings, and his father fears that “now he has started to team up with other eunuchs.” The father is aware that eunuchs “go to marriages and shrines to sing and dance and take part in devotional songs, and other things are said which are too horrible to believe.”

Jana confesses having voluntarily become addicted to Pethidine injections. When asked: “Is it worth while killing yourself?” Jana responds, “It is worse, I can never be a man. I can never love a woman, much as I want her.” Jana would like children of his own, and grieves that his brother’s wife “does not want even my shadow to fall” on their baby son. “I can only have make believe love,” Jana says, saying he’d rather live with eunuchs in squalor than in luxury with his own family who rejects him.

Sunday, December 28, 2014

Jack Sullivan in 'Jackfoolery' by Mark Johnson (with spoilers)

In Mark Johnson's short novel Jackfoolery, eccentric 52-year-old billionaire Jack Sullivan launches his politically independent presidential campaign in the American West during the Clinton years. He has a Purple Heart from the Vietnam War from which he returned as a young man of about 20 without his penis and scrotum, having been hit by a projectile. Jack thinks about “the track so chaotic that no god can decipher or compel a reason for it, like the mystery of a particle’s position, the unknown ‘why,’ the profound ‘why’ – the ‘why’ which first occurred to him the day the doctor had told him his balls were blown off.” He thinks about how, if he’d just been standing in a slightly different place, the outcome might have been different. He ruminates

“until his thinking became a scar slashed across his psyche, a cascading chorus of watch outs that would often raise its spectral head in the years to come and send him sliding down a path of paralysis, fearing the moment and its consequences. It was a weakness he’d never told anybody about, and at times it would parade him through a series of tasks like a prisoner shilling for his captor, a puppet of uncertainty dancing to a distorted causality, cowering before the great unknown.”

His wife Gail recalls “all the early years of his anguish, cajoling her to have sex with others, like it was the only reasonable approach, the only fair thing.” They never have a child, however. And Gail feels he did not really want this approach:

She is quite certain that in Jack, as in other men she’s known, the reaction to the possibility of unfaithfulness is physiological. She has seen the eyes on fire, the body drawn forward, fists clenched, the rock hard ends of clubs ready to beat the intruder, the interloper, into senselessness—cut off his testicles and raise them to the heavens in triumph: “I have cut off your testicles, you are no longer a man, your sperm will swim no more forever in the great river of life. Such is the way of things.”

Eventually, they achieve their new normal. When Gail is asked, “So what’s it like being the wife of the world’s most famous eunuch?”, she replies, “It’s exciting,” and then elaborates, “Well, Jack’s running for President, you know.”

Jack does not initially have a platform. He is opposed to lying, including obfuscations for the sake of social grace. He is ambivalent about adultery and whether it can be considered wrong in all situations. He is appalled by President Clinton's lie about his adultery – more because of the lie than by the subject of what was lied about. As the press continues to ask him what he believes in, he begins with estrogen-mimicking chemicals used in agriculture. “So if I was you,” he warns, “I’d make sure my wife and kids were as far away from my fields as possible, unless you want your boys running around with little teeny peckers not knowing where to put them.” He moves on to a stream-of-consciousness medley of other topics that temporarily grab his philosophical interest, some of which indeed have potential to be of some national interest, but none of which are addressed in a politically pragmatic or effective way.

In his initial public speech announcing his candidacy, Jack appoints Dr. Harvey Streem "to serve as my personal physician with the delicate task of tailoring my hormonal levels”. Jack’s truck is “followed by Doc Streem’s truck with its cross and syringe and ‘better government through hormones’ declared on the doors.” This seems rather like stars who travel with a personal stylist, except in this case, he has a “world famous endocrinologist”. Doc Streem gives him daily injections in the buttocks, and Jack gives him daily feedback about his sex drive. Doc Streem

"is worried about Jack, about the none-too-subtle requests for increases in his testosterone levels. He recalls having read about ‘phantom limb pain’ in Soviet medical literature and is wondering if Jack is experiencing something on this order…If he recalled correctly, the literature said that by conjuring up images of past sexual experience, often with the aid of hypnosis, over time the amputee could develop the ability to create a kind of virtual event that could bring his prosthesis to life."

He calls one of them “Love Potion #9,” which combines “testosterone and estrogen with a mild mood enhancer, highly recommended by the visualization people,” and he takes Jack’s blood pressure immediately after injecting it, whereafter Jack “visualizes himself whole.”

Streem also gives “a minimal dosage” of testosterone to one of the women in Jack’s entourage at her request: “just a little edge, a little fierceness enhancer,” she thinks. “So she had consented, and struck, and now she would never be the same. She had crossed the threshold, like the young boy who raises his fists against another and triumphs, who walks away with chest puffed out, conqueror, king of the jungle.”

Jack tells others: “Look at FDR, poor bastard couldn’t even walk. And me, I’ve got my artificial, and ol’ Doc Streem’s injections make me just about normal. And it’s kind of metaphorical, you know, after Vietnam. So I can empathize. I am Eunuch, you know, like what’s her name sings.” (This seems to be a reference to Helen Reddy’s song “I am Woman, Hear Me Roar.”) He then offers to drop trou to prove his status.

There are three extended references to Jack's ability to urinate, which he does gleefully on display for reporters. In the first case, he "disconnects the plastic tube running to the contoured plastic bag velcroed to his leg, dumps the contents into the john, scratches the emptiness between his legs and comes out singing, “Sixteen horses beating on their trumpets...ba ba...ba ba...ba ba bababa ba...and where are you tonight, Sweet Marie.” In the second case, standing next to a tree, he “extracts the end of a rather long hose that is attached to the Streem-designed catheter bag strapped to his leg. Then he flips the switch on the CO2 cartridge attached to the bag, unclamps the hose...” He explains that he was tired of having to “rely on gravity” and wanted the device to give him an arc. “You see, I think it’s important for a man to piss outside now and then. Unfortunately, there’s all too few opportunities for that now. So, I’m going to address that problem when I become President.” In the third case, it is stated that his catheter "doesn’t drain the bladder directly. His sphincter muscle still works, so the tube has been attached downstream from that so he can still piss, although all he’s holding in his hand is a length of plastic tubing with a stopcock on the end.”

When he considers a flaccid prothesis again for appearance's sake, using an adhesive to the skin, his wife Gail says she thinks it’s unnecessary. Jack says,

“Yeah, I guess I’m being silly. And anyway everybody would know it was fake, like a rug, or a bunch of those silly plugs stuck on top of your head. I suppose it’s just this middle age shit. You kind of think you’re immune from it, being a eunuch and all, but I guess it can even transcend that.”

Erect prostheses, on the other hand, are something of which he has many. They are replicas of both penis and testicles, carved entirely of wood and mounted on wooden base plates with leather straps. He keeps them in leather cases. One of them is hung from the headboard of a bed in an attic at a Yale sorority.

"Twice a year the room in the attic was opened—once at the end of pledge week to introduce it to new members, and then again the night before final exams began, at which time it was purported to acquire magical powers. If kissed it was said to assure success in final exams. Of course there were all kinds of rumors about its other magic powers..."

The press reports: “Rumors have been circulating all week that Sullivan intends to either drop his drawers to validate his war injury, or read a list of powerful people in the political world who have purchased his dildos."

He says on camera: “You see, as President, I think it is important that a man, or woman for that matter, has balls.”

RIP Jack, felled by Love Potion #9, the end of the road for him.

Wednesday, December 10, 2014

The false eunuch's end of innocence in 'The Northumberland Shepherd'

The Eunuch: Or, the Northumberland Shepherd is a short story published in London in 1752 by an anonymous author. The preface suggests it is a fictionalization of a true story; the author's intent was to expose a moral issue without exposing the actual people involved. The prose is a little rough around the edges but serves the purpose of the "false eunuch" farce well enough.

The fictional narrator, Harry Collison, grew up sleeping outdoors in a bucolic environment in Northumberland in England. He was the oldest of five children raised on a diet of bread and water. When some visitors from the nearby castle overheard the fourteen-year-old boy making music, they bought him from his parents for one crown and brought him into their wealthy household. He was primarily entrusted to a thirty-something woman as his music teacher, her husband being frequently absent; they had a daughter about his age and a couple of female servants.

At seventeen, Harry was "thin, and of an effeminate and clear countenance…and called handsome." One night, his mistress—who is never given a name—pretended to be afraid of some noises in the house and crawled into bed with him. "Harry," she said, "you know your father told me at first, how it was with you…such a one as you are, is next of kin to one's own sex…I have nothing to fear, I am sensible of your defects, and pity you." Although he did not understand her words, she was implying that she had always believed him to be a castrato, and that she believed he could not impregnate her.

The next day, she explained to him, stammering all the way around the embarrassing word, that she believed "you was an—such a sort of a—that is—one of those—that—like a keeper of the eastern kings [sic] mistresses—or as—like the Italian singers at the opera, whom you have heard, when you have attended me thither—that is—they call them—eunuchs." She argued that his father was at fault for misleading her, and that, since their affair had already begun, there was no crime in continuing it.

Eventually, she became pregnant. So did her teenage daughter, Dolly. So did their servant, Betty.

Whereas the mistress seemed to have schemed, lied, and manipulated, the servant seemed to be genuinely naïve. Even after having slept with Harry, Betty wondered how she could possibly be pregnant, once again stammering around the forbidden word: "only—because—some people—were not like other people—" Learning too late that he was not a eunuch, she dismissed him as a "base deceiver."

While the master of the house never learned that his wife's child was by their "castrato" slave musician, and while the servant simply left the employ of the house to give birth privately, there was no way to hide the fact of Dolly's pregnancy. The girl lay in bed for months, pretending to have dropsy, but at the end there was a baby. Harry was obviously implicated, and he fled the house to avoid the wrath of Dolly's father, his master. Dolly was sent overseas to stay with a family member.

Harry lodged with a barber (the unstated irony being that barbers during this time period also served as professional castrators of musically talented boys). The barber disguised Harry as an old man, such that he was able to make a living as an itinerant singer under the nickname "Old Daddy."

Returning to the castle, he privately sang his old songs for his mistress so she would recognize. He expressed no remorse for having gotten three women pregnant and showed no curiosity in the offspring. (His mistress's young son, named after him, was presumably in the house, but wasn't mentioned to the reader.) Rather, Harry only wished to blame his mistress for spreading the false story around the household that he was unable to father children.

Harry quickly completed an "honest marriage" with a woman he had just met. She did not know his name until she accepted his marriage proposal; the reader is never told her name. There the story came to an end, with the author's warning: "The man who purchases an house, considers how long it may stand, and rates his price accordingly; but he that purchases only sinful delights, neither knows their continuance, or the price they will cost him."

The reader may find it odd that, of Harry's four love interests, the two with the most significant speaking roles remain nameless. Not only does it seem a bit odd that Harry's real gender status would have remained secret for years, given the eventual importance of this information, but it is nearly incomprehensible that Harry was unaware that everyone in the household believed him to be a eunuch. Harry's callous, teenaged indifference to his conquests is a little off-putting, and the author's intended moral lesson is unclear.

This is a peculiar example of a story sold for a shilling in the mid-eighteenth century, and it is amusing to imagine how people might have read it aloud and acted out the silly dialogue for entertainment.

Originally posted to Helium Network on Sept. 18, 2012.

Image: An Italian street musician in 1877. From `Street Life in London`, 1877, by John Thomson and Adolphe Smith. © No known copyright restrictions. LSE Library. Flickr.

An omniscient narrator’s insight into Vicente Herrasti’s fictional eunuch

The eunuch character Akorna is vital to Vicente Herrasti's Spanish-language novel "The Death of the Philosopher."

Vicente Herrasti's novel "The Death of the Philosopher (Acarnia in the Distance)" - "La muerte del filosofo (Acarnia en lontananza)" - imagines events following the death of the fifth-century B.C.E. Greek philosopher Gorgias. Published in 2004, the Mexican author's book does not seem to have been translated from Spanish into English yet, except for the first chapter which was translated by Sylvia Sasson Shorris and can be read free online.

The main character is Akorna, a faithful servant of the aged philosopher during the last years of his life. When Gorgias finally dies, the soft, unsuspecting slave is cast to the whims of much harder men who are interested in the philosopher because they suspect he has died with a hidden fortune. 

The omniscient narrator knows - or at least claims to know - the thoughts of Gorgias, Akorna and all the other characters. The reader is therefore privy to their schemes and knows when they are lying to each other. Generally, the narrator does not seem to attempt to judge or mediate the characters' thoughts, although proverbs are frequently quoted from Gorgias' masterpiece "Exhortation to Obedience."

Missing 'source tags'

A phrase such as "Akorna thought..." might be referred to by cognitive scientists as a "source tag," according to Lisa Zunshine in "Why We Read Fiction", in the sense that it attributes the information that follows to a particular source, that is, a particular person. The narrator of "The Death of the Philosopher" often omits these source tags.

So, for example, while Akorna tends the dying Gorgias, the narrator tells us, "there's no room for doubt: the scent of laurelberry would cling to Akorna to the end of his days." Following the narrator's implicit claim to know Akorna's present or future thoughts, he adds: "No more fig compote, wild mulberries and honey; no more rations of clean water with bran..." Is this a simple statement of fact: There will be no more fig compote? Or is it another statement about Akorna's mind: Akorna imagines never bringing fig compote to Gorgias again and perhaps never eating it again, but he might be mistaken?

One of the characters is a captain who, in one instance, reflects about the uselessness of poetry immediately before great violence. It is difficult to tell whether the reader should trust that this is indeed the captain's sentiment or if there are layers of interpretation that should be credited to the narrator or the author. Of course, as this is a work of fiction, there are no facts about what anyone "actually" feels in the sense that none of the characters actually exist. It is historical fiction based loosely upon the life of Gorgias, who did really exist but about whom little is known. The omniscient narrator's voice has a way of flattening out the distinctions between different characters' minds, emphasizing that a story is being told, but resisting too much inquiry into how the narrator came to know who was thinking what.

The eunuch, 'el acarnio'

Akorna's master has always erroneously called him "el acarnio," a reference to a mountainous region in central Greece. This region as it is described in the comedy "The Acharnians" by Aristophanes, a contemporary of Gorgias, is usually translated as Acharnania, but translated into Spanish by Angel Maria Garibay it became "Acarnia," and this is what Herrasti chose to use, according to the book's glossary. Herrasti's term "el acarnio" is also wordplay on the lack of carnal drive, as Akorna is a eunuch. He never corrected his master during his ten years of service until finally he stood over his corpse and uttered his true name.

As an unassertive, uneducated slave, Akorna is picked on by other characters and further derided by the narrator for being a eunuch. "The eunuch's intellectual faculties weren't much better than those of his comrades in misfortune," the narrator says, meaning he's no brighter than the average eunuch, but qualifies it by adding that the philosopher had treated him as if he were educated. He is described as a "man without manhood" ("hombre sin hombria"), fat and unfeminine, having been castrated after puberty.

Frinico, a man who shows sympathy to Akorna, has never seen a eunuch before and wonders things like "Was the castrate's laugh a final fleshly caprice, his minute legacy?"

Akorna's devotion to his master

Frinico is aware that others are interested in ascertaining the location of Gorgias' fortune. Akorna, who cries even thinking about profaning his master's tomb, has no idea that his life is at risk until Frinico warns him, even though he has been treated poorly since Gorgias' death to the extent that men have wiped their hands on his hair, forced him to stand the longest in the extreme heat next to Gorgias' funeral pyre and chained him up. The slave has wished he were dead, but he does not contemplate suicide.

Before losing consciousness next to the funeral pyre, Akorna hallucinated that the pages of the "Exhortation to Obedience" were stored in his wounded area, under the skin where his glands used to be. This is an access to a very private mental detail about which the reader might imagine that even Akorna himself might not remember after reviving. This contrasts the book with Gustave Flaubert's historical novel "Salammbo", set in the third century B.C.E. in North Africa, in which the eunuch high priest Schahabarim is described almost entirely in terms of his outward behavior, and the reader knows very little about what that character privately thinks and feels.

A well developed eunuch character

It's hard to find books with well developed eunuch characters. Herrasti's short novel, with a rich Spanish vocabulary, is a worthwhile read.

Originally posted to Helium Network on June 17, 2012.

Image: Bonfire at the Feast of St Jean. © Creative Commons Attribution-Share Alike 2.0 Generic license Wikimedia Commons.

'The Keeper of the Bed': Unpacking the complex history of eunuchs

Charles Humana's book The Keeper of the Bed: The Story of the Eunuch (1973) is a curiosity that is worth a look by anyone who is interested in how eunuchs were depicted throughout history. Born in Nottingham, England in 1921, Humana – born Joseph Jacobs – was a human rights advocate who authored several books and died in London in 1992. "Keeper of the Bed" strikes a confident tone, but it will leave the careful reader with many questions.

Humana quips that the eunuch is often thought of as "a human pterodactyl or dodo," that is, as "one of the extinct creatures of the earth". He emphatically rejects the common assertion that they were a "third sex," although he does not fully explain what he means by that. His only elaboration is that it is more correct to perceive them as "deprived men" rather than as transformed beings.

The text demonstrates that Humana is well-read in his subject matter. He drops many key references and provides a bibliography. For anyone who wants to begin studying the history of eunuchs, this book is a good selection, insofar as it provides excerpts of important works and thus can almost be counted as an anthology. The reprinted works include: Giacomo Casanova's memoir of Bellino; six tales from Richard Burton's "Arabian Nights"; G. Carter Stent's essay, "Chinese Eunuchs"; and some of the "Persian Letters" by Baron de Montesquieu. There are also lengthy quotations from Charles Ancillon's Eunuchism Display'd and from travel writer Paul Rycaut.

Humana recognizes that eunuchs are the victims of much misunderstanding. Although he writes that "historians from Herodotus to Gibbon, in sharing the common prejudice, have fallen short of their usual objectivity," he does not escape employing this prejudice himself, insofar as he makes many generalizations. He observes from the outset that "writers from Xenophon to Burton, from Juvenal to Montesquieu, contradicted each other," but his book winds up simply citing anecdotes and publishing long passages without the level of critical analysis that could resolve these contradictions. In short, he sees prejudice and falsehood, but doesn't answer either.

"Historians and writers, court officials and ordinary people, were almost unanimous in regarding them as monsters and freaks," he writes, "their mutilation seldom accepted with the sympathetic concern shown to those who had lost legs, or arms or sight." He points out that the ancient world treated eunuchs as comic figures on the stage, but never as weighty tragic figures with deep human motivations. He acknowledges Montesquieu's fiction as having been "distinguished by treating the eunuch as a human being rather than as a totally evil creature."

He calls Richard Millant's Les Eunuques à travers les ages, published in 1908, "the most recent comprehensive work," yet says it is "nevertheless misleading since it is one of a study of sexual perversions." This is confusing. If he believes that Millant's book grossly misidentifies as a sexual perversion what should be properly understood as the product of war, slavery and sacrifice, how could he possibly call Millant's book "comprehensive"?

At the beginning of "The Keeper of the Bed," Humana identifies three reasons for castration. The first reason is war, or more precisely, "vengeance on a fallen enemy." The second reason is slavery, because castrated slaves were preferred for their "practical advantages" in certain roles; namely, in societies that segregated men and women, castrated men filled critical gaps as messengers and guardians. The presence of eunuchs enabled a particular institutionalized form of segregation. The third reason is ritual sacrifice, usually of one's own body or sexual urges, to appease a god.

This short list of reasons is manifestly incomplete because, later on, the book acknowledges many other reasons for castration. Retributive violence is not always confined to war. The theologian Abelard was castrated as punishment for having married illicitly, the eunuch Hermotimus took vengeance on his castrator and the man's sons, and slaves could be punished for any number of transgressions. Slaves may, of course, have been castrated for reasons unrelated to their service; not all were deliberately castrated for the purpose of serving a particular role.

Furthermore, some slaves were castrated to groom them for sexual roles (as was Nero's concubine Sporus), purposes that are not quite covered by the term "practical advantages." Some men were coerced by poverty or family pressure into seeking employment as eunuchs, as was common in China. Some wearied of married life or sexual urges, independent of any religious belief. Some were castrated by illness or accident. Some were guinea pigs for the Nazis. Some were castrated by doctors who more genuinely believed that this treatment would ameliorate their physical or mental problems. Overlapping with this category are individuals who identified as women and elected castration (or were pushed toward it) as an attempt to address their gender identity. Of these, Humana drops just one example at the end of the book: a Norwegian adolescent in Johan Bremer's book Asexualization (1959). Humana, however, rolls this case study into the category of "homosexuals" mistreated by doctors, and he does not tease out any further implications about gender identity, even though the quoted passage indicates that this person said he felt more like a girl and requested to be castrated.

Again, Humana acknowledges all these stories within the book – he just fails to analyze them, and therefore never knits together a complete list of all the reasons for castration. He explicitly provides a partial list and implicitly provides the rest.

Even his title, "The Keeper of the Bed," is a misnomer, because the book does not solely examine the Persian and Chinese harems. The book includes, for example, Italian singers. His repeated stylistic reference to "the eunuch" is a misleading generalization, because obviously there was more than one kind of eunuch.

A recent critical reaction to "The Keeper of the Bed" can be found in Gary Taylor's book Castration (2000) in a footnote to page 17. Taylor groups Humana's book with similar histories: Peter Tompkins' The Eunuch and the Virgin (1962) and Victor T. Cheney's A Brief History of Castration (1995). Taylor complains that these three books "were all written by amateur scholars with sometimes peculiar agendas." Humana, he complains, "included sixteen (mostly soft-porn) illustrations, uncritically accepted the universal validity of Freud's castration theories, and began and ended his book deploring 'the certainty' of vasectomy becoming 'compulsory in a future era', thereby producing 'dull generations of future sterile males' and 'submissively sterile' husbands. There is, of course, no evidence that vasectomies produce dullness or submissiveness." These sorts of books, Taylor goes on, "pay little attention to current scholarship on the texts they cite or the cultures they describe; they are essentially sensational and anecdotal."

The anecdotes in "The Keeper of the Bed" are divided by theme: "The Eunuch Through the Ages," "The Eunuch as Fantasy," "Eunuchs of East and West," and "Heaven and Earth Eunuchs." Humana wrote introductions for each part, but he did not write conclusions, nor a conclusion for the book as a whole.

One of his skimpy, faulty analyses appears in his claim that "In all societies the eunuch was involved in homosexual relationships. Those who were castrated before puberty…were the delight of paederasts, while those who had full-grown organs…offer their favors to both men and women. One can therefore conclude…that both passive and active castrati had opportunities of leading busy sex lives." The first comment is ambiguous: surely some, but not all, eunuchs had sex with men. The second comment is unduly restrictive: why should the age of castration determine whether someone is capable of heterosexual feeling and behavior? The third comment is tautological: to speak of "passive" or "active" in this context is to describe a kind of sex behavior, and if the person had a sex life, then of course he had the opportunity to have a sex life. (Never mind that, for slaves, some of these "opportunities" were compulsory.) A more meaningful paragraph would have acknowledged broad possibilities of sexual diversity, including celibacy.

"The Keeper of the Bed" is surely not the last word on historical eunuchs. Only half of its interest value lies in the anecdotes about the eunuchs themselves, while the other half lies in the meta-analysis of the authors' attitudes and assumptions. For those who are interested in both, the book provides ample fodder.

Originally published to Helium Network on July 25, 2013.

Rambling history and exotic fancy: ‘The Eunuch and the Virgin’

The Eunuch and the Virgin engulfs the reader in a cloud of heron and emu feathers and provides distraction from everyday life with tales of adulterers hanging from their guilty parts, jerid polo games, sacrificial victims allowed to bleed out into the sown fields, ambergris sherbet, ominous holes cut in sheets and scrotal relics like dried figs. A few sentences of Tompkins's purple prose frosted in French as the cord pulls round your neck and the knife gleams — and you are under his spell.

Peter Tompkins (1919-2007) worked as an undercover agent for the Allies in World War II and, in 1962, he published this fascinating volume about the lives of castrated men. Unfortunately, at least initially, it seems to have no animating argument. Tompkins culled an astonishing number of anecdotes from history and literature and plumped them with exotic detail. The result is something like a creme-filled pastry that has little nutritive value.

What is missing from the book

There are no illustrations in the book, which is not a problem — as the verbal richness is picture enough — and yet something deeper is missing. There is nothing about the political systems or social stratification that enabled castration on a large scale. There is no attempt to enter the mind of a castrated man and understand his psychological experience. There is no thread unifying the castration of boys and men for religious or secular reasons, for harems or choirs, in war or peace or in East or West. There is no justification of why these diverse occurrences can all be contained in the same book. He writes about castration itself and relatively little about its context. "The history of Byzantium reads from one castration to the next," he writes. Indeed, the entire world could be so enumerated, if that is how one chose to write history; the question is why Tompkins has chosen to do so.

Many useful books are long on catalog and short on argument; they are called encyclopedias. These, however, are systematically organized. Tompkins nearly made a small encyclopedia of eunuchs in "The Eunuch and the Virgin". The bulk of the text is separated into chapters by geography, but within these chapters there is no consistent chronology, such that one can never be sure what century it is when a new paragraph starts. There is no index of names. This format gives the reader no choice but to plunge into the book and enjoy whatever he or she may find along the way, and thereby creates an air of continual surprise and discovery for the enthusiastic reader. On the other hand, the wondrous, loosely connected details can frustrate the reader who desires not only a barrage of lewd and morbid titillations but a grand organizing thesis of the meaning of it all.

How 'The Eunuch and the Virgin' is unique

Upon his death in 2007, the Times of London published an obituary for Tompkins referring to "The Eunuch and the Virgin" as simply "an account of the Turkish harem tradition." It is far more than that. The book opens with an introductory chapter that surveys eunuchs in many cultures. Then there is a chapter dedicated to China, four chapters on Turkey (white eunuchs, black eunuchs, harem girls and the sultan), a chapter on the Italian castrati who sang in churches and opera houses, a chapter on the Russian Skoptzy who were a Christian sect, and a chapter on ancient Roman and Greek cults. In scope it exceeds the early eighteenth-century "Eunuchism Display'd" which only dealt with eunuchs in European history from ancient Rome through the castrati. Eventually, Tompkins does attempt a sort of conclusion across the final four chapters, but unfortunately it does not contribute to scholarship on either the history or the mythology of castration.

The first of the frighteningly rambling concluding chapters begins: "What on earth - or in heaven - could motivate human beings to act in such a fantastic manner?" This is a good part of what the inquiring reader wants to know, but it is not answered. Tompkins launches into mythological symbolism as explicated by Joseph Frazer and others regarding the cycle of seasons, the chain of being, the identity of Venus and the moon, and so forth, with the ultimate takeaway being unclear. Is the reader supposed to take this cosmology literally? How do the planets relate to castration more so than to other any human foible or endeavor?

In the second of the concluding chapters, he presents some of the fringe theories of the astronomer Velikovsky. Tompkins cites Velikovsky and Bellamy's claim that myth is a form of eyewitness report rather than a form of symbolism and, therefore, myth may be treated as history. In the third concluding chapter, his unscientific bizarrities increase to claim that "orgone," a non-existent form of energy proposed by Wilhelm Reich, makes the sky blue and that Ethiopians are dark-skinned because of the heat from a comet. "Having traced the Eunuch and the Virgin into the mist and myth of the antediluvian world," he writes, "the quest for the origin of castration now leads into the twilight of poetry and psychology, and beyond it, into the rarefied ether of the pneumatologist and mystic." In a breathless, incoherent, prolonged rant about dodecahedrons, cosmic eggs, sacred androgynes and horsemen of the Apocalypse, "the origin of castration" is never addressed.

Update, March 16, 2025: This just came to my attention: In Earth in Upheaval, Velikovsky quotes Charles Fredrick Wright about the "discovery" of the Nampa figurine. The quoted passage mentions G. M. Cumming by name.

Better sources

Although "The Eunuch and the Virgin" can serve as a starting point for gathering the names of eunuchs in various times and places, it goes without saying that serious historians would do better to go directly to Tompkins' sources: Carter Stent and Vincent Starrett on Chinese eunuchs, Barnette Miller and Norman M. Penzer on Turkish eunuchs. With this acknowledgment comes the disappointing realization that the immensely entertaining first half of Tompkins' book is infected by his strange methodology of giving every ancient anecdote equal weight as if it were literal truth. Yet somehow, this does not diminish the inimitable joy of reading his exquisitely exotified turns of phrase nor the excitement in his creative attempt to produce a cross-cultural compendium of castration.

This article was originally posted Aug. 30, 2011 to Helium Network.

Image: Advertisement for "Murad" Turkish cigarettes, Life Magazine, May 2, 1918. Uncredited artist. © public domain Wikimedia Commons.

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