Aristonicus of Pergamum: Rise And Fall

The content details the historical events surrounding the rise and fall of Eumenes III, also known as Aristonicus, in the kingdom of Pergamum. It explores the political turmoil and power struggles involving Rome, rebellions, and military confrontations. The narrative also touches upon the potential for a compelling play or opera based on these events, with a focus on the character development of key figures. The text is supplemented with an excerpt from a possible libretto, where Aristonicus reflects on his fate. Overall, it provides rich material for dramatic storytelling, combining historical significance with personal introspection.

A snippet of Aristonicus’ story as “opera.”

The Roman Prequel: Tiberius Gracchus and the Bequest of Attalus III

In the late 130s BC, Tiberius Gracchus, serving as a tribune in Rome, emerged as a polarizing figure through his vigorous advocacy for the passage of the lex agraria. This legislation aimed to redistribute land from the affluent elite to the impoverished masses, engendering substantial animosity among the propertied interests. Reflecting the entrenched hostility of these interests, the Roman Senate obstructed the law’s implementation by withholding the requisite funding, thus stymying Gracchus’ reformist agenda.

In 133 BC, the political tensions reached a crescendo when Tiberius Gracchus “accepted” the bequest of Attalus III of Pergamum. Upon his death, Attalus III bequeathed his kingdom, personal treasure, and royal estates to the Roman people. This testament explicitly excluded the city of Pergamum, other Greek cities with their respective territories, and temple lands from the bequest. Gracchus sought to employ this newfound wealth to finance his agrarian reforms, viewing it as an opportunity to alleviate social inequalities. However, his opponents perceived this maneuver as an audacious encroachment upon the Senate’s prerogatives and an exacerbation of the threat to property rights and societal propriety.

Kingdom of Pergamum circa 188 B.C. under the Attalid Dynasty
The Kingdom of Pergamum, located in Asia Minor, was ruled by the Hellenistic Attalid Dynasty. This dynasty was founded by Philetairos, who ruled from approximately 282 to 263 B.C. In 188 B.C., the kingdom greatly benefited from the Treaty of Apamea, whereby the Roman Senate granted Pergamum extensive territories formerly held by the defeated Seleucid Empire.

In the wake of these escalating tensions, Gracchus’ adversaries felt justified in resorting to extralegal measures. In a purported “defense” of property and societal order, they orchestrated the murder of Tiberius Gracchus and unceremoniously disposed of his body in the Tiber River. A subsequent purge of his followers from the political sphere ensued, marking a dark chapter in Rome’s history. This brutal response underscored the lengths to which the conservative elite were willing to go to preserve their privileges and stifle reformist efforts.

The Challenge to Attalus III’s Bequest in Pergamum: Rise of Aristonicus

The statue of Aristonicus, known as Eumenes III, King of Pergamum between 133-129 BC, which stands in the city of Pergamum, now known as the city of Bergama, Turkey.

Meanwhile, in Pergamum, Aristonicus, the half-brother of Attalus III and son of Eumenes II and a harpist or lyre-player from Ephesus, declared his intention to seize the throne of Pergamum by right of his lineage, irrespective of the intentions of Attalus III and the Romans. Adopting the regnal name Eumenes III, Aristonicus garnered significant support, amassing both troops and ships, and commenced his campaign to conquer the kingdom of Pergamum. Initially, he achieved notable successes both on land and at sea. He raised the standard of uprising at Leucase, Phocaea joined him, and he conquered Colophon, Notium, Samos, and Myndus. His efforts were further bolstered by his ability to secure sufficient precious metals and strike them into coinage, as evidenced by the cistophorus illustrated below. The coinage series, and its significance, is discussed in an interesting 2021 article written by Lucia Carbone, “A New-ish Cistophorus for the Rebel Aristonicus.”

Reverse of AR cistophorus of Eumenes III of Pergamun featuring two coiled serpents between bow-case and bow. BA EY, a winged thunderbolt above the bow-case and a beardless male head in field right. ANS 1944.100.37579 American Numismatic Society

Roots and Support of Aristonicus’ Uprising

Aristonicus’ uprising was fundamentally rooted in the succession crisis following the death of Attalus III. As an illegitimate son of Eumenes II, Aristonicus claimed the throne of Pergamon under the name Eumenes III, challenging the Roman claim based on Attalus III’s testament. His campaign can be viewed through several lenses:

  1. Dynastic Claim: Aristonicus presented himself as the rightful heir to the Pergamene throne, contesting the Roman-imposed transition. This dynastic legitimacy resonated with certain segments of the population who were loyal to the Attalid lineage.
  2. Social and Economic Grievances: The uprising tapped into widespread discontent among various social groups, including disenfranchised citizens, slaves, and other marginalized populations. Aristonicus’ promise of social reform and liberation found a receptive audience among those dissatisfied with the existing social and economic order.
  3. Anti-Roman Sentiment: There was considerable resentment towards Roman interference and the impending direct control over Pergamon. Aristonicus’ resistance symbolized a broader opposition to the expansionist policies of Rome and its impact on local autonomy.

Support Base

Aristonicus’ supporters came from diverse backgrounds, reflecting the multi-faceted nature of the uprising:

  1. Disenfranchised Individuals and Slaves: A significant portion of Aristonicus’ forces consisted of slaves and lower-class citizens. The promise of freedom and a more equitable society motivated these groups to join the uprising. Aristonicus’ vision of a utopian society, often referred to as “Citizens of the Sun” (Heliopolitae), aimed to create an egalitarian state that resonated with these marginalized groups [Recent scholarship provides ample grounds to re-evaluate the significance and meaning of the Heliopolitae titulature and the role of slaves/disenfranchised individuals. (see Daubner in sources below)].
  2. Local Greek Cities: While some Greek cities in Asia Minor supported Rome, others were sympathetic to Aristonicus, driven by a desire to preserve their autonomy and resist Roman dominance. These cities provided crucial support in terms of resources and manpower.
  3. Mercenaries and Soldiers: Aristonicus also attracted professional soldiers and mercenaries who saw an opportunity in the conflict. Their military expertise was vital in the early successes of the uprising.

Eumenes III (Aristonicus): The Struggle for Support and Survival

Eumenes III (Aristonicus) faced significant challenges in his bid to consolidate power. Despite his initial successes, he failed to win over many citizens of the city of Pergamum itself and was unable to conquer the city. It is plausible that the citizens believed they would be better off freed from royal governance and trusted that the Romans would honor Attalus III’s will by not incorporating them directly under Roman rule. Furthermore, Eumenes III did not gain the support of the kings of neighboring Hellenistic kingdoms, all of whom marched against him at Rome’s behest. These neighboring monarchs, wary of Aristonicus’ revolutionary ideals and eager to maintain favorable relations with Rome, aligned themselves against him.

Despite this formidable opposition, Rome’s local allies initially struggled to subdue Eumenes III. His forces proved resilient and capable, inflicting notable casualties on their adversaries. A significant moment in the conflict was the death of Ariarathes V of Cappadocia, who perished in battle against Aristonicus’ forces, underscoring the intensity and ferocity of the resistance. The support Aristonicus garnered from disenfranchised groups, including slaves and lower-class citizens, played a crucial role in sustaining his campaign against the combined might of Rome and its allies.

By 131 BC, the Romans were compelled to dispatch an army under the command of the consul Publius Licinius Crassus Mucianus to confront the challenge posed by Eumenes III and secure the legacy bequeathed to them by Attalus III. However, Crassus Mucianus was captured by Eumenes’ forces and, after striking one of his captors, was killed. His decapitated head was sent to Eumenes III, marking a grim turn in the conflict. This event underscored the determination and ferocity of Aristonicus’ resistance, significantly alarming Rome and its allies.

The Beginning of the End for Aristonicus

Although the defeat of a Roman army could have signaled the beginning of success for Eumenes III, it was, in fact, the onset of his decline. This turn of fortune came not at the hands of the Romans, but from Ephesus. Unsettled by the new king’s numerous naval victories and conquests, Ephesus armed a fleet and engaged Eumenes III in battle off the coast of Cyme in Aeolis. The outcome was decisive, forcing Eumenes to abandon the coast and withdraw into the interior.

This defeat also marked a transformation in the character of Eumenes III’s reign. In an effort to broaden his appeal and replenish his forces, he called upon peasants from royal domains, slaves, and others whom historians characterize as underprivileged. To the slaves, he promised freedom; to the others, economic relief. His appeal was successful, and multitudes responded to his call. He named his new followers Heliopolitae [Ἡλιοπολῖται], Citizens of the Sun.[1] This utopian vision of a society based on equality and justice resonated deeply with those disenfranchised by the existing order.

Ideological Influences: Blossius of Cumae and the Heliopolitae

One must wonder if Eumenes was motivated in the “social program” of his recruitment campaign (e.g., emancipation and economic relief) by his reported association at this point with the Stoic philosopher Blossius of Cumae, a devoted ally of Tiberius Gracchus. Blossius had fled Rome after Tiberius’ murder and attached himself to Eumenes. Some historians perceive Blossius’ ideological influence in the Heliopolitae movement. Blossius, having been a proponent of the Gracchan reforms, likely brought with him a philosophical foundation that emphasized social justice and the alleviation of inequality. His presence in Eumenes III’s court suggests a continuity of the radical ideas that had stirred Rome, now transplanted to Asia Minor and adapted to the local context.

The Final Defeat and Capture of Eumenes III

In the wake of Crassus’ defeat in 130 B.C., the Roman Senate dispatched the consul Marcus Perperna to subdue Eumenes III and secure the Kingdom of Pergamum for Rome. Perperna promptly arrived, assembled his troops, and marched into the interior, where he decisively defeated Eumenes. Aristonicus had expanded his campaign inland, focusing on regions such as Lydia and Mysia, including the strategic city of Kyzikos. His efforts in these areas were marked by a combination of military engagements and political maneuvering to gain the support of local populations. Despite these efforts, Eumenes was ultimately outmatched by the superior Roman forces. Following his defeat, he fled to the city of Stratonicea, where the Romans besieged him. The siege was marked by a protracted struggle, as the Romans systematically cut off supplies, starving the city and its defenders into submission. Ultimately, Eumenes was captured and sent to Rome in chains. In 129 B.C., the Senate decreed his execution by strangulation, thus extinguishing his challenge to Roman authority.

Consolidation of Roman Rule and the Fate of the Heliopolitae

Following the capture of Eumenes III, the Romans proceeded to organize the new province of Asia, despite ongoing resistance from the remnants of the Heliopolitae. These remnants, inspired by the egalitarian ideals of Aristonicus, continued to resist Roman domination. However, their defiance was brutally quashed by the Romans, who resorted to poisoning the water supplies of their impregnable strongholds—a tactic even they considered disgraceful. By 129 B.C., or 127 B.C. at the latest, the Romans had likely secured their Attalid inheritance, fully integrating the territory into the Roman Republic.

Is there a libretto or play in the story above?

This exposition is recited with confidence that it provides rich source material for a compelling play or opera. Indeed, I have begun work on such a project, sketching the broad outlines of a libretto—acts and scenes—and have already written substantial portions. Recognizing my weaknesses in character development, I am focusing on refining this aspect. However, I am pleased with one section I have written. After Aristonicus has been captured and is in chains, he contemplates his situation. Below is a scene I have written, set to music so I have a sense of the possibilities:

Audio Music file of Aristonicus in Chains (Lyrics by D.S. Yarab, Music created using Udio.com)

Aristonicus in Chains

Setting: A dark Roman dungeon. Aristonicus, bound in chains, reflects on his fate and the enduring spirit of his cause.

Aristonicus (Recitative):

Oh fate, thou art a cruel mistress,
To wrest my dreams and cast them low.
Yet here I stand, though bound in chains,
My spirit soars, untouched by woe.

Aristonicus (Aria):

In chains, my spirit stands free,
No Roman yoke shall master me.
For in my heart, a kingdom lives,
A beacon bright, the Sun still gives.

Oh, Citizens of the Sun,
Your hope was mine, our battle won,
Not in the fields where we did fall,
But in the hearts that heeded our call.

From Pergamum’s hills to the wide sea,
Our dream of freedom shall always be.
Though walls of stone around me rise,
The Sun shall never set on skies.

Oh, Perpernas, behold my fate,
A king unbowed by Roman hate.
For even in this darkest hour,
My will remains, my soul has power.

(Bridge):

To the poor and enslaved, my voice shall reach,
In every heart, our cause I’ll teach.
No chains can hold what is divine,
Our struggle, our dream, forever shine.

(Aria da capo):

In chains, my spirit stands free,
No Roman yoke shall master me.
For in my heart, a kingdom lives,
A beacon bright, the Sun still gives.

Oh, Citizens of the Sun,
Your hope was mine, our battle won,
Not in the fields where we did fall,
But in the hearts that heeded our call.

(Recitative):

So take me now, to Rome’s great halls,
But know this truth, as empire falls:
A dream once born, can never die,
In chains, my spirit soars the sky.

SOURCES:

Africa, T. W. (1961). Aristonicus, Blossius, and the City of the Sun. International Review of Social History, 6(1), 110-124.

Daubner, F. (2006). Bellum Asiaticum: Der Krieg der Römer gegen Aristonikos von Pergamon und die Einrichtung der Provinz Asia (2nd ed., Quellen und Forschungen zur Antiken Welt 41). München: Herbert Utz Verlag. [*Daubner’s work is the current definitive study on the Aristonicus uprising and the establishment of the Roman province of Asia. It challenges many of the outlines of the traditional scholarship over the past century (including much presented in my post above) and concludes that there is extraordinarily little evidence to suggest that he was the utopian social reformer that earlier scholars feared or lionized in their writings. In a sense, his scholarship is sober prose based on all the current and continuously emerging evidence whereas what came before (and what I write above) is akin to romantic poetry based on the then sparse antiquarian fragments. Yet, some scholars still adhere to the older interpretations of Aristonicus as a social reformer. See the work by Mesihović , below, as an example.]

Hochard, P.O. (2021). Quand Aristonicos s’écrit avec un E. Bulletin De La Société Française De Numismatique, 76(02), 47–54.

Magie, D. (1950). Roman Rule in Asia Minor (Vol. 1). Princeton University Press, 147-158.

Mesihović, S. (2017). Aristonik i država Sunca (Drugi dio: Aristonicus Solis Reform). Radovi Filozofskog fakulteta u Sarajevu, Knjiga XX, 2017.[Mesihović, without taking note of – let alone attempting to address – Daubner’s scholarship, reiterates the argument that Aristonicus’s movement was fundamentally reform-oriented and revolutionary. He iterates that the movement aimed to challenge the existing social and political structures by advocating for social and democratic reforms, thereby attracting support from the lower classes and slaves. He stresses that Aristonicus’ movement was not merely a struggle for control of the Attalid kingdom but had a significant ideological dimension, seeking to establish an egalitarian and communal society, which posed a substantial threat to the established order of both local elites and the Roman authorities. The views encompassed in this work serve as the basis for an operatic libretto, as it is poetic, but may have been superseded as scholarship.]

Thonemann, P. (2013). Attalid Asia Minor: Money, International Relations and the State. Cambridge University Press. [Of particular note is how Thonemann’s first chapter characterizes the Attalid state as an innovative and unique monarchy that emerged in the second century BC. The Attalids transformed their kingdom from a small city-state into a major territorial power, characterized by a non-charismatic and decentralized style of rule. They implemented a federative model, portraying their state as a coalition of free cities rather than a centralized monarchy, and emphasized civic participation and local governance. This approach was reflected in their economic policies, such as the introduction of the cistophoric coinage, which supported the kingdom’s administrative and fiscal autonomy. The expansion of the state was largely a result of the Treaty of Apameia in 188 BC, which redistributed Seleukid territories to the Attalids, significantly enlarging their realm and elevating their political status.]


[1] The Heliopolitae (Citizens of the Sun)

The concept of the Heliopolitae, or “Citizens of the Sun,” is a central theme in understanding Aristonicus’ revolt. This term embodies the utopian and revolutionary ideals that Aristonicus promoted to garner support from various disenfranchised groups.

  1. Symbolism and Ideals: The name “Heliopolitae” is symbolic of Aristonicus’ vision for a new society based on equality and justice. It represents a community united under the metaphor of the Sun, which signifies enlightenment and purity. This ideological framework was used to attract slaves, the poor, and other marginalized groups by promising them freedom and a better social order​​.
  2. Historical Accounts: Strabo and Diodorus provide key historical accounts that describe how Aristonicus retreated into the interior regions of Lydia after a naval defeat and rallied the oppressed classes, including slaves, around his cause. Strabo mentions that Aristonicus promised freedom to these groups, who then became known as the Heliopolitae​​.
  3. Scholarly Debate: The article highlights the debate among scholars regarding the nature and significance of the Heliopolitae. Some view it as evidence of a broader social revolution, akin to other slave revolts in antiquity, while others argue it was a strategic move by Aristonicus to consolidate his power. The text suggests that while there is evidence to support both views, the primary aim was likely to use ideological rhetoric to strengthen Aristonicus’ claim and unify his diverse followers​​.
  4. Religious and Utopian Context: The term “Heliopolitae” also carries religious connotations, linking the movement to solar worship and the Hellenistic tradition of divine kingship. This religious aspect provided additional legitimacy to Aristonicus’ rule and helped create a cohesive identity among his supporters. The use of the term is compared to other utopian experiments, but the article emphasizes that Aristonicus’ movement was distinct in its context and execution​​.

Nietzsche, Proust, and My Antiquarian Self

Recently, I mentioned that I had read Friedrich Nietzsche’s “On the Use and Abuse of History.” My rough and tumble summary is as follows:

In “On the Uses and Abuses of History,” Nietzsche delineates three principal approaches to history: monumental, antiquarian, and critical. He argues that each methodology serves distinct purposes and carries unique implications for the perception and utilization of historical knowledge.

Monumental History: This approach venerates history as a continuum of extraordinary deeds and eminent individuals, offering inspiration for present and future endeavors. It emphasizes the perpetuity of greatness, encouraging individuals to aspire to the achievements of historical giants. Nietzsche asserts that by demonstrating what was once attainable remains within the realm of possibility that monumental history acts as a powerful motivational force.

Antiquarian History: Antiquarian history esteems the past for its own intrinsic value, driven by reverence and loyalty. It concentrates on the preservation of customs, traditions, and artifacts, fostering a sense of continuity and belonging. Nietzsche argues that this approach is indispensable for cultivating a collective memory and identity and providing comfort and a sense of rootedness within a historical continuum.

Critical History: Critical history is characterized by its evaluative and interrogative stance towards the past. It enables individuals and societies to extricate themselves from outdated or oppressive traditions, serving as a liberating force that facilitates progress. Nietzsche states that by challenging and reassessing historical narratives, critical history promotes a dynamic and progressive engagement with the past.

Balancing These Approaches: Nietzsche stresses that equilibrium among these historical approaches is essential for an appropriate engagement with history. An overemphasis on monumental history may lead to the undue glorification of the past, which stifles innovation. Conversely, an excessive focus on antiquarian history risks engendering a stagnant conservatism resistant to necessary change and progress. Additionally, overreliance on critical history can result in destructive cynicism and a disconnection from one’s heritage. A balanced historical perspective integrates the aspirational qualities of monumental history, the conserving virtues of antiquarian history, and the emancipatory critique of critical history. This synthesis fosters a society that respects its past, cherishes its heritage, and remains receptive to change and improvement.

My introduction to Nietzsche’s characterizations of historical approaches was revelatory, as it revealed much about my own approaches and reactions to history and historical objects. It also clarified the occasional disconnect I experience when engaging with contemporary historical studies, methodologies, and historians. In brief, I perceive that the current academic climate exhibits a pronounced imbalance, favoring critical history.[1] This predominance serves the interests of individual academicians and ideologues, rather than the broader objectives of history or society. Conversely, within the realm of political society, there is a noticeable tilt towards monumental history, almost entirely neglecting antiquarian and critical perspectives, which poses significant risks. Interestingly, I find myself slightly imbalanced in the Nietzschean sense, perhaps excessively favoring antiquarian history, thereby rendering myself somewhat out of step with both the Academy and political society. The quest for balance is imperative.

However, the aforementioned observations merely serve as a prelude to the more profound enlightenment I experienced while delving into Nietzsche’s concept of antiquarian history. In a particularly insightful article by Stephen Bann, entitled “Clio in Part: On Antiquarianism and the Historical Fragment,” published in 1987, I encountered a truly remarkable quote from Marcel Proust. This quotation elucidated, with striking clarity, my perspectives on literature, history, historical artifacts (including coins), and my self-identification as an antiquarian. It profoundly articulated the essence of what this self-identification entails and reinforced my understanding of my approach to these fields.

To provide a fitting introduction for individuals unfamiliar with the work from which I take Proust’s quote, which is to follow, it is essential to contextualize Proust’s reflections on the imaginative power of antiquities. In “Contre Sainte-Beuve,” a collection of essays in which Marcel Proust critiques the method of literary criticism employed by Charles Augustin Sainte-Beuve, he vividly describes how historical imagination can transform our perception of ancient sites, such as the fictional estate of Guermantes. Guermantes, a recurring symbol in Proust’s magnum opus “In Search of Lost Time,” represents an idealized vision of the past, embodying the timelessness and continuity of history. The following excerpt from “Contre Sainte-Beuve” beautifully captures the essence of this transformation, illustrating how the past and present converge through the lens of imagination:

“And if Guermantes does not disappoint one as all imagined things do when reduced to reality; this is undoubtedly because at no time is it a real place, because even when one is walking about in it, one feels that the things one sees there are merely the wrappings of other things, that reality lies, not in this present but far elsewhere, that the stone under one’s hand is no more than a metaphor of Time; and the imagination feeds on Guermantes visited as it fed on Guermantes described because all these things are still only words, everything is a splendid figure of speech that means something else…. As for the castle towers, I tell you they are not only of that date, they are still in it. This is what stirs one’s heart when one looks at them. People always account for the emotional quality of old buildings by saying how much they must have seen in their time. Nothing could be more untrue. Look at the towers of Guermantes; they still look down on Queen Matilda’s cavalcade, on their dedication by Charles the Bad. They have seen nothing since. The moment when things exist is determined by the consciousness that reflects them; at that moment, they become ideas and are given their form; and their form, in its perpetuity, prolongs one century through the midst of others.”[2]

That final sentence resonates with me profoundly, both emotionally and instinctively. It elucidates why I have often conveyed to friends and family that, despite not having physically traversed great distances in my lifetime, I have, in truth, journeyed to more places and temporalities than almost anyone I know. This has been achieved through my extensive readings and the curation of my collections.

It also illuminates why, nearly twenty-five years ago, when a beloved friend and colleague faced a life-threatening health condition, I found it fitting to send her an antique silver Ethiopian Coptic Cross from my collection. This cross, approximately a century old, was likely crafted from silver originating from a Maria Theresa Trade Thaler. Accompanying the cross was a note explaining that, although it resided in my collection as an antiquarian item, it was made by the Faithful, for the Faithful, to aid the Faithful in prayer. Thus, the aura of its origin and use still imbued it with a sacred presence, which she, as one of the Faithful seeking prayer, would find comforting during that critical time. The words of Proust, I believe, provide a more cogent explanation of what I, ever the antiquarian, attempted to convey in my letter.


[1] A powerful discussion of the current imbalance in the Academy, with its excessive favoring of critical history and the attendant detrimental societal affects, is found in an essay by Julian Young. Unfortunately, the essay, which has a convincing introduction and general analysis of the situation, suffers horribly from poor analysis in the section entitled The Anxieties of Youth and fails absolutely in the particulars of its conclusion, which approaches an ideological agenda despite its disclaimers. The essay is still recommended for it strong beginnings as it only goes off the rails towards the very end. Young, J. (2023). The Uses and Misuses of History: Reflections on Nietzsche’s Second Untimely Meditation. Society, 60(670-683). https://doi.org/10.1007/s12115-023-00879-0

[2] Bann, S. (1987). Clio in Part: On Antiquarianism and the Historical Fragment. Perspecta, 23, 37, quote is cited in fn25 to Proust, M. (1984). By way of Sainte-Beuve (S. Townsend Warner, Trans.). London: Hogarth. 182-183.

THE BIRCH TREE KNOWS

Inspired by a brisk winter walk in the Cleveland, Ohio area.

LYRICS

The birch tree braves the winter’s icy grip,
Its branches bare, white stark against the sky.
It does not mourn the loss of leaves or gold,
But waits with patience for the spring to nigh.
The birch tree knows the seasons wax and wane,
Each carries purpose, beauty, grace, and pace.
It does not fear the frost, the ice, the rain,
But greets each one with elegance and grace.
My soul, like birch, endures and perseveres,
To rise from earth to heaven’s radiant light.
It stands unbowed, unbroken by the cold,
But shines with faith and courage through the night.
From birch I learn to face life’s change and strife,
To trust in self, let faith and courage guide.

MUSIC AND LYRICS FOR Angelus Novus, Angel of History

Music and lyrics for Angelus Novus, Angel of History. Lyrics inspired by Walter Benjamin’s essay, in which he dubbed Paul Klee’s Angelus Novus the angel of history. Music created through use of udio.com.

Angelus Novus, monoprint, 1920, by Paul Klee.

The Lyrics below were written by D.S. Yarab, and inspired by Walter Benjamin’s 1940 essay, On the Concept of History, in which Walter Benjamin dubbed Paul Klee’s Angelus Novus the Angel of History in the following haunting paragraph: “A Klee painting named Angelus Novus shows an angel looking as though he is about to move away from something he is fixedly contemplating. His eyes are staring, his mouth is open, his wings are spread. This is how one pictures the angel of history. His face is turned toward the past. Where we perceive a chain of events, he sees one single catastrophe which keeps piling wreckage upon wreckage and hurls it in front of his feet. The angel would like to stay, awaken the dead, and make whole what has been smashed. But a storm is blowing from Paradise; it has got caught in his wings with such violence that the angel can no longer close them. The storm irresistibly propels him into the future to which his back is turned, while the pile of debris before him grows skyward. This storm is what we call progress.” The music was created with artful prompts using AI at Udio.com.

It is safe to observe that neither lyricists nor composers are at risk of displacement. For proof, see, at the end of this post, below the transcription of my lyrics, the video of the work by the artist Laurie Anderson, who used the same Benjamin essay for inspiration for her work, “The Dream Before.” I came across her work several days after I posted my video and thought it would make a good addition to the original post so amended my post to include it.

Audio file of Eyes of Stone, an alternative musical setting of the Lyrics below.

Lyrics to “Angelus Novus, Angel of History” by Donald S. Yarab

Verse:

Angelus Novus stands alone,
Gazing back with eyes of stone,
Mouth agape, wings open wide,
Witness to the endless tide.

Chorus:

Angelus, angel of history,
Wreckage piled, a single catastrophe,
Storm from Paradise, wings unfurled,
Propels him onward, to the future hurled.

Verse:

Where we see events unfold,
He sees ruins, stories told,
Wreckage piling at his feet,
Dreams of wholeness, incomplete.

Chorus:

Angelus, angel of history,
Wreckage piled, a single catastrophe,
Storm from Paradise, wings unfurled,
Propels him onward, to the future hurled.

Verse:

Storm of progress, fierce and strong,
Drives him ever, far along,
Backwards facing, forward thrust,
Dreams of past now turned to dust.

Chorus:

Angelus, angel of history,
Wreckage piled, a single catastrophe,
Storm from Paradise, wings unfurled,
Propels him onward, to the future hurled.

Verse:

Angel yearning, dead to wake,
Mend the shattered, for their sake,
But the storm, it will not cease,
Angel’s plight, no sign of peace.

Chorus:

Angelus, angel of history,
Wreckage piled, a single catastrophe,
Storm from Paradise, wings unfurled,
Propels him onward, to the future hurled.

Coda:

Angelus Novus, forward driven,
By the storm, no peace is given,
Angel of history, face of sorrow,
Through the wreckage, towards tomorrow.