Another “find,” this time a typed, single-spaced, five page inquiry into the origin of the Hawaiian flag by journalist and historian Albert Pierce Taylor.
This version appears to have been copied and typed by my mother from a version found in the Hawaiian Historical Society library when she worked there in the 1960s. Taylor was an officer of the historical society in the 1920s.
Taylor’s essay on the Hawaiian flag traces several conflicting beliefs about “when and how the Hawaiian flag was designed and by whom it was designed,” comparing accounts recorded in the journals of several ships captains in the early nineteenth century. Quite interesting.
Taylor himself must have been quite a colorful character. He is apparently best known for his 1922 book, “Under Hawaiian Skies,” but led an extraordinary life.
Here’s a brief excerpt from Taylor’s biography, which skips past his participation in national politics and his brief foray with the rebels in Cuba in 1896. The full bio is amazing.
Employed by the patent law office of Wedderburn & Co., Washington, D.C., for
a short time, Mr. Taylor later in 1897 joined Lorrin A. Thurston at
Washington. He arrived in Honolulu on the transport Arizona, Aug. 28, 1898,
was commissioned a secretary to ex-governor W. F. Frear, then a member of the
commission appointed to draft the Organic Act, and later served as deputy
clerk of the Supreme Court of Hawaii. During the Spanish-American War, Mr.
Taylor was in active service in the Philippines and returned to Honolulu, Nov.
16, 1899. Joining the editorial staff of the Honolulu Advertiser at that time,
Mr. Taylor continued there until 1907, when he was appointed chief of
detectives of Honolulu. He returned to the newspaper staff in 1908 and
remained until 1913, when he was made secretary of the Hawaiian Fair
Commission to the Panama-Pacific Exposition. He was with the commission until
1915 and was responsible for the establishment of the Hawaii Promotion
Committee branch in San Francisco in 1913. He was appointed secretary of the
Hawaiian Promotion Committee in 1915. He rejoined the staff of the Advertiser
in 1917, resigning in 1924 to accept his present position.
That last reference was to his appointment as librarian of the Archives of Hawaii in 1925.
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Thanks for that fascinating bit of history.
In 2001, following the September 11 terrorist attack on the World Trade Center, the Windward Ho’olaule’a was held in a parking lot next to Windward Mall. I saw a T-shirt in my size for sale with the slogan “Stand Strong, Stand Together” featuring side-by-side U.S. and Hawaiian flags. My sentiments exactly! So I bought it and have worn it to numerous political events since then. I’m guessing the shirt was made in Taiwan or Philippines, but the label has faded after 12 years of laundry.
But the Hawaiian flag is incorrect. It has 9 stripes, with white on top and blue on the bottom. And NOBODY has even commented on the error — not even those who are politically active. I’ve made a fun little quiz out of it, telling people the Hawaiian flag is incorrect, and asking them if they can tell me what’s wrong with it. And even then nobody has been able to tell me what’s wrong with it! They cannot even tell me that it has the wrong number of stripes, let alone what colors should be on top and bottom. Occasionally a rogue will answer my question by telling me there are some bulges that shouldn’t be there. *LOL. So I guess that even knowledgeable, intelligent people simply don’t know exactly what the Hawaiian flag is supposed to look like. Readers, test yourselves: do you know what the colors are supposed to be for the top and bottom stripes?
I note that William De Witt Alexander is mentioned in the typescript about the origins of the flag. His testimony is the longest of all the testimonies in the Morgan Report, produced by the U.S. Senate Committee on Foreign Affairs in January and February of 1894 — it was given during a period of four days and occupies pages 622-684 of the 808-page report. There’s a lot of interesting historical information about the Kingdom and the revolutions of 1887 and 1893. Alexander was native-born in Hawaii in 1833, spoke Hawaiian fluently, was chief surveyor for the Kingdom, and served on the Board of Education along with other important positions. See his testimony at
http://morganreport.org/mediawiki/index.php?title=622-684#SWORN_STATEMENT_OF_WILLIAM_DE_WITT_ALEXANDER.
According to Wikipedia a ninth stripe was intended at one time for the island of Nihoa.
“A ninth stripe was once included, representing the island of Nihoa. Other versions of the flag have only seven stripes, probably representing the islands with the exception of Kahoolawe or Niihau. The color of the stripes, from the top down, follows the sequence: white, red, blue, white, red, blue, white, red. The colors were standardized in 1843, although other combinations have been seen and are occasionally still used.”
You can’t outrun the intertubes!
at the time of his appointment to secretary to W.F. Frear, Frear was an associate justice on the Hawai’i Supreme Court. Taylor’s appointment as chief of detectives may have coincided with Frear’s move from Chief Justice (since 1900) to Governor. the biography’s awkward narrative almost makes it seem that Frear had finished being governor when he was appointed to the organic act committee but being governor was still 9 years in the future
In addition to the variations of the Hawaiian flag, there were several royal standards that bore some similarities with it. See Vol. 47 (2013) of the Hawaiian Journal of History.
It may be that over the years, observers may have been confusing the royal standards with the Kingdom’s flag(s).
George C. Beckly 1760 -1787 was an English sea Captain in Hawaii who was commisioned by Kamehameha the Great. It is historicly established that he and Kamehameha I, designed the official flag of the Hawaiian Kingdom. Ironically the first Archavist of the Hawaiian Kingdom was a woman Judge named Emma (Metcalf) Beckly. These facts were established long before others cited above.
I had not previously heard reference to the East India Company flag. Is it generally known that the Hawaiian flag is almost identical to that flag?
Here’s a link:
http://www.google.com/imgres?imgrefurl=http%3A%2F%2Fflagspot.net%2Fflags%2Fgb-eic.html&tbnid=vrvuhnIqADUjIM:&docid=yEDW5yTSQ-V4kM
I had not previously heard reference to the East India Company flag. Is it generally known that the Hawaiian flag is almost identical to that flag?
Yes, I was meaning to comment on that from the time this post was published.
This British EIC flag is also the model for the first American flag.
Here is the wiki on the various flags of the East India Company.
http://en.wikipedia.org/wiki/East_India_Company#Flags
Here’s the first American flag.
http://en.wikipedia.org/wiki/Grand_Union_Flag
To a certain extent, as colonies, the 13 British colonies in the Americas were kind of the equivalent of the British EIC (colonies pay no real taxes but are required to trade exclusively with the mother country). And to some extent that relationship continued after the ‘revolution’. The travel writer Bruce Chatwin (I forget which book) wrote that the profits that the British Empire accrued were largely invested in land development in the US (and in Argentina), especially in ranch land. The argument is that economically there was no severance between the two countries (just as politically the colonists were really just asserting their “traditional rights as Englishmen” during their rebellion, that it is basically the same form of government and political philosophy). I’ve heard that British corporations were the biggest private landholders in the US.
Also, King Kamehameha had the biggest fleet in the Pacific Ocean, with over 1,000 ships of various types, and that the top commanders in this navy were former EIC naval commanders. (Perhaps modern parallel might be US special forces going to work for Blackwater, then going to serve in the military of emirates.)
To what extent do some nation-states (e.g., modern India) derive from corporations like the British East India Company? (The idea of ‘India’ did not exist until it was invented by the British, south Asia was originally a collection of various states and societies.)
I almost forgot about the issue of the British East India Company and its relationship with the state.
It’s important because the EIC is often cited as the first modern corporation. Given its charter by the British state, it was later absorbed by the British state when it was replaced in India by direct British rule (the Raj); the later creation of the Indian state is successful because the Indian state in turn absorbs the infrastructure of the British Raj.
One parallel to the EIC is found in the first corporation in history, the Knights Templar, the religious order that served as an elite military force during the Crusades in the Holy Land. Here is a segment of a TV special on the Templars that elaborates their structure as the first multinational corporation.
http://www.youtube.com/watch?v=GZq0lGd5yYE
The wiki on the history of the Knights Templar helps to explain their success as a corporation.
First, the Knights lived in poverty and gave their wealth to their own Order (at least temporarily). (In some respects this is reminiscent of Max Weber’s thesis of the relationship between the unique Protestant ethic of worldly engagement matched with extreme thriftiness, and its relation to the uniquely modern nature of capitalism, in which profits are plowed back into production; historically, merchants were not so frugal, and religions like Catholicism emphasized a withdrawal from a corrupt world, not that world’s purification. In this respect, the Templars were ahead of their time.)
Second, the Knights went untaxed and unregulated and were borderless.
The Templars subsequently became rather sophisticated bankers.
Eventually, the Crusaders lost the Holy Lands, and the Templars lost their mission. They were already regarded with suspicion because they combined three functions: religious, military and commercial. (In the medieval mind, hybrids were looked upon as monstrous.) Moreover, kings and other religious order feared and envied them, especially the King of France. The Templars had long wanted to create their own country, in Cyprus or in France, which the King feared; moreover, the French king wanted to imbue himself with a holy aura in order to challenge the power of the Pope.
So the French king persecuted the Templars on the grounds of heresy, and this ban spread throughout Europe. One question is the role that the escaping Templars played in the formation of modern Switzerland, which is contemporaneous.
At that point, the Swiss became among the best troops in Europe, as good as Germans (the Swiss Guard mercenaries still guard the popes), a rather unlikely development. Also, the Swiss eventually became the illustrious bankers they still are.
Of course, not much is known of this period of history in Switzerland, but much is made of the Swiss flag, a white cross on a red field – the reverse of the Templar Cross. Of course, back then, everyone seemed to have a cross in their flags because they were Christians. But the background of the Swiss flag is murky, according to its wiki.
Some popular scholars have inferred from the Swiss and Templar flags’ similarity that in a sense the Templars finally got the state that they had long sought in Switzerland. (The Templars are now a publishing industry.)
http://blog.templarhistory.com/2010/03/did-the-templars-form-switzerland/
In any case, the evolution of the Templars from a religious order, to an elite army, to a multinational corporation, to international bankers, to – perhaps — a state, is intriguing.
Of course, to what extent is that true of other organizations, like the EIC in India?
What is a corporation?
Here’s the wiki:
http://en.wikipedia.org/wiki/Corporation
In a nutshell, a corporation is an organization that cannot be held liable for the actions of its members outside of their role in the corporation; conversely, members of a corporation cannot be personally held accountable for the policies of the corporation.
In the Roman Empire, all sorts of groups were considered corporations, including the Roman state.
European colonization was a stimulus to creating corporations in the early modern world.
So the original corporations were chartered by governments (and guilds).
The modern revolution in the history of corporation was from a shift from royal charters to mere registration of corporations as business entities with the provincial or national governments.
Same thing happened in the United States.
In the context of the Industrial Revolution, this was a massive shift toward legal efficiency.
In that context, there seems to have been no legal alternative but to create the modern corporation.
Which sort of leads to the question: Is the corporation is such a bad thing?
After all, on this blog, the comments are full of corporate bashing.
But when someone asks, “Hey, have you guys checked out the latest iPhone?”, the responses are along the lines of “Yeah, I just pre-ordered mine! Can’t wait ‘till it gets here!”
The problem with corporations might be the governments subsidization of the corporations, (e.g., agriculture in the US is all about subsidies for corporate agriculture since the Nixon administration (“Get big or get out”)).
Just a few notes on the status of the corporation in the modern imagination.
The sociologist Emile Durkheim asserted that religion was rooted in communal feeling rather than belief in the supernatural (e.g., Buddhism does not have a belief in a deity). The primacy of social feeling over the role of a deity can best be illustrated in early religious notions like the totem, in which an animal is used as a symbol of a clan (much as they still are on sports teams). The inference from this is that deities as symbols are likewise representations of society, and reflect society’s unique characteristics (e.g., monotheism seems to appeal most within ‘universal’ multi-ethnic empires and to nomadic peoples).
This raises the question of the role of the ‘devil’ figures that inhabit a society’s collective consciousness. Wouldn’t such a figure reflect the ‘shadow’ self of the society, that is, the projection of the society’s own worst fears about itself? Would mythological portraits of evil figures be potential forms of social critique? I recall reading that the author of the novel “Dracula”, Bram Stoker, was an Irishman who wrote in the anti-colonial and anti-aristocratic genre of the Irish ‘big house’ novel: the vampire as a metaphor for the colonial, aristocratic social order.
What societal form would Frankenstein’s monster represent, if any? According to one certain scholarly theorist in France, in the modern world there has been a shift away from aristocratic societies that legitimate themselves according to their ‘bloodline’ (lineage) to their warrior past, and in which ‘blood’ or violence was a common theme (you have to watch “Game of Thrones” for that kind of rhetoric nowadays). In contrast, in the modern world, political legitimation shifts from ancient dynasties to nation states’ regulation of their populations (‘bio-politics’), almost like a farm or plantation. Paradoxically, state sovereignty now lies with this passive population that is managed by technocrats (and even the technocratic elite earnestly believe in this popular sovereignty). In a sense, the modern state is a corporation – an artificial man comprised of multitudes.
http://en.wikipedia.org/wiki/File:Leviathan_by_Thomas_Hobbes.jpg
According to the horror author Stephen King, the vampire, Frankenstein’s monster and the werewolf comprise the three basic archetypes of horror writing; all manifestations of monsters in modern literature derive from these three images.
And perhaps the transformation of little boys in “Pinocchio” into donkeys is a lighter, humorous version of the idea of humans reverting to beastly form, as is the 1950s movie “I Was a Teenage Werewolf” or “An American Werewolf in London” (the latter seeming to imply that Americans are feral Englishmen). What in society might trigger the occasional fascination with werewolves? One guess might be the effect of war and chaos on youth. Crime rates have dropped precipitously in the United States, and no one really knows why. Guesses have included the high incarceration rate in the US (the highest in the world, by far), the widespread availability of birth control and abortion among the poor and a healthier environment due to increased government regulation of pollutants (in particular, of lead). But what is often overlooked is the effect of war on youth. In China, the generation that grew up during the most chaotic years of the Cultural Revolution in the late sixties were labeled the ‘lost generation’, and they filled the prisons in the 1970s, and authorities in China were puzzled by their basic lack of moral feeling (and now some of these former kids, like Bo Xilai, are rising to power). In the 1950s, there was in the US a similar wave of juvenile delinquency under the veneer of normalcy, by young people who grew up during the worst war in human history. The public and the politicians blamed the media (comic books). What follows is from the wiki on the ‘United States in the 1950s’.
(For the relevant crime rates, see the Atlantic story, “The Real Criminal Element: Lead”. Violent crime and teenage pregnancy are shown to increase from the early 1960s and then sharply fall starting from around 1990, the end of the Cold War. My interpretation here is based on Durkheim’s notion of ‘anomy’ or normlessness caused by social breakdown or dysfunction.)
Could there be secondary horror archetypes that combine the primary archetypes, much as there are secondary colors (purple, green, orange) that combine the primary colors (red, yellow, blue)?
If the vampire (aristocratic) and the werewolf (periodically animalistic) are combined, this produces the Dr. Jekyll/Mr. Hyde archetype. In fact, there is a whole line of movie actors who specialize in that kind of role, that of a highly cultured and civilized gentleman who has been morally and spiritually compromised: Claude Raines (in “The Invisible Man” and “Mr. Smith Goes to Washington”), Herbert Lom (in “Gaslight” and the Pink Panther movies) and today Anthony Hopkins (who is simultaneous civilized and beastly as Hannibal Lector) and maybe Bryan Cranston (as Walter White/Heisenberg). I would expect that this kind of archetype would become popular during crises of legitimacy for the elite (Watergate in the 1970s, the bank bailouts in the 2000s); but this kind of crisis happens all the time because the elite often fall under scrutiny.
If the werewolf (predatory, cannibalistic) and Frankenstein’s monster (lumbering undead) are combined, this produces the zombie archetype. And the unspoken presence in a zombie movie is race and racism. Here is clip from “Birth of a Nation”, which can be seen as the original zombie movie.
http://www.youtube.com/watch?v=9t-7SVbLjBw
But the issue is not just race, but the existence of an ‘underclass’ below the working class and even below the working poor. (That is, these two elements of hopeless poverty and race are tightly bound in the public imagination, and in a way that does not elicit sympathy for the poor, but rather fear.)
From the wiki on the ‘underclass’.
There has been in the West a powerful ambivalence towards the very poor. For example, even Marx claimed that the poorest people were apathetic, mercenary and dangerous to leftwing revolutionaries. Conservatives have, of course, always feared the poor. But even the middle class have argued, like Marx, that the very poor would destroy democracy if given the chance (hence historical restrictions limiting voting to property owners). This fear of the underclass is racially coded, but it also applies to a fear of the poorest whites. In a TV show like “The Living Dead”, what can be seen is not just sublimated race fear, but a fear within the American working class of falling through the cracks and becoming one of “them”.
If a Frankenstein’s monster (fake human) and the vampire (an aristocrat and killer) are combined, this produces the elite killer robot archetype. The Terminator movies exemplify this, but so do the Alien franchise and Blade Runner.
Incidentally, the sociologist Pierre Bourdieu asserted that the one movie that best exemplifies how power works in the modern world is “Alien”. That is, what was once alien has now been deeply implanted within you. This is in contrast to the spectacles of violence (e.g., crucifixion) that were once imposed onto society to maintain order.
However, I think that the movie Blade Runner better illustrates how memories and identities are implanted. (Spoiler alert: In the director’s cut, the blade runner Decker is revealed at the end to be himself a replicant. Again, Decker is an elite killer robot, just like Roy Batty and his crew.)
But in these movies, it is as though the elite killer robot is a metaphor for the corporation. In Alien, there is no mention of governments, only of the “Company”; in Blade Runner, there is Tyrell Corporation (its motto, “More human than human”, could apply to itself); in the Terminator, there is Cyberdyne Systems.
In sum, it’s not primarily the fear of technology in the background of these films, but rather fear of the corporation.
I would like to amend what I wrote above.
First, let me summarize what I wrote.
There are three (primary) monster archetypes, from which all images of the monstrous derive (at least in American fiction):
1) Vampire.
2) Frankenstein.
3) Werewolf.
There are at least three compound or secondary monster archetypes derived from combining these primary archetypes.
4) Vampire + werewolf = Dr. Jekyll/Mr. Hyde
5) Werewolf + Frankenstein = zombie
6) Frankenstein + vampire = elite killer robot
But there is one more category that I did not think about: a combination of all three primary archetypes.
7) Werewolf + Vampire + Frankenstein = shapeshifting elite killer robot
Of course, in the “Terminator” sequels, the liquid-metal T-1000 and the T-X fit that description.
The aliens in the “Alien” films are in some ways shapeshifting, seemingly both female and male (e.g., the extending mouth), organic and mechanical, and their evolution is influenced by the DNA of their hosts. But this is more like ambiguity than like shapeshifting.
The monster in “Alien” was originally designed by the Swiss artist HR Giger. But there seem to be similarities of Giger’s aesthetic with Fritz Lang’s 1927 “Metropolis”.
Here is the ‘machine-human’ that looks like the ‘xenomorph’ in the “Alien” movies in some ways.
http://www.youtube.com/watch?v=0PN6zzgftlY
Here is the transformation of the Machinenmensch into Maria’s image. Now this is more like shapeshifting.
http://www.youtube.com/watch?v=GzINI3au9q0
Is she an evil robot or just a nice German girl? Sometimes it hard to tell the difference. Interestingly, this clip does seem to predict the future of Germany. From the wiki on the film.
Despite the films technical virtuosity, the story – written by the director’s wife, who became a Nazi – is simplistic and sentimental, and was embraced by the Nazi leadership, who liked the themes of societal unity and the primacy of emotion (putting the ‘heart’ above the ‘head’ and the ‘hand’).
What’s fascinating is how the scenes of the self-destructiveness of demagoguery work against this kitschy intended story. The robot seems to symbolize the will of a mad scientist, of unreason posing as reason, and of the dangers of both the irrational and the falsely rational. So if a monster is a metaphor for society, then the movie is an unwitting prophecy of Nazi Germany, and is not an apt critique of the contemporaneous Weimar Republic.
It is time to talk about pirates … as opposed to corporations.
An important component of classic piracy in the Caribbean was pirate democracy.
http://en.wikipedia.org/wiki/Piracy#Pirate_democracy
This democratic ethos was reflected in the pirates’ compensation practices.
Sicilian organized crime ‘families’ – known to outsiders as the mafia, but to insiders as La Cosa Nostra (‘our thing’) – are likewise democratic. From the wiki on the ‘Sicilian Mafia’:
This is considerably different from elite organized crime in the US, which is governed by the Commission – which is in a sense a classic corporation. From the wiki on the ‘Commission’:
It’s interesting how open the Commission was to other ethnic groups.
It’s interesting how this corporation outsources it’s homicides to ‘Murder Inc.’ From the wiki:
There seems to be a Commission for the LCN in Sicily since the 1950s or 1970s, but it seems more a decentralized communication medium. In any case, it was inspired by the American LCN’s Commission.
In any case, in the world of organized crime, in the US, the corporate form, rather than democracy, seems to be as American as pizza pie.
America’s not a democracy, it’s just a corporation.
http://www.youtube.com/watch?v=4UzPdUzygvE