So why am I worrying about it right now? Because it's still too early to write about Operation Harpoon (soon, my pretties), and because a thinkpiece at Slate (don't judge me, it's got Doonesbury) about horses and social class, by Maria Mycio. Here's yet another meditation taking off from Gimbutas' not-dead-but-rather-undead argument for the early domestication of the horse, and a starting point for a thousand darting thoughts that I shall strive mightily to draw together.
Anyway, first this, to explain Europe, presumably before inequality. You know, "Old Europe":
It's a science fiction novel. Our hero gets involved in a time war and ends up being stranded in Neolithic Denmark. Oh, well, he consoles himself. He's got the girl, and nice neighbours. Sure, the kind, gentle, matriarchal, peaceful people who lived in the Old European oecumen that stretched from Crete to Denmark was going to be wiped out by the patriarchal, warlike Indo-Europeans in 1500 years, but that's still lots of time to do cool stuff like discover America. (WTF, Poul?)
I really don't remember the rest of the novel at all, but that ending sure stuck with me. Old Europe was a very nice place, before Kurgan-building chariot-riding, ax-wielding Indo-Germanic invaders crossed the Volga and rode their wagons up the Tsaritsyn onto the Kuban steppe to bring Dumézilian caste and sky gods and like that. (Naturally.) It's also a meditation on time. What can I say? I'm a sucker for that stuff.
So, anyway, axes. Axes come naturally to the thesis, since presumed battleaxes are widely found in Urnfield burials in eastern Europe, and the Urnfield is descended from the kurgan-building Tumulus Culture. Whatever that means. Unfortunately, axes have a complicated role in this thesis, because they also play a big role in the "Old European oecumene." Arthur Evans famously found evidence for the ritual use of a double-bladed ax at Knossos, which was clearly the Rome/Mecca of Old Europe.
Evans knew what to call this tool quite well from his classical studies. In Roman usage, the double-bladed ax-as-tool was called a bipennis. When used to represent the thunderbolt of Jupiter Dolichenus and the badge of authority of the high priest of the mystery cult of this god of Commagene, once as popular in the army as Mithras, it was called a labrys, Plutarch's formulation of the axe-badge of the cult of Zeus Labraunda in the mountains of Caria.
The word is a loan into Greek, so Evans decided that it was a loan from the mysterious pre-Greek language of Knossos, because there was a "labyrinth" and Knossos and that the labrys was the symbol of the continental mother goddess of Old Europe. Because.
My sarcasm is elicited by the unquestioned fact that "labyrinth" already had a well-known explanation. The well-known morturary complex of Amenemhet III at Hawara beside Lake Moeris in the Faiyum Basin was fourteen hundred years old when it was visited by ancient tourists such as Herodotus, and the tourists all agreed that it was a "labyrunth," even if it's not clear exactly why. I'd just like to point out that besides pyramids and temples, the site had the flood gates by which the Nile was drawn off into the Faiyum via an artificial 90 mile canal. There's even an inference, which I know I've seen somewhere, but cannot find (scholarship; we has it!) that it is named after a nearby Egyptian town then called something Labryinthy. It makes a certain sense that the sanctuaries at Labraunda and Knossos and many others that were inspired by this site were named after it, so that the word is of ultimately Egyptian, not Old European, derivation. But if I said that, I'd probably be called a reverse racist, and associated with someone who is legitimately crazy.
So let's just call "labrys" a Lydian word. Lydian is a language closely related to Hittite, and, yes, we're getting back to Commagene.
Never mind, the labrys was the cross of Old Europe, and in a heroic example of lifting a thesis by its own bootstrap, proof of a pre-Indo-European substrate to Greek (hence more largely European) civilisation.
I guess the takeaway here is that the single-bladed ax is bad, Indo-European, and warlike, while the double-bladed ax is Old European, peaceful, and good.
Second, this:
That's the "forbidden" first verse of the Deutschlandlied, out of favour not because of the anodyne "Deutschland über alles" lyric, but because of its belligerent geography. If Germany lies between the Belt, Etsch, Meuse and Memel, it includes Schleswig-Holstein, South Tyrol, Lorraine, East Prussia, and a chunk of Lithuania of which you probably haven't ever heard.
On the other hand, the song was written in 1844. If the verse claims this as the territory of a future, united, German state, then it is a very naughty little verse. If it says that these are part of the homeland of the Deutsches Volk, then, well, it's something else. Still something repudiated by history, but rather more innocuous. Since as far as we can tell, "Deutsche" and "Volk" are the same words, the phrase means "the people people," and Deutschland means the "The Land of the People." Old Europe, if Old Europeans spoke Indo-Germanic, which they surely didn't.
But you know me: I'm trying to find a way around culture and language. Hence axes. Hence this: the passing away of Old Europe.
The corps of pioneers, like the corps of grenadiers and carabiniers, is formed from the pioneers of each battalion of the line. The corps takes its place "on the right of the line," first in honour, because the battle line wheels to the left to become a column of march, and the "corps of pioneers" marches at the head, breaking the path. Pioneers shoulder axes rather than fusils because axes are the tool of their work, but they also storm the palisades with them, a frightening prospect for its defenders, I'm sure.
They wear beards to signify that they are men. And before saying that makes me look like I'm going Iron John (or, more socially redeemably, ZZ Top) let me explain. "Pioneer" is a term of art from the Army of Flanders days, coming from "person of the country," which is to say, the conscripted labour details. Before it came to be the name of the corps d'honneur, it had to displace the older "carpenters of the army." [Die Zimmerleute] They are men,because they are grown into the mastery of their craft. Hence the aprons, and the slow march, to allow heavily laden men in their 40s to keep up. They build the way, and the army follows.
The beards, on the other hand, are totally ZZ Top tributes.

