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N~tworks, Hierarchies, Cultu,~e
 Contents I ••
Vil

State Development, 2200 BCE to 600 BCE 88

Transitions) 2200 BCE to 1700 BCE 88
Chariot I(ingdoms) 1700 BCE to 1200 BCE 88
Cities and Small States) 1200 BCE to 600 BCE 91
Conclusion 94

PART 11. Transformations: 600 BCE to 700 CE

CHAPTER FOUR O The Axial Age: 600 BCE to 300 BCE 98
Introduction 99
FRAMING The Axial Age: 600 BCE to 300 BCE 100
Networks and Hierarchies 102
Intersections 102
Net1.vorks Floivs 102
The Limits of I solation 104
An Axial Age Overview 104
Ne1.v Cultural Frames 105
Images on the Screen: Lasting Images: Axial Age Thinkers on Modern
Cultural Screens 706
Axial Age Worlds 107
India: Care of the Soul 107
China: The Cosmic State 111
Persia: God} Plan 116
Greece: The Thrill of the Chase 12 0
Comparisons 125
Issues In Doing World History: The Impact of Ideas 727
Conclusion 128

CHAPTER FIVE O The Age of Empires: 500 BCE to 400 CE 130

Introduction 131
FRAMING The Ages of Empires: 500 BCE to 400 CE 732
A World of Empires 134
Southwest Asia 134
Alexander and the H ellenistic I(ingdoms 137
India 139
R ome 142
China 144
Beyond the Axial Age Core 148
Empires and Models 149
Types of Empires 150
Netivorks and Empires 151
Empires as H ierarchies 154
Images on the Screen: Advertising Power 759
Issues In Doing World History: "Western Civilization" 760
Conclusion 162
 •••
VIII I Contents
CHAPTERSIX O Societies and Peoples: Everyday Life in the Agrarian World 164
Introductio11 165
FRAMING Societies and Peoples: Everyday Life in the Agrarian World 766
Varieties of Culture 168
The Great Cultural Divide 168
The Individual and Society 171
R eligion: Central to Cultural Frames 173
Life Cycles: Daily Life in the Traditional World 175
Birth 175
Issues In Doing World History: Science/ Evidence/ and History 777
Childhood 178
Marriage 179
Images on the Screen: Weddings: Advertising Social Relationships 780
Work 183
Play 185
Death 187
Cultural Worlds, 200 to 1000 189
The Worlds of2 00 189
Migration and Salvation 192
The Worlds of 1000 193
Conclusion 196

CHAPTERSEVEN O The Salvation Religions: 200 BCE to 900 CE 198

Introductio11 199
FRAMING The Salvation Religions: 200 BCE to 900 CE 200
Themes and Patterns 202
Which R eligions Count? 202
Contexts 202
Issues in Doing World History: The Connection of Past and Present 203
The R esponse: Common Features 204
Rise and Spread 210
Mahayana Buddhism 210
D evotional H induism 214
Christianity 216
Islam 219
Patterns ofExpansion 223
Impact and Li1nits 225
Network Impacts 225
H ierarchy Impacts 226
Images on the Screen: Images of Legitimacy 227
Cultural Frame I mpacts 228
L imits 228
Conclusion 228
 Contents I •
IX

PART 111. Traditions: 400 to 1100

CHAPTER EIGHT Contested Intersections: Networl<s, Hierarchies,
and Traditional Worlds to 1500 232
Introduction 233
FRAMING Contested Intersections: Networks, Hierarchies,
and Traditional Worlds to 7500 234
Expanding Networks 236
Population and Production 236
Technologies of Communication 236
Expansion and H ierarchies 237
Trade Circuits 238
Maritime Worlds 239
M aritime Geography 239
Issues In Doing World History: Oceanic and National Histories 244
Patterns ofA ctivity 244
Images on the Screen: Projecting Naval Power 248
Contested Intersections 250
Tensions: Community and I dentity 250
Synergies: Networks and I(nowledge 254
M anagement: the M erchant D ilemma 259
Conclusion 260

CHAPTER NINE Traditional Worlds I: Inner Circuit Eurasia, 400 to 1100 262
Introduction 263
FRAMING Traditional Worlds I: Inner Circuit Eurasia, 400 to 7700 264
Themes and Topics 266
Issues in Doing World History: Slicing Up a Vast Topic 267
The Steppe World 268
Peoples and Migrations: A World in Motion 268
Oasis Cities 270
China: The Sui and Tang Dynasties 270
The Tang Dynasty 272
The Song Dynasty 275
North China: The Jin 277
The Indic World 2 79
The Gupta Empire and Successor States, 220 to 800 279
Islamic Invasions: 800 to 1100 281
The Islamic World 281
Images on the Screen: Textual Authority 282
Foundations to 750 283
The A bassid R evolution and Islamic H ierarchies, post-750 286
The Byza11tine World 289
Byzantium on the Defensive, 640 to 900 289
Byzantium, 900 to 1100: Expansion and Crisis 292
I(ievan R us 295
Conclusion 296
x I Contents
CHAPTER TEN Traditional Worlds II: Outer Circuit Afro-Eurasia, 400 to 1100 298
Introduction 299
FRAMING Traditional Worlds II: Outer Circuit Afro-Eurasia, 400 to 7700 300
Cores and Margins 302
Outer East Asia: In the Shadow of China 303
Vietnam: Conquered I(ingdom 303
I(orea: Opponent and Ally 305
J apan: Imitation at a D istance 306
The Indian Ocean World: Networked Worlds Around an Oceanic
Highway 309
Secondary Cores 310
Trade I(leptocracies 313
Networked City-States 314
The Sahel: Between Desert and Forest 314
Images on the Screen: Writing Imitation and Distinction 316
Western Europe 317
Issues In Doing World History: Archival Survival 318
((Barbarian» I(ingdoms) 400 to 750 318
The Carolingian I nterlude, 750 to 900 321
J(ingdoms, Counties, and City-States, 900 to 1100 323
Conclusion 326

CHAPTER ELEVEN O Traditional Worlds Ill: Separate Circuits, 400 to 1500 328
Introduction 329
FRAMING Traditional Worlds Ill: Separate Circuits, 400 to 7500 330
Isolated Worlds 332
Isolation and Complexity 333
Worlds ofSimple Societies 333
From Simplicity to Complexity: Bantu Africa 335
Issues In Doing World History: Romanticizing the Past 336
Geography and Diversity: The Polynesian Pacific 338
Images on the Screen: Images in Stone 342
Complex American Worlds 343
The Mayan World 343
The Aztec World 346
The Incan World 349
North America 352
Isolation Revisited: Networks and Resiliency 353
Conclusion 355

PART 1v. Contradictions: 1100 to 1500

•

CHAPTER TWELVE War, States, Religions: 1100 to 1400 358

Introduction 359
FRAMING War, States, Religions: 7100 to 7400 360
Expanding Worlds 362
 Contents I •
XI

When Cultural Frames Collide 364

Frames and Cultural Contact .365
Images on the Screen: Projecting the Enemy 367
Frames) War) and State Formation 368
Collisions 368
Suljuk Turks and Byzantium 368
The Crusades 371
Issues in Doing World History: Cultural Frames and ,,Holy War" 372
The Iberian Reconquista 374
The Delhi Sultinate 377
Formations 379
Mamluk Egypt: Slave Soldiers and Sultans 379
Japan: Warriors and Courtiers 381
Western Europe: !(nights and Merchants 384
Conclusion 388

CHAPTER THIRTEEN C The Crisis of the Mongol Age: 1200 to 1400 390
Introduction 391
FRAMING The Crisis of the Mongol Age: 7200 to 1400 392
The Mongols 394
Temujin and the Mongol R econstruction 394
The Mongol Conquests 397
Immediate Impacts 398
The Black Death 400
Origin and Epidemiology ofa Catastrophe 4 01
Issues In Doing World History: Evolution and Historical
Evidence 40 7
Spread 402
Immediate Impacts 403
Images on the Screen: The Plague 405
Reactions and Reconstructions 406
Ming China 407
Islam 410
Russia 412
Central Asia 415
Conclusion 418

CHAPTER FOURTEEN Innovation and Tradition: 1350 to 1550 420

Introduction 421
FRAMING Innovation and Tradition: 7350 to 1550 422
Broken: Post-Plague Western Europe 424
Toward Breakdown 424
Framing a Breakdo1vn 427
Post-Plague Networks 433
Issues In Doing World History: European Exceptionalism 434
Maritime Worlds 436
Maritime Technologies 437
 ••
XII I Contents
Images on the Screen: Charting the Waters 439
Case Studies in Maritime Organization and Goals 440
Comparisons 446
A Global Network Emerges 449
Conclusion 450

PARTY. Connections: 1500 to 1800

CHAPTER FIFTEEN O The Late Agrarian World I: Networl<s of Exchange, 1500 to 1800 454
Introduction 455
FRAMING The late Agrarian World I: Networks of Exchange,
1500 to 1800 456
The Connected World of 1500 to 1800 458
Commodities 459
Issues In Doing World History: "Late Agrarian" versus '' Early Modern'' 460
The Columbian Exchange 460
The Silver Circuit 462
D istant L uxuries 463
L ocal and Bulk Goods 465
H uman Commodities: The Slave Trade 466
Production Systems 468
Agriculture 468
Traditional Manufacturing 470
Images on the Screen: Cities as Images 472
Transport and Merchant Capitalism 473
Cores, Peripheries, Colonies 4 7 8
Cores and Peripheris 479
Colonies 481
Conclusion 482

CHAPTER SIXTEEN O The Late Agrarian World II: Hierarchies in a Global

System, 1500 to 1800 484
Introduction 485
FRAMING The late Agrarian World II: Hierarchies in a Global System,
1500 to 1800 486
Global Systems 488
States and Societies 488
H ierarchies and the Network 496
States) Other States) and Screen Images 497
Images on the Screen: Mapping Authority 499
Regional Patterns 500
Cavalry) Cannon) and the Closing of the Steppes 500
Warring States 505
Maritime Worlds 510
Issues in Doing World History: The "Military Revolution" 511
Systemic Maturity 515
Conclusion 516
 Contents I •••
XIII

CHAPTERSEVENTEEN O The Late Agrarian World Ill: Cultural Frames,

Cultural Encounters, 1500 to 1800 518
Introduction 519
FRAMING The Late Agrarian World Ill: Cultural Frames, Cultural
Encounters, 1500 to 7800 520
Cultural Frames and Screens: Themes and Patterns 522
Constructing Self-Identity 522
Encounters 523
Making Meaning 524
Technologies of Culture: Printing 525
Encounters 527
Subcultural Encounters 528
Images on the Screen: Projecting Individualism 529
Meeting the Americas 531
Confucians and Jesuits 533
Slavery and Race 536
The Scientific Revolution 540
Contexts and Origins 540
M odels> D ata> and Meaning 541
Science in the World 543
Issues I n Doing World History: Science and Religion 544
Conclusion 545

CHAPTER EIGHTEEN O Late Agrarian Transitions: Nort h A t lantic Rev olutions,

1650 t o 1800 546
Introduction 547
FRAMING Late Agrarian Transitions: North Atlantic Revolutions,
7650 to 1800 548
Changing European Hierarchies 550
NetJ:vorks and Social Change 550
Framing (and Screening) Social Change 551
Stretching the Pyramid: Social-Political D isjunction 554
The Oddity of England 555
State and Society 555
Culture and Identity 558
Political Transformations 559
Forging a New H ierarchy Model 561
Theorizing the Ne1v H ierarchy 566
English Infections: Political Revolutions 568
The American R evolution ,568
The French R evolution 570
Images on the Screen: Images of Revolution 572
H aiti 574
The Limits of Politically Led Restructuring 574
Issues In Doing World History: The Meaning of the Word
"Revolution" 575
Conclusion 576
 •
XIV I Contents
PART v1. Convulsions: 1750 to 1914
CHAPTER NINETEEN The Industrial Revolution: Overview, Networl<s,
Economics 580
Introduction 581
FRAMING The Industrial Revolution: Overview Networks, Economics 582
1

English Origins 584

Context 584
Economic Resources 585
Early Industries 587
11 11
Issues In Doing World History: Creat Men 588
Industrialization: A Global Overview 588
Chronology 589
Impacts: Mass and the End of the Agrarian World 591
Implications 593
Images on the Screen: Images of Industry 594
Industrial Economics: Good-bye Low and Slow 595
Mechanisms of Transformation 595
Mass: Production) Consumption) Markets 598
Impacts 601
Economic Culture: Capitalism 603
Capitalism as an Economic System 603
Capitalism as a Screen I mage 604
Consequences of Capitalism 605
Conclusion 608

Industrial Hierarchies: Society, State, Culture 610

Introduction 611
FRAMING Industrial Hierarchies: Society, State, Culture 672
The Shape of Industrial Hierarchies 614
The Social Sphere 616
Mass Society 618
The Corporate Sphere 620
The State 620
Industrialization and the Growth of State Power 620
The State and Warfare 622
Mass Politics 623
Professionalization 626
Cultural Frames and Screens 629
Mass Media) Mass Access: Erasing the Great Cultural Divide 629
ccisms)): Self-Conscious Ideology 630
The Challenge of Cohesion 631
Nationalism 631
Issues in Doing World History: Nationalism and Academic History 632
A World of ccisms)) 635
Images on the Screen: lsmic Art 636
Conclusion 638
 Contents I xv

CHAPTER TWENTY-ONE Imperialism: Structures and Patterns 640

Introduction 641
FRAMING Imperialism: Structures and Patterns 642
The Imperialist Mome11t 644
A Brief O verview of I mperialism 644
Causes of Imperialism 647
Network Dynamics 647
H ierarchy Dynamics 649
Cultural Dynamics 650
Images on the Screen: Imagining the Colonized 652
Tools of Dominance 653
Network Tools 654
H ierarchy Tools 656
Cultural Tools 657
Issues in Doing World History: Post-Colonial Theory 658
Imperial I11teractions 659
Imperialist H ierarchies 659
I mperial Networks 664
I mperial Cultures 667
Conclusion 670

CHAPTER TWENTY-TWO Imperialism: Reactions and Consequences 672

Introduction 673
FRAMING Imperialism: Reactions and Consequences 674
The Industrial Challenge 676
Network Challenges 676
H ierarchy Challenges 677
Issues in Doing World History: //Modern,'/ //Western,'/ Historical Processes 679
Cultural Challenges 679
Responding to Challenges: Case Studies 680
Traditionalist R esistance 680
Westernization 684
M odernization 689
Migrations and Identities 697
M igration 698
Cultural I dentities 700
Images on the Screen: Moving Identities 701
Conclusion 702

PART VII. Crises: 1914 to 1989

CHAPTER TWENTY-THREE "The West" in Crisis, 1914 to 1937 706
Introduction 707
FRAMING ''The West" in Crisis, 1914 to 1937 708
War and Society since Industrialization 710
The Changing Nature of War 710
T he Widening Effects of War 712
 •
XVI I Contents
World War I 716
The Cau ses of the War 716
The Course of the War 720
Images on the Screen: Enemies on the Screen 725
Consequences of the War 726
Political Upheavals 728
Pre-War Revolutions 728
Ideology and Politics 730
Issues in Doing World History: Marxism and History 733
Conclusion 736

CHAPTER TWENTY-FOUR - The World in Crisis, 1929 to 1945 738

Introduction 739
FRAMING: ''The West" in Crisis, 1929 to 1945 740
The Growing Global Crisis 742
Network Crisis: The Great Depression 742
Crisis and Hierarchies 743
Crisis and Culture: Science 747
Images on the Screen: The Promise and Threat of Science 749
World War II 750
Causes 750
Analyzing the War 751
Military Developments 755
Ideology) Race) and War 759
Consequences of the War 763
Issues In Doing World History: World War II and Video Culture 765
Conclusion 766

CHAPTER TWENTY-FIVE Crisis Institutionalized and Transformed:

1945 to 1989 768
Introduction 769
FRAMING Crisis Institutionalized and Transformed: 7945 to 7989 770
The World of 1945 to 1989 772
The Global Network Recovers 772
H ierarchies Dividing the Network 773
Cultural Screens 775
Crisis Part III: The Cold War 776
Causes 776
Images on the Screen: Capitalism versus Communism 777
Issues in Doing World History: The Problem of Contemporary History 779
Asian Complications 779
Patterns 782
Detente) Denouement 786
Transformations: Decolonizatio11 a11d Beyo11d 787
Causes 787
The Process of Decolonization 790
Post-Colonial Transitions 793
Conclusion 797
 Contents I ••
XVII

PART v111. Modernity: Since 1970

CHAPTER TWENTY-SIX The Modern Global Networl<: Environment
and Economy since 1970 800
Introduction 801
FRAMING The Modern Global Network: Environment and Economy
since 1970 802
Environment 804
More People 804
The Next R evolution? 806
Issues and Constraints 806
R esponses 815
Forecasting? 816
The Global Network 818
A Networked World 818
Images on the Screen: A Networked World 820
Network-H ierarchy Tension: The Corporate Sphere 823
Issues in Doing World History: The Textbook Industry 830
Conclusion 831

CHAPTER TWENTY-SEVEN Modern Hierarchies: States, Societies,

and Conflicts since 1970 832
Introduction 833
FRAMING Modern Hierarchies: States, Societies, and Conflicts
since 1970 834
Hierarchies and the Network 836
The Global Political Network 836
Tension: Capitalism) Markets) and Borders 838
Images on the Screen: Global Villages 842
Hierarchy Cultures 843
D emocracy 843
Nationalism R esurgent 846
Varieties of Modern Conflict 8 5 3
Issues in Doing World History: Is a Global Perspective Possible? 854
Conventional Wars 854
Civil Wars 856
Civil R evolts 856
Failed States 859
Terrorism and War Paradigms 860
R esponses to Conflict 862
Conclusion 862

CHAPTER TWENTY-EIGHT Networl<ed Frames and Screens:

Culture since 1970 864
Introductio11 865
FRAMING Networked Frames and Screens: Culture since 1970 866
Revisiting the Cognitive-Linguistic Revolutio11 868
 •••
XVIII I Contents
Dy11amics of Culture 869
Culture) Capitalism) and Networks 869
Images on the Screen: Mosaic Projections 873
Culture and Languages 874
Issues in Doing World History: Languages1 Knowledge, History 875
Identity 876
Making Identity 876
Applied Identity 878
Making Meaning 882
Communication and Community 882
Answering Big Questions 886
Consumerism 890
H istory and Meaning 892
Conclusion 892

Glossary G-1
Sourcebook Table of Contents SF-1
Credits C-1
Index I-1
 Issues in Dain arid Hista
0
1. What Is ''Natural''?
2. ''Progress,'' Teleology, and Contingency
3. The Meaning of the Word ''Civilization''
4. The Impact of Ideas
5. ''Western Civilization''
6. Science, Evidence, and History
7. The Connection of Past and Present
8. Oceanic and National Histories
9. Slicing Up a Vast Topic
10. Archival Survival
11. Romanticizing the Past
12. Cultural Frames and ''Holy War''
13. Evolution and Historical Evidence
14. European Exceptionalism
15. ''Late Agrarian'' versus ''Early Modern''
16. The ''Military Revolution''
17. Science and Religion
18. The Meaning of the Word ''Revolution''
19. ''Great Men''
20. Nationalism and Academic History
21. Post-Colonial Tl1eory
22 . ''Modern ,'' ''Western,'' Historical Processes
23. Marxism and History
24. World War II and Video Culture
25. The Problem of Contemporary History
26. The Textbool< Industry
27. Is a Global Perspective Possible?
28 . Languages, Knowledge, History

•
XIX
 Ima es on the Screen
0
1. Modern Minds, Modern Art
2. Warriors, Glory, Masculinity
3. Justifying Hierarchy
4. Lasting Images: Axial Age Thinkers on Modern Cultural Screens
5. Advertising Power
6. Weddings: Advertising Social Relationsl1ips
7. Images of Legitimacy
8. Projecting Naval Power
9. Textt1al Authority
10. Writing: Imitation and Distinction
11. Images in Stone
12. Projecting the Enemy
13. The Plague
14. Charting the Waters
15. Cities as Images
16. Mapping Authority
17. Projecting Individualism
18. Images of Revolution
19. Images of Industry
20. Ismic Art
21. Imagining the Colonized
22. Moving Identities
23. Enemies on the Screen
24. The Promise a11d the Threat of Science
25. Capitalism versus Communism
26. A Networked World
27. Global Villages
28. Mosaic Projections

xx
 Preface
0
This book has been a long time in the mal<ing. I've developed its approach over the
co11rse of more than twenty years of teaching world history. My general intellectual
inclination is toward generalization and seeing broad patterns and comparisons, so
world history has always appealed to me. This bool< emerged as I gradually tried to
synthesize various ideas that I have tried out in class to help students 11nderstand the
broad sweep of global development. In the process, I came to new 11nderstandings
myself. This is therefore, I hope, more than just a textbook. It is an interpretive
history of our h11man species. Read it, think about it, and as I say in all my syllabi,
have f11n!

Acl<nowledgments

World history is a vast topic, and writing a book is a vast undertaking. I could not
have accomplished this task by myself. My first thanks go to several generations of
students at Wabash College for their questions, insights, and enthusiasm for the
subject. Classes at Loyola University in New Orleans, where I first taught world his-
tory, and Hawaii Pacific University in Honolul11 also contributed to my thinking.
I must also thank my world history colleagues in the Wabash History Department,
Riel< Warner and Michelle Rhoades, for productive conversations over the years.
Rick constantly reminded me of the importance of networks, and Michelle s11g-
gested how to build gender into the model of Agrarian l1ierarchies. F11rther thanks
go to I(en Hall and Jim Connolly, who run the Small Cities conference at Ball State
University. They have invited me to several of their conferences, asking me to com-
ment on and tie together a fascinating range of papers on various topics, especially
pre-industrial Indian Ocean networks. These challenges helped me to develop my
model significantly. More immediately, Nadejda Popov (University ofWest Georgia),
Evan Ward (Brigl1am Young University), Ras Michael Brown (Southern Illinois Uni-
versity, Carbondale), Eric Nelson (Missouri State University), Tim I(eirn (California
State University, Long Beach), Roger I(anet (University of Miami), Robert Carriedo
(US Air Force Academy), I(evin Lawton (Northern Arizona University), Andrew
Deven11ey (Mid-Michigan Community College) as well as ten anonymous reviewers
made valuable and insightful comments on the entire manuscript. Their careful
readi11gs saved me from several embarrassing errors, as well as co11tributing a
number of fascinating interpretive points. The team at Oxford U niversity Press was
terrific: Francelle Carapetyan, photo researcher, I(eith Faivre, production editor,
George Chakvetadze, cartographer, Michelle Koufopo11los and Jennifer Campbell,
editorial assistants, a11d Michele Laseau, design director.

•
XXI
 ••
XXII I Preface
Three people deserve special tl1anl<s. First, my editor at Oxford University
Press, Charles Cavaliere, has believed in this project from its conception. He has
shepherded it through the byzantine byways of contracts and production, contrib-
uted terrific ideas abot1t presentation and a plethora of suggestions abot1t illustra-
tions, and in general he l1as bee11 as much friend as editor. The book is a better book
because of him.
Second, my mother, Carolyn Morillo, read every chapter as I finished writing
each one. She provided intelligent comments and reactions and all the entht1siasm
and encot1ragement a son could hope for.
Finally, this bool< vvould not l1ave been possible withot1t the love, st1pport, and
intellectual partnership of my wife Lynne Miles-Morillo. A specialist in Early New
High German lingt1istics and culture, she l1as been a sot1nding board for ideas and
an invaluable editor of my prose. She l1as kept me on track and has been generous
beyond what I could reasonably ask for. She has taken on the twin tasl<s of compil-
ing, with me, the sourcebool< that accompanies this text and writing the Instructor
Resource Mant1al for it. She has done all this while we tool< care of three wonderft1l
children, Robin, Dione, and Raphael. I dedicate this book to her.

About the Author

Stephen Morillo received his AB in History from Harvard College, where he gradu-
ated Magna cum lat1de and Phi Beta l(appa. He did a DPhil in History at Oxford
University, which he attended as a Rl1odes Scholar. Originally trained as a specialist
in medieval European history, he has spent his career broadening his scope to en-
compass the world from the Big Bang to the present.
He has held appointments at Loyola University in New Orleans, where he first
tat1gl1t world history, the University of Georgia, and Wabash College, where he cur-
re11tly chairs tl1e Social Sciences Divisio11. He was for a year the NEH Distinguished
Visiting Scholar in Diplomacy and Military Studies at Hawaii Pacific University. At
Wabash he has l1eld the Ja11e and Frederic M. Hadley Chair in History. He has
won both the McLain-McTurnan-Arnold Research Fellowship and the McLain-
McTurnan-Arnold Excellence in Teaching Award. Morillo has authored numerous
bool<s and articles, including War in World H istory: Society> Technology and War
from Ancient Times to the Present (McGraw Hill, 2008), a military world history. He
co-edited Encounters in World History: Sources and Themes from the Global Past
(McGraw Hill, 2005 ), a world history sourcebook, and edited ten volt1mes of The
Haskins Society Journal. He is President of De Re Militari: The Society for Medieval
Military History and serves on several editorial boards.
He currently lives in Crawfordsville, Indiana, with his wife Lynne Miles-
Morillo, his three children, Robin, Dione, and Raphael, and two rambunctious
cats. In addition to history, he enjoys painting, cartooning, playing music, and
cooking.
Introduction

I Maldives 2009. Women on a ferry.

 •
XXIV I Introduction

Welcon1e to a differe11t sort of world history text. This is a text whose presentation
of the past relies 011 an explicit analytical model (that's the first difference), a 111odel
that allows some specific arguments to be made about why world history follo,ved
the path it did (that's the second difference). To understand the function of this
model a11d why it 1natters, let's thi11k n1etaphorically about doing world history.

The Model
In1agine the past as a vast 1nansio11 made tip of many
different roo1ns. Most ,vorld history textbooks take
stude11ts in through the front door a11d give them a
room-by-room tour of the mansion, pointing out the
shape of each room, the furniture, and all the art on
the ,valls. Some rooms lead to others, some are shaped
similarly to still others even though they are not con-
nected, and the tour guide may occasionally point such
things out. But the great variety of rooms and the fur-
niture and art that each co11tains remai11 the main
focus u11til finally we exit out another door.
By the e11d of such a tour, students are likely to
have "art object fatigue." Son1e especially interesting
Memorize all this art! The conventional museum tour pieces n1ay stand out to them, and they n1a)' remen1ber
approach to studying world history: visitors encounter a whirl roughly "vhat their route through the ma11sio11 was.
of impressions, but they do not probe beneath the surface (The tour guide almost always takes them fro111 the
to acquire a deeper understanding. oldest roon1s to the 1nost recent.) Bt1t they probably
cannot explain why the mansion was arranged the way it was, nor t1ndersta11d i11
,vhat other ways the mansion n1ight have been built.
This book conducts a similar tour. The chronological route is roughly the
san1e, though perhaps divided up a little differently. Bt1t the tour is conducted, in
effect, with a blueprint of the n1ansio11 in hand. The boolc's analytical n1odel is the
blueprint- the conceptual framework of the mansion- and it lets us thi11k about
the layout of the rooms in a n1ore abstract ,vay: abot1t engir1eering a11d construction
techniques and about the plumbing and \.Viring that connects the rooms. That
infor1nation places the art,vork of the 1nansion in a different context, as well. The
follovving section n1akes the elements of this "n1ansion n1etaphor" 1nore explicit by
introd11cing the major compo11ents of our model. Those components consist of two
sorts of structures, 11etvvorks and hierarchies, a11d the cultural frames and cultural
screens that arise fro1n, shape, a11d give mea11ing to the structures. These ,vords are
ce11tral to our n1odel and have a specific meaning in this book.

Networl<s and Hierarchies

The roo111s of the mansion can represent hierarchies, or what are more commonly
referred to as states, countries, kingdon1s, en1pires or even nations. Thus, many
tours of world history pass through a roo1n called " H a11 Chi11a," which was built
arou11d the san1e ti111e as a room called "Roman Empire," and so forth. These roon1s
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Ignes: ¡No diguis aquestas cosas!

Blay: Lo pare creu que viurém aquí, y respecte á aquest punt no

cedirá!

Ignes: Tampoch cedirá la mare.

Blay: ¡Sí que estém frescos!

Ignes: ¿Cóm no s'en han recordat fins ara de tractar aquesta cuestió?

Blay: Donemne gracias á Deu, perque si se'n arriban a recordar, tú

no estarías aquí, perque no hauría vingut la teva mare per firmar els
capítols.

Ignes: ¡Ja hi caich! No n'han parlat perque la mare te per cosa

sabuda que sent jo pubilla, tú vens al mas.

Blay: Y'l pare te per cosa indiscutible que sent jo heréu, tu vens aquí.

Ignes: ¿Y be?

Blay: Y mal, perque no pot haberhi pitjó. No'n parlém del assumpto.

Ignes: Sí pero un cop casats...

Blay: Ja no hi ha qui'ns descasi, y de una manera ó altre tot

s'arreglará.

Maria: (Desde dins.) ¡Ignés!

Ignes: La mare'm crida. (se'n vá)

Blay: Jo també hi vaig, per no donalshi temps á que'n parlin.

Fins aquí

Escena VI

Blay, Jaume

Jaume: ¡Blay! ¡Eh, Blay! No han arrivat.

Blay: ¿Quí?

Jaume: La teva sogra y la teva núvia.

Blay: Si son aquí. (se'n va.)

Jaume: ¡Al tren no hi eran!

Escena VII

Jaume, Sisa després Micaló

Sisa: ¿Qué no hi es lo senyó Apotecari?

Jaume: Tot seguit vindrá.

Sisa: ¿Qué teníu?

Jaume: ¡Que no puch encanyoná!

Sisa: Ja sé'l que es: teníu els nervis nuats y s'han de desnuá. Per axó
busquéu un barret ben suat, l'arruxéu ab vinagre, l'escalféu y vos lo
poséu al coll.

Jaume: Poséuselhi vos. A mí no'm vinguéu ab mes remeys, perque'm

recordo d'aquell pegat de arengadas ab all que'm váreu donar
entenén de que posés al noy cuan va tenir aquella palmonía á la
cuixa. Al tréureli'l pegat no varem trobar las arengadas.

Sisa: El mal se las había menjadas.

Jaume: El noy, que es un golafre y deya que tenía gana, se va

arrencar el pegat al sentir l'oló de las arengadas; se las va menjar y li
varen donar una febrada que l'enarbolava. Si no corrém a buscar al
metje, se'ns mort.

Micaló: ¡Ay! ¡Ay!

Jaume: ¿Qué teníu Micaló?

Micaló: Massas anys y aquestas punxadas, que cuan me canso, me

donan al costat.

Sisa: Perque voléu.

Micaló: ¡Que he de volguer, dona! ¡qué he de volguer!

Sisa: Perque voléu, repetesch. Al arribar á casa, feuse fer una truita
ab tres ous, ensalsada ab camamilla; bona y calenta vos la poséu al
costat y cura feta.

Jaume: En lloch d'ensalsarla ab camamilla, poseuhi tallets de

cansalada; en lloch de plantárvosla al costat, vos la menjéu, y si no
vos curéu, vos hauréu menjat la truita.
Micaló: Ja vos ne podéu ben riure. Se coneix que no patíu com jo.
¡Ay! ¡Ay! ¿Ahónt es lo senyó Apotecari? Voldría dexarli la recepta.

Sisa: ¿Que teníu algún malalt á casa?

Micaló: La menuda, que sempre plora de mal de ventre.

Sisa: Remey segú; una escupinada al llombrigo...

Jaume: Son nets tots los vostres remeys: una escupinada, arengadas,
barrets suats...

Sisa: No parlo ab vos, ni vuy parlarhi, perque sou...

Jaume: ¿Qué soch jo?

Sisa: Un poca solta.

Micaló: ¡Ay!

Jaume: Mes valdría que en lloch de donar remeys á tothom,

tinguéssiu l'olla al foch y la casa neta, y axís lo vostre home no tindría
que barallarvos cada día.

Micaló: ¡Ay! ¡quínas fibladas!

Sisa: Ab aquestas fibladas no m'ofen ell ni m'ofenéu vos.

Micaló: A mi si que m'ofenen, perque'm fan mal. ¡Ay!

Sisa: Calléu si podéu.

Micaló: No'm dona la gana, perque sufrexo. ¡Ay!

Jaume: Vos heu de callar.

Sisa: Si vull.

Escena VIII

Dits y apotecari

Apot. ¿Qué son aquets crits? ¡Bo! ¡La Sisa! Ja fora estrany!

Sisa: Sols vosté hi faltava. Donguim la culpa. La té aquest ab lo seu

¡ay! ¡ay! y aquest ximple.

Jaume: ¡No m feu perdre la paciencia!

Micaló: ¡Miréus que es molt aquesta dona! ¡Ay!

Apot. Be ¿qué vols? (a Sisa.)

Sisa: Res. (S'en va cremada.)

Apot. Donchs ja ho tens tot. ¡Que no torni!

Sisa: Diga al seu fill que no'ls vull els cinch céntims de greix de
bellena, seu de crestat, moll de bou, pomada de cacáu, mantega de sá
y ungüent de malví. Aniré á casa l'altre apotecari. (Se'n va.)

Apot. ¡Veshi y no tornis may més! ¿Qué vols tú?

Jaume: Res; es á dir, res: venía per dirvos que la senyora María y la
seva noya no han arribat, pero com ja se que han arribat, lo meu
misatje queda reduhit á res. Que ho passi be.
(se'n va)

Apot. ¿Y vos Micaló?

Micaló: Fassi'l favor de despatxarme aquesta recepta, cuan mes aviat

millor.

Apot. ¿Ja os torna á fer mal el costat?

Micaló: Sí, senyó.

Apot. Axó es nerviós.

Micaló: Axís ho diu el metje, que son els nérvis. Lo que m xoca es que
cuan jo era jove sols tenían nérvis las donas, y ara també'n tením els
homes. ¡Ay! ¿Tardará molt á estar la recepta?

Apot. Tornéu d'aquí una estoneta.

Micaló: Está bé. ¡Ay! (Se'n vá.)

Escena IX

Apotecari, Blay després Maria

Maria: La sala me te'l cor robat. (A Ignés.)

Apot. ¡Noy! Té; despatxa aquesta recepta.

(Blay la pren y va al taulell)

Maria: S'ha lluit. Quina casa tan maca ha quedat.

Apot. Tot per qué l'Ignés no anyori'l mas cuan estigui aquí.

Blay: (¡Ay pobres de nosaltres si'n arriban á parlar!)

Maria: Jo també he fet obras al mas perque en Blay no hi trobi á

faltar rés.

Blay: (¡Ay Deu meu! Si no mudan de conversa estém perduts.)

Apot. La pubilla estará molt be aquí.

Blay: ¡Pare! No entench quina dosis ha marcat el metje. (Li dona la

recepta. A Ignés) (Procura endurten á la teva mare ó tot s'esbulla.)

Maria: Ja he dit á tot lo servey: heu de respectar á Blay com á senyó.

Ignes: Mare, ¿qué anirém á veure á la Mariagna?

Maria: Després.

Apot. Si no pot estar escrit més clar.

Blay: Es veritat. Crech que'ls ulls me fan pampallugues.

Apot. No m'estranya. Dexa'l morté. Ja faré jo la recepta.

Blay: (Axís no parlarán d'ahont hem de viure.)

Apot. (Maxacant en lo morté) Cuan vosté vinga á veure á la noya...

Blay: (¡Ay! ¡Ay! ¡Ay!) ¿No está pas cansada, senyora María?

Apot. Trobará sempre preparat el seu cuarto.

Maria: Vosté també tindrá'l seu al mas. ¿Qué hi vindrá els istíus?

Apot. Els noys, sí.

Maria: Ells ja hi serán tot l'any. Vosté es qui ha de venir.

Blay: (Ja hi som.) ¿Per quí es la recepta?

Apot. (Matxacant en lo morté y baxant á l'escena.)

¿Com? ¿Com? No: vosté será qui vindrá á veure á la seva filla, perque
visquent los nuvis á Malgrat...

Blay: Es clar, anirém y vindrém.

Ignes: Mare, recordis que hem d'anar á veure á la Mariagna.

Maria: Hont viurán, es á Canet.

Apot. A Malgrat.

Maria: A Canet... Sent la noya pubilla, el seu marit ve á casa. Axó es

cosa sabuda.

Apot. Sent el noy heréu, la seva dona ve á casa. Axó es cosa que ningú
ho ignora.

Maria: ¡Y que jo'm quedi sola!

Apot. ¿Y cóm me quedaría jo?

Blay: No'n parlin ara d'axó. Be prou temps que queda.

Apot. Lo que m'ha dit m'ha trastornat.

Maria: Axó s'ha d'aclarar.

Blay: Ja'n parlarém un cop casats...

Apot. Ara n'hem de parlar. Senyora María: vosté ja compren que á la

meva edat y ab una professió tant personal, no puch consentir que l
meu heréu surti de casa.

Maria: ¿Per ventura soch jove y tinch altres fillas que'm cuidin?
Vosté es qui ha de cedir.

Apot. A mí ¿quí'm cuidará? ¿El sereno?

Maria: Sent axís, senyó Benet, no hi ha res del dit.

Apot. Ho sento senyora María: no's poden casar.

Maria: Noya, entornemsen a Canet. Per axó quedém amichs.

Apot. Axó sí, conservém las amistats.

Blay: Y nosaltres ¡no'ns casem! (Plorant.)

Apot. ¡Noy!

Maria: ¡Noya! (A Ignés que plora.) Vina ab mí, que pot entrá algú, y
¿qué diría si't vejés plorar. (Se'n van, esquerra.)

Blay: ¡Qué soch desgraciat! (Se'n va, dreta.)

 Escena X

Apotecari, després Micaló y al final, María

Apot. (Matxacant en lo morter, y com no's dona compte del que fá,
picará algunas vegadas ab lo morté voltat, cayentli lo contingut.)

Aquesta si que no me l'esperava: els papers despatxats, posats en net

los capítols, la casa renovada, la roba feta, comprats mobles, y ara
¡no hi ha res del dit! Y lo que m'espera, perque'l noy l'estima. ¡Bona
l'hem feta! Si algú vol veure un apotecari cremat, que'm miri. Ni ha
per cridar y per jemegar...

Micaló: ¡Ay!

Apot. Sí, Micaló ¡ay! ¡ay!

Micaló: No puch aguantar més.

Apot. Tampoch jo.

Micaló: ¿Qué te senyó Benet? ¡Ay!

Apot. ¡Ay! Que el casament s'ha desfet!

Micaló: ¿Y axó? ¡Ay!

Apot. ¡Ay! La senyora María vol que'ls nuvis viscan ab ella á Canet, y
jo que viscan á Malgrat.

Micaló: Tan facil fos de curá'l meu mal com axó. ¡Ay!
Apot. ¿Cóm? ¿Cóm? Espliquéuse.

Micaló: La senyora María es viuda, vosté viudo: fassin casament

doble.

Maria: Senyor Benet... ¡Ah! Dispensi.

Apot. (No, vella no ho es, y jo puch passar.)

(Mirantla.)

Maria: ¿Qué tinch alguna cosa á la cara que m mira tant? (Trayent lo
mocadó per netejarse.)

Apot. Micaló, tornéu d'aquí una mica per la recepta. (Després de tot.)
(Guaytantla)

Escena XI

Apotecari, Maria

Maria: Be, ¿que tinch la cara bruta?

Apot. No senyora.

Maria: ¿Qué fa ab lo morté cap per vall?

Apot. No ho sé. (Deixa el morte)

Senyora María, tinch por de que'l noy se'm posi malalt del sentiment,
perque estima molt á la Ignés, ¡molt!
Maria: També ella, a quí he dexat feta una mar de llágrimas. Pero,
¿qué hi vol ferhi? Com s'arregla? Per acabar he resolt tornarmen á
Canet en lo tren d'ara.

Apot. Ho sento molt, senyora María, ¡molt! ¡molt!

Maria: També jo, perque nosaltres sempre hem estat bons amichs y
veya ab gust aquest casament.

Apot. També jo.

Maria: Perque'ls noys s'estiman.

Apot. Y'ns donarán la culpa de que no's casin.

Maria: Y hasta cert punt tindrán rahó, pero no'n tenen. Jo no puch
quedarme sola.

Apot. Ni jo sol.

Maria: ¿Quín medi hi ha?

Apot. Ja me n'han dit un, pero fa riure.

Maria: Diguil home, perque convé riure en mitj de tanta tristesa.

Apot. Casarnos.

Maria: ¿Nosaltres?

Apot. ¡Nosaltres!

Maria: ¡Quín disbarat!

Apot. ¡Una ximplesa!

Maria: Si m'hagués volgut tornar á casar, se m'han presentat moltas

proporcions.

Apot. Ja ho crech senyora María.

Maria: ¡Y ara á las mevas vellesas!

Apot. Vella no ho es, en cambi jo sí que estich molt envellit.

Maria: No tant, senyor Benet. Se conserva be.

Apot. No tant com vosté, que es una dona vistosa.

Maria: Y vosté encara fa goig.

Apot. ¿Vol dir?

Maria: Sí, senyor Apotecari, sí.

Apot. Afeytat de fresch y ben arreglat, encara puch passar; pero, axó
sí, soch de molt bona pasta, y si'ns casessim, –es un suposar, perque
jo se que es una bojería pensarhi– qui manaría á casa sería vosté.

Maria: No, perque la dona casada ha de tenir la voluntat del seu

home; y si'ns casesim, que pensarho es bojería, no li faltaría res. La
escudella á taula á las dotze.

Apot. ¿Li agrada granyal?

Maria: Molt.
Apot. A mi també. Tením los matexos gustos.

¡Quína llástima que no tinguém deu anys menos!

Maria: ¡Qué deu anys menos! No cregui que siga tant vella.

Apot. Vell, vell, tampoch ho soch jo.

(Pausa; se miran ab rialleta y acaban per esclatar la rialla.)

¿De qué riu?

Maria: Una idea que m'ha vingut ¿Y vosté?

Apot. També una idea. Pensava: ¡quína cara posarían els noys si'ls
deyam de sopte que'ns casavam!

Maria: Lo mateix pensament me feya riure á mi.

Apot. Si'ns casessim –es un dir– sería per ells.

Maria: Axó si, tant sols pel seu bé.

Apot. Sols perque estimo molt al meu fill... Perque la veritat es que'ls
noys s'estiman, María. ¡Ay! Dispensi: li he dit María sense'l senyora.

Maria: No hi fa res Benet. ¡Ay! Senyó Benet. Jo tinch por de que la

Ignés se'm posi malalta de pena si no pot casarse ab en Blay.

Apot. També ell s'enmalaltirá. Som molt egoístas sacrificantlos,

perque lo cert es que'ls sacrifiquém á las nostras conveniencias, y
axó'ls pares no deuhen ni poden ferho. ¿Hont s'es vist?
Maria: ¡Pobre filleta meva! Si se m'enmalaltis, jo tindría
remordiment per haberli esbullat lo casament.

Apot. María, sols per ells podría fer lo sacrifici de tornarme á casa.

Maria: La veritat es, Benet, que ja sería un sacrifici casarse ab mí.

Apot. ¿Sacrifici? No n'aniria poch de cofoy al costat de vosté...

Maria: No, lo que es de vella, vella, no ho soch.

Apot. No ni jo tampoch vell, vell. María, nosaltres no tenim dret á

sacrificar als fills; ¿sacrifiquémnos nosaltres per ferlos felissos?

Maria: Ben mirat...

Apot. ¿Y fem casament doble? ¿Qué li sembla?

Maria: Miris, no m'está be dirli que'm sembla be, pero ja ho pot

compendre.

Escena ultima

Dits, Blay, Ignes, al final Micaló

Apot. ¡Blay! ¡Ignés! (Cridantlos.) Diguéu. ¿Vos agradaría que

visquessim tots junts?

Ig· Blay ¡Ja ho crech!

Apot. Donchs la María, que es una bona mare, y jo, que soch un bon
pare, hem resolt sacrificarnos per la vostra felicitat, y'l mateix día
que vosaltres vos caséu, nos casarém nosaltres y axís viurém tots
junts. ¿Qué os sembla?

Blay: Si es per la nostra felicitat...

Ignes: Hem de agrahirho.

Apot. Ja'ls sent, senyora María.

Micaló: ¡Ay! ¡Ay!

Apot. No os quexeu, que tot es alegría.

Micaló: ¿Está la recepta?

Apot. La que vos m'heu donat, si, perque hi haurá casament doble.

Micaló: Per molts anys,

Apot. En vida vostra.

(Al públich:)

Ja que tot ab harmonía, la casa omplint d'alegría, s'ha arreglat; si no

manan lo contrari, s'ha acabat L'Apotecari de Malgrat.
*** END OF THE PROJECT GUTENBERG EBOOK L'APOTECARI
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