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9.2: PROPAGANDA, PERSUASION, POLITICS, AND POWER

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    10165
  • The word propaganda has gotten a bad reputation. The Latin origin of the word propaganda is propagare, meaning “to spread or disseminate.” As it is used today, the word mainly refers to promoting information often biased or misleading, sometimes hidden in order to influence views, beliefs, or behavior. Originally, the word was not associated with politics, as it is generally today, nor did it imply lies or bad faith; propaganda was simply a means of publicly communicating ideas, instruction, and the like. In such a case, we now are more likely to use the word persuasion, which has a more neutral connotation and suggests convincing rather than coercing. For example, advertising tries to persuade or entice the consumer to make a choice or purchase. To many, however, there is a fine line between propaganda and persuasion. They are separated more by purpose and intention good, bad, or neutral than how they are carried out. Garth Jowett and Victoria O’Donnell describe the fine but crucial differences between the two words:

    Propaganda is the deliberate, systematic attempt to shape perceptions, manipulate cognitions, and direct behavior to achieve a response that furthers the desired intent of the propagandist. Persuasion is interactive and attempts to satisfy the needs of both persuader and persuadee.1

    King Darius I (r. 522-486 BCE) had both persuasion and propaganda in mind when he built the Apadana at Persepolis, today Iran. (Figure 9.1) Darius I was the first king of the Achaemenid Empire (c. 550-330 BCE) to have royal structures erected on the site, but construction would continue under succeeding Persian kings for approximately one hundred years. The Apadana was begun in 515 BCE and completed thirty years later by Darius I’s son, Xerxes I. Apadana means hypostyle hall, a stone building with a roof supported by columns. It originally had seventy-two columns thirteen still stand each sixty-two feet tall in a grand hall that was 200 x 200 feet, or 4,000 square feet. Needless to say, a building of such monumental proportions was an over- whelming sight for those who approached it. Brightly painted in many colors and raised on a plat- form with the Kuhe Rahmat or Mountain of Mercy rising behind it, the towering structure could be seen for miles from the sparsely vegetated plain to the east.

    For King Darius I, the Apadana and Persepolis the city of Persians as a whole was a statement of propaganda. The hypostyle hall and the city were awe inspiring and intimidating; they in no uncertain terms let the viewer know the King had formidable power and tremendous resources. Upon entering the King’s hall, the viewer was surrounded by his strength in the form of columns the height of a modern six-story building, holding up a ceiling of incalculable weight. How small and powerless the visitor was in the midst of such force. But Darius I, whose empire stretched from Egypt in the west to the Indus Valley, today Pakistan, to the east, knew that he could not effectively rule through domination and fear. So, he had elements of persuasion included at Persepolis, as well.

    In addition to the building’s resplendent majesty, it was adorned with sumptuous and masterful frescoes, glazed brickwork, and relief sculpture. Two staircases led up to the platform on which the Apadana was built, on the north and east sides, but only the north staircase was completed during Darius’s lifetime. That staircase and the platform walls to either side are covered with reliefs: figures in even, orderly rows as they approach the Persian King’s hall. (Figure 9.2) They are representatives of the twenty-three countries within the Achaemenid Empire, coming to pay homage to the King during festivals for the New Year, carrying gifts. Accompanying them are Persian dignitaries, followed by soldiers with their weaponry, horses, and chariots.

    Screen Shot 2019-10-11 at 3.35.44 PM.pngScreen Shot 2019-10-11 at 3.29.32 PM.png

    The native Persian and foreign-born delegates are shown together in these friezes, or rows, of relief sculpture. (Figure 9.3) They have facial features that correspond with their ethnicity, and hair, clothing, and accessories that indicate what region they are from. Even the gifts are objects and animals from their own countries. Rather than showing the foreigners as subservient to the Persians, they mingle with one another and at times appear to be in conversation.

    The staircase reliefs, as opposed to the magnificent building as a whole, can be seen as a form of persuasion. It was in the king’s better interests to win over his subjects, to gain their trust, allegiance, and cooperation, than to bend themto his will through force and subjugation. Having already demonstrated from a distance that he had the power to de-feat his enemies, Darius I could, as the delegates ascended the stairs to his great hall, literally show them the respect with which he treated his loyal subjects.

    In more recent history, Jacques-Louis David (1748-1825, France) painted five versions of Napoleon Crossing the Alpsbetween 1801 and 1805. (Figure 9.4) David was born and raised in Paris and entered the École des Beaux-Arts in 1866at the age of eighteen. After eight years of mixed success in his studies there, David won the Prix de Rome in 1774, a prestigious government scholarship that also included travel to Italy. He lived in Rome from 1775 to 1780, studying the art of great masters from the classical past, through the Renaissance, and to the present. But, he was most impressed with the philosophical and artistic ideals of some of his contemporaries, the Neoclassical thinkers and painters he met in Italy.

    Screen Shot 2019-10-11 at 3.51.00 PM.pngWhen he returned to France, he soon began exhibiting work in this new style; with their somber, moral tones, stories of family loyalty and patriotic duty, fine detail, and sharp focus, works in the Neoclassical style (c. 1765-1830) were in stark contrast to the frivolous, sentimental subjects and delicate, pastel hues of the prevailing Rococo style (c. 1700-1770s). Over the course of the 1780s, as social disconnect and political upheaval were building toward the French Revolution of 1789, the self-sacrificing, stoic heroes from classical and contemporary history David painted increasingly reflected the public de- sire for liberté, egalité, fraternité, or liberty, equality, and fraternity (universal brotherhood).

    In the aftermath of the revolution, during the mercurial times of the 1790s, David was first a powerful figure in the short-lived Republic and then a jailed outcast. When Napoleon Bonaparte, named First Consul in 1799, commissioned David to paint his portrait in 1800, however, David’s return to official favor was complete.

    The commission came about this way: in the spring of 1800, Napoleon led troops south to support French troops already in Genoa, Italy, in an effort to take back land captured by the Austrians. He did so on June 9th at the Battle of Marengo. The victory led to France and Spain reestablishing diplomatic relations eleven years after the French Revolution and, as part of the formal exchange of gifts to mark the occasion, King Charles IV of Spain requested a portrait of Napoleon to hang in the Royal Palace of Madrid. Learning of this, Napoleon requested three more versions from David (and the painter independently created a fifth, which remained in his possession until his death.)

    It was to be an equestrian portrait, Napoleon specified, that is, depicting him on horseback, crossing the Great St. Bernard Pass in the Alps, leading the Reserve Army south to Italy. David was to show Napoleon on a spirited, rearing horse as a calm and decisive leader, much like his heroes Hannibal and Charlemagne, who crossed the Alps before Napoleon and whose names are inscribed with his on rocks in the left foreground of the painting. In actuality, however, it did not happen that way at all: Napoleon crossed on the Alps on the back of a mule, in good weather, a few days after the soldiers went through the pass.

    What Napoleon was asking David to paint was a piece of propaganda. And, the artist succeeded admirably. With the wind whipping his cloak around him, assuredly holding the reins of his wild-eyed horse in one hand while gesturing the way up and over the peaks with the other, and holding the viewer’s gaze with his look of complete composure, David has shown Napoleon as a leader who guides his people to victory and who will be remembered as a hero throughout the ages. That was the story Napoleon wanted told: the timeless ideal of the great man, not the transitory pettiness of his physical likeness. For, as Napoleon is attributed with claiming, “History is the version of past events that people have decided to agree upon.”


    1. Garth Jowett and Victoria O’Donnell, Propaganda and Persuasion, 6th ed. (California: Sage Publications, 2014), 7

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