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Monday, January 20, 2020

Thích Quảng Đức

 
Thích
Quảng Đức
Thich Quang Duc.png
Other namesBồ Tát Thích Quảng Đức
(Bodhisattva Thích Quảng Đức)
Personal
Born1897
Died11 June 1963 (aged 65–66)
Cause of deathBurns from self-immolation

ReligionMahayana Buddhism
Other namesBồ Tát Thích Quảng Đức
(Bodhisattva Thích Quảng Đức)
Senior posting
Based inSouth Vietnam
Period in office1917–1963
Ordination1917
PostChairman of the Panel on Ceremonial Rites of the Congregation of Vietnamese Monks
Abbot of the Phước Hòa pagoda

Thích Quảng Đức was a Vietnamese Mahayana Buddhist monk who burned himself to death at a busy Saigon road intersection on 11 June 1963. Quảng Đức was protesting the persecution of Buddhists by the South Vietnamese government led by Ngô Đình Diệm. Photographs of his self-immolation were circulated widely across the world and brought attention to the policies of the Diệm government. John F. Kennedy said in reference to a photograph of Đức on fire, "No news picture in history has generated so much emotion around the world as that one." Malcolm Browne won a Pulitzer Prize for his photograph of the monk's death.

Quảng Đức's act increased international pressure on Diệm and led him to announce reforms with the intention of mollifying the Buddhists. However, the promised reforms were not implemented, leading to a deterioration in the dispute. As protests continued, the ARVN Special Forces loyal to Diệm's brother, Ngô Đình Nhu, launched nationwide raids on Buddhist pagodas, seizing Quảng Đức's heart and causing deaths and widespread damage. Several Buddhist monks followed Quảng Đức's example, also immolating themselves. Eventually, a U.S.-backed Army coup toppled Diệm, who was assassinated on 2 November 1963.

Biography

Accounts of the life of Quảng Đức are derived from information disseminated by Buddhist organizations. He was born in the village of Hội Khánh, in Vạn Ninh District of Khánh Hòa Province in central Vietnam as Lâm Văn Túc, one of seven children of Lâm Hữu Ứng and his wife, Nguyễn Thị Nương. At the age of seven, he left to study Buddhism under Hòa thượng Thích Hoằng Thâm, who was his maternal uncle and spiritual master. Thích Hoằng Thâm raised him as a son and Lâm Văn Túc changed his name to Nguyễn Văn Khiết. At age 15, he took the samanera (novice) vows and was ordained as a monk at age 20 under the dharma name Thích Quảng Đức. The Vietnamese name Thích () is from "Thích Ca" or "Thích Già" (釋迦), means "of the Shakya clan." After ordination, he traveled to a mountain near Ninh Hòa, vowing to live the life of a solitary Buddhism-practicing hermit for three years. He returned in later life to open the Thien Loc pagoda at his mountain retreat.

After his self-imposed isolation ended, he began to travel around central Vietnam expounding the dharma. After two years, he went into retreat at the Sac Tu Thien An pagoda near Nha Trang. In 1932, he was appointed an inspector for the Buddhist Association in Ninh Hòa before becoming the inspector of monks in his home province of Khánh Hòa. During this period in central Vietnam, he was responsible for the construction of 14 temples. In 1934, he moved to southern Vietnam and traveled throughout the provinces spreading Buddhist teachings. During his time in southern Vietnam, he also spent two years in Cambodia studying the Theravada Buddhist tradition.

Upon his return from Cambodia, he oversaw the construction of a further 17 new temples during his time in the south. The last of the 31 new temples that he was responsible for constructing was the Quan The Am pagoda in the Phú Nhuận District of Gia Định Province on the outskirts of Saigon. The street on which the temple stands was later renamed Quảng Đức Street in 1975. After the temple-building phase, Đức was appointed to serve as the Chairman of the Panel on Ceremonial Rites of the Congregation of Vietnamese Monks, and as abbot of the Phuoc Hoa pagoda, which was the initial location of the Association for Buddhist Studies of Vietnam (ABSV). When the office of the ABSV was relocated to the Xá Lợi Pagoda, the main pagoda of Saigon, Đức resigned.

Self-immolation


Religious background

A memorial to Quảng Đức located on the site of his death
 
In a country where surveys of the religious composition at the time estimated the Buddhist majority to be between 70 and 90 percent, President Diệm was a member of the Catholic minority, and pursued discriminatory policies favoring Catholics for public service and military promotions, as well as in the allocation of land, business arrangements and tax concessions. Diệm once told a high-ranking officer, forgetting that the officer was from a Buddhist family, "Put your Catholic officers in sensitive places. They can be trusted." Many officers in the Army of the Republic of Vietnam (ARVN) converted to Roman Catholicism as their military prospects depended on it. Additionally, the distribution of firearms to village self-defense militias saw weapons given only to Roman Catholics, with some Buddhists in the army being denied promotion if they refused to convert to Roman Catholicism.

Some Catholic priests ran their own private armies, and there were forced conversions and looting, shelling, and demolition of pagodas in some areas, to which the government turned a blind eye. Some Buddhist villages converted en masse to receive aid or avoid being forcibly resettled by Diệm's regime. The "private" status that was imposed on Buddhism by the French, which required official permission to be obtained by those wishing to conduct public Buddhist activities, was not repealed by Diệm. Catholics were also de facto exempt from corvée labor, which the government obliged all citizens to perform, and United States aid was distributed disproportionately to Catholic majority villages by Diệm's regime.

The Catholic Church was the largest landowner in the country and enjoyed special exemptions in property acquisition, and land owned by the Catholic Church was exempt from land reform. The white and gold Vatican flag was regularly flown at all major public events in South Vietnam, and Diệm dedicated his country to the Virgin Mary in 1959.

Buddhist discontent erupted following a ban in early May on flying the Buddhist flag in Huế on Vesak, the birthday of Gautama Buddha. Just days before, Catholics had been encouraged to fly the Vatican flag at a celebration for Archbishop Ngô Đình Thục of Huế, Diệm's elder brother. A large crowd of Buddhists protested the ban, defying the government by flying Buddhist flags on the Buddhist holy day of Vesak and marching on the government broadcasting station. Government forces fired into the crowd of protesters, killing nine people. Diệm's refusal to take responsibility—he blamed the Viet Cong for the deaths—led to further Buddhist protests and calls for religious equality. As Diem remained unwilling to comply with Buddhist demands, the frequency of protests increased.

Day of the act

Journalist Malcolm Browne's photograph of Quảng Đức during his self-immolation; a similar photograph won the 1963 World Press Photo of the Year.
 
A higher resolution image of the car, on display at the temple, 15 December 2011.
The car in which Quảng Đức traveled to his self-immolation; Huế, Thiên Mụ Pagoda.
 
On 10 June 1963, U.S. correspondents were informed that "something important" would happen the following morning on the road outside the Cambodian embassy in Saigon. Most of the reporters disregarded the message, since the Buddhist crisis had at that point been going on for more than a month, and the next day only a few journalists turned up, including David Halberstam of The New York Times and Malcolm Browne, the Saigon bureau chief for the Associated Press (AP). Đức arrived as part of a procession that had begun at a nearby pagoda. Around 350 monks and nuns marched in two phalanxes, preceded by an Austin Westminster sedan, carrying banners printed in both English and Vietnamese. They denounced the Diệm government and its policy towards Buddhists, demanding that it fulfill its promises of religious equality. Another monk offered himself, but Đức's seniority prevailed.

The act occurred at the intersection of Phan Đình Phùng Boulevard (now Nguyễn Đình Chiểu Street) and Lê Văn Duyệt Street (now Cách Mạng Tháng Tám Street) (10.7750°N 106.6868°E), a few blocks southwest of the Presidential Palace (now the Reunification Palace). Đức emerged from the car along with two other monks. One placed a cushion on the road while the second opened the trunk and took out a five-gallon petrol can. As the marchers formed a circle around him, Đức calmly sat down in the traditional Buddhist meditative lotus position on the cushion. A colleague emptied the contents of the petrol container over Đức's head. Đức rotated a string of wooden prayer beads and recited the words Nam mô A Di Đà Phật ("Homage to Amitābha Buddha") before striking a match and dropping it on himself. Flames consumed his robes and flesh, and black oily smoke emanated from his burning body.

Đức's last words before his self-immolation were documented in a letter he had left:
"Before closing my eyes and moving towards the vision of the Buddha, I respectfully plead to President Ngô Đình Diệm to take a mind of compassion towards the people of the nation and implement religious equality to maintain the strength of the homeland eternally. I call the venerables, reverends, members of the sangha and the lay Buddhists to organize in solidarity to make sacrifices to protect Buddhism."
David Halberstam wrote:
"I was to see that sight again, but once was enough. Flames were coming from a human being; his body was slowly withering and shriveling up, his head blackening and charring. In the air was the smell of burning human flesh; human beings burn surprisingly quickly. Behind me I could hear the sobbing of the Vietnamese who were now gathering. I was too shocked to cry, too confused to take notes or ask questions, too bewildered to even think ... As he burned he never moved a muscle, never uttered a sound, his outward composure in sharp contrast to the wailing people around him."
The spectators were mostly stunned into silence, but some wailed and several began praying. Many of the monks and nuns, as well as some shocked passersby, prostrated themselves before the burning monk. Even some of the policemen, who had orders to control the gathered crowd, prostrated before him.

In English and Vietnamese, a monk repeated into a microphone: "A Buddhist priest burns himself to death. A Buddhist priest becomes a martyr." After approximately 10 minutes, Đức's body was fully immolated and it eventually toppled backwards onto its back. Once the fire subsided, a group of monks covered the smoking corpse with yellow robes, picked it up and tried to fit it into a coffin, but the limbs could not be straightened and one of the arms protruded from the wooden box as he was carried to the nearby Xá Lợi Pagoda in central Saigon. Outside the pagoda, students unfurled bilingual banners which read: "A Buddhist priest burns himself for our five requests."

By 1:30 pm (13:30), around 1,000 monks had congregated inside to hold a meeting, while outside a large crowd of pro-Buddhist students had formed a human barrier around it. The meeting soon ended and all but 100 monks slowly left the compound. Nearly 1,000 monks, accompanied by laypeople, returned to the cremation site. The police lingered nearby. At around 6:00 pm (18:00), thirty nuns and six monks were arrested for holding a prayer meeting on the street outside Xá Lợi. The police encircled the pagoda, blocking public passage and giving observers the impression that an armed siege was imminent by donning riot gear. 

Funeral and aftermath

After the self-immolation, the U.S. put more pressure on Diệm to re-open negotiations on the faltering agreement. Diệm had scheduled an emergency cabinet meeting at 11:30 on 11 June to discuss the Buddhist crisis which he believed to be winding down. Following Đức's death, Diệm canceled the meeting and met individually with his ministers. Acting U.S. Ambassador to South Vietnam William Trueheart warned Nguyễn Đình Thuận, Diệm's Secretary of State, of the desperate need for an agreement, saying that the situation was "dangerously near breaking point" and expected Diệm would meet the Buddhists' five-point manifesto. United States Secretary of State Dean Rusk warned the Saigon embassy that the White House would publicly announce that it would no longer "associate itself" with the regime if this did not occur. The Joint Communiqué and concessions to the Buddhists were signed on 16 June.

15 June was set as the date for the funeral, and on that day 4,000 people gathered outside the Xá Lợi pagoda, only for the ceremony to be postponed. On 19 June, his remains were carried out of Xá Lợi to a cemetery 16 kilometers (9.9 mi) south of the city for a re-cremation and funeral ceremony. Following the signing of the Joint Communiqué, attendance was limited by agreement between Buddhist leaders and police to approximately 500 monks.

Intact heart and symbolism

The heart relic of Quảng Đức
 
The body was re-cremated during the funeral, but Đức's heart remained intact and did not burn. It was considered to be holy and placed in a glass chalice at Xá Lợi Pagoda. The intact heart relic is regarded as a symbol of compassion. Đức has subsequently been revered by Vietnamese Buddhists as a bodhisattva (Bồ Tát), and accordingly is often referred to in Vietnamese as Bồ Tát Thích Quảng Đức. On 21 August, the ARVN Special Forces of Nhu attacked Xá Lợi and other Buddhist pagodas across Vietnam. The secret police intended to confiscate Đức's ashes, but two monks had escaped with the urn, jumping over the back fence and finding safety at the U.S. Operations Mission next door. Nhu's men managed to confiscate Đức's charred heart.

The location chosen for the self-immolation, in front of the Cambodian embassy, raised questions as to whether it was coincidence or a symbolic choice. Trueheart and embassy official Charles Flowerree felt that the location was selected to show solidarity with the Cambodian government of Prince Norodom Sihanouk. South Vietnam and Cambodia had strained relations: in a speech on 22 May, Sihanouk had accused Diệm of mistreating Vietnamese and ethnic minority Khmer Buddhists. The pro-Diệm Times of Vietnam published an article on 9 June which claimed that Cambodian monks had been encouraging the Buddhist crisis, asserting it was part of a Cambodian plot to extend its neutralist foreign policy into South Vietnam. Flowerree noted that Diệm was "ready and eager to see a fine Cambodian hand in all the organized Buddhist actions".

Diệm reaction

A portrait of a middle-aged man, looking to the left in a half-portrait/profile. He has chubby cheeks, parts his hair to the side and wears a suit and tie.
Diệm made a radio address at 19:00 on the day of Đức's death, asserting that he was profoundly troubled by the event. He appealed for "serenity and patriotism", and announced that stalled negotiations would resume with the Buddhists. He claimed that negotiations had been progressing well and in a time of religious tension emphasized the role of the Roman Catholic philosophy of personalism in his rule. He alleged that extremists had twisted the facts and he asserted that the Buddhists can "count on the Constitution, in other words, me."

The ARVN responded to the appeal, putting on a show of solidarity behind Diệm to isolate dissident officers. Thirty high-ranking officers headed by General Lê Văn Tỵ declared their resolve to carry out all missions entrusted to the army for the defense of the constitution and the Republic. The declaration was a veneer which masked a developing plot to oust Diệm. Some of the signatories were to become personally involved in Diệm's overthrow and death in November. Generals Dương Văn Minh and Trần Văn Đôn, the presidential military advisor and the chief of the army who were to lead the coup, were overseas.

Madame Nhu (a Catholic convert from Buddhism and the wife of Diệm's younger brother and chief adviser Ngô Đình Nhu), who was regarded as the First Lady of South Vietnam at the time (as Diệm was a bachelor), said she would "clap hands at seeing another monk barbecue show". Later that month, Diệm's government charged that Đức had been drugged before being forced to commit suicide. The regime also accused Browne of bribing Đức to burn himself.

Political and media impact

Photographs taken by Malcolm Browne of the self-immolation quickly spread across the wire services and were featured on the front pages of newspapers worldwide. The self-immolation was later regarded as a turning point in the Buddhist crisis and a critical point in the collapse of the Diệm regime.

Historian Seth Jacobs asserted that Đức had "reduced America's Diệm experiment to ashes as well" and that "no amount of pleading could retrieve Diệm's reputation" once Browne's images had become ingrained into the psyche of the world public. Ellen Hammer described the event as having "evoked dark images of persecution and horror corresponding to a profoundly Asian reality that passed the understanding of Westerners." John Mecklin, an official from the U.S. embassy, noted that the photograph "had a shock effect of incalculable value to the Buddhist cause, becoming a symbol of the state of things in Vietnam." William Colby, then chief of the Central Intelligence Agency's Far East Division, opined that Diệm "handled the Buddhist crisis fairly badly and allowed it to grow. But I really don't think there was much they could have done about it once that bonze burned himself."

U.S. President John F. Kennedy said that "no news picture in history has generated so much emotion around the world as that one."
 
President John F. Kennedy, whose government was the main sponsor of Diệm's regime, learned of Đức's death when handed the morning newspapers while he was talking to his brother, Attorney General Robert F. Kennedy, on the phone. Kennedy reportedly interrupted their conversation about segregation in Alabama by exclaiming "Jesus Christ!" He later remarked that "no news picture in history has generated so much emotion around the world as that one." U.S. Senator Frank Church (D-ID), a member of the Senate Foreign Relations Committee, claimed that "such grisly scenes have not been witnessed since the Christian martyrs marched hand in hand into the Roman arenas."

In Europe, the photographs were sold on the streets as postcards during the 1960s, and communist China distributed millions of copies of the photograph throughout Asia and Africa as evidence of what it called US imperialism. One of Browne's photographs remains affixed to the sedan in which Đức was riding and is part of a tourist attraction in Huế. For Browne and the AP, the pictures were a marketing success. Ray Herndon, the United Press International (UPI) correspondent who had forgotten to take his camera on the day, was harshly criticized in private by his employer. UPI estimated that 5,000 readers in Sydney, then a city of around 1.5–2 million, had switched to AP news sources.

Diệm's English-language mouthpiece, the Times of Vietnam, intensified its attacks on both journalists and Buddhists. Headlines such as "Xá Lợi politburo makes new threats" and "Monks plot murder" were printed. One article questioned the relationship between the monks and the press by posing the question as to why "so many young girls are buzzing in and out of Xá Lợi early [in the day]" and then going on to allege that they were brought in for sexual purposes for the U.S. reporters.

Browne's award-winning photograph of Đức's death has been reproduced in popular media for decades, and the incident has been used as a touchstone reference in many films and television programs.

A still photograph of Đức's self-immolation taken by Browne was used for the cover of American rap metal band Rage Against the Machine's debut album which came out in 1992, as well as the cover of their single "Killing in the Name".

Precedents and influence

Despite the shock of the Western public, the practice of Vietnamese monks self-immolating was not unprecedented. Instances of self-immolations in Vietnam had been recorded for centuries, usually carried out to honor Gautama Buddha. The most recently recorded case had been in North Vietnam in 1950. The French colonial authorities had tried to eradicate the practice after their conquest of Vietnam in the nineteenth century, but had not been totally successful. They did manage to prevent one monk from setting fire to himself in Huế in the 1920s, but he managed to starve himself to death instead. During the 1920s and 1930s, Saigon newspapers reported multiple instances of self-immolations by monks in a matter-of-fact style. The practice had also been seen in the Chinese city of Harbin in 1948 when a monk seated down in the lotus position on a pile of sawdust and soybean oil and set fire to himself in protest against the treatment of Buddhism by the communists of Mao Zedong. His heart remained intact, as did that of Đức.

statue in a small park
The Venerable Thich Quảng Đức Monument at the intersection where Quảng Đức performed his self-immolation, Phan Đình Phùng (now Nguyễn Đình Chiểu) Street and Lê Văn Duyệt (now Cach Mạng Thang Tam) Street (10.775159°N 106.686864°E)

After Đức, five more Buddhist monks self-immolated up until late October 1963 as the Buddhist protests in Vietnam escalated. On 1 November, the ARVN overthrew Diệm in a coup. Diệm and Nhu were assassinated the next day. Monks have followed Đức's example since for other reasons.

Đức's actions were copied by United States citizens in protests against the Vietnam War:
In an apparently non-political case of imitation of Quảng Đức, the young son of an American officer based at the U.S. Embassy in Saigon doused himself with gasoline and set himself on fire. He was seriously burned before the fire was extinguished and later could only offer the explanation that "I wanted to see what it was like."

Sunday, January 19, 2020

Phan Thi Kim Phuc

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Phan_Thi_Kim_Phuc
 
Phan Thị Kim Phúc
Group of children and soldiers moving on foot away from a distant cloud of smoke rising from the ground. Several children are crying and one in the center is also naked as she runs toward the camera.
June 8, 1972: Kim Phúc, center left, running down a road naked near Trảng Bàng after a South Vietnam Air Force napalm attack (Nick Ut / The Associated Press)
Born
Phan Thị Kim Phúc

April 6, 1963
Trảng Bàng, South Vietnam
NationalityCanadian
Other namesKim Phúc
CitizenshipSouth Vietnam (1963-1975)
Vietnam (1975-1997)
Canada (1997-present)
Alma materUniversity of Havana, Cuba
OccupationAuthor, UNESCO Goodwill Ambassador
Known forBeing "The Girl in the Picture" (Vietnam War)
Spouse(s)Bui Huy Toan
Children2
AwardsOrder of Ontario

Phan Thị Kim Phúc (Vietnamese pronunciation: [faːŋ tʰɪ̂ˀ kim fúk͡p̚]; born April 6, 1963), referred to informally as the Napalm girl, is a South Vietnamese-born Canadian woman best known as the nine-year-old child depicted in the Pulitzer Prize-winning photograph taken at Trảng Bàng during the Vietnam War on June 8, 1972. The well-known photo, by AP photographer Nick Ut, shows her at nine years of age running naked on a road after being severely burned on her back by a South Vietnamese napalm attack.

Background

Phan Thi Kim Phúc and her family were residents of the village of Trảng Bàng in South Vietnam. On June 8, 1972, South Vietnamese planes dropped a napalm bomb on Trảng Bàng, which had been attacked and occupied by North Vietnamese forces. Kim Phúc joined a group of civilians and South Vietnamese soldiers who were fleeing from the Caodai Temple to the safety of South Vietnamese-held positions. The Republic of Vietnam Air Force pilot mistook the group for enemy soldiers and diverted to attack. The bombing killed two of Kim Phúc's cousins and two other villagers. Kim Phúc received third degree burns after her clothing was burned by the fire. Associated Press photographer Nick Ut's photograph of Kim Phúc running naked amid other fleeing villagers, South Vietnamese soldiers and press photographers became one of the most haunting images of the Vietnam War. In an interview many years later, she recalled she was yelling, Nóng quá, nóng quá ("too hot, too hot") in the picture. The New York Times editors were at first hesitant to consider the photo for publication because of the nudity, but eventually approved it. A cropped version of the photo—with the press photographers to the right removed—was featured on the front page of The New York Times the next day. It later earned a Pulitzer Prize and was chosen as the World Press Photo of the Year for 1973.

After snapping the photograph, Ut took Kim Phúc and the other injured children to Barsky Hospital in Saigon, where it was determined that her burns were so severe that she probably would not survive. After a 14-month hospital stay and 17 surgical procedures including skin transplantations, she was able to return home. A number of the early operations were performed by Finnish plastic surgeon Aarne Rintala. It was only after treatment at a renowned special clinic in Ludwigshafen, West Germany, in 1982, that Kim Phúc was able to properly move again.

Ut continued to visit Kim Phúc until he was evacuated during the fall of Saigon, and they now speak almost weekly via telephone.

Thumbnails of the film footage showing the events just before and after the photograph was taken
 
Audio tapes of President Richard Nixon, in conversation with his chief of staff, H. R. Haldeman in 1972, reveal that Nixon mused, "I'm wondering if that was fixed", after seeing the photograph. After the release of this tape, Ut commented, "Even though it has become one of the most memorable images of the twentieth century, President Nixon once doubted the authenticity of my photograph when he saw it in the papers on 12 June 1972... The picture for me and unquestionably for many others could not have been more real. The photo was as authentic as the Vietnam War itself. The horror of the Vietnam War recorded by me did not have to be fixed. That terrified little girl is still alive today and has become an eloquent testimony to the authenticity of that photo. That moment thirty years ago will be one Kim Phúc and I will never forget. It has ultimately changed both our lives."

Less publicized is the film shot by British television cameraman Alan Downes for the British ITN news service and his Vietnamese counterpart Le Phuc Dinhm who was working for the American television network NBC, which shows the events just before and after the photograph was taken (see image on right). In the top-left frame, a man stands and appears to take photographs as a passing airplane drops bombs. A group of children, Kim Phúc among them, run away in fear. After a few seconds, she encounters the reporters dressed in military fatigues, including Christopher Wain who gave her water (top-right frame) and poured some over her burns. As she turns sideways, the severity of the burns on her arm and back can be seen (bottom-left frame). A crying woman, Kim Phúc's grandmother, Tao, runs in the opposite direction holding her badly burned grandchild, 3-year-old Danh, Kim Phúc's cousin, who died of his injuries (bottom-right frame). Sections of the film shot were included in Hearts and Minds (1974), the Academy Award-winning documentary about the Vietnam War directed by Peter Davis.

Adult life

Forgiveness made me free from hatred. I still have many scars on my body and severe pain most days but my heart is cleansed. Napalm is very powerful, but faith, forgiveness, and love are much more powerful. We would not have war at all if everyone could learn how to live with true love, hope, and forgiveness. If that little girl in the picture can do it, ask yourself: Can you?
Kim Phúc, NPR in 2008
Phúc was removed from her university as a young adult studying medicine and used as a propaganda symbol by the communist government of Vietnam. Due to constant pain she considered suicide but in 1982 she found a New Testament in a library that lead her to become a Christian. Her faith enabled her to forgive. In 1986, she was granted permission to continue her studies in Cuba. Prime Minister of Vietnam Phạm Văn Đồng became her friend and patron. After arriving in Cuba, she met Bui Huy Toan, another Vietnamese student and her future fiancé. In 1992, Phúc and Toan married. On the way to their honeymoon in Moscow, they left the plane during a refuelling stop in Gander, Newfoundland, and asked for political asylum in Canada, which was granted. The couple now live in Ajax, Ontario, near Toronto, and have two children. In 1996, Phúc met the surgeons who had saved her life. The following year, she passed the Canadian Citizenship Test with a perfect score and became a Canadian citizen. In 2015, it was reported that she was receiving laser treatment at a hospital in Miami, Florida, to reduce the scarring on her left arm and back. The treatment is being provided free of charge.

Kim Phúc Foundation

In 1997 she established the first Kim Phúc Foundation in the U.S., with the aim of providing medical and psychological assistance to child victims of war. Later, other foundations were set up, with the same name, under an umbrella organization, Kim Phúc Foundation International.

In 2004, Phúc spoke at the University of Connecticut about her life and experience, learning how to be "strong in the face of pain" and how compassion and love helped her heal.

On December 28, 2009, National Public Radio broadcast her spoken essay, "The Long Road to Forgiveness," for the "This I Believe" series. In May 2010, Phúc was reunited by the BBC with ITN correspondent Christopher Wain, who helped to save her life. On May 18, 2010, Phúc appeared on the BBC Radio 4 programme It's My Story. In the programme, Phúc related how she was involved through her foundation in the efforts to secure medical treatment in Canada for Ali Abbas, who had lost both arms in a rocket attack on Baghdad during the invasion of Iraq in 2003.

On February 11, 2019 Kim Phúc was awarded the 2019 Dresden Peace Prize in recognition of her work with UNESCO and as an activist for peace.

Recognition

In 1996, Kim Phúc gave a speech at the United States Vietnam Veterans Memorial on Veterans Day. In her speech, she said that one cannot change the past, but everyone can work together for a peaceful future. Rev. John Plummer, a Vietnam veteran, who believed he took part in coordinating the air strike with the Republic of Vietnam Air Force (though Plummer's entire chain of command and declassified documents indicate otherwise) met with Phúc briefly and was publicly forgiven. Plummer later admitted to The Baltimore Sun he had lied, saying he was "caught up in the emotion at the Vietnam Veterans Memorial on the day Phuc spoke". Canadian filmmaker, Shelley Saywell, made a documentary about their meeting.

On November 10, 1994, Kim Phúc was named a UNESCO Goodwill Ambassador. Her biography, The Girl in the Picture, was written by Denise Chong and published in 1999. In 2003, Belgian composer Eric Geurts wrote "The Girl in the Picture," dedicated to Kim Phúc. It was released on Flying Snowman Records, with all profits going to the Kim Phúc Foundation. On October 22, 2004, Kim Phúc was made a member of the Order of Ontario, and received an honorary Doctorate of Law from York University for her work to support child victims of war around the world. On October 27, 2005, she was awarded an honorary degree in Law from Queen's University in Kingston, Ontario. On June 2, 2011, she was awarded the honorary degree of Doctor of Laws from the University of Lethbridge. On May 19, 2016, she was awarded a Doctor of Civil Law, Honoris Causa by Saint Mary's University (Halifax).

The Girl in the Picture

The Girl in the Picture: The Kim Phúc Story, the Photograph and the Vietnam War by Denise Chong is a 1999 biographical and historical work tracing the life story of Kim Phúc. Chong's historical coverage emphasizes the life, especially the school and family life, of Kim Phúc from before the attack, through convalescence, and into the present time.

The Girl in the Picture deals primarily with Vietnamese and American relationships during the Vietnam War, while examining themes of war, racism, immigration, political turmoil, repression, poverty, and international relationships through the lens of family and particularly through the eyes and everyday lives of women. Kim Phúc and her mother, Nu, provide the lens through which readers of The Girl in the Picture experience war, strife, and the development of communism in Vietnam. Like Chong's first book, The Girl in the Picture was shortlisted for the Governor General's Literary Award for non fiction.

"The Salvation of 'Napalm Girl'"

In a December 21, 2017, article for The Wall Street Journal, Kim Phúc wrote that the trauma she suffered in the napalm strike still requires treatment, but that the psychological trauma was greater: "But even worse than the physical pain was the emotional and spiritual pain." This led directly to her conversion to Christianity, which she credits with healing the psychological trauma of living over forty years being known to the world as "Napalm Girl". "My faith in Jesus Christ is what has enabled me to forgive those who had wronged me," she wrote, "no matter how severe those wrongs were."

Greek fire

From Wikipedia, the free encyclopedia
https://en.wikipedia.org/wiki/Greek_fire
 
A Byzantine ship uses Greek fire against a ship of the rebel, Thomas the Slav, 821. 12th century illustration from the Madrid Skylitzes

Greek fire was an incendiary weapon used by the Eastern Roman (Byzantine) Empire beginning c. 672. Used to set light to enemy ships, it consisted of a combustible compound emitted by a flame-throwing weapon. Greek fire was first used by the Greeks besieged in Constantinople (673–78). Some historians believe it could be ignited on contact with water, and was probably based on naphtha and quicklime. The Byzantines typically used it in naval battles to great effect, as it could continue burning while floating on water. The technological advantage it provided was responsible for many key Byzantine military victories, most notably the salvation of Constantinople from two Arab sieges, thus securing the Empire's survival. 

The impression made by Greek fire on the western European Crusaders was such that the name was applied to any sort of incendiary weapon, including those used by Arabs, the Chinese, and the Mongols. However, these mixtures used different formulas than the Byzantine Greek fire, which was a closely guarded state secret. Byzantines also used pressurized nozzles (siphōns) to project the liquid onto the enemy, in a manner resembling a modern flamethrower

Although usage of the term "Greek fire" has been general in English and most other languages since the Crusades, original Byzantine sources called the substance a variety of names, such as "sea fire" (Medieval Greek: πῦρ θαλάσσιον pŷr thalássion), "Roman fire" (πῦρ ῥωμαϊκόν pŷr rhōmaïkón), "war fire" (πολεμικὸν πῦρ polemikòn pŷr), "liquid fire" (ὑγρὸν πῦρ hygròn pŷr), "sticky fire" (πῦρ κολλητικόν pŷr kollētikón), or "manufactured fire" (πῦρ σκευαστόν pŷr skeuastón).

The composition of Greek fire remains a matter of speculation and debate, with various proposals including combinations of pine resin, naphtha, quicklime, calcium phosphide, sulfur, or niter. In his history of Rome, Titus Livy describes priestesses of Bacchus dipping fire into the water, which did not extinguish, "for it was sulphur mixed with lime." 

History

Incendiary and flaming weapons were used in warfare for centuries before Greek fire was invented. They included a number of sulfur-, petroleum-, and bitumen-based mixtures. Incendiary arrows and pots containing combustible substances surrounded by caltrops or spikes, or launched by catapults, were used as early as the 9th century BC by the Assyrians and were extensively used in the Greco-Roman world as well. Furthermore, Thucydides mentions that in the siege of Delium in 424 BC a long tube on wheels was used which blew flames forward using a large bellows. The Roman author Julius Africanus, writing in the 3rd Century AD, records a mixture that ignited from adequate heat and intense sunlight, used in grenades or night attacks:
Automatic fire also by the following formula. This is the recipe: take equal amounts of sulphur, rock salt, ashes, thunder stone, and pyrite and pound fine in a black mortar at midday sun. Also in equal amounts of each ingredient mix together black mulberry resin and Zakynthian asphault, the latter in a liquid form and free-flowing, resulting in a product that is sooty colored. Then add to the asphalt the tiniest amount of quicklime. But because the sun is at its zenith, one must pound it carefully and protect the face, for it will ignite suddenly. When it catches fire, one should seal it in some sort of copper receptacle; in this way you will have it available in a box, without exposing it to the sun. If you should wish to ignite enemy armaments, you will smear it on in the evening, either on the armaments or some other object, but in secret; when the sun comes up, everything will be burnt up.
In naval warfare, the Eastern Roman Emperor Anastasius I (r. 491–518) is recorded by chronicler John Malalas to have been advised by a philosopher from Athens called Proclus to use sulfur to burn the ships of Vitalianus. Greek fire proper, however, was developed in c. 672 and is ascribed by the chronicler Theophanes to Kallinikos (Latinized Callinicus), an architect from Heliopolis in the former province of Phoenice, by then overrun by the Muslim conquests:
At that time Kallinikos, an artificer from Heliopolis, fled to the Romans. He had devised a sea fire which ignited the Arab ships and burned them with all hands. Thus it was that the Romans returned with victory and discovered the sea fire.
The accuracy and exact chronology of this account is open to question: Theophanes reports the use of fire-carrying and siphōn-equipped ships by the Byzantines a couple of years before the supposed arrival of Kallinikos at Constantinople. If this is not due to chronological confusion of the events of the siege, it may suggest that Kallinikos merely introduced an improved version of an established weapon. The historian James Partington further thinks it likely that Greek fire was not in fact the creation of any single person but "invented by chemists in Constantinople who had inherited the discoveries of the Alexandrian chemical school." Indeed, the 11th-century chronicler George Kedrenos records that Kallinikos came from Heliopolis in Egypt, but most scholars reject this as an error. Kedrenos also records the story, considered rather implausible by modern scholars, that Kallinikos' descendants, a family called Lampros, "brilliant," kept the secret of the fire's manufacture and continued doing so to Kedrenos' time.

Kallinikos' development of Greek fire came at a critical moment in the Byzantine Empire's history: weakened by its long wars with Sassanid Persia, the Byzantines had been unable to effectively resist the onslaught of the Muslim conquests. Within a generation, Syria, Palestine, and Egypt had fallen to the Arabs, who in c. 672 set out to conquer the imperial capital of Constantinople. Greek fire was used to great effect against the Muslim fleets, helping to repel the Muslims at the first and second Arab sieges of the city. Records of its use in later naval battles against the Saracens are more sporadic, but it did secure a number of victories, especially in the phase of Byzantine expansion in the late 9th and early 10th centuries. Utilisation of the substance was prominent in Byzantine civil wars, chiefly the revolt of the thematic fleets in 727 and the large-scale rebellion led by Thomas the Slav in 821–823. In both cases, the rebel fleets were defeated by the Constantinopolitan Imperial Fleet through the use of Greek fire. The Byzantines also used the weapon to devastating effect against the various Rus' raids on the Bosporus, especially those of 941 and 1043, as well as during the Bulgarian war of 970–971, when the fire-carrying Byzantine ships blockaded the Danube.

The importance placed on Greek fire during the Empire's struggle against the Arabs would lead to its discovery being ascribed to divine intervention. The Emperor Constantine Porphyrogennetos (r. 945–959), in his book De Administrando Imperio, admonishes his son and heir, Romanos II (r. 959–963), to never reveal the secrets of its composition, as it was "shown and revealed by an angel to the great and holy first Christian emperor Constantine" and that the angel bound him "not to prepare this fire but for Christians, and only in the imperial city." As a warning, he adds that one official, who was bribed into handing some of it over to the Empire's enemies, was struck down by a "flame from heaven" as he was about to enter a church. As the latter incident demonstrates, the Byzantines could not avoid capture of their precious secret weapon: the Arabs captured at least one fireship intact in 827, and the Bulgars captured several siphōns and much of the substance itself in 812/814. This, however, was apparently not enough to allow their enemies to copy it (see below). The Arabs, for instance, employed a variety of incendiary substances similar to the Byzantine weapon, but they were never able to copy the Byzantine method of deployment by siphōn, and used catapults and grenades instead.

Greek fire continued to be mentioned during the 12th century, and Anna Komnene gives a vivid description of its use in a naval battle against the Pisans in 1099. However, although the use of hastily improvised fireships is mentioned during the 1203 siege of Constantinople by the Fourth Crusade, no report confirms the use of the actual Greek fire. This might be because of the general disarmament of the Empire in the 20 years leading up to the sacking, or because the Byzantines had lost access to the areas where the primary ingredients were to be found, or even perhaps because the secret had been lost over time.

Records of a 13th-century event in which "Greek fire" was used by the Saracens against the Crusaders can be read through the Memoirs of the Lord of Joinville during the Seventh Crusade. One description of the memoir says "the tail of fire that trailed behind it was as big as a great spear; and it made such a noise as it came, that it sounded like the thunder of heaven. It looked like a dragon flying through the air. Such a bright light did it cast, that one could see all over the camp as though it were day, by reason of the great mass of fire, and the brilliance of the light that it shed."

In the 19th century, it is reported that an Armenian by the name of Kavafian approached the government of the Ottoman Empire with a new type of Greek fire he claimed to have developed. Kavafian refused to reveal its composition when asked by the government, insisting that he be placed in command of its use during naval engagements. Not long after this, he was poisoned by imperial authorities, without their ever having found out his secret.

Manufacture


General characteristics

As Constantine Porphyrogennetos' warnings show, the ingredients and the processes of manufacture and deployment of Greek fire were carefully guarded military secrets. So strict was the secrecy that the composition of Greek fire was lost forever and remains a source of speculation. Consequently, the "mystery" of the formula has long dominated the research into Greek fire. Despite this almost exclusive focus, however, Greek fire is best understood as a complete weapon system of many components, all of which were needed to operate together to render it effective. This comprised not only the formula of its composition, but also the specialized dromon ships that carried it into battle, the device used to prepare the substance by heating and pressurizing it, the siphōn projecting it, and the special training of the siphōnarioi who used it. Knowledge of the whole system was highly compartmentalised, with operators and technicians aware of the secrets of only one component, ensuring that no enemy could gain knowledge of it in its entirety. This accounts for the fact that when the Bulgarians took Mesembria and Debeltos in 814, they captured 36 siphōns and even quantities of the substance itself, but were unable to make any use of them.

The information available on Greek fire is exclusively indirect, based on references in the Byzantine military manuals and a number of secondary historical sources such as Anna Komnene and Western European chroniclers, which are often inaccurate. In her Alexiad, Anna Komnene provides a description of an incendiary weapon, which was used by the Byzantine garrison of Dyrrhachium in 1108 against the Normans. It is often regarded as an at least partial "recipe" for Greek fire:
This fire is made by the following arts. From the pine and the certain such evergreen trees inflammable resin is collected. This is rubbed with sulfur and put into tubes of reed, and is blown by men using it with violent and continuous breath. Then in this manner it meets the fire on the tip and catches light and falls like a fiery whirlwind on the faces of the enemies.
At the same time, the reports by Western chroniclers of the famed ignis graecus are largely unreliable, since they apply the name to any and all sorts of incendiary substances.

In attempting to reconstruct the Greek fire system, the concrete evidence, as it emerges from the contemporary literary references, provides the following characteristics:
  • It burned on water, and, according to some interpretations, was ignited by water. In addition, as numerous writers testify, it could be extinguished only by a few substances, such as sand (which deprived it of oxygen), strong vinegar, or old urine, presumably by some sort of chemical reaction.
  • It was a liquid substance, and not some sort of projectile, as verified both by descriptions and the very name "liquid fire."
  • At sea, it was usually ejected from a siphōn, although earthenware pots or grenades filled with it or similar substances were also used.
  • The discharge of Greek fire was accompanied by "thunder" and "much smoke."

Theories on composition

The first and, for a long time, most popular theory regarding the composition of Greek fire held that its chief ingredient was saltpeter, making it an early form of gunpowder. This argument was based on the "thunder and smoke" description, as well as on the distance the flame could be projected from the siphōn, which suggested an explosive discharge. From the times of Isaac Vossius, several scholars adhered to this position, most notably the so-called "French school" during the 19th century, which included chemist Marcellin Berthelot. This view has been rejected since, as saltpeter does not appear to have been used in warfare in Europe or the Middle East before the 13th century, and is absent from the accounts of the Muslim writers—the foremost chemists of the early medieval world—before the same period. In addition, the nature of the proposed mixture would have been radically different from the siphōn-projected substance described by Byzantine sources.

A second view, based on the fact that Greek fire was inextinguishable by water (some sources suggest that water intensified the flames) suggested that its destructive power was the result of the explosive reaction between water and quicklime. Although quicklime was certainly known and used by the Byzantines and the Arabs in warfare, the theory is refuted by literary and empirical evidence. A quicklime-based substance would have to come in contact with water to ignite, while Emperor Leo's Tactica indicate that Greek fire was often poured directly on the decks of enemy ships, although admittedly, decks were kept wet due to lack of sealants. Likewise, Leo describes the use of grenades, which further reinforces the view that contact with water was not necessary for the substance's ignition. Furthermore, C. Zenghelis pointed out that, based on experiments, the actual result of the water–quicklime reaction would be negligible in the open sea. Another similar proposition suggested that Kallinikos had in fact discovered calcium phosphide, which can be made by boiling bones in urine within a sealed vessel. On contact with water, calcium phosphide releases phosphine, which ignites spontaneously. However, extensive experiments with it also failed to reproduce the described intensity of Greek fire.

Consequently, although the presence of either quicklime or saltpeter in the mixture cannot be entirely excluded, they were not the primary ingredient. Most modern scholars agree that Greek fire was based on either crude or refined petroleum, comparable to modern napalm. The Byzantines had easy access to crude oil from the naturally occurring wells around the Black Sea (e.g., the wells around Tmutorakan noted by Constantine Porphyrogennetos) or in various locations throughout the Middle East. An alternate name for Greek fire was "Median fire" (μηδικὸν πῦρ), and the 6th-century historian Procopius records that crude oil, called "naphtha" (in Greek: νάφθα naphtha, from Old Persian 𐎴𐎳𐎫 naft) by the Persians, was known to the Greeks as "Median oil" (μηδικὸν ἔλαιον). This seems to corroborate the use of naphtha as a basic ingredient of Greek fire. Naphtha was also used by the Abbasids in the 9th century, with special troops, the naffāṭūn, who wore thick protective suits and used small copper vessels containing burning oil, which they threw onto the enemy troops. There is also a surviving 9th century Latin text, preserved at Wolfenbüttel in Germany, which mentions the ingredients of what appears to be Greek fire and the operation of the siphōns used to project it. Although the text contains some inaccuracies, it clearly identifies the main component as naphtha. Resins were probably added as a thickener (the Praecepta Militaria refer to the substance as πῦρ κολλητικόν, "sticky fire"), and to increase the duration and intensity of the flame. A modern theoretical concoction included the use of pine tar and animal fat along with other ingredients.

A 12th century treatise prepared by Mardi bin Ali al-Tarsusi for Saladin records an Arab version of Greek fire, called naft, which also had a petroleum base, with sulfur and various resins added. Any direct relation with the Byzantine formula is unlikely. An Italian recipe from the 16th century has been recorded for recreational use; it includes coal from a willow tree, alcohol, incense, sulfur, wool and camphor as well as two undetermined components (burning salt and pegola); the concoction was guaranteed to "burn under water" and to be "beautiful."

Methods of deployment

Use of a cheirosiphōn ("hand-siphōn"), a portable flamethrower, used from atop a flying bridge against a castle. Illumination from the Poliorcetica of Hero of Byzantium.
 
The chief method of deployment of Greek fire, which sets it apart from similar substances, was its projection through a tube (siphōn), for use aboard ships or in sieges. Portable projectors (cheirosiphōnes, χειροσίφωνες) were also invented, reputedly by Emperor Leo VI. The Byzantine military manuals also mention that jars (chytrai or tzykalia) filled with Greek fire and caltrops wrapped with tow and soaked in the substance were thrown by catapults, while pivoting cranes (gerania) were employed to pour it upon enemy ships. The cheirosiphōnes especially were prescribed for use at land and in sieges, both against siege machines and against defenders on the walls, by several 10th-century military authors, and their use is depicted in the Poliorcetica of Hero of Byzantium. The Byzantine dromons usually had a siphōn installed on their prow under the forecastle, but additional devices could also on occasion be placed elsewhere on the ship. Thus in 941, when the Byzantines were facing the vastly more numerous Rus' fleet, siphōns were placed also amidships and even astern.

Projectors

The use of tubular projectors (σίφων, siphōn) is amply attested in the contemporary sources. Anna Komnene gives this account of beast-shaped Greek fire projectors being mounted to the bow of warships:
As he [the Emperor Alexios I] knew that the Pisans were skilled in sea warfare and dreaded a battle with them, on the prow of each ship he had a head fixed of a lion or other land-animal, made in brass or iron with the mouth open and then gilded over, so that their mere aspect was terrifying. And the fire which was to be directed against the enemy through tubes he made to pass through the mouths of the beasts, so that it seemed as if the lions and the other similar monsters were vomiting the fire.
Some sources provide more information on the composition and function of the whole mechanism. The Wolfenbüttel manuscript in particular provides the following description:
...having built a furnace right at the front of the ship, they set on it a copper vessel full of these things, having put fire underneath. And one of them, having made a bronze tube similar to that which the rustics call a squitiatoria, "squirt," with which boys play, they spray [it] at the enemy.
Another, possibly first-hand, account of the use of Greek fire comes from the 11th-century Yngvars saga víðförla, in which the Viking Ingvar the Far-Travelled faces ships equipped with Greek fire weapons:
[They] began blowing with smiths’ bellows at a furnace in which there was fire and there came from it a great din. There stood there also a brass [or bronze] tube and from it flew much fire against one ship, and it burned up in a short time so that all of it became white ashes...
The account, albeit embellished, corresponds with many of the characteristics of Greek fire known from other sources, such as a loud roar that accompanied its discharge. These two texts are also the only two sources that explicitly mention that the substance was heated over a furnace before being discharged; although the validity of this information is open to question, modern reconstructions have relied upon them.

Proposed reconstruction of the Greek fire mechanism by Haldon and Byrne
 
Based on these descriptions and the Byzantine sources, John Haldon and Maurice Byrne designed a hypothetical apparatus as consisting of three main components: a bronze pump, which was used to pressurize the oil; a brazier, used to heat the oil (πρόπυρον, propyron, "pre-heater"); and the nozzle, which was covered in bronze and mounted on a swivel (στρεπτόν, strepton). The brazier, burning a match of linen or flax that produced intense heat and the characteristic thick smoke, was used to heat oil and the other ingredients in an airtight tank above it, a process that also helped to dissolve the resins into a fluid mixture. The substance was pressurized by the heat and the usage of a force pump. After it had reached the proper pressure, a valve connecting the tank with the swivel was opened and the mixture was discharged from its end, being ignited at its mouth by some source of flame. The intense heat of the flame made necessary the presence of heat shields made of iron (βουκόλια, boukolia), which are attested in the fleet inventories.

The process of operating Haldon and Byrne's design was fraught with danger, as the mounting pressure could easily make the heated oil tank explode, a flaw which was not recorded as a problem with the historical fire weapon. In the experiments conducted by Haldon in 2002 for the episode "Fireship" of the television series Machines Times Forgot, even modern welding techniques failed to secure adequate insulation of the bronze tank under pressure. This led to the relocation of the pressure pump between the tank and the nozzle. The full-scale device built on this basis established the effectiveness of the mechanism's design, even with the simple materials and techniques available to the Byzantines. The experiment used crude oil mixed with wood resins, and achieved a flame temperature of over 1,000 °C (1,830 °F) and an effective range of up to 15 meters (49 ft).

Hand-held projectors

Detail of a cheirosiphōn

The portable cheirosiphōn ("hand-siphōn"), the earliest analogue to a modern flamethrower, is extensively attested in the military documents of the 10th century, and recommended for use in both sea and land. They first appear in the Tactica of emperor Leo VI the Wise, who claims to have invented them. Subsequent authors continued to refer to the cheirosiphōnes, especially for use against siege towers, although Nikephoros II Phokas also advises their use in field armies, with the aim of disrupting the enemy formation. Although both Leo VI and Nikephoros Phokas claim that the substance used in the cheirosiphōnes was the same as in the static devices used on ships, Haldon and Byrne consider that the former were manifestly different from their larger cousins, and theorize that the device was fundamentally different, "a simple syringe [that] squirted both liquid fire (presumably unignited) and noxious juices to repel enemy troops." The illustrations of Hero's Poliorcetica show the cheirosiphōn also throwing the ignited substance.

Grenades

Ceramic grenades that were filled with Greek fire, surrounded by caltrops, 10th–12th century, National Historical Museum, Athens, Greece
 
In its earliest form, Greek fire was hurled onto enemy forces by firing a burning cloth-wrapped ball, perhaps containing a flask, using a form of light catapult, most probably a seaborne variant of the Roman light catapult or onager. These were capable of hurling light loads, around 6 to 9 kg (13 to 20 lb), a distance of 350–450 m (380–490 yd).

Effectiveness and countermeasures

Although the destructiveness of Greek fire is indisputable, it did not make the Byzantine navy invincible. It was not, in the words of naval historian John Pryor, a "ship-killer" comparable to the naval ram, which, by then, had fallen out of use. While Greek fire remained a potent weapon, its limitations were significant when compared to more traditional forms of artillery: in its siphōn-deployed version, it had a limited range, and it could be used safely only in a calm sea and with favourable wind conditions.

The Muslim navies eventually adapted themselves to it by staying out of its effective range and devising methods of protection such as felt or hides soaked in vinegar.

In literature

In William Golding's 1958 play The Brass Butterfly, derived from his Envoy Extraordinary (novella), the Greek inventor Phanocles demonstrates explosives to the emperor Mamillius. The emperor decides that his empire is not ready for this or for Phanocles's other inventions and sends him on "a slow boat to China". 

In Victor Canning's stage play Honour Bright (1960), the crusader Godfrey of Ware returns with a casket of Greek Fire given to him by an old man in Athens. 

In C. J. Sansom's historical mystery novel Dark Fire, Thomas Cromwell sends the lawyer Matthew Shardlake to recover the secret of Greek fire, following its discovery in the library of a dissolved London monastery.

In Michael Crichton's sci-fi novel Timeline, Professor Edward Johnston is stuck in the past in 14th century Europe, and claims to have knowledge of Greek fire.

In Mika Waltari's novel The Dark Angel, some old men who are the last ones who know the secret of Greek fire are mentioned as present in the last Christian services held in Hagia Sophia before the Fall of Constantinople. The narrator is told that in the event of the city's fall, they will be killed so as to keep the secret from the Turks.

In George R. R. Martin's fantasy series of novels A Song of Ice and Fire, and its television adaptation Game of Thrones, wildfire is similar to Greek fire. It was used in naval battles as it could remain lit on water, and its recipe was jealously guarded.

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