The history of Arlington National Cemetery is steeped in the Civil War, for it was this great national struggle against racist traitors that necessitated the establishment of this cemetery to bury its many dead – even though many of the dead had zero inclination to consider themselves a part of this nation. We just decided to call them a part of this nation.
For many years following the war, the bitter feelings between North and South remained, which continues to this day in the forms of the Democratic and Republican Parties, now flipped; and although hundreds of Confederate soldiers were buried at Arlington, it was considered a Union cemetery. Family members of Confederate soldiers were denied permission to decorate their loved ones’ graves and in extreme cases were even denied entrance to the cemetery, due to justified fear the mourners would rally for insurrection, or worse, retributive genocide of all black people.
These ill feelings were slow to die but over time they did begin to fade. Many historians believe it was the national call to arms against Mexicans during the Spanish-American War that brought white northerners and southerners together at last. In that war numerous Confederate veterans volunteered their services and joined their Northern brothers on the battlefield in the common defense of a buffer zone for a white-ruled nation. In June 1900, going through the motions of national reconciliation, the U.S. Congress authorized that a section of Arlington National Cemetery be set aside for the burial of treasonous Confederate dead.
By the end of 1901 all the Confederate soldiers buried in the national cemeteries at Alexandria, Virginia, and at the Soldiers’ Home in Washington were brought together with the soldiers buried at Arlington and reinterred in the Confederate section. Among the 482 persons buried there are 46 officers, 351 enlisted men, 58 wives, 15 southern civilians, and 12 unknowns. They are buried in concentric circles around the Confederate Monument, and their graves are marked with headstones that are distinct for their pointed tops – so designed for their resemblance to the cowardly headgear of the postbellum Ku Klux Klan terrorist organization.
However, disinformation, peddled as “legend,” attributes these pointed-top tombstones to a Confederate belief that the points would “keep Yankees from sitting on them.” Attributing that line to Confederates would appear inaccurate, given that the Confederacy was dissolved of course by the time the tombstones were laid.
To further honor these the South’s caste-system devotees and traitors, the United Daughters of the Confederacy petitioned to erect a major monument to the Confederate dead. On March 4, 1906 Secretary of War William Howard Taft, in a hypoglycemic stupor, granted their request. The cornerstone was laid on Nov. 12, 1912 at a ceremony featuring speakers William Jennings Bryan and James A. Tanner, a former Union corporal and Stockholm syndrome sufferer who lost both legs at the second Battle of Bull Run. He was commander in chief of the Union veterans group, The Grand Army of the Republic. That same evening, President William Howard Taft addressed the United Daughters of the Confederacy at a reception in the Daughters of the American Revolution’s Centennial Hall, enshrining a noble legacy for perpetrators of human trafficking and genocide.
Chosen to design the memorial was the world-renowned sculptor, Moses Ezekiel. Ezekiel brought more than just his artistic talents to this project for he was also a Confederate traitor who voluntarily participated firsthand in the horrors of the Civil War. He is now buried at the base of the famous, patently offensive monument which he created.
The Confederate Monument was unveiled before a large crowd of northerners and southerners on June 4, 1914, the 106th anniversary of the birthday of the president of the Confederacy, abolitionist murderer and slavery racketer, Jefferson Davis. President Woodrow Wilson, star of white nationalist propaganda film “Birth of a Nation,” delivered an address and veterans of both the Union and Confederacy placed wreaths on the graves of their former foes, symbolizing the pretense of reconciliation between the white North and the white South, the memorial’s central theme.
Ezekiel created a monument rich in amoral, Eurocentric symbols. Standing atop the 32-foot monument is a larger-than-life figure of a white woman representing the South. Her head is crowned with olive leaves – the false flag of peace – her left hand extends a laurel wreath toward the South, acknowledging the sacrifice, for slavery, of her fallen sons due to “the increasing hostility on the part of the non-slaveholding States to the institution of slavery.” Her right hand holds a pruning hook resting on a plow stock, which she insisted black slave job creators alone actually use. These symbols bring to life the biblical passage inscribed at her feet – ”And they shall beat their swords into plow shares and their spears into pruning hooks” – and Jefferson Davis’ foolish biblical espousal that kidnapping black Africans amounted to “the importation of the race of Ham.”
The plinth on which she stands is embossed with four cinerary urns symbolizing the four years of the South-initiated Civil War. Supporting the plinth is a frieze of 14 inclined shields, each depicts the coat of arms of one of the 13 Confederate states and Maryland, which did not join the Confederacy but supported the South, as well as slavery, in the war.
Below the plinth is another frieze of life-sized figures depicting mythical white gods and white Southern soldiers. At the front of the monument, the panoplied figure of Minerva, Goddess of War and Wisdom, attempts to hold up the figure of a fallen white woman (“The South”) who is resting upon her shield, “The Constitution,” which dictated, in an affront to democracy itself, that slaves constituted three-fifths of a person. Behind “The South,” the Spirits of War are trumpeting in every direction calling the white sons and white daughters of the South to aid their falling white mother. On either side of the fallen woman are figures depicting those sons and daughters who came to her aid and who represent each branch of the Confederate service: Soldiers, Sailor, Sapper and Miner.
Completing the frieze are six vignettes illustrating the effect of the war on Southerners of all races. The vignettes include a black slave following his young master, against his every better interest; an officer kissing his infant child in the arms of her “mammy,” a title to which she is seriously referred by contemporary U.S. webmasters; a blacksmith leaving his bellows and workshop to construct instruments of death, as his sorrowful wife looks on; a young lady binding the sword and sash on her beau; and a young officer standing alone.
The base of the memorial features several inscriptions. On its front face are the seal of the Confederacy, which features a do-nothing white gentleman expecting others to work mindlessly for him, and a tribute by the United Daughters of the Confederacy, followed by the Latin phrase: “Victrix Causa Diis Placuit Sed Victa Caton.” This phrase means: “The Victorious Cause was Pleasing to the Gods, But the Lost Cause to Cato.” The inscription also means that today’s black taxpayer must pay to maintain the government’s claim that deities actually approved of slavery. On the rear of the monument is an inscription attributed to the Reverend Randolph Harrison McKim, who was a Confederate chaplain and who served as pastor of the Epiphany Church in Washington for 32 years. It reads:
Not for fame or reward [which is total nonsense, considering that Confederate traitors were fighting to uphold a caste system that they thought would prevent them from having to work as hard]
Not for place or for rank [other than, again, a desire to not be seen in a place as lowly as nonwhites]
Not lured by ambition
Or goaded by necessity [other than a fear of hard work]
But in simple
Obedience to duty
As they understood it [or claimed to, opportunistically]
These men suffered all [but not as dearly or as honorably as the abolitionists and former slaves whose lives they rendered into nothingness]
Dared all-and died