Final Days of Captain Cook

Summary

After Dark: Myths, Misdeeds & the Paranormal Episode Summary: Final Days of Captain Cook Release Date: November 11, 2024
Host: History Hit (Anthony Delaney & Maddy Pelling)

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Introduction

In the episode titled "Final Days of Captain Cook," historians Anthony Delaney and Maddy Pelling delve into the complex and controversial legacy of one of history’s most renowned explorers, Captain James Cook. This episode is the concluding installment of a miniseries examining the final days of significant historical figures. Through meticulous analysis and engaging discussion, the hosts unravel the events leading to Cook's demise in Hawaii and explore the lasting impact of his voyages on global history.

Setting the Scene: Global Context in 1779

Anthony Delaney sets the stage by outlining the tumultuous global landscape of the late 18th century:

“It is an interesting time for so many... the American Revolutionary War... early stages of the Industrial Revolution... Spain consolidating power in the Pacific and South America... Russia mapping Alaska.”
[02:06]

This period marked a significant era of exploration, imperial expansion, and technological advancement, all of which influenced Captain Cook's final expedition.

Biographical Insights: Captain Cook’s Journey

The hosts provide a comprehensive overview of Cook’s life and achievements:

• Early Life: Born on October 27, 1728, in Marton, England, Cook rose from a lower-middle-class background to become a distinguished navigator and cartographer.
• Voyages: By the time of his final voyage, Cook had already completed two major expeditions—exploring New Zealand and the eastern coast of Australia, and further mapping the Pacific.
• Final Expedition: In 1776, at age 47, Cook embarked on his third voyage aboard the HMS Resolution, aiming to discover the Northwest Passage to secure his legacy and enhance British trade routes.

Arrival in Hawaii: The Makahiki Festival

Upon arriving in Hawaii on January 17, 1779, Cook’s interactions with the indigenous population were initially harmonious but soon became strained:

“His arrival coincides with a sacred festival called Makahiki... Cook is believed by some of the indigenous people in Hawaii to be the actual God Lono.”
[18:58]

The timing of his arrival during this significant cultural festival led to misunderstandings and escalating tensions.

Rising Tensions and the Catalyst for Conflict

Maddy Pelling explores the delicate dynamics between Cook’s crew and the Hawaiians:

“The return during Makahiki was disruptive to religious expectations... Cook’s attempt to retrieve the cutter sparked suspicion and agitation among the Hawaiians.”
[22:01]

The immediate cause of conflict was Cook's request to retrieve a damaged ship's mast, which violated the Hawaiians' sacred festival norms, leading to a violent confrontation.

The Death of Captain Cook: A Pivotal Moment

The tragic culmination of Cook’s final voyage is depicted with poignant detail:

“At 9:00 AM on the 14th of February, 1779, tensions peaked... Cook fired his musket in retaliation, provoking a deadly response from the Hawaiians.”
[26:31]

Anthony Delaney narrates the chaotic encounter where Cook was fatally injured by spears and clubs, leading to his death.

Artistic Representation: Zoffany’s Depiction

The hosts analyze Johann Zoffany’s unfinished painting of Cook’s death, highlighting its cultural and racial implications:

“Cook is portrayed as a noble suffering hero... the Hawaiians are depicted as naked and armed with rudimentary weapons, embodying the 'noble savage' trope.”
[28:00]

This artistic portrayal reinforces 18th-century European stereotypes, framing Cook as a valiant figure and the Hawaiians as both noble and primitive.

Aftermath and Differing Narratives

Maddy Pelling and Anthony Delaney discuss the divergent accounts of Cook’s death and its aftermath:

“European accounts often romanticize Cook’s death, while indigenous perspectives highlight it as a victory over an adversary.”
[36:13]

Their exploration reveals how Cook’s remains were treated, with varying interpretations of honor and conquest shaping historical narratives.

Legacy and Reassessment

The episode concludes by examining the evolving legacy of Captain Cook:

“Cook's legacy is mixed and incredibly divisive... contemporary perspectives, especially from indigenous communities, challenge the heroic narrative.”
[41:38]

The hosts argue that while Cook is celebrated as a pioneering explorer, his actions also contributed to the imperialistic exploitation of indigenous lands and cultures.

Conclusion

In "Final Days of Captain Cook," Anthony Delaney and Maddy Pelling provide a nuanced exploration of Captain James Cook’s last moments and enduring legacy. By juxtaposing European and indigenous perspectives, the episode invites listeners to critically reassess historical narratives and recognize the multifaceted impacts of exploration and imperialism.

Notable Quotes:

• Anthony Delaney:

  “History does not stop. We must keep re interrogating the sources...”
  [05:50]

• Maddy Pelling:

  “His legacy has to. And his ego... feels very on brand for him to have chosen this way forward.”
  [14:32]

• Anthony Delaney:

  “The Hawaiian practices were to mark the passing of Cook... it’s an acknowledgement of his status, but not necessarily honoring in a Western concept.”
  [38:24]

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For more engaging historical analyses and unraveling of the past’s mysteries, tune into History Hit’s "After Dark: Myths, Misdeeds & the Paranormal."

Transcript

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[Anthony]

Hawaii, February 1779 Captain James Cook, supposedly one of the world's greatest explorers, should be enjoying his retirement by now. His illustrious career has seen him become the first navigator to cross the Antarctic Circle, create the first accurate map of the Pacific Ocean, and claim both New Zealand and eastern Australia in the name of King George iii. And after being personally promoted to the post of Captain by the King himself, it was assumed he would slow down and enjoy the spoils of his achievements on land with his family at home near St Paul's in London, England. But at the age of 47, he could not resist one last mission. He wanted to find a Northwest Passage which was believed to link the Atlantic and Pacific Oceans and if found, would open up efficient trade routes and more importantly, secure his legacy. Little did he know he would never return. This is the history of the final days of Captain James Cook. SA.

[Maddie]

Hello, and welcome to After Dark. I'm Maddie.

[Anthony]

And I'm Anthony.

[Maddie]

And today we are talking about the Final Days part indeed of our Final Days miniseries of Captain James Cook. Listeners, you have been really enjoying these episodes. We've had loads of great feedback. And so we're back with another one and we have a long list of historical figures to get through. So don't fear those of you put ideas forward. They are coming. But we're going to begin with Captain James Cook, a I think it's fair to say, from the offset controversial figure, someone formative in our ideas of global history, of the history of Britain, of naval exploration, of European ideals of enlightenment, and the racist under and overtones that came with that. Anthony, what drew you to this particular history? Why have you chosen this one?

[Anthony]

I think you're so right to bring this in right at the top, because for so long, Cook has been this beacon almost of the British Empire, even before the Empire reaches its absolute maximum. So in many ways, Cook feels like one of the founding fathers of the British Empire, pushing boundaries and discovering, I use that term very loosely, new lands. Then you go and visit some of those countries which he so determinedly interfered with, and the perception there is entirely different as well it might be. It's interesting, Matty. Right, because this makes people uncomfortable where they see it as revisionist history. They see it as, you know, trying to malign these British heroes. And I always say, history does not stop. We must keep re interrogating the sources that we're trying to look at when we're talking about some of these figures. And Cook is one of those people. If you find this history difficult to listen to, then all the more reason to listen. Exactly, Exactly. All the more reason to listen.

[Maddie]

Yes, I completely agree. And I think he is two things at once. He is this beacon of enlightenment. He was an agent of imperialism. He was at the forefront of this global expansion. And we can't deny that. We can't deny that he occupied that space, that he was celebrated, that he continues to be celebrated. But also he was one of many who upheld ideals in the world about the superiority of Europeans and the inferiority of various indigenous peoples that he came into contact with. So I think we have to hold both of those things in our mind, and I don't think that they're necessarily disparate, separate ideas and we're going to try and bring them together a little bit. What I think is so fascinating about him is that he means so many different things to different people, as you've alluded to there, Anthony. I used to live up in North Yorkshire and we'll get into his life in a little bit. But he was born on the northernmost, northern tip of North Yorkshire, near Middlesbrough, and in that area he's still really celebrated today. And he is a historical figure that has become part of the local identity there. There's a museum to him in Whitby. I think there are several smaller little museums to him smattered around. There's the schoolroom that he went to and the cottage that his family lived in and all of that. So he has different meanings for different people. But I agree, I think thinking about his death is a very interesting way into thinking about his life. Obviously the moment that he dies, but also the legacy afterwards. So we've got a lot to get through in this episode and there's so many complications and nuances to talk about when it comes to Captain Cook. But first of all, let's get the lay of the land. We are in 1779. Give us some context. What is going on in the world?

[Anthony]

It is an interesting time for so many. We say this for every episode because we're historians and we find all of these time periods interesting. But this really is quite a formative time. You have the American Revolutionary War going, going on between the American colonies and the British forces. Of course, France is by this time already siding with the American colonies in their fight for independence. This is a world defining event that's happening in the background as we discuss Cook's final days in Britain. Specifically, we have the beginnings of, let's say, the early stages, not quite the beginnings, but the early stages of the Industrial Revolution, which is going to change basically the face of Britain forever. It's key being at this moment in time, the textile industry, Spain, is consolidating its power in the Pacific and in South America. You're getting this idea all throughout this, of this global expansion. And we have something similar happening in Russia, of course, with explorers who have been instructed by Catherine the Great and they are continuing to map Alaska. So if we think about the times in which we're talking here, Cook is mapping different parts of the world. The Russians are trying to map Alaska and other related areas. The American Revolutionary War is shaping what will be the modern world in many ways. So this really is a key and changeable time.

[Maddie]

The world as People know it is changing, it's changing shape, people's perceptions of it are changing, how accessible it is, is changing. Certainly this is from a European centric position. I suppose the world is becoming both bigger and smaller in that new lands are being. And again, we're using this in a vertical commerce discovered by Europeans heading out in ships across the planet. But also it's becoming smaller because travel is becoming, maybe not easier or safer in the late 18th century, but certainly more frequent. There's technological advances that are allowing that, but it's also an era, we're right on the cusp here of the 1780s and we know that the close of the next decade brings with it the French Revolution. There's already the Revolutionary War taking place in America. This really is the age of revolutions. It's an age when not only the geography of the world, but its hierarchies, its order are being reassessed. And Cook is part of that. He's been on two voyages, two major state backed voyages at this point, and he's about to go on the third and final fateful voyage. During those voyages, he has come into contact with all kinds of people and places and objects, and he's brought back so much new knowledge and new items that he has variously traded and stolen and been gifted depending on where he's been. And so many of those items that are, for European eyes, representative of this wider changing world are brought back to London and placed in private collections, museums like Joseph Banks's collection, the naturalist who traveled with Cook on various voyages. The collections that then are eventually bought up and become part of what is now the British Museum. So our cultural understanding of so many of the places Cook visited begins in this moment. With Cook, he really shapes culture, knowledge and a European centric worldview in this moment, I think.

[Anthony]

Well, let's talk about him in a little bit more biographical detail. So he is born on 27th October, 1728 in Marton, England. And you might be forgiven for thinking that he was from a very affluent family, given his legacy. He's from a kind of lower middle family. They're very farm focused, farmland focused. But he is taken up by his father's employer and he's sent to a local school. He's paid for to go to a local school. This gives him an opportunity to change his position in life. And as you were saying, Matty, eventually he goes on to enjoy a career with the Royal Navy. He joins in 1755. And he is particularly known, even at that moment in time, for his skills in cartography and navigation. So he's already singling himself out as quite skilled in those areas. As you already said, Matty, we have two voyages that have already happened by the time we come to these final days. The first took place in 1768 and lasted then until 1771, and that was to explore New Zealand and Australia's east coast. So that was the first voyage, the second, then very quickly afterwards, 1772 to 1775. Bear in mind the timeframes we're talking about here. These voyages are taking three years. During this second voyage, he mapped more of the Pacific and he was searching for unknown lands, trying to make discoveries, as we've alluded to before. Then this, his third voyage, starts in 1776, and he is attempting to find the Northwest Passage. The Northwest Passage is a sea lane between the Atlantic and Pacific Oceans, and it's through the Arctic Ocean. And so this is something that's going to enhance trade. It's going to be very financially lucrative. And that is why he has set out again in 1776. And this leads us now, of course, to 1779, three years later, and we find him like we started. He's in Hawaii.

[Maddie]

So you mentioned at the top, Anthony, that by the time Cook does this third and what will be his final voyage, he's not necessarily a young man. I mean, by modern standards, he's certainly not an old man, but he is in his late 40s and has every opportunity, really, to stay back in Britain. He's made a huge success of his life. He's made, presumably, a lot of money. He has social standing and connection. He moves in circles that include people at the Royal Court and, you know, some of the wealthiest aristocrats in the land. He's welcome in the drawing rooms of all of those people. And he's very, very well known publicly. So my question is really, why do you think he chooses to go on this voyage having had all that success and there's not really a need to prove himself anymore? And then I want to know a little bit more about the voyage itself, but answer me that first, because I just think it's quite interesting if we're trying to get under the skin of who this man was.

[Anthony]

To answer you, it requires a little bit of conjecture. But you know me, Maddy, I don't mind having a little bit of conjecture. So, yes, there's the financial legacy that will afford England particularly, but not just England, but will be afforded, based on his discoveries, if he manages to map this Northwest Passage. And that will change Trade. You talked about him having kind of proven his legacy. And I wonder if what I talked about before, about his prior class status, has something got to do with this? I don't know, but it feels to me like he still doesn't feel secure in his legacy because this could very easily be somebody else's voyage, you know, and like you're saying, Maria, I just wonder sometimes if he felt that this would be the one, that this would be the thing to kind of submit. He'd done Australia, New Zealand, he'd mapped other places and now he was going to find this important trade route as well. And he has this triumvirate then of discovery under his belt and he can, he can retire peacefully. So I think his legacy has to. And his ego. And look, I don't mean that in a negative way, everyone has an ego. But I think that might come into play here because he could have had himself a very easy final portion of his life. But no, he chooses this instead. And it almost makes sense that he chooses it. It feels very on brand for him to have chosen this way forward. So he hops in the Resolution which sets sail with the HMS Discovery under Charles Clarke and off go together.

[Maddie]

I totally buy what you're saying and I think the importance of the Northwest Passage really can't be understated. This is a hugely important shipping route which if discovered and mapped correctly and claimed by Britain could change the fortunes of the British Empire. This would really open up global travel. So it's incredibly important. We know that there are so many different people, all with ambitions and egos trying to find this because it will inscribe them, enshrine them into the history of the British Empire if they're able to do this. So I totally buy what you're saying, actually. I've enjoyed this little bit of non fact based conjecture. Yeah, absolutely. Tell me about the voyage then. So they set off in several years before 1779. Right. It's 76 that they begin, because that's the thing about the 18th century. Takes a long time to get anywhere in a ship.

[Anthony]

Yeah, I mean, I just, I honestly couldn't cope. But yeah, they leave in July 1776 and we get to Hawaii. They're not traveling all this time, of course, but it's not until January 1779, 17th of January 1779 to be precise, that we arrive in Hawaii and he first arrives at Kealakekua Bay. And as it so happens, and this is quite decisive. Right. And it feels like a bit of a nothing detail. When you read some of his histories, but it's quite formative. His arrival coincides with a sacred festival called Makahiki. And because of the timing at which he arrives, Cook is believed by some of the indigenous people in Hawaii to be the actual God Lono. So he arrives and there is instantly this divinity associated with his arrival from the perspective of the indigenous people there. So initially they're very much welcomed and they in fact get to depart. There is no, you know, we're talking about the final days here. So something's about to happen, we know, on the horizon that leads to a demise. He gets to leave and he gets to leave the bay, and he leaves in early February. So, you know, he stays a couple of weeks. He leaves in early February, 1779, but by the 11th of February, weather conditions have been so bad, it's been quite stormy, that he has to return to the bay because there has been damage to the ship's mast. And this is where this sacred festival becomes really important, because in the tradition of that sacred festival, the return of Lono, or Lono's representative is not part of how they understand that tradition. So the fact that he comes back is hugely disruptive to religious expectations. His return starts to create these tensions. I just, I think that that is so fascinating.

[Matt Lewis]

I'm Matt Lewis, host of the Echoes of History podcast, where every week we'll be delving into the real life history that inspires the locations, characters and storylines of the legendary Assassin's Creed franchise. Join us as we explore the narrow streets of Medici ruled Florence, cross sand dunes in the shadow of ancient pyramids, climb the rigging of 18th century brig, sailing across the Caribbean, and come face to face with some of history's most significant individuals. Whether you're a history fan, a gamer, or just someone who loves a good story, Echoes of History is the podcast for you. Make sure to catch every episode by following Echoes of History, a Ubisoft podcast brought to you by History. Hit wherever you get your podcasts.

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[Maddie]

There's a lot of information to digest here and I think the way that we are given this story in our sort of cultural retellings, there is a tendency towards, again, a European skewed, almost humorous retelling. Right Cook turns upon this island and it's a sort of twist of comic fate that the indigenous people think that he is one of their gods and then he messes it up by returning again. But I think as well, it speaks to Cook and his crew's complete lack of understanding of the people that they are encountering and whose land they're coming into, that they don't see any of the importance or significance of their religious rites, their religious festivals, that they misunderstand them and that is his downfall.

[Anthony]

I think you've hit the nail on the head there and let's remember this, but put a pin in it because we're coming back to this. Who is delivering this history to us? Why do we know this? How do we know this? And as you said, Maddie, we're getting this exclusively through a European lens, and I'm going to tie this piece of information to something else a little bit later, and we can question both at that particular time. So because of his return, we have this tension that's created with the indigenous people and with those who are traveling with Cook. And what we find is that the Discovery. So that's the other ship that I said had set sail with Cook when they. The Discovery's cutter is taken on the 13th of February, 1779. And this starts to see an escalation of tensions then. Right.

[Maddie]

What is the Cutter, by the way, do we know?

[Anthony]

It's a smaller vessel. And the response, which we are told corresponds to indigenous practice on Hawaii, is that Cook's response is, right, if you've taken our cutter, which is an important part of our traveling equipment, we are going to take. Take your king. So they take King Kalani Opu to negotiate the return of the Discovery's cutter ship. It's an invitation at first, but following this invitation, the king's wife, Queen Kanekopole, intervenes. And she says, there is danger here and the king shouldn't go. She seems a little bit more in tune with what Cook's intentions might be. And because of the queen's warnings, the king's attendants start to become more and more suspicious and agitated. They're becoming even more agitated with the arrival of Cook's armed marines who have come to take the king. Now, we have to bear in mind that there's context for this, and that is that before this has happened, another Hawaiian chief, Kana Ina, has been shot and killed in a scuffle across the bay with Cook's men. And this then is adding insult to injury that there's now what feels like an attempt to capture the king.

[Maddie]

There's so much going on here. So we have these rising tensions between Cook's men, who are at this stage. They've been to Hawaii during this festival. They've all integrated and interacted with the indigenous peoples there. Then they've all got back on the ship and they've gone. But there was a storm, and they've had to come back again. And so now we have some of them on the ship, we have some on the shore. Tensions are rising. Little pockets of disagreements, violence are breaking out between everyone because the cutter has been taken, which is, you know, vitally important to the voyage. He's tried to react in what I think is. I mean, it's an incredibly unwise way to try and kidnap the king. It just seems so undiplomatic and such an escalation. This just doesn't strike me as the behavior of a man who's been so. He's had so much experience. He's done two voyages around the world. He has interacted with, traded with, fought with people he's come into contact with in various different places. But this just feels like a misstep. This just feels like a miscalculation. And we know that it's going to go wrong for him. So it is a mistake, and it's one that's gonna lead to his downfall. So tell me what happens next, because we all know what's coming. But take us to that point, please.

[Anthony]

9:00Am on the 14th of February, 1779.

[Maddie]

It's my birthday, by the way.

[Anthony]

Yes.

[Maddie]

Not 1779. I'm not that old.

[Anthony]

No. So many people I know are born on the 14th of February. It's kind of weird. So there you go. Now, 9am, the 14th of February, 1779. The crowd has grown. It's becoming increasingly hostile. So Cook, in retaliation, fires his musket at the adv dancing Hawaiians. And this, of course, then provokes a response, and that response turns out to be deadly. There is a painting by Zoffany, which I'm going to get Maddie to describe in. In Grand After Dark tradition. Just a moment. But the attack that's launched on Cook takes place with clubs and spears, and he's struck on the head and he's stabbed. He has multiple injuries. These all lead to his death. But, Maddie, let's have a look at Zoffney's painting. This actually is an incomplete painting, so it's at the National Maritime Museum. But, yeah, if you wouldn't mind just describing what we can see there. It's interesting for so many reasons.

[Maddie]

Yeah. So this is by Johann Zoffny, who is one of the great neoclassical painters of the 18th century. He's a society portraitist, but also a history painter. And this painting, as you say, Anthony, it's unfinished, so it's got these kind of edges that sort of fade out in terms of color and details. And it was produced 20 years, almost. 20 years. No maths. Yes, 20 years after almost.

[Anthony]

Yeah, yeah. 15. 14. 15. Yep.

[Maddie]

And that historical distance tells you a lot of what you need to know about this painting. So, as I say, Zoffany is a history painter, and the tradition of history painting in the 18th century is very grand. It's all about the big canvas. It's about taking a dramatic moment from the past and sometimes from contemporary life, and elevating it, making it into this sort of snapshot, this moment in which the whole story is sort of encapsulated in this one moment. In this particular image, we are on the shore of Hawaii and we've got the sea, this choppy sea, down to the left hand corner. Just the hint of it, which I think there's even a shark's fin sticking up, potentially. It's a rock. It looks a little bit like a shark's fin.

[Anthony]

It looks like a shark's fin. Whatever.

[Maddie]

It is quite close to the shoreline. I'm not sure Zoffany knew much about marine biology, but anyway. And we've got a sort of battle scene going on. So all around us we have got marines armed with muskets in their red uniforms and their tricorn hats, and they are fighting the indigenous Hawaiians, who are mostly naked. And we can talk about this racialized depiction in a second. And who are armed with knives, clubs, other weaponry. In the centre of the image on the floor, we have Cook himself. He's wearing his blue naval uniform with his white britches. I mean, he always looks like he's sort of reclining. He's fallen to the floor, he's still grasping his musket. And it even looks like there's a fire, like a shot coming out of it, like he's fired it accidentally as he's fallen to the ground. So you really get a sense of the action that's taking place. Here he is on his right hand side, sort of leaning almost into the sea. He sort of tumbled over into the water, and over the top of him, these two Hawaiians are leaning and attacking him. There's one on the right in particular, who I assume is the chieftain, is the king himself. He's wearing a feathered headdress and a feathered cape, the likes of which, by the way, were fairly typical across, as I understand it, a lot of the Pacific islands. And Cook had actually brought back similar objects to Britain before, and they were in the collections of various aristocrats there. So their appearance in this picture is very much evoking the material culture, the material landscape of these places, as understood by Europeans who had come into contact with some of these items. So this is a very European coded image of what's happening. Some of the figures are unfinished in the background, as we say. This isn't a painting that Zoffany Ever completed. What we have here, I think, is this question or this idea of nobility. We've got Cook portrayed as this noble suffering hero who is taking one for the team. He is dying on behalf of the empire. He's this elevated figure. And then we also have, and I'm using this again in adverted commas, very heavily, this idea of the noble savage. And this is an idea that was at the forefront of people's minds in the 18th century. It's something that the philosopher Jean Jacques Rousseau talks about. In fact, I think I'm correct in saying that he coined the phrase. And it's this idea of the indigenous peoples that the expanding British and other European empires were coming into contact with, being on the one hand, elevated and noble and warrior like and heroic, but kept within the parameters of UN civilization according to what that might look like, according to the Europeans. And this idea that they are unsophisticated, they have no clothes on here. They have what is in comparison with the muskets, rudimental weaponry. And this image, therefore, is so coded with the values of empire, with the values of the British Navy. This idea of British expansion, of heroicism. And what it's saying is Coke died nobly because he met a worthy opponent. The people who killed him, according to Zoffany and others back home, are uncivilized and violent. But there's a nobility in that. And it's this idea that the whole of the frontier of empire that's constantly being expanded, that that is a place worth dying for and where these interesting clashes are taking place. That's my reading of the 18th century idea of this painting. I think it's fascinating. And of course, this isn't the only depiction of Coke's death that we have. But I think, Anthony, you've picked such a great image here that holds within it all of these late 18th century ideas and racist, violent structures that it's upholding.

[Matt Lewis]

I'm Matt Lewis, host of the Echoes of History podcast, where every week we'll be delving into the real life history that inspires the locations, characters and storylines of the legendary Assassin's Creed franchise. Join us as we explore the narrow streets of Medici ruled Florence, cross sand dunes in the shadow of ancient pyramids, climb the rigging of 18th century brig sailing across the Caribbean, and come face to face with some of history's most significant individuals. Whether you're a history fan, a gamer, or just someone who loves a good story, Echoes of History is the podcast for you. Make sure to catch every episode by following Echoes of History A Ubisoft podcast brought to you by History. Hit wherever you get your podcasts.

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[Anthony]

Let'S look @ the hours and days immediately after his death and in this next narrative we'll get a clearer picture of what happened. Cook's body was taken away by the indigenous Hawaiians into the heart of their settlement. We're told that they treated his body in a way usually reserved for chiefs or for the most respected elders in their society. He was disemboweled, his flesh removed, and his bones carefully cleaned for preservation. Many items were exchanged between the Hawaiians and Captain Cook's crew during their stay on the island before relations soured. The Hawaiians traded fish and sweet potatoes for pieces of iron and brass, for instance. But now his crew were negotiating for Cook's remains to be returned burned so that they could bury him at sea. Captain Clark, Cook's second in command, eventually succeeded and brought his former captain's dismembered body back to the ship for the final time. At dusk on 22 February 1779, the crew gathered together on board the ship, still moored near to the bay. The ship bobbed gently as they prepared to drop all that remained of cast Captain Cook, now swaddled in a sailcloth, to his final resting place. The men watched as the remains fell deeper and deeper into the silken dark water, never to be seen again.

[Maddie]

So we have this version, and again, I'm very aware that this is the European version of the story that's been handed to us from the perspective of Cooking and his men, that Cook is, despite being an antagonist, despite being at fault as a leader and getting himself into a position where he's having a battle on the beach and is killed. Despite all of that, a Hawaiian custom around funerary rights dictates that he's treated as a leader, as someone of high status, and that his body is treated with respect and is dealt with. And I think this is Fascinating. We can talk about the veracity of that in a moment. And if there's another way to possibly read this scene. But I think it's so interesting to me that there's these two versions of disposing of the dead that come up against each other in this moment. And we know in the 18th century and indeed into the 19th century that there are very specific traditions around dealing with deceased people on ships and lots of practices associated with that. The wrapping of people in their hammock, I think it was often, if not, you know, bits of sail, the putting of the final stitch of that shroud through the nose of the person who died just to make sure that they were definitely dead before you threw them overboard. And, you know, the tradition of that often being done by a crewmate who had been close to the person in life. And the idea of sort of showing respect and gentility in that moment before committing the body to the deep. So we have those traditions and then we have the Hawaiian tradition, and Cook's body becomes a contested territory. It becomes an item, a site of tension, of conflicting ideas and conflict over control of the narrative of the situation. But it's so fascinating to me, this idea that the Hawaiians simply take the body and treat it in this way with honour. I don't know. Is that true? Is that what happened?

[Anthony]

I mean, yes, but I want to offer another interpretation. It looks very much like the steps that were just described there did take place. And it would archivally make sense that those practices would have been done by the indigenous Hawaiians in order to mark the passing of Cook. Now, as you're saying, Maddie, we are sold this version that they couldn't help but honor his greatness. That, yes, okay, they'd been adversaries, but they couldn't help but honor his greatness in his death. Because despite the fact that they had this clash, well, he's a great old chapel altogether. But I think the alternative interpretation of this is not necessarily an honoring, but an acknowledgement of his status. Because in indigenous Hawaiian cultures, this taking of the bones were to be taken to be displayed as proof of their victory in battle. So actually, it's not necessarily an honoring of the. Well, it is in some ways an honoring of the foe, but it's showing that they emerged victorious. And according to other historians who look at the indigenous side of this history, that was something that most other chiefs would prefer not to have happened to them. It wasn't necessarily an honorific positioning. Because basically, what they're showing is, I was defeated. I was the chief, and I was defeated. So this isn't necessarily honoring. It's acknowledging his status, but not necessarily honoring in a Western concept of honoring, although there is an element of honoring in how the bones would have been displayed if they had been left with the Hawaiians, but they're not. So the British retelling seeks to here ify Cook even more where actually what the indigenous Hawaiians are doing are showing him as a defeatable enemy.

[Maddie]

I like that interpretation. I think that sounds far more plausible and nuanced and interesting, actually, than the version that we've been handed down in terms of Cook's legacy and the aftermath of this moment. I mean, as we've seen, the violence of his death reverberates down certainly the decades immediately after it happened. The news is huge in Britain, and artists are still depicting it towards the end of the close of the century and well beyond. But what do you see his legacy as being, and how has it shapeshifted over time, do you think? People in the late 18th century, we know that, you know, not everyone in Britain wanted to uphold the empire and the violent foundations that supported it. We know that there were people campaigning for all sorts of equalities and liberties that weren't in place. Do you think that there was criticism of Cook? Do you think that his mistake in interacting with the indigenous Hawaiians and his bad leadership, as I think it is fair to call it that, was there a sense of criticism, or was he just held up as a hero? And that's the version that we've got today, or at least until relatively recently and more recent moves to reassess these histories.

[Anthony]

I think the answer depends on who you ask. Now, obviously, on the one hand, we have this idea that Coke was this great explorer, great hero, but it really is not that simple. For example, in October of this year, when King Charles III visited Australia, an indigenous member of the Australian Parliament protested against King Charles III's presence in Australia, and she shouted up the aisle, you are not my king. You have taken our lands. And for many Hawaiians, that would resonate with them, too. Me, as a Western historian who's not British, has a different take. Again, where it's coded with imperial. You know, there's this. There's this thing, Maddie, which, I mean, this is a broader discussion, but there's this thing where there's a misconception that historians are unbiased. And while we come to archives with as clear a slate as we possibly can in order to interpret the facts that we encounter there as impartially as we can. We all come with baggage and we all come with cultural baggage and historical baggage that informs our interpretation of those facts. So Cook's legacy is I think the easiest way to round it up would be to say that it's mixed and it is incredibly divisive.

[Maddie]

Well, there you have it folks. I think if nothing else, hopefully this episode will prompt discussion amongst you. Let us know what you think about the legacy of Captain Cook and indeed the other figures that we're covering in this ongoing miniseries of the final days of various people from the past. If you want to get in touch with the show, you are always welcome to do so. You can email us and our [e-mail] don't forget to leave a 5 star review of the show wherever you get your podcasts. It really, really genuinely does help people to find the show. It helps to spread the word and to expand the brilliant community that we've built so far. See you next time.

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