An Opera Posessed

My last post left the story of JRR Tolkein immediately after his writing of his first bestseller; the rather charming, lighthearted, almost fairy story of a tale that was The Hobbit. This was a major success, and not just among the ‘children aged between 6 and 12’ demographic identified by young Rayner Unwin; adults lapped up Tolkein’s work too, and his publishers Allen & Unwin were positively rubbing their hands in glee. Naturally, they requested a sequel, a request to which Tolkein’s attitude appears to have been along the lines of ‘challenge accepted’.

Even holding down the rigours of another job, and even accounting for the phenomenal length of his finished product, the writing of a book is a process that takes a few months for a professional writer (Dame Barbara Cartland once released 25 books in the space of a year, but that’s another story), and perhaps a year or two for an amateur like Tolkein. He started writing the book in December 1937, and it was finally published 18 years later in 1955.

This was partly a reflection of the difficulties Tolkein had in publishing his work (more on that later), but this also reflects the measured, meticulous and very serious approach Tolkein took to his writing. He started his story from scratch, each time going in a completely different direction with an entirely different plot, at least three times. His first effort, for instance, was due to chronicle another adventure of his protagonist Bilbo from The Hobbit, making it a direct sequel in both a literal and spiritual sense. However, he then remembered about the ring Bilbo found beneath the mountains, won (or stolen, depending on your point of view) from the creature Gollum, and the strange power it held; not just invisibility, as was Bilbo’s main use for it, but the hypnotic effect it had on Gollum (he even subsequently rewrote that scene for The Hobbit‘s second edition to emphasise that effect). He decided that the strange power of the ring was a more natural direction to follow, and so he wrote about that instead.

Progress was slow. Tolkein went months at a time without working on the book, making only occasional, sporadic yet highly focused bouts of progress. Huge amounts were cross-referenced or borrowed from his earlier writings concerning the mythology, history & background of Middle Earth, Tolkein constantly trying to make his mythic world feel and, in a sense, be as real as possible, but it was mainly due to the influence of his son Christopher, who Tolkein would send chapters to whilst he was away fighting the Second World War in his father’s native South Africa, that the book ever got finished at all. When it eventually did, Tolkein had been working the story of Bilbo’s son Frodo and his adventure to destroy the Ring of Power for over 12 years. His final work was over 1000 pages long, spread across six ‘books’, as well as being laden with appendices to explain & offer background information, and he called it The Lord of The Rings (in reference to his overarching antagonist, the Dark Lord Sauron).

A similar story had, incidentally, been attempted once before; Der Ring des Nibelungen is an opera (well, four operas) written by German composer Richard Wagner during the 19th century, traditionally performed over the course of four consecutive nights (yeah, you have to be pretty committed to sit through all of that) and also known as ‘The Ring Cycle’- it’s where ‘Ride of The Valkyries’ comes from. The opera follows the story of a ring, made from the traditionally evil Rhinegold (gold panned from the Rhine river), and the trail of death, chaos and destruction it leaves in its wake between its forging & destruction. Many commentators have pointed out the close similarities between the two, and as a keen follower of Germanic mythology Tolkein certainly knew the story, but Tolkein rubbished any suggestion that he had borrowed from it, saying “Both rings were round, and there the resemblance ceases”. You can probably work out my approximate personal opinion from the title of this post, although I wouldn’t read too much into it.

Even once his epic was finished, the problems weren’t over. Once finished, he quarrelled with Allen & Unwin over his desire to release LOTR in one volume, along with his still-incomplete Silmarillion (that he wasn’t allowed to may explain all the appendices). He then turned to Collins, but they claimed his book was in urgent need of an editor and a license to cut (my words, not theirs, I should add). Many other people have voiced this complaint since, but Tolkein refused and ordered Collins to publish by 1952. This they failed to do, so Tolkein wrote back to Allen & Unwin and eventually agreed to publish his book in three parts; The Fellowship of The Ring, The Two Towers, and The Return of The King (a title Tolkein, incidentally, detested because it told you how the book ended).

Still, the book was out now, and the critics… weren’t that enthusiastic. Well, some of them were, certainly, but the book has always had its detractors among the world of literature, and that was most certainly the case during its inception. The New York Times criticised Tolkein’s academic approach, saying he had “formulated a high-minded belief in the importance of his mission as a literary preservationist, which turns out to be death to literature itself”, whilst others claimed it, and its characters in particular, lacked depth. Even Hugo Dyson, one of Tolkein’s close friends and a member of his own literary group, spent public readings of the book lying on a sofa shouting complaints along the lines of “Oh God, not another elf!”. Unlike The Hobbit, which had been a light-hearted children’s story in many ways, The Lord of The Rings was darker & more grown up, dealing with themes of death, power and evil and written in a far more adult style; this could be said to have exposed it to more serious critics and a harder gaze than its predecessor, causing some to be put off by it (a problem that wasn’t helped by the sheer size of the thing).

However, I personally am part of the other crowd, those who have voiced their opinions in nearly 500 five-star reviews on Amazon (although one should never read too much into such figures) and who agree with the likes of CS  Lewis, The Sunday Telegraph and Sunday Times of the time that “Here is a book that will break your heart”, that it is “among the greatest works of imaginative fiction of the twentieth century” and that “the English-speaking world is divided into those who have read The Lord of the Rings and The Hobbit and those who are going to read them”. These are the people who have shown the truth in the review of the New York Herald Tribune: that Tolkein’s masterpiece was and is “destined to outlast our time”.

But… what exactly is it that makes Tolkein’s epic so special, such a fixture; why, even years after its publication as the first genuinely great work of fantasy, it is still widely regarded as the finest work the genre has ever produced? I could probably write an entire book just to try and answer that question (and several people probably have done), but to me it was because Tolkein understood, absolutely perfectly and fundamentally, exactly what he was trying to write. Many modern fantasy novels try to be uber-fantastical, or try to base themselves around an idea or a concept, in some way trying to find their own level of reality on which their world can exist, and they often find themselves in a sort of awkward middle ground, but Tolkein never suffered that problem because he knew that, quite simply, he was writing a myth, and he knew exactly how that was done. Terry Pratchett may have mastered comedic fantasy, George RR Martin may be the king of political-style fantasy, but only JRR Tolkein has, in recent times, been able to harness the awesome power of the first source of story; the legend, told around the campfire, of the hero and the villain, of the character defined by their virtues over their flaws, of the purest, rawest adventure in the pursuit of saving what is good and true in this world. These are the stories written to outlast the generations, and Tolkein’s mastery of them is, to me, the secret to his masterpiece.

Advertisement

“If I die before I wake…”

…which I might well do when this post hits the internet, then I hope somebody will at least look down upon my soul & life’s work favourably. Today, I am going to be dealing with the internet’s least favourite topic, an idea whose adherence will get you first derided and later inundated with offers to go and be slaughtered in one’s bed, a subject that should be taboo for any blogger looking to not infuriate everybody; that of religion.

I am not a religious person; despite a nominally Anglican upbringing my formative years found most of my Sundays occupied on the rugby pitch, whilst a deep interest in science tended to form the foundations of my world beliefs- I think (sometimes) to some personal detriment. This is a pattern I see regularly among those people I find as company (which may or may not say something about my choice of friends)- predominantly atheists with little or no religious upbringing who tend to steer clear of religion and its various associated features wherever possible. However, where I find I differ from them tends to be when the subject is broached when in the present of a devoutly Christian friend of mine; whilst I tend to leave his beliefs to himself and try not to spark an argument, many others I know see a demonstration of his beliefs as a cue to start on a campaign of ‘ha ha isn’t your world philosophy stupid’, and so on.  I tend to find these attacks more baffling and a little saddening than anything else, so I thought that I might take this opportunity to take my usual approach and try to analyse the issue

First up is a fact that most people are aware of even if it hasn’t quite made the jump into an articulate thought yet; that every religion is in fact two separate parts. The first of these can be dubbed the ‘faith’ aspect; the stories, the gods, the code of morals & general life guidelines and such, all of the bits that form the core of a system of beliefs and are, to a theist, the ‘godly’ part of their religion. The second can be labelled the ‘church’ aspect; this is the more man-made, even artificial, aspect of the religious system, and covers the system of priesthood (or equivalent) for each religion, their holy buildings, the religious leaders and even people’s personal interpretation of the ‘faith’ aspect. Holy books, such as the Bible or Torah, fall somewhere in between (Muslims believe, for example, that the Qur’an is literally the word of Allah, translated through the prophet Muhammed) as do the various prayers and religious music. In Buddhism, these two aspects are known as the Dharma (teachings) and Sangha (community), and together with Buddha form the ‘three jewels’ of their religion. In some religions, such as Scientology (if that can technically be called a religion) the two aspects are so closely entwined so as to be hard to separate, but they are still distinct aspects that should be treated separately. The ‘faith’ aspect of religion is, in most respects, the really important one, for it is this that actually formulates the basis of a religion; without a belief system, a church is nothing more than a place where people go to shout their views at those who inexplicably turn up. A religion’s ‘church’ aspect is its organised divisions, and exists for no greater or lesser purpose than to spread, cherish, protect and correctly translate the word of God, or other parts of the ‘faith’ aspect generally. This distinction is vital when we consider how great a difference there can be between what somebody believes and what another does in the same name.

For example, consider the ultra-fundamentalist Taliban currently fighting their Jihad (the word does not, on an unrelated note, technically translate as ‘holy war’ and the two should not be thought of a synonymous) in Afghanistan against the USA and other western powers. Their personal interpretation of the Qur’an and the teachings of Islam (their ‘church’ aspect) has lead them to believe that women do not deserve equal rights to men, that the western powers are ‘infidels’ who should be purged from the world, and that they must use force and military intervention against them to defend Islam from said infidels- hence why they are currently fighting a massive war that is getting huge amounts of innocent civilians killed and destroying their faith’s credibility. By contrast, there are nearly 2 million Muslims currently living in the UK, the vast majority of whom do not interpret their religion in the same way and are not currently blowing up many buildings- and yet they still identify as Islamic and believe in, broadly speaking, the same faith. To pick a perhaps more ‘real world’ example, I’m sure that the majority of Britain’s Catholic population steadfastly disagree with the paedophilia practiced by some of their Church’s priests, and that a certain proportion also disagree with the Pope’s views on the rights of homosexuals; and yet, they are still just as Christian as their priests, are devout believers in the teachings of God & Jesus and try to follow them as best as they can.

This I feel, is the nub of the matter; that one can be simultaneously a practising Christian, Muslim, Jew or whatever else and still be a normal human being. Just because your vicar holds one view, doesn’t mean you hold the same, and just because some people choose to base their entire life around their faith does not mean that a person must be defined by their belief system. And, returning to the subject of the ridicule many practising theists suffer, just because the ‘church’ aspect of a religion does something silly, doesn’t mean all practitioners of it deserve to be tarred with the same brush- or that their view on the world should even matter to you as you enjoy life in your own way (unless of course their belief actively impedes you in some way).

I feel like I haven’t really got my point across properly, so I’ll leave you with a few links that I think illustrate quite well what I’m trying to get at. I only hope that it will help others find a little more tolerance towards those who have found a religious path.

And sorry for this post being rather… weird

A Brief History of Copyright

Yeah, sorry to be returning to this topic yet again, I am perfectly aware that I am probably going to be repeating an awful lot of stuff that either a) I’ve said already or b) you already know. Nonetheless, having spent a frustrating amount of time in recent weeks getting very annoyed at clever people saying stupid things, I feel the need to inform the world if only to satisfy my own simmering anger at something really not worth getting angry about. So:

Over the past year or so, the rise of a whole host of FLLAs (Four Letter Legal Acronyms) from SOPA to ACTA has, as I have previously documented, sent the internet and the world at large in to paroxysms of mayhem at the very idea that Google might break and/or they would have to pay to watch the latest Marvel film. Naturally, they also provoked a lot of debate, ranging in intelligence from intellectual to average denizen of the web, on the subject of copyright and copyright law. I personally think that the best way to understand anything is to try and understand exactly why and how stuff came to exist in the first place, so today I present a historical analysis of copyright law and how it came into being.

Let us travel back in time, back to our stereotypical club-wielding tribe of stone age human. Back then, the leader not only controlled and lead the tribe, but ensured that every facet of it worked to increase his and everyone else’s chance of survival, and chance of ensuring that the next meal would be coming along. In short, what was good for the tribe was good for the people in it. If anyone came up with a new idea or technological innovation, such as a shield for example, this design would also be appropriated and used for the good of the tribe. You worked for the tribe, and in return the tribe gave you protection, help gathering food and such and, through your collective efforts, you stayed alive. Everybody wins.

However, over time the tribes began to get bigger. One tribe would conquer their neighbours, gaining more power and thus enabling them to take on bigger, larger, more powerful tribes and absorb them too. Gradually, territories, nations and empires form, and what was once a small group in which everyone knew everyone else became a far larger organisation. The problem as things get bigger is that what’s good for a country starts to not necessarily become as good for the individual. As a tribe gets larger, the individual becomes more independent of the motions of his leader, to the point at which the knowledge that you have helped the security of your tribe does not bear a direct connection to the availability of your next meal- especially if the tribe adopts a capitalist model of ‘get yer own food’ (as opposed to a more communist one of ‘hunters pool your resources and share between everyone’ as is common in a very small-scale situation when it is easy to organise). In this scenario, sharing an innovation for ‘the good of the tribe’ has far less of a tangible benefit for the individual.

Historically, this rarely proved to be much of a problem- the only people with the time and resources to invest in discovering or producing something new were the church, who generally shared between themselves knowledge that would have been useless to the illiterate majority anyway, and those working for the monarchy or nobility, who were the bosses anyway. However, with the invention of the printing press around the start of the 16th century, this all changed. Public literacy was on the up and the press now meant that anyone (well, anyone rich enough to afford the printers’ fees)  could publish books and information on a grand scale. Whilst previously the copying of a book required many man-hours of labour from a skilled scribe, who were rare, expensive and carefully controlled, now the process was quick, easy and available. The impact of the printing press was made all the greater by the social change of the few hundred years between the Renaissance and today, as the establishment of a less feudal and more merit-based social system, with proper professions springing up as opposed to general peasantry, meaning that more people had the money to afford such publishing, preventing the use of the press being restricted solely to the nobility.

What all this meant was that more and more normal (at least, relatively normal) people could begin contributing ideas to society- but they weren’t about to give them up to their ruler ‘for the good of the tribe’. They wanted payment, compensation for their work, a financial acknowledgement of the hours they’d put in to try and make the world a better place and an encouragement for others to follow in their footsteps. So they sold their work, as was their due. However, selling a book, which basically only contains information, is not like selling something physical, like food. All the value is contained in the words, not the paper, meaning that somebody else with access to a printing press could also make money from the work you put in by running of copies of your book on their machine, meaning they were profiting from your work. This can significantly cut or even (if the other salesman is rich and can afford to undercut your prices) nullify any profits you stand to make from the publication of your work, discouraging you from putting the work in in the first place.

Now, even the most draconian of governments can recognise that your citizens producing material that could not only benefit your nation’s happiness but also potentially have great material use is a valuable potential resource, and that they should be doing what they can to promote the production of that material, if only to save having to put in the large investment of time and resources themselves. So, it makes sense to encourage the production of this material, by ensuring that people have a financial incentive to do it. This must involve protecting them from touts attempting to copy their work, and hence we arrive at the principle of copyright: that a person responsible for the creation of a work of art, literature, film or music, or who is responsible for some form of technological innovation, should have legal control over the release & sale of that work for at least a set period of time. And here, as I will explain next time, things start to get complicated…

Scrum Solutions

First up- sorry I suddenly disappeared over last week. I was away, and although I’d planned to tell WordPress to publish a few for me (I have a backlog now and everything), I was unfortunately away from my computer on Saturday and could not do so. Sorry. Today I would like to follow on from last Wednesday’s post dealing with the problems faced in the modern rugby scrum, to discuss a few solutions that have been suggested for dealing with the issue, and even throw in a couple of ideas of my own. But first, I’d like to offer my thoughts to another topic that has sprung up amid the chaos of scrummaging discussions (mainly by rugby league fans): the place, value and even existence of the scrum.

As the modern game has got faster and more free-flowing, the key focus of the game of rugby union has shifted. Where once entire game plans were built around the scrum and (especially) lineout, nowadays the battle of the breakdown is the vital one, as is so ably demonstrated by the world’s current openside flanker population. Thus, the scrum is becoming less and less important as a tactical tool, and the extremists may argue that it is no more than a way to restart play. This is the exact situation that has been wholeheartedly embraced by rugby league, where lineouts are non-existent and scrums are an uncontested way of restarting play after a minor infringement. To some there is, therefore, something of a crossroads: do we as a game follow the league path of speed and fluidity at the expense of structure, or stick to our guns and keep the scrum (and set piece generally) as a core tenet of our game?

There is no denying that our modern play style, centred around fast rucks and ball-in-hand play, is certainly faster and more entertaining than its slow, sluggish predecessor, if only for the fans watching it, and has certainly helped transform rugby union into the fun, flowing spectators game we know and love today. However having said that, if we just wanted to watch players run with the ball and nothing else of any interest to happen, then we’d all just go and play rugby league, and whilst league is certainly a worthwhile sport (with, among other things, the most passionate fans of any sport on earth), there is no point trying to turn union into its clone. In any case, the extent to which league as a game has been simplified has meant that there are now hardly any infringements or stoppages to speak of and that a scrum is a very rare occurence. This is very much unlike its union cousin, and to do away with the scrum as a tool in the union code would perhaps not suit the game as well as it does in union. Thus, it is certainly worth at least trying to prevent the scrum turning into a dour affair of constant collapses and resets before everyone dies of boredom and we simply scrap the thing.

(I know I’ve probably broken my ‘no Views’ rule here, but I could go on all day about the various arguments and I’d like to get onto some solutions)

The main problem with the modern scrum according to the IRB concerns the engage procedure- arguing (as do many other people) that trying to restrain eight athletes straining to let rip their strength is a tough task for even the stoutest front rower, they have this year changed the engage procedure to omit the ‘pause’ instruction from the ‘crouch, touch, pause, engage’ sequence. Originally included to both help the early players structure their engagement (thus ensuring they didn’t have to spend too much time bent down too far) and to ensure the referee had control over the engagement, they are now arguing that it has no place in the modern game and that it is time to see what effect getting rid of it will have (they have also replaced the ‘engage’ instruction with ‘set’ to reduce confusion about which syllable to engage on).

Whether this will work or not is a matter of some debate. It’s certainly a nice idea- speaking as a forward myself, I can attest that giving the scrum time to wind itself up is perhaps not the best way to ensure they come together in a safe, controlled fashion. However, what this does do is place a lot of onus on the referee to get his timing right. If the ‘crouch, touch, set’ procedure is said too quickly, it can be guaranteed that one team will not have prepared themselves properly and the whole engagement will be a complete mess. Say it too slowly, and both sides will have got themselves all wound up and we’ll be back to square one again. I suppose we’ll all find out how well it works come the new season (although I do advise giving teams time to settle back in- I expect to see a lot of packs waiting for a split second on the ‘set’ instruction as they wait for the fourth command they are so used to)

Other solutions have also been put forward. Many advocate a new law demanding gripping areas on the shirts of front row players to ensure they have something to get hold of on modern, skintight shirts, although the implementation of such a law would undoubtedly be both expensive and rather chaotic for all concerned, which is presumably why the IRB didn’t go for it. With the increasing use and importance of the Television Match Official (TMO) in international matches, there are a few suggesting that both they and the line judge should be granted extra responsibilities at scrum time to ensure the referee’s attention is not distracted, but it is understandable that referees do not want to be patronised by and become over-reliant on a hardly universally present system where the official in question is wholly dependent on whether the TV crews think that the front row binding will make a good shot.

However, whilst these ideas may help to prevent the scrum collapsing, with regards to the scrum’s place in the modern game they are little more than papering over the cracks. On their own, they will not change the way the game is played and will certainly not magically bring the scrum back to centre stage in the professional game.

For that to happen though, things may have to change quite radically. We must remember that the scrum as an invention is over 150 years old and was made for a game that has since changed beyond all recognition, so it could well be time that it began to reflect that. It’s all well and good playing the running game of today, but if the scrum starts to become little more than a restart then it has lost all its value. However, it is also true that if it is allowed to simply become a complete lottery, then the advantage for the team putting the ball in is lost and everyone just gets frustrated with it.

An answer could be (to pick an example idea) to turn the scrum into a more slippery affair, capable of moving back and forth far more easily than it can at the moment, almost more like a maul than anything else. This would almost certainly require radical changes regarding the structure and engagement of it- perhaps we should say that any number of players (between, say, three and ten) can take part in a scrum, in the same way as happens at lineouts, thereby introducing a tactical element to the setup and meaning that some sneaky trickery and preplanned plays could turn an opposition scrum on its head. Perhaps the laws on how the players are allowed to bind up should be relaxed, forcing teams to choose between a more powerful pushing setup and a looser one allowing for faster attacking & defending responses. Perhaps a law should be trialled demanding that if two teams engaged correctly, but the scrum collapsed because one side went lower than the other then the free kick would be awarded to the ‘lower’ side, thus placing a greater onus on technique over sheer power and turning the balance of the scrum on its head. Would any of these work? Maybe not, but they’re ideas.

I, obviously, do not have all the definitive answers, and I couldn’t say I’m a definite advocate of any of the ideas I voiced above (especially the last one, now I think how ridiculously impractical it would be to manage). But it is at least worth thinking about how much the game has evolved since the scrum’s invention, and whether it’s time for it to catch up.