Determinism

In the early years of the 19th century, science was on a roll. The dark days of alchemy were beginning to give way to the modern science of chemistry as we know it today, the world of physics and the study of electromagnetism were starting to get going, and the world was on the brink of an industrial revolution that would be powered by scientists and engineers. Slowly, we were beginning to piece together exactly how our world works, and some dared to dream of a day where we might understand all of it. Yes, it would be a long way off, yes there would be stumbling blocks, but maybe, just maybe, so long as we don’t discover anything inconvenient like advanced cosmology, we might one day begin to see the light at the end of the long tunnel of science.

Most of this stuff was the preserve of hopeless dreamers, but in the year 1814 a brilliant mathematician and philosopher, responsible for underpinning vast quantities of modern mathematics and cosmology, called Pierre-Simon Laplace published a bold new article that took this concept to extremes. Laplace lived in the age of ‘the clockwork universe’, a theory that held Newton’s laws of motion to be sacrosanct truths and claimed that these laws of physics caused the universe to just keep on ticking over, just like the mechanical innards of a clock- and just like a clock, the universe was predictable. Just as one hour after five o clock will always be six, presuming a perfect clock, so every result in the world can be predicted from the results. Laplace’s arguments took such theory to its logical conclusion; if some vast intellect were able to know the precise positions of every particle in the universe, and all the forces and motions of them, at a single point in time, then using the laws of physics such an intellect would be able to know everything, see into the past, and predict the future.

Those who believed in this theory were generally disapproved of by the Church for devaluing the role of God and the unaccountable divine, whilst others thought it implied a lack of free will (although these issues are still considered somewhat up for debate to this day). However, among the scientific community Laplace’s ideas conjured up a flurry of debate; some entirely believed in the concept of a predictable universe, in the theory of scientific determinism (as it became known), whilst others pointed out the sheer difficulty in getting any ‘vast intellect’ to fully comprehend so much as a heap of sand as making Laplace’s arguments completely pointless. Other, far later, observers, would call into question some of the axiom’s upon which the model of the clockwork universe was based, such as Newton’s laws of motion (which collapse when one does not take into account relativity at very high velocities); but the majority of the scientific community was rather taken with the idea that they could know everything about something should they choose to. Perhaps the universe was a bit much, but being able to predict everything, to an infinitely precise degree, about a few atoms perhaps, seemed like a very tempting idea, offering a delightful sense of certainty. More than anything, to these scientists there work now had one overarching goal; to complete the laws necessary to provide a deterministic picture of the universe.

However, by the late 19th century scientific determinism was beginning to stand on rather shaky ground; although  the attack against it came from the rather unexpected direction of science being used to support the religious viewpoint. By this time the laws of thermodynamics, detailing the behaviour of molecules in relation to the heat energy they have, had been formulated, and fundamental to the second law of thermodynamics (which is, to this day, one of the fundamental principles of physics) was the concept of entropy.  Entropy (denoted in physics by the symbol S, for no obvious reason) is a measure of the degree of uncertainty or ‘randomness’ inherent in the universe; or, for want of a clearer explanation, consider a sandy beach. All of the grains of sand in the beach can be arranged in a vast number of different ways to form the shape of a disorganised heap, but if we make a giant, detailed sandcastle instead there are far fewer arrangements of the molecules of sand that will result in the same structure. Therefore, if we just consider the two situations separately, it is far, far more likely that we will end up with a disorganised ‘beach’ structure rather than a castle forming of its own accord (which is why sandcastles don’t spring fully formed from the sea), and we say that the beach has a higher degree of entropy than the castle. This increased likelihood of higher entropy situations, on an atomic scale, means that the universe tends to increase the overall level of entropy in it; if we attempt to impose order upon it (by making a sandcastle, rather than waiting for one to be formed purely by chance), we must input energy, which increases the entropy of the surrounding air and thus resulting in a net entropy increase. This is the second law of thermodynamics; entropy always increases, and this principle underlies vast quantities of modern physics and chemistry.

If we extrapolate this situation backwards, we realise that the universe must have had a definite beginning at some point; a starting point of order from which things get steadily more chaotic, for order cannot increase infinitely as we look backwards in time. This suggests some point at which our current universe sprang into being, including all the laws of physics that make it up; but this cannot have occurred under ‘our’ laws of physics that we experience in the everyday universe, as they could not kickstart their own existence. There must, therefore, have been some other, higher power to get the clockwork universe in motion, destroying the image of it as some eternal, unquestionable predictive cycle. At the time, this was seen as vindicating the idea of the existence of God to start everything off; it would be some years before Edwin Hubble would venture the Big Bang Theory, but even now we understand next to nothing about the moment of our creation.

However, this argument wasn’t exactly a death knell for determinism; after all, the laws of physics could still describe our existing universe as a ticking clock, surely? True; the killer blow for that idea would come from Werner Heisenburg in 1927.

Heisenburg was a particle physicist, often described as the person who invented quantum mechanics (a paper which won him a Nobel prize). The key feature of his work here was the concept of uncertainty on a subatomic level; that certain properties, such as the position and momentum of a particle, are impossible to know exactly at any one time. There is an incredibly complicated explanation for this concerning wave functions and matrix algebra, but a simpler way to explain part of the concept concerns how we examine something’s position (apologies in advance to all physics students I end up annoying). If we want to know where something is, then the tried and tested method is to look at the thing; this requires photons of light to bounce off the object and enter our eyes, or hypersensitive measuring equipment if we want to get really advanced. However, at a subatomic level a photon of light represents a sizeable chunk of energy, so when it bounces off an atom or subatomic particle, allowing us to know where it is, it so messes around with the atom’s energy that it changes its velocity and momentum, although we cannot predict how. Thus, the more precisely we try to measure the position of something, the less accurately we are able to know its velocity (and vice versa; I recognise this explanation is incomplete, but can we just take it as red that finer minds than mine agree on this point). Therefore, we cannot ever measure every property of every particle in a given space, never mind the engineering challenge; it’s simply not possible.

This idea did not enter the scientific consciousness comfortably; many scientists were incensed by the idea that they couldn’t know everything, that their goal of an entirely predictable, deterministic universe would forever remain unfulfilled. Einstein was a particularly vocal critic, dedicating the rest of his life’s work to attempting to disprove quantum mechanics and back up his famous statement that ‘God does not play dice with the universe’. But eventually the scientific world came to accept the truth; that determinism was dead. The universe would never seem so sure and predictable again.

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In a hole in the ground there lived a hobbit…

I read a lot; I have done since I was a kid. Brian Jacques, JK Rowling, Caroline Lawrence and dozens of other authors’ work sped through my young mind, throwing off ideas, philosophies, and any other random stuff I found interesting in all directions. However, as any committed reader will tell you, after a while flicking through any genre all the ‘low hanging fruit’, the good books everyone’s heard of, will soon be absorbed, and it is often quite a task to find reliable sources of good reading material. It was for partly this reason that I, some years ago, turned to the fantasy genre because, like it or loathe it, it is impossible to deny the sheer volume of stuff, and good stuff too, that is there. Mountains of books have been written for it, many of which are truly huge (I refer to volumes 11 and 12 of Robert Jordan’s ‘Wheel of Time’, which I have yet to pluck up the courage to actually read, if anyone doubts this fact), and the presence of so many different subgenres (who can compare George RR Martin, creator of A Game of Thrones, with Terry Pratchett, of Discworld fame) and different ideas gives it a nice level of innovation within a relatively safe, predictable sphere of existence.

This sheer volume of work does create one or two issues, most notably the fact that it can be often hard to consult with other fans about ‘epic sagas’ you picked up in the library that they may never have even heard of (hands up how many of you have heard of Raymond E Feist, who really got me started in this genre)- there’s just so much stuff, and not much of it can be said to be standard reading material for fantasy fans. However, there is one point of consistency, one author everyone’s read, and who can always be used as a reliable, if high, benchmark. I speak, of course, of the work of JRR Tolkein.

As has been well documented, John Ronald Reuel Tolkein was not an author by trade or any especial inclination; he was an academic, a professor of first Anglo-Saxon and later English Language & Literature at Pembroke College, Oxford, for 34 years no less. He first rose to real academic prominence in 1936, when he gave (and later published) a seminal lecture entitled Beowulf: The Monsters and the Critics. Beowulf is one of the oldest surviving works of English literature, an Anglo-Saxon epic poem from around the 8th century AD detailing the adventures of a warrior/king named Beowulf, and Tolkein’s lecture defined many contemporary thoughts about it as a work of literature.

However, there was something about Beowulf that was desperately sad to Tolkein; it was just about the only surviving piece of Old English mythology, and certainly the only one with any degree of public knowledge. Tolkein was a keen student of Germanic mythology and that of other nations, and it always pained him that his home nation had no such traditional mythology to be called upon, all the Saxon stories having been effectively wiped out with the coming of the Normans in 1066. Even our most famous ‘myths’, those of King Arthur, came from a couple of mentions in 8th century texts, and were only formalised by Normans- Sir Thomas Malory didn’t write Le Morte d’Arthur, the first full set of the Arthurian legends, until 1485, and there is plenty of evidence that he made most of it up. It never struck Tolkein as being how a myth should be; ancient, passed down father to son over innumerable generations until it became so ingrained as to be considered true. Tolkein’s response to what he saw as a lamentable gap in our heritage was decidedly pragmatic- he began building his own mythological world.

Since he was a linguistic scholar, Tolkein began by working with what he new; languages. His primary efforts were concerned with elvish, which he invented his own alphabet and grammar for and eventually developed into as deep and fully-fleshed a tongue as you could imagine. He then began experimenting with writing mythology based around the language- building a world of the Dark Ages and before that was as special, fantastical and magical as a story should be to become a fully-fledged myth (you will notice that at the start of The Lord Of The Rings, Tolkein refers to how we don’t see much of hobbits any more, implying that his world was set in the past rather than the alternate universe).

His first work in this field was the Quenta Silmarillion, a title that translates (from elvish) as “the Tale of the Silmarils”. It is a collection of stories and legends supposedly originating from the First Age of his world, although compiled by an Englishman during the Dark Ages from tales edited during the Fourth Age, after the passing of the elves. Tolkein started this work multiple times without ever finishing, and it wasn’t until long after his death that his son published The Silmarillion as a finished article.

However, Tolkein also had a family with young children, and took delight in writing stories for them. Every Christmas (he was, incidentally, a devout Catholic) he wrote letters to them from Father Christmas that took the form of short stories (again, not published until after his death), and wrote numerous other tales for them. A few of these, such as The Adventures of Tom Bombadil, either drew inspiration from or became part of his world (or ‘legendarium’, as it is also known), but he never expected any of them to become popular. And they weren’t- until he, bored out of his mind marking exam papers one day in around 1930, found a blank back page and began writing another, longer story for them, beginning with the immortal lines: “In a hole in the ground there lived a hobbit.”

This work, what would later become The Hobbit (or There and Back Again), was set in the Third Age of his legendarium and is soon to be made into a  series of three films (don’t ask me how that works, given that it’s shorter than each one of the books making up The Lord Of The Rings that each got a film to themselves, but whatever). Like his other stories, he never intended it to be much more than a diverting adventure for his children, and for 4 years after its completion in 1932 it was just that. However, Tolkein was a generous soul who would frequently lend his stories to friends, and one of those, a student named Elaine Griffiths, showed it to another friend called Susan Dagnall. Dagnall worked at the publishing company Allen & Unwin, and she was so impressed upon reading it that she showed it to Stanley Unwin. Unwin lent the book to his son Rayner to review (this was his way of earning pocket money), who described it as ‘suitable for children between the ages of 6 and 12’ (kids were clearly a lot more formal and eloquent where he grew up). Unwin published the book, and everyone loved it. It recieved many glowing reviews in an almost universally positive critical reception, and one of the first reviews came from Tolkein’s friend CS Lewis in The Times, who wrote:

The truth is that in this book a number of good things, never before united, have come together: a fund of humour, an understanding of children, and a happy fusion of the scholar’s with the poet’s grasp of mythology… The professor has the air of inventing nothing. He has studied trolls and dragons at first hand and describes them with that fidelity that is worth oceans of glib “originality.”

In many ways, that quote describes all that was great about Tolkein’s writing; an almost childish, gleeful imagination combined with the brute seriousness of his academic work, that made it feel like a very, very real fantasy world. However, this was most definitely not the end of JRR Tolkein, and since I am rapidly going over length, the rest of the story will have to wait until next time…