Idiosophy

A physicist loose among the liberal arts

Relics

Last week I read Chris Pipkin’s monograph on Monster Relics.1 It’s about a fascinating idea that I’d never encountered before: that there’s a connection between the way churches exhibit relics of saints and the way heroes carry home body parts or treasures or something to show their triumph over some monster or other. He looks closely at “Beowulf”, where hanging Grendel’s arm over the door of Heorot is an immediately-obvious example of his thesis, plus the alliterative “Morte Arthur” and “Sir Gawain and the Green Knight”.

Particularly interesting to me was all the background information about how relics were used in the medieval church. High ranking church officials would give relics to someone who was building a new church somewhere to help with its consecration. These gifts established a bond between the the hierarch and the new congregation, just like a Danish king giving out gold rings to his warriors. Then there was the theft of relics. People were proud to tell how their saint’s relics had been stolen from their previous location. Such a provenance guaranteed both the good will of the saint and the efficacy of the relic: the saint wouldn’t have allowed it to be stolen if he didn’t want it to be in its new home. This goes back ‘way before the Catholic Church; it sounds to me a lot like the story of Camillus stealing the idol of Juno from Veii and taking her back to Rome. The proof that Juno wanted this to happen? If she hadn’t, she wouldn’t have let Rome conquer Veii. Quod erat demonstrandum, as we say on the Palatine Hill.

The idea of relics is all over Tolkien, of course. The One Ring is the first one I thought of: a piece hacked off the body of the vanquished Dark Lord, brought home by the hero. It’s the epitome of a monster relic. The horn that Éowyn gives Merry was originally just a really cool horn, but because it was taken from the hoard of Scatha the Worm, it has become a monster relic. The Sword that was Broken is like a saint’s relic, though not precisely because Elendil wasn’t a saint (cf Jay Johnstone). It does have the chain of custody such as we’d expect from the church. The closest thing to a saint’s relic is Frodo’s clothes, we learn from Gandalf: “Even the orc-rags that you bore in the black land; Frodo, shall be preserved.” Depending on how hard Elessar wanted to push the New Age kingship thing, he might even have sent a crew into Mordor to find Sam’s pots and pans. 

Kate Jensen gave a talk at Mythmoot XIII last weekend about the various kinds of holy, magical, or otherwise significant jewelry in Old English and Old Norse legends. JRRT had a lot of source material to draw from. Fitt 18 of Beowulf begins with a complicated story about a necklace of eorclanstanas, the “Brosing’s” necklace, that Hygelac wore to his doom. This made her think of the nauglamir, which meant the Brosings were analogous to the sons of Fëanor. But then, she went on, there are legends that have the goddess Freya wearing a necklace of that name. 

line drawing of a sparrow facing left

not necessarily the sparrow in question

Kate didn’t talk about relics at all, but this chimed well enough to me that I asked her about what status these fancy arkenstones in the stories had, after the stories ended. She said nobody ever mentioned an afterlife for them. Larry Swain, my Old English teacher, 2 was there, too. He said there wasn’t any idea of enduring significance in any of those texts. The fancy jewelry was conceived and was given a back story, then when it was taken by some other barbarian tribe it loses all its importance. Which led me to the joke I was proudest of all weekend: “Was the necklace worn by a sparrow?”


 

Trans-Disciplinary

I asked attendees at Mythmoot XII what their undergraduate degree is in. I got 41 responses, for a total of 53 majors. As you can see, we came from all over. I lumped all the engineers together3 and though they were all different kinds, together they made up a plurality of 5. Communications was next with 4. Then came English Lit and History with 3. Everyone else was all alone.

Update: Late returns are coming in, and I’ve combined the variants of English into one category. We’re up to 60 degrees now. English is now the top spot with a whole 10% of the sample. Engineering and Communications are #2 and #3, followed by Classics and Physics with three people each.

Pie chart showing a few moderately wide slices, and lots of tiny ones.

Strength in diversity

This post will be updated as new responses come in.

News we can use

Most scholarly texts don’t put the useful information up front like this.4

List of tables in the book. There are three: herbes used against elves; herbs used against Demons; and herbs used only in Elf-related remedies

What other information do you need?

Several things growing in my yard are useful against Elves, which I don’t doubt is why I see them so seldom.


Reference

Brave Sir Plenorius, non-allegorious

A symbolic representation of a knight's helmI was reading the story in Malory of sir “La Cote Male Tayle” when a question occurred to me. 5 There’s a big fight scene at the end with three brothers: sir Playn de Fors, sir Playn de Amoris, and sir Plenoryus. 6 For anyone who loves allegory (and who doesn’t?) this is the good stuff: sir Brunor the eponymous hero has to simultaneously defeat a knight who’s full of strength and one who’s full of love. Isn’t that the constant struggle when you’re in a medieval romance — How do we meet the Scylla and Charybdis of sex and violence and come out victorious? And our hero does so, by forcing his opponents into a tactical position where he was never caught between them. So far, so good.

But then we get to the third brother. Sir Brunor loses to him, and Lancelot has to bail him out. What does his name symbolize? If you search on the web you find people who say “honor”. But those aren’t etymologically sound; a syllable is missing. And besides, what’s the allegorical interpretation we should make when a knight is defeated by honor? I don’t think that’s it. We could approach the problem as a triad: a knight can fail through an excess of strength, love, and … i don’t know … pride, maybe? But if pride is the problem, Lancelot isn’t the one who will bail you out. 

I went rummaging in a dictionary of medieval French, where the best I could find is ore, meaning “prayer”, like the word “orison” today. I can just stretch my credulity to see some meaning in a knight defeated by the power of prayer, but that should happen to the bad guys, not the good guys.

Therefore, I turned to the Arthurian subreddit. A couple of redditors who have apparently read everything came to my aid. Hat tips to u/lazerbem and u/New_Ad_6939 for their explanation. Malory didn’t make up his stories, he adapted them from other romances. In this case, it’s the “Prose Tristan“. In the Prose Tristan, sir Plenorius is an original character, but there were two other unnamed knights in the story. Malory emphasized their role in his telling, which promoted them to the point that he decided they should have names too. Perhaps as a kind of word-play, and because allegory is almost as popular as puns, he picked the names Pleindeforce and Pleindamour as phonetic riffs on Plenorius’s name. But he didn’t take the allegory all the way because that would require (a) thinking up a moral lesson he wished to convey, in a story that’s pretty much just about sword fights and (b) tweaking Plenorius’s name and running the risk that nobody in the audience would recognize Plenorius anymore.

For us readers who picked up Malory first, this is clearly a case of allegorius interruptus.


 

Tolkien’s Macaroni

Dan Stride has purchased a copy of The Bovadium Fragments by J.R.R. Tolkien, and saved me $26.99. I won’t be buying one, even though I love that kind of humor, which I now know is called “macaronic”. When I encountered Godley’s poem “The Motor Bus” about 50 years ago, I laughed my fool head off. But this poem will always be my favorite, not least because it proves that sort of erudition isn’t the sole possession of the English: Malum Opus
 

Letter-mention worthiness

A friend is working on a talk about the relationships Charles Williams had with C.S. Lewis and T.S. Eliot. He noticed that Eliot gets mentioned more in Williams’s letters than Lewis does, which might not be expected since Lewis and Williams were good friends. He counted 46 letters in Letters to Michal from Serge mentioning Eliot and 33 for Lewis. Is that a big difference, I wondered, or could it be due to chance? That’s the sort of question we use statistics for, if we can think of a way that we’re talking about a random process. The mechanical computation part of statistics is amazingly easy these days, but before I can let the computer tools loose, I have to figure out what question I’m really asking. Fortunately, that’s the fun part.

Let’s begin with a model of mentioning writers in letters. Suppose there’s some underlying thing about writers that’s generally “how important they are to Charles Williams”, which causes him to mention them in a letter or not. For statistics, we don’t need to know the precise definition of what the importance factor is in literary terms (or general-human terms). All we need is that the higher that factor is, the more letters they’ll be mentioned in.

Second assumption: Whether CW wrote a letter to his wife is determined by other parts of life than the literary-importance parameter. (Money, for instance, is a frequent topic.) If we believe that CW wasn’t motivated by his admiration for another writer to dash off a letter, then those circumstances are effectively random for our purposes.7 Now, let’s imagine an ensemble of parallel universes in which different letter-worthy events happen and spare time comes on different days. In each of those worlds, CW writes different letters from the ones he wrote in our world, but the number of times alt-CW mentions another writer is based on that same importance factor. 8 Then the mentions in each universe will fall on a curve whose shape we can calculate. From that posterior distribution, we can estimate how likely one writer is to be mentioned more than another.

Under this model, the number of letters mentioning a writer will have a binomial distribution. For a fixed set of 320 letters (like LtoMfromS), a binomial distribution has one unknown parameter in it; counting mentions in the book tells us information about that parameter.

The blurb on the flyleaf of Letters to Michal from Serge mentions six contemporary writers: Eliot, Lewis, Dorothy L. Sayers, W.H. Auden, Christopher Fry, and Edith Sitwell. Let’s run them all through the model. (It’s only one line of code apiece.) The peak of each author’s probability density is the most likely number of letters, which matches the figure in the book. What we get from these distributions is the spread — could things have been otherwise? How different are parallel universes likely to be?

The first thing we see is that the more likely a writer is to be mentioned, the more spread around their observed value there is. For example, Dame Edith gets mentioned 3 times; maybe that could have been 4 but it wasn’t going to be 10. Eliot, on the other extreme, might have been mentioned anything from 30 to 60 times under this model.

line graph of density of six binomial distributions

Binomial distributions for the six authors.

Eliot’s curve is definitely to the right of Lewis’s, but there’s some overlap. How likely is it that Lewis could have been mentioned more? These curves have analytic forms so we could compute it exactly, but these days it’s easier to run a simulation. I drew 10,000 numbers from each of their distributions, and Lewis’s number was higher than Eliot’s in just under 5% of them. That’s pretty solid evidence. The less-mentioned writers overlap more. Lewis was mentioned more than Sayers 99.98% of the time. Sayers is mentioned more times than Auden in 92% of our parallel universes. Auden is mentioned more often than Fry in 68% of them, which is in the range where the difference could have been just by chance.

The basic observation that started me down this path is confirmed: To Charles Williams, Eliot was almost certainly more letter-worthy than Lewis. Might be something to do with that Swedish thingy (as Paul Krugman calls his).

The importance of being Samwise

I have just made the acquaintance of the Old Icelandic Hávamál. Among other things, it’s a source of wisdom-verses. The originator of the wisdom related here is Odin himself. Here’s W.H. Auden’s translation in alliterative verse.

Carolyne Larrington points us to stanzas 54-56:

drawing of Odin in a horned helmet with a raven on his shoulder.

Not trusting this guy until I know where the other raven is.

It is best for man to be middle-wise,
Not over cunning and clever:
The learned man whose lore is deep
Is seldom happy at heart.

It is best for man to be middle-wise,
Not over cunning and clever:
The fairest life is led by those
Who are deft at all they do.

It is best for man to be middle-wise,
Not over cunning and clever:
No man is able to know his future,
So let him sleep in peace.

The three verses all start with the same two lines, which are a maxim. 9 The third and fourth lines explicate the maxim, slightly.

I know someone these might apply to. Let’s match these up with our friend Samwise Gamgee. We know from his name that he’s one of the middle-wise. How does that work out for him? His lore is not deep — he knows just enough to write silly songs about trolls. [LR 1.12.069] He is certainly deft at all he does. He’s a good cook, even by hobbit standards [LR4.04.027]  and the restoration of the Shire after Sharkey’s depredations is largely his work.  [LR 6.09.021]  He’s not good at thinking, but he knows that. “Think, if you can!” is good practice for the half-wise. [LR 2.10.097] Can he sleep in peace? Like a log. [LR1.07.037]

So this supernatural being who looks like an old man in shabby grey robes drafts a medium-wise person to accompany Frodo. That’s the beginning of Sam’s relationship with Gandalf. He can be forgiven for wondering who this old guy actually is. Though by the time they get to Moria, Sam is sure Gandalf isn’t Odin. [LR 2.04.039] The role of Anglo-Saxon Merlin is still open, of course.10.

I searched all kinds of places around the World-Wide Web for someone who’s noticed this before, but came up blank. I guess it’s either too obvious or not significant enough to be included in a journal paper. Which means it ought to be perfect for a blog post.


 

Wisdom Poetry on Broadway

line drawing of a bird. maybe a bluebird, if it weren't black and white.When Old English maxims appear in poetic usage, as opposed to collections, they frequently take the form of an indisputably true observation about nature, followed by a statement about the current situation, from which we are to infer an analogy that will guide the character’s choice. That sounded familiar, but it took me days to figure out what I was remembering. It was a song by Jerome Kern & Oscar Hammerstein from “Showboat“: 

Fish gotta swim, birds gotta fly,
I gotta love one man till I die.
Can’t help lovin’ that man of mine

line drawing of a shark. He looks happy. His teeth are not threatening at all.

Or, just maybe, it was Tom Lehrer. Either way, I love seeing thousand-year callbacks in popular culture.

In Defense of Aldarion

It’s fun hearing Alan Sisto and Sara Brown on the Prancing Pony Podcast judge Aldarion and Erendis by the standards of a 21st-century two-career couple. It’s not surprising that pre-modern Númenoreans fall short, especially since Aldarion is in line to be a king, and Sara has told us before how little she thinks of kings. But we ought to be a little bit fair to Aldarion, and try to infer how he’s doing by his own standards.

How good was Aldarion at being a crown prince? The duties of a crown prince are almost the same as the duties of a king, except doing them as an apprentice. I can think of six big ones. There could be more, but they’d just be guesswork, given how few details we know about what was going on on the island.

1. Secure the succession

This is the top priority for any royal heir. Alan and Sara haven’t really talked bout this, as of Episode 388, but to be fair, J.R.R. Tolkien didn’t pay much attention to it, either. (cf. Boromir, Faramir, Théodred, Éomer…) Aldarion doesn’t have a leg to stand on here. It’s a shameful dereliction of duty to trust the grace of the Valar to keep you alive until some century when you feel like having a child.

2. Manage the royal bureaucracy

To the extent that Númenor is like an ancient kingdom (probably Egypt), Aldarion is guilty here, too. Except that there are few things Tolkien thought less of than bureaucracies (Letter 52), so Númenor may not have had one for Aldarion to master. 

But now we get to the things Aldarion was paying attention to.  Setting up the Guild of Venturers was a very clever thing for the crown prince to do. It covers four things I could think of that he ought to be doing.

3. Lead large groups

Leadership is the sine qua non of a king. It’s essential for the heir apparent to practice it before it becomes a matter of survival. If the crown prince doesn’t spend his time doing something like a Guild of Venturers, you get Henry the 8th, and nobody but tour guides wants that. Tar-Meneldur makes a fair point that Aldarion needs to learn to lead the women of Númenor too, but the skills aren’t very different.  Besides, this seems to imply that Meneldur wasn’t expecting war.

4. Secure resources for the country

People always want more than they have. We’re humans. That’s what we do. A country with a growing population will need more stuff, and a good king finds ways to provide it. Of course, if everyone in Númenor is like Aldarion they won’t have a growing population, but then they just die out and nobody sings songs about them in the Third Age.

4. Expand the country’s power (or “splendour” in Tolkien’s word)

We have to look into the future to see why this is important. At the time of the story, though Meneldur doesn’t find out until the end, Sauron is threatening Middle-earth and Gil-Galad is worried. Without Aldarion’s focus on building naval power, what use would Númenor be in a fight? 

6. Keep the population of unemployed young men manageably small

Bored young men are bad for a country’s stability, as a glance at the newspapers might suggest. Historically, people have tried all kinds of things to keep them out of mischief.  The Guild of Venturers must have been a good safety valve. Aldarion deserves credit for finding a productive use for whatever surplus manpower was loafing around the docks.

I’d say a record of 4 wins, 1 loss, and 1 unknown is pretty good for a prince, so maybe we should lighten up on Aldarion just a bit. 

The Marxists present us with an opportunity

Just read a paper by Dennis Wilson Wise 11, in which he talks about the way Peter Jackson’s Hobbit movies flatten and trivialize the historical depths of Tolkien’s fiction. It’s always gratifying when someone who thinks deeply about things comes close to my reflexive response. In this case, twenty-five years ago, I walked out of “The Fellowship of the Ring” thinking that (a) If Peter Jackson understands what the Ring is, he didn’t put that in the film, and (b) that could be because the evil of the Ring might strike a bit too close to home for a movie-maker to be comfortable. DWW shows the whole iceberg of which I’d just seen the top.

An icon that's supposed to represent "movement", but ends up being the Chaos symbol from Moorcock's Elric novels, which is perfectly appropriate.In the process, he lands some well-deserved punches on Marxist literary critics. I’m always up for that. But he points us to a quotation from Fredric Jameson from 1991 that got me thinking:

…this whole global, yet American, postmodern culture is the internal and superstructural expression of a whole new wave of American military and economic domination throughout the world…

Right now, we have a natural experiment to test Jameson’s theory. The USA is backing away from military and economic domination, so if Jameson is right, a new literary and cultural movement is about to emerge. Authors, sharpen your pencils and get to work!


 

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