The Song of Saqua: Volume VII

In order to catch up to the actual progress of the D&D campaign, I present you with another couple of sessions. These were actually held back to back, on a Monday and Tuesday evening.

Session XV

Alas, Goatslayer had another lycanthropic transformation… though this time, he ran off into the forest. Unable to find him for now, the party continued onwards… right into the middle of a giant Bandit Ambush. Which was represented on the table by a number of Mackintosh’s Toffees, and in our imaginations by a fierce skirmish within some closely-packed trees.

It turned out that these Bandits were both extremely numerous and extremely well-prepared. So well-prepared that it later became clear that they had been scrying on us from a distance. Saqua threw an obligatory Fog Cloud in their midst, but soon found himself afflicted within a zone of Silence in return. A Bandit Bard (with a lute) had magical spells at his disposal – and knew of Saqua’s own magical abilities.

Unfortunately for the Bandits, however, Saqua is no slouch at mundane combat – with his vampiric side, he is essentially a Combat Sorcerer. Cue, climbing a tree to take out a pair of crossbow-wielding pests. One of them thought to give the fingers as he fled down an escape-rope… but via opportunity attack, Saqua dealt with the Bandit first by sword, then by Fury Point-powered bite. Enough to kill, and thereby gain both health and another Fury Point. Our dear little Dhampir can very much keep going when surrounded by low-level enemies.

Droxl, Millie, and Khan were no slouches either. The Bandits were starting to flee en-masse into the forest now, but little did the party know, the villains had actually succeeded in their aim, specifically of making away with an item hitherto in the party’s possession. But Saqua did not know this. He had his own goal. He wanted that blasted Bard.

Now, the forest was treated as Difficult Terrain for the party (but not for the Bandits), so on paper, the Bard really should have got away. But Saqua’s accumulated Fury Points enabled him to turn into a mist and relocate 30 feet a turn… essentially teleporting his way through the trees. The Bard cast Invisibility on himself, only to then make the fatal mistake of casting an additional spell, which negated the Invisibility. Saqua wanted to take the fellow for questioning, and wheeled out Command – alas, a failure. And then the Bandit Bard’s head exploded, because it turned out the poor guy suffered under the effects of an external Geas, and these Bandits had been working for someone else the entire time.

Bugger. But Saqua wound up with the Bard’s lute as a souvenir, and the DM described the party as “Bloodthirsty.” And then Goatslayer turned up, back in his normal form.

The party was taking stock of the situation when an Owl then turned up. This Owl worked for the Forest Druid, and told Millie that some idiot had cut down the giant protective Snow Oak, thereby weakening the forest’s power. Yes, it turned out that that Druid we had met in a previous session was really a hag pretending to be a Druid, and we had done a terrible thing. Worse, the hag had imprisoned the real Druid. Millie then went and explained to the party what we had done.

Droxl’s response was to kill the Owl. But it was a Familiar, so it merely went back to its appropriate plane of existence. But there was the issue of what the party ought to do now. Saqua took the viewpoint that we really should correct our mistake, and help free the poor Druid. Goatslayer, however, insisted that his oath to King Bloodaxe took precedence.

In the end, the party agreed with Goatslayer. The Druid matter will have to wait.

Session XVI

So rather than more forest stuff, it was back to civilisation. The nearest town sported a very fancy inn (somewhat pricey, but Saqua has little conception of land-money), and a Church of Sune. Which served as both entertainment and religious sex-cult. Saqua purchased a nice bottle of wine at the inn, and a room for the night. But he actually wanted someone who could teach him how to play this lute he’d acquired… the innkeeper pointed him at the Church. All roads led to the Church of Sune, it seemed.

After making further enquiries, Saqua wound up finding an elaborate swimming pool. Inside were a single woman at one end, and two men at the other (one elderly and obese, the other a bit younger). Saqua went to the woman first, but she redirected him. So Saqua approached the elderly man, and asked about lute-playing. It turned out the fellow was a very accomplished musician… and Saqua got both useful pointers and a night’s fun. In fact, Saqua tried to add in some surreptitious blood-drinking, but (as per Constitution rolls) it took ages for the old man to fall asleep first.

Saqua was so impressed by the old gentleman’s stamina, that he made a later point of recommending him to the rest of the party. Especially to Goatslayer. But the party was generally less enthusiastic, and indeed the next morning, Millie found Saqua sitting with his legs in the swimming pool, an empty bottle of wine beside him, singing to himself. He was stark-naked too. Oh well. It’d been a fun night for our Dhampir. He even had a tune to practise on his lute.

(Millie had her own adventure, involving talking with mafia cats).

On leaving the town, we heard strange rumours of a monster attacking farm livestock (out of game, this was lycanthropic Goatslayer), and then ran into a pair of furriers. Alas, they wanted nothing we had, and their prices were too stiff for us. They weren’t remotely interested in the remains of a certain squirrel.

And then came what could have been very… problematic. You see, Droxl had wandered off, and the party – from atop some high seaside cliffs – noticed that he was fighting a killer whale down in the sea. Saqua thought it seemed excellent fun. He’s lived underwater, and has got experience fighting such beasties. So he went and jumped off the cliff, rolling a 2 on the dice for his Dexterity save.

Now, in fairness to Saqua, he’s jumped from 30 feet cliffs into seawater before. Of course he has. He finds it great fun. The problem is that he wasn’t aware that (at a certain height) water actually becomes nasty to jump into. Very nasty indeed. And these cliffs? 200 feet. Which mechanically translated into 20d6 damage. Saqua was knocked unconscious from full health, and needed Droxl to get him up again. In theory, the damage could have killed him outright. But since Saqua can breathe underwater, and can easily heal in combat, he was soon able to get his bearings. In fact, he wound up killing the killer whale himself, so there was a happy ending there.

More problematic is that Goatslayer also decided to make the jump. He was also knocked unconscious from full health, and unlike Saqua cannot breathe underwater. And he wears heavy armour. Getting the poor guy back to land was a tricky business. And there the session ended.

Silmarillion Fan Poetry: A Collection (2022-2024)

It’s been some time since I properly exercised my poetic muscles. Prose-writing has been where it’s at for me, these past few years. Well, to get back into practice, I thought I’d write the occasional bit of jocular fan poetry, based off Tolkien’s Silmarillion… with this post being a collection of the results, dating back over the past year and a half. Note that, as befits the form of the limerick, some of these efforts are a tad risqué. I also intend to update the collection as necessary.

For the Westerosi equivalent: https://phuulishfellow.wordpress.com/2020/01/27/collected-a-song-of-ice-and-fire-limericks-2006-2012/

Sonnets:

The gods of Valinor betray their word
They swore our people safe from Melkor’s coil
And yet we see a bloody crime occurred
Their Trees were slain upon their very soil.
O Noldor great, a folk both strong and brave,
Your King lies dead, the mighty Finwe slain,
Mere vengeance for my father now I crave
So Finwe’s Heir shall serve as Melkor’s bane.
I dream of lands the Elves have left behind
Of mountains rich and forests fair with game
Lest Men usurp the role of Elvenkind
Let us return at once to whence we came.
No law nor love nor league of swords shall part
This Elf and dearest treasures of his heart.

*

“We greet the Lord of Doriath with glee
Our twilight-dwelling kin ere current strife…
We hear you base your throne on sorcery
Perhaps we ought to write this to your wife?
We found the Orcs of Morgoth at your throat
Hard-pressed the Sindar’s legions were before
You hid behind your wifeling’s skirts and moat –
Such cowardice is sticking in our craw.”
Thus speak my brothers, sons of Noldor’s King
They take the lands that suiteth their desire
Myself I say your Daeron cannot sing
Beside this mighty Son of Noldor Fire.
(And Turko’s heard that Lúthien is hot
He wants to know if that is true or not).

(This is a hypothetical communication from Maglor to King Thingol of Doriath during the period of Maedhros’ imprisonment on Thangorodrim).

*


Limericks:

There once was a princess named Idril
Whose parts were constructed from mithril
Her boyfriend did dread
At sharing their bed
With six Dwarves with a fetish urethral.

*

There once was a laddie named Túrin
Whose life was a long stream of urine
His sister he’d fuck
Out of sheer stupid luck
And that is the Narn i Hîn Húrin.

*

Maedhros and Maglor looked ghoulish
And Dior incredibly foolish
When those carolers slaughtered
Dior’s wife (not his daughter!)
In a forgettable Menegroth Yule-squish.

*

The servants of Celegorm Fair
Made the twin sons of Dior aware
In this forest they’d linger
Till they chewed off a finger
Of the war crime? They just didn’t care.

*

The Tolkienian fandom will binge
On fanfictional tales of a ginge
Plus there’s Amrod’s excursion
Which depends on the version
But at least one poor ginge was, well, singed.

*

The Teleri did not have a fun day
During the burning of poor Alqualondë
(Though the Noldorin mob
Were framed – inside job! –
For Fëanor will do nothing wrong, eh?).

*



Bredliks:

(Note: conventional Bredliks only rhyme on even-numbered lines. I gratuitously rhyme the odd-numbered lines too).

Ilúvatar
I sit alone
And gazing far
The world I hone.
A might arose
He sung off-key
It’s like he chose
To mess with me.

*

An angry Elf
Misunderstood
Who screws himself
So well and good
His hapless sons
A curse acquire
Till family shuns
The Kin of Fire.

*

My name admires
I forged a Ring
In hottest fires
To make me King.
I structure all
Consort with ghosts
But with my fall
I lost my hosts.

*

Alliterative verse

I thank you, kind sir, for the gift of an ale – of all the artifices of Man, the yeast’s flood is one not even my father would have despised. My name, you ask? Call me Daegmund Swinsere. Yes, a nice ring there, though I have known other names in my time, and I daresay your most attentive scop would nod at his bench if I told the full tale. But the stars shine tonight, in a sky crystal-clear, and though Earendel has set beyond the sea, bearing that which yet stirs the embers of my heart, I am minded of one journey. Yes, it is time for that story, I deem.

Many nights I’ve known, beneath the fair heavens
Leagues I have loped, the longest of ways
Yet closer I came than any King of Men
To touching that treasure, the true western light.
Upon the icy peak of proud Caradhras
The hardest of horns, from home farthest
Barren and bitter, in bone-chilling gales
I stood and stared at the stars uncounted.
I mourned my memory of Middle-earth’s past
Forgotten by good folk, a ghost I was
Yet my heart still hid the hope of pardon
And this beauty so bright, it blazed through my soul.
Eyes may be old, and ancient in years
Though gazing like gimlets from the greatest of heights
My courage I kept, and with keenness looked west
Over dale and down, and dreary-dark forest
Across the cruel sea, whose curse I endure,
To the westernmost wanderer in a world now bent
To the vessel that ventures along Varda’s own path
To the sailor who shines with the silmaril light
His brow now burning with the brightest of gems
One forged by my father in the furnace of time.
My sorrow was simple, for snow I cared not
And I wept midst the winds at the world’s very roof.
Though long I had laboured to this lonely place
Cruelly I claimed not the crystalline jewel.
Higher than heaven that helmsman did sail
And I stood but on stone, on the strangest of peaks
While the winds from the west brought their wailings to me
Moaning over Middle-earth, my mockery complete.

The Song of Saqua: Volume VI

Time for another D&D update, concerning my Dhampir Sorceror.

Session XIII

The party departed the tavern, somewhat hungover. Thence we travelled into a forest – home, apparently, of both a fortune-teller and various formidable creatures. Saqua’s experience with forests is of the kelp-variety, so this was all new to him.

Then a manticore turned up. Demanding a toll to let us pass. The thing wound up making off with Goatslayer’s armour as its fee… which did not exactly endear it to our Goliath Monk. It became a matter of hunting it down to its cavern lair.

And there we found the puppets. Yes, animated puppets. A cleric, a soldier, and a hag – dressed up as each other. One of these, apparently, had the key to what lay beyond.

You see, this was a logic puzzle. We had to find out who was whom, with the knowledge that the cleric always tells the truth, the hag always lies, and the soldier can do either. The puppet dressed as the cleric said that the hag had the key. The puppet dressed as the soldier said the puppet dressed as the hag was the hag. The puppet dressed as the hag said “I’m the hag… kill me.”

Now, Saqua does not necessarily strike me as a logical sort of character, but this is one of those occasions where out-of-game reasoning becomes part of the game. So let’s run with it.

The hag always lies, so the puppet dressed as the hag cannot be the hag. But the puppet dressed as the hag is not telling the truth, so cannot be the cleric. Therefore the puppet dressed as the hag must be the soldier (currently in lying-mode). The puppet dressed as the soldier is lying too, therefore cannot be the cleric either. Therefore that puppet must be the hag. Which means the puppet dressed as the cleric must be the cleric. Problem solved – nice one, Saqua.

The hag was not amused by this, so attacked us. With the assistance of additional puppets, we were able to defeat her and gain the key.

Cue encounter with the manticore, unamused at our following it into its lair.

Here Saqua decided to experiment. His modus operandi had been to use Inflict Wounds, with sorcerous Distance Spell. But now, he dusted off a Wand of Magic Missile, with Bonus Action Hex. The result was appropriately spectacular, and while Saqua did not quite one-shot the manticore, he did sufficient damage that the party was able to make mince-meat of the critter very quickly.

After verifying that manticores were solitary critters, the party took advantage of its victory to do some minor looting. Goatslayer got his armour back.

Further on, we encounter a large and mysterious door, with the following written in the giantish tongue:

“A castle made of bricks and stone/takes twenty years to make/the bricks I need to finish it/how many does it take?”

Saqua might have a decent grasp of logic, but he isn’t the best with riddles. Luckily Goatslayer has a NPC Elven Squire – not Oryk, another one, called Pervin – who is more riddle-friendly.

  • SAQUA: *Command on Pervin*: “Solve!”
  • DM: *rolls.* “That’s a failure from Pervin.”
  • GOATSLAYER: “What are you doing to my squire?”
  • PERVIN: “It takes one brick to finish it.”

In fairness to Saqua, there are comparatively few situations where Command can actually be used in a non-combat situation, and this was arguably one of those. Getting the DM (via an NPC) to cough up the answer to their own riddle is a bit cruel though, and Goatslayer was not happy.

Goatslayer became a good deal happier when we wandered through the doors, to find a giantish crafting area.

But there was one on-going problem. Goatslayer was still afflicted with lycanthropic tendencies. Sure enough, that night some moonlight crept into the cavern… and Goatslayer transformed. Whereupon Saqua pulled out his Wand of Magic Missiles, and with Hex, let loose the nuke. That changed Goatslayer back into his familiar form.

The party was now making damned sure to keep Goatslayer chained up. But then we had the fortune to run into a mysterious forest Druid. This Druid offered us a deal – she would tell our fortunes, if we cut down a giant Snow Oak that was acting as a parasite on the forest. Which the party agreed (and wasn’t this the eventful session?).

Cue each party member getting a cryptic fortune told for them. Saqua is sure his fortune will make sense when the stuff starts to happen.

But the Snow Oak? That was a truly insane tree. The plan was to cut it so it fell in a direction towards a river. And with much time and effort, we eventually got it down. Saqua’s magically summoned goat helped a bit, at least prior to getting utterly vapourised.

The party then debated what to do with the stump and roots. Saqua pointed out that we only agreed to cut it down – nothing more. Which was the position the party eventually went with. None of the party rolled particularly well in terms of counting the tree-rings (the only conclusion? The tree was old).

Then, as the party camped beside the giant stump… a dragon flyby took a direct hit on Goatslayer. But not any direct hit. Our poor lycanthropic Goliath Monk was literally buried in a pile of dragon poo. And was suffocating at the end of the session.

Session XIV

After a truly monster session last time, this one was a bit lighter. Saqua resolved the cliffhanger – and the poo covering Goatslayer – via pulling out a Scroll of Tidal Wave. He is only third Level, so doesn’t have the spell slots to do it himself, but a Scroll worked just fine.

But really, the party had earned itself a break… and a hunting competition.

The party divided itself into three teams:

  • Millie (Human Ranger) and Goatslayer (Goliath Monk).
  • Khan (Goliath Barbarian) and Droxl (Lizardfolk Warlock)
  • Saqua (Dhampir Sorcerer) and Oryk (NPC squire)

Millie ran across a Brontosaurus, and talked to it, even as Goatslayer was trying to figure out how to kill it. But in a bizarre twist for a hunting trip, our Ranger successfully befriended it. The Brontosaurus calls itself Biscuit, apparently. It agreed to meet the party down by the sea.

Saqua went chasing a giant lobster. But he needed bait to lure the lobster out. So rather than risk himself, he decided to literally throw a pig he’d brought along into the river.

It worked like a charm. Out came the lobster, and Saqua nailed it with his Inflict Wounds/Distance Spell combination. It rather affected the quality of the meat, but the party already has more meat than it knows what to do with. And Saqua and Oryk killed a Displacer Beast on the way back to camp, which more than made up for the lobster problem. And Oryk is now riding a Blink Dog.

(Meanwhile, the pig escaped, and ran off into the forest. It wasn’t ever coming back. Oh well. Saqua had only bought it for blood-feeding purposes).

Daughters of Derbyshire: Published

My 4300-word historical fiction piece, Daughters of Derbyshire, is now out, via The Lesbian Historical Motif Podcast.

Print format: https://alpennia.com/blog/lesbian-historic-motif-podcast-episode-283-daughters-derbyshire-daniel-stride

Audio format (just under 29 minutes): https://lesbianhistoricmotif.podbean.com/e/daughters-of-derbyshire-by-daniel-stride-the-lesbian-historic-motif-podcast-episode-283/

It concerns seventeenth century English Puritans – at once alien to modernity, and yet also a story written in the grim shadow of 2020.

2024 Reading Summary: March (+ Writing Update)

Completed reads for March:

  • Lamia (poem), by John Keats
  • The Moon Pool, by Abraham Merritt
  • A Brief History of Time, by Stephen Hawking
  • Inverted World, by Christopher Priest
  • Fugue for a Darkening Island, by Christopher Priest
  • The Secrets of Dr John Taverner (collection), by Dion Fortune
  • St Benedict’s Rule for Monasteries, by St Benedict of Nursia
  • Venus in Furs, by Ritter von Leopold Sacher-Masoch
  • Island Nights’ Entertainments (collection), by Robert Louis Stevenson
  • The Secret Book of John (The Apocryphon of John)

St Benedict’s Rule is Doyle’s translation. Venus in Furs is the Savage translation. The Apocryphon of John is Davies’.

Very little writing done this month, due to real-life getting in the way. I have managed some minor progress on my ornamental hermit story, At the Bottom of the Garden. I can also report that my polished up stories from February have both suffered rejections.

Getting Laid with Lamiae: The Origins of Sexy Vampires

I ran across a recent essay from The Brothers Krynn, which attempts to map common horror monsters onto the Seven Deadly Sins:

https://canadianculturecorner.substack.com/p/horror-monsters-and-vice

My interest, however, is not in the meat of the piece, but rather the opening paragraph:

It is an interesting fact that in recent decades, Vampires have become romanticized, quite why is a mystery. Likely it began with film where they were perceived to be sexy, when the truth is that they were never fully intended to be considered as such. In the greatest of Vampire tales, Dracula, the eponymous character is not presented in that light but rather as a monster.

The Brothers Krynn raise an interesting point – the phenomenon of the Sexy Vampire – but do not seriously attempt to explore its underlying rationale or origin. They dismiss it as a product of the cinema-age, and then move on. Well, today I am not moving on. Today I am looking at how popular culture has arrived at such an apparently counter-intuitive result – the sexualisation of walking corpses. And no, Bela Lugosi’s 1931 portrayal of Dracula aside, this romanticisation is not actually a product of the cinematic age, but rather something much, much older.

You see, what we consider the modern vampire is really a merging-together of two separate strains of story. The first is the blood-sucking revenant corpses from south-eastern Europe – a phenomenon that fascinated respectable mid-eighteenth century society, and led to Calmet’s famous 1751 compilation of vampire reports:

https://en.wikipedia.org/wiki/Trait%C3%A9_sur_les_apparitions_des_esprits_et_sur_les_vampires_ou_les_revenans_de_Hongrie,_de_Moravie,_%26c.

Suffice to say, there is nothing remotely sexy about this variety of vampire (no more than the undead Draugr are in Norse sagas). To find the sexy component, one must instead venture back to the lamiae of Ancient Greece:

https://en.wikipedia.org/wiki/Lamia

Here we aren’t dealing with the undead as such, but rather monstrous seductresses. Book IV section 25 of Philostratus’ Life of Apollonius (https://www.livius.org/sources/content/philostratus-life-of-apollonius/philostratus-life-of-apollonius-4.21-25/) gives an account of such a creature ensnaring one of Apollonius’ students, which she achieves via illusion – and all for the supposed blood of a nice young man:

But Apollonius insisted and would not let her off, and then she admitted that she was a vampire, and was fattening up Menippus with pleasures before devouring his body, for it was her habit to feed upon young and beautiful bodies, because their blood is pure and strong.

Delving around further in the material of Ancient Greece yields Phlegon of Tralles’ On Marvels. Here we have a story of a young woman rising from the grave to spend the night with another young man:

https://www.worldhistory.org/article/763/an-ancient-ghost-story-philinnion–machates/

This nocturnal visitor is not evil, nor is she ensnaring her victim for food – but she is most certainly undead, and not in the hideous rotting abomination sense. Between this and the Life of Apollonius, one can see a fair number of the elements that would later become part and parcel of the Sexy Vampire trope. The key would be to merge this story tradition with the corpse-tales of south-eastern Europe.

Fast forward to the mid-eighteenth century – the very time Calmet’s compilation of Walking Corpse Lore is causing such a stir – and one runs into Ossenfelder’s short 1748 poem, Der Vampir:

https://www.roleplaygateway.com/der-vampir-heinrich-august-ossenfelder-t105176.html

This is the first self-consciously fictional depiction of a vampire in the modern era. It is also erotically-charged, what with the kissing, the holding, the bodily fluids. Ossenfelder is not giving us a hideous revenant, but rather a nocturnal blood-drinking visitor from beyond the grave… who preys on an innocent maiden in her sleep. As such, The Brothers Krynn mistake Sexy Vampirism as a purely recent invention, when it has actually been present since modern writers began to tackle the topic. Also notable is that Ossenfelder’s vampire, unlike those from the old Greek sources, is male.

Later, one runs into a series of other Gothic and Romantic poems that tread upon similar ground:

And then one hits John Polidori’s The Vampyre (1819) – the vampire arrives in English prose. Lord Ruthven is a sexy, charismatic, blood-drinking aristocratic fiend, and, yes, is commonly considered to be Polidori having a go at Lord Byron. All the modern Sexy Vampiric tropes are now in place, albeit with the point that even the sexiest of vampires can only ever be villains or antagonists. Vampires as sympathetic protagonists is something that would have to wait until the 1970s and Anne Rice.

Le Fanu’s Carmilla (1872) takes the general ideas behind Christabel, and not only makes the vampirism explicit, but also adds much more overt lesbian themes. Why, yes, the lesbian vampire trope is older than Dracula – something that should again reinforce how sexualised these creatures were, well before the age of cinema.

And only then does one finally reach Stoker’s Dracula (1897). Stoker’s achievement was to tie all these previously-expressed ideas together, with an additional attempt to ground the vampire back in a south-eastern European setting – he is meshing Calmet’s Walking Corpse tradition with the Greeks-to-Polidori Sexy Seducer tradition. Stoker is also the one to tie all this vampire material in with Vlad the Impaler – though it is worth noting that the name Dracula (little dragon) merely appears as a footnote in Stoker’s source-material on Transylvania. Specifically, An Account of the Principalities of Wallachia and Moldavia, by William Wilkinson (1820).

But wait… surely Dracula the character is not the least sexy himself? The Brothers Krynn (correctly) see him first and foremost as a monster. Well, one might also note that Dracula has hairy palms, which in combination with the transfer-of-bodily-fluids would certainly imply something thematically. But Stoker most closely follows the pre-existing Sexy Vampire conventions with his female vampires – the beautiful brides in Dracula’s castle, and then later with Lucy. Seriously, the narrative spends much time and energy describing how attractive Lucy’s corpse is. One could definitely read Victorian sexual mores into this, and countless people have.

**

So yeah. From this survey, one can definitely see that the romanticisation of vampires is not merely a product of recent decades, nor even of cinema – which, in fairness, is responsible for certain vampiric conventions, such as the Death By Sunlight thing. Rather, Sexy Vampires belong to a very old storytelling tradition indeed, at least insofar as one is making a connection between life-drinking, death, and sex. The problem, perhaps, is that (via Stoker’s influence) people generally consider the south-eastern European/Calmet version as the Traditional Vampire. It’s where the name vampire comes from, after all. True, but one really ought to see the revenant monster as merely one part of the puzzle, and remember that even when Calmet’s book was coming out, eighteenth century fiction still felt the need to express the vampire in noticeably romantic and erotic terms.

Of Chris Trotter, Emperor Justinian, and Historical Pedantry

Venerable New Zealand political commentator, Chris Trotter (https://bowalleyroad.blogspot.com/), is a sad creature these days. Once one of the most reliable Leftist writers out there – Economic Left at that – Trotter seems to have absorbed the worldview of Auckland culture-war obsessives. It is not for me to categorise what he has become, though I would note he still has this on his home page, as if in memory of better times:

If the blog seems in danger of being over-run by the usual far-Right suspects, I reserve the right to simply disable the Comments function, and will keep it that way until the perpetrators find somewhere more appropriate to vent their collective spleen.

Trotter now has his comments section regularly overrun with Far-Right conspiracy theorists, of all flavours. And he does nothing about it. Oh dear.

But that is neither here nor there. No, my issue with Trotter today is a certain recent piece, whereby he laments the historical illiteracy of contemporary New Zealand politicians:

https://bowalleyroad.blogspot.com/2024/03/misremembering-justinians-taxes.html

(I actually submitted a corrective comment over there myself, but that seems to have been filtered out. Hence writing my own corrective blog post on A Phuulish Fellow).

Trotter cites Barbara Edmonds, Labour’s Finance Spokesman, as saying the following during a television interview:

When I was going through Law School, I was also doing some ancient history papers. And, basically, Emperor Justinian. It was the fall of the Roman Empire because, basically, they had to over-tax people to pay for the war and for the [indistinct]. So, the lesson I learned from that was that if you over-tax people, well, in Justinian’s case, it broke down an empire.

Edmonds is clearly misremembering – we shall get to that – but Trotter offers his own commentary, as follows:

The Emperor Justinian ruled over the Eastern Roman Empire – better known to history as the Byzantine Empire – from 527-565 AD. Far from presiding over the fall of the Roman Empire, Justinian and his generals recovered many of the Western Empire’s lost provinces – an achievement which dramatically boosted Byzantine tax revenues. Justinian used this surplus income to construct the extraordinary Christian basilica of Hagia Sophia. This, the Emperor’s most tangible legacy, still stands in the heart of Istanbul (converted, now, to a mosque). Justinian’s other great legacy, known as the Justinian Code, still serves as the foundation of Europe’s legal system. The Byzantine Empire did fall – but not for almost another thousand years. Its mighty walled capital, Constantinople, was besieged and conquered by the Ottoman Turks in 1453.

To my mind, it is one thing for a politician on television to misremember her university History classes. It is another for a well-read commentator like Trotter to pillory said politician, while managing to get his own version of historical events wrong – or at least misleading – in the process.

You see, Justinian inherited a treasury flowing with gold. Old Anastasius I had seen to that (https://en.wikipedia.org/wiki/Anastasius_I_Dicorus). Justinian’s attempted Roman Reconquest did not bring in surplus cash to fund the Hagia Sophia – rather, his subsequent wars proved hideously expensive in terms of both blood and treasure, and Justinian was not the sort to wait to reincorporate North Africa before rushing onto his Italian adventure. Justinian inherited cash and he spent cash. Hand over fist – the man was a mad visionary.

Justinian could not control the gutting of the tax base from the terrible Plague (a pandemic to which he gave the name), but he could control his war-decisions. Territorial and military obligations arising from the Reconquest left Justinian’s successors juggling incredibly tight finances. Which ultimately sparked Phocas’ revolt, a disastrous civil war, and then the seventh century near-collapse of the Empire at the hands of the Persians and then the Arabs. Justinian’s taxes didn’t destroy Rome, but his dreams nearly did.

Nor have I even ventured into Procopius’ Secret History, that bizarre little invective from Justinian’s own era (https://sourcebooks.fordham.edu/basis/procop-anec.asp). Procopius’ portrait of the Emperor here may be dubious – I think we can conclude that Justinian was neither a demon nor killed a trillion people – but the taxation picture during Justinian’s era, especially during the Plague Years, is pretty damned bleak. Certainly far bleaker than the impression Trotter gives as he sticks knives into Barbara Edmonds.

But what was Edmonds misremembering? Rather than Justinian in the sixth century, I think she might be recalling the fifth century collapse of the Western Roman Empire instead – the very portion of the old Roman world Justinian was trying to revive via his reconquest. The Western Roman Empire in its later years saw an Imperial regime starved of tax revenue, whereby ultra-rich landowners evaded paying their share. As such, a crushing tax burden fell on those further down the food-chain. The result was the hollowing out of the state, and an increasing inability for it to do, well, anything. Those wealthy landowners were simply opting out of wider Roman society, back to the secure comfort of their Estates, and taking their resources with them.

So whereas Trotter lambasts Edmonds for erroneously encouraging New Zealanders in 2024 to fear general over-taxation, I would suggest that the historical warning of “over-taxation for the poor, under-taxation for the rich” is indeed an accusation that could be fairly applied to our new Government. The one that has just delivered a giant retrospective tax cut to landlords while increasing costs for everyone else. And the one that Chris Trotter (via New Zealand First) helped install, all because he has become so utterly fixated on culture war nonsense.

The Postmodern Prince: George R.R. Martin, A Song of Ice and Fire, and Magne Mirare

The other day, I stumbled across a video essay about George R.R. Martin’s inability to finish A Song of Ice and Fire. It is one of those thematic/philosophical video essays, and there is stuff therein I wish to comment on. Hence today’s post.

The essay-creator, one Magne Mirare, cites three underlying reasons for Martin’s inability to finish his series:

  • Postmodern Deconstruction
  • Addiction to Complexity
  • Lack of a Mythological Vision

I feel ‘addiction to complexity’ is a perfectly valid critique of Martin at this point, but I have issues with the other theses.

Let us take the ‘postmodern’ accusation first. There is indeed a powerful whiff of the postmodern about the text, with its desire to break down conventional ideas and narratives, twist them around, and critique them. Martin delights in deconstructing modern fantasy’s romantic notions of chivalric knighthood, for instance, by directly calling attention to implicit hypocrisy. Similarly, the fate of Ned and Robb Stark thematically asks questions of the reader: “what does it mean to be good?” and “what does it mean to be a good ruler?”

The video-essay argues that Martin is so eager to deconstruct, there is no real opportunity to erect anything in its place. The problem here is that this assumes there has to be a clear-cut answer to the questions posed. Plenty of fantasy works already contain deconstruction – sometimes of a variety far more cynical than Martin – and yet have no problem with narrative completion. To illustrate:

  • Tad Williams’ Memory, Sorrow, and Thorn trilogy from the 1980s is actually an acknowledged influence on Martin’s series. It deconstructs fantasy tropes such as the role of prophecy, undermines presumed royal legitimacy, and gives the scary Lovecraftian Dark Lord a backstory more akin to that of Tolkien’s Feanor than Sauron. The series finishes, but via these deconstructive elements, Williams encourages the reader to think about how they read fantasy.
  • Joe Abercrombie’s First Law trilogy (2000s) is far more cynical than Martin. Every little moment of hope is ground beneath the narrative’s heel, after the manner of Orwell’s Nineteen Eighty-Four. To exist is to play a role dictated by the powerful, and any dream this might ever change is foolish – one is forever held hostage by someone nastier than you. Yet despite this rampant tearing-up of character agency, Abercrombie was able to complete the series.
  • Michael Moorcock’s 1960s short-story While the Gods Laugh is literally nothing but postmodern deconstruction. Moorcock’s character goes looking for a legendary book of knowledge… only for the book to have long since crumbled into dust, so the character must work existence out on their own. Sure, it’s a short story, rather than a series of novels, but to my mind, there is one hell of a logic leap when the video-essay suggests a postmodern text cannot have completion.

Even J.R.R. Tolkien serves as an example here. Recall the Northern Theory of Courage, the conception among Germanic warriors that true heroism is fighting on when all seems lost. Tolkien found the Northern Theory of Courage morbidly fascinating, both as an artist and as an academic – but also problematic. He has wise old Gandalf explicitly warn Theoden about the dangers of too much valour and too little prudence. He even goes so far as to write an entire play-script exploring (and, gasp, deconstructing) this very subject:

https://phuulishfellow.wordpress.com/2021/12/27/review-the-homecoming-of-beorhtnoth-beorhthelms-son-1953/

Tolkien arguably reconstructs the conception – rescuing it from its faults – via the character of Samwise Gamgee, the loyal, selfless subordinate. Well and good… but I would argue that Martin has a similar morbid fascination with chivalry. Sure, he spends much time and space critiquing it, but he is sufficiently romantic to create the character of Brienne of Tarth, one of the most truly virtuous people in the series, and notwithstanding her appearance and gender, someone emblematic of what knighthood in the setting should be.

And when Martin comes to the conclusion that Ruling is Hard, he means it. He is not a cynical Machiavellian – Tywin Lannister might be lifted from the pages of The Prince, but he winds up murdered on the toilet by his own abused son, in an indictment on his terrible parenting. Simply putting The Prince into practice will not, in isolation, give you a happy ending in Martin’s setting – Martin might be fascinated by politics and power, but he also acknowledges that character matters. And all the effective political scheming in the world does not matter when a true existential threat (the Others) comes knocking.

Moreover, I feel the video-essay’s emphasis on postmodernism ignores the strong existentialist streak in Martin. That is, when faced with an apparently meaningless cosmos, the obligation is on ourselves as humans to instill it with that missing meaning. Ygritte’s “All Men Must Die, But First We Live,” is an existentialist call to action, to do something with our lives, and not sulk in despair about a seemingly nihilistic world. Nietzsche would be proud. And to go beyond A Song of Ice and Fire, we encounter one of Martin’s best short stories, The Way of Cross and Dragon, where a heretical sect of nihilists have created a beautiful religious fiction in order to shelter mankind from cruel metaphysical truth – a shelter the story treats as no bad thing. How ever much Martin likes to break down ideas and concepts, he never adopts the mantra Nothing Matters.

Turning now to the accusation of A Song of Ice and Fire lacking mythological vision… I find myself chuckling that Magne Mirare has so utterly misread Martin. A Song of Ice and Fire is not Tolkienian mythopoeia. It is not rooted in mythology, real or imagined. No, Martin’s text revolves around fictional history. It is a medieval-flavoured soap opera, where individual characters compete for power, and in the process express various views as to the role of power and morality.

(Actually, that does tie into Martin’s inability to finish his series. History has neither a clear beginning nor a clear end – but a fictional narrative must. So while Martin is keen on following his stream of invented characters down through the generations, he must eventually stop somewhere. And he must stop in a manner that feels narratively satisfying – hence his difficulty. But Magne Mirare does not raise this point, preferring to contrast Martin with Tolkien. In a manner that misunderstands Tolkien too. But we shall get to that).

To my mind, the best point of comparison with Martin is not an invented mythic vision. Rather, it is Shakespeare’s Hamlet, that great pinnacle of English literature. Hamlet too is a musing on power and morality, and Shakespeare arguably expresses Martin’s own themes in 4000 lines better than Martin himself does in his vast series. Magne Mirare (sort-of) notices this, but argues that Hamlet has hope and morality, in a way that Martin does not. Which is hilarious, given that the main character of Shakespeare’s play is literally immobilised by moral concerns, and that ultimate victory goes to the one who acts (Fortinbras) without getting bogged down in thinking of such matters.

Effective power in the play is divorced from questions of morality (‘Bad people can be good rulers’), and one of the Prince of Denmark’s flaws (like Ned Stark) is that he wants to have his moral cake and eat it. Meanwhile, innocents like Ophelia suffer, the entire setting is endlessly cynical, with implicit royal corruption and hypocrisy… and then everyone dies. Hamlet is thematically tantamount to Martin giving ultimate victory to the Others, because the humans are too immersed in their own foolish infighting to acknowledge the external threat.

(And if you think Hamlet is cynical and devoid of hope… there’s always King Lear, to depress you yet further. These are the great classics of English literature, and Martin is attempting to walk in their footsteps. Shakespeare had no trouble finishing these texts, so I honestly cannot see how A Song of Ice and Fire is thus unfinishable on this supposed basis).

But the cherry on top is that Magne Mirare invokes Tolkien for having a consistent mythological vision. Which is hilarious, given that Tolkien spent sixty years working on his Silmarillion stories, without ever finishing – and had it not been for C.S. Lewis, he probably would not even have finished The Lord of the Rings. Martin might have issues with A Song of Ice and Fire, but Tolkien is not a gentleman I would cite in favour of ‘being able to finish fantasy projects.’ One rather suspects Magne Mirare thinks of the 1977 published Silmarillion as a finished and polished product, rather than a Frankenstein’s Monster stitched together by Christopher Tolkien from decades of manuscripts.

And one can go even deeper into Tolkien. Tolkien did not have a consistent mythological vision across those six decades. In his early years, these stories were what Humphrey Carpenter called the Mythology for England, a mash-up of Norse and Finnish material, as filtered through Lord Dunsany and William Morris. Later, that vision was abandoned in favour of something more stand-alone. Later still, the entire project was hijacked by The Lord of the Rings, a text more Christian in orientation than much of his First Age material. And for the last decade of his life, Tolkien was engrossed in trying to give his invented world an unneeded metaphysical consistency – to the extent of removing the myth from his myth. Against that? Martin’s thirty year journey with Westeros comes across as remarkably consistent. Martin wants to explore the nature and role of power. Tolkien wanted a world for his invented languages to live. One more obviously lends itself to a story than the other.

**

So yeah. Critiquing Martin for his addiction to complexity is perfectly valid. But Magne Mirare deeming A Song of Ice and Fire unfinishable because it is too dominated by postmodern deconstruction? That is a classic case of begging the question – in light of the numerous examples of post-modern fantasy narratives getting completed, and Martin himself not being as cynical as Magne Mirare thinks he is, the video-essay fails to cross the bridge from its premises to its conclusion. Similarly with his accusations of Martin lacking a mythological vision – which not only ignores the underlying purpose of A Song of Ice and Fire, but which also manages to misunderstand both Shakespeare and Tolkien. Oh dear.

Invoking Aristotle: Of Rings of Power, Stones, and Ships

The first season of Rings of Power was not awful. It was thoroughly underwhelming, yes, and left a lingering sense of disappointment, but it was more expensive mediocrity than catastrophe. I wrote at length about the series as it came out (see the Review section of the blog, and go back to 2022), which ultimately came down pretty sour, but I have never taken delight in the ubiquitous show-bashing one sees online. On the other hand, notwithstanding the appearance of certain rumours about the upcoming season, I have felt very little motivation to chase the updates 2022-style – at least until we have something solid to work with. No point in fretting over Tom Bombadil silliness.

No, today I am revisiting a much-mocked scene from the very first episode. The ‘why does a ship float’ scene. I have discussed this before, but I thought to look at it in more detail.

Elves – the scientifically-minded Noldor, no less – are seemingly unfamiliar with Archimedes (https://en.wikipedia.org/wiki/Archimedes%27_principle). Shocking – though I daresay a few of the online critics scoffing over this would actually mangle Archimedes themselves, should you put them on the spot.

Let’s move away from the scoffing. Archimedes says this:

Any object, totally or partially immersed in a fluid or liquid, is buoyed up by a force equal to the weight of the fluid displaced by the object.

But what does ‘weight’ mean to these people? We would say ‘force due to gravity’. Which in turn invokes the concept of ‘gravity.’ Isaac Newton had much to say about that.

But neither Archimedes nor Tolkien’s Elves had Isaac Newton. We have no idea what the Elves thought about gravity, but we do have an idea of what the Greeks (and thence the West, prior to Newton) thought. The question of why objects fall or rise is dealt with in pre-modern terms by Aristotle.

Today, we know Aristotle’s physics is wrong… but it was the prevailing conception in the West for two millennia. Aristotle’s theory here might be summarised as: ‘Matter is a combination of Earth, Air, Fire, and Water. Each element tends towards its natural place.’ Earth has a pull towards Earth – that is, downwards, because the Centre of the Earth is its natural place. Air rises, because the atmosphere is its natural place. Fire burns upwards because it wants to be with the hypothetical Ring of Fire that surrounds the atmosphere – the natural place of Fire.

In short, under Aristotle’s system, objects are heavy because they contain a lot of Earth – and thus he (incorrectly) reasoned that heavy objects fall faster than lighter ones.

But let us return to Rings of Power. Finrod talks of a stone ‘only seeing the darkness,’ and so wanting to descend into the depths. Aristotle would say a stone seeks (very strongly) to be in its natural place, namely downwards towards the Centre of the Earth. Neither Finrod nor Aristotle are imagining that the stone is actually conscious – but they are both talking of a natural attraction. Finrod then talks of a ship seeing both light and darkness – that is, it has a pull upwards as well as downwards, a desire to be with the light as well as the darkness. One can see how this has an echo of Aristotle’s combination of elements, and what that implies about where those elements ‘want’ to go. See Book IV of Aristotle’s On the Heavens for the gory details.

So essentially Finrod gives us a sort of pre-Newtonian justification for heaviness and lightness, as filtered through a prism of poetic metaphor. It doesn’t necessarily contradict Archimedes either, merely giving a underlying ‘reason’ for why these forces exist at all. Newton himself did not presume to explain what gravity was – he merely contented himself with describing its effects.

Am I giving Rings of Power too much credit here? Probably. But consider this a counterweight to the online sniggering about that particular scene.

The Library of the Ratio: Published

New story out, as part of the Winter 2024 edition of New Maps Magazine:

https://www.new-maps.com/news/2024/03/spring-2024-announcement/

You may recall that The Library of the Ratio is the one set in Central Otago, focussing on the preservation of knowledge in a deindustrial environment. So this one is uncharacteristically local. It’s also notable for being the odd one out of the five deindustrial stories I have had published – the other four have either looked at the immediate social-political ramifications of resource-loss, or else looked at how a far-future civilisation might find our technology terrifying. The Library of the Ratio is neither.