Archive for the Literature Category

The Queen’s Agent

Posted in History, Literature with tags , , , , , on February 9, 2014 by telescoper

francis-walsinghamI’ve just finished reading The Queen’s Agent: Francis Walsingham at the Court of Elizabeth I by John Cooper and thought I’d post a quick review before settling down to an afternoon of work in the office. Sir Francis Walsingham (left) has acquired an almost mythical status as chief “spymaster” for the Crown during a time when Queen Elizabeth I was beset on all sides by plots and intrigues; The Queen’s Agent tries to find the man behind the legend. Not surprisingly, as Walsingham was as secretive as his trade might suggest, it doesn’t always succeed, but it does at least explode a few myths and give some insights into the character of a very complex man who was capable of great compassion as well as terrible ruthlessness.

Apart from anything else this book allowed me to indulge a longstanding interest in codes and ciphers; specifically, there are many interesting parallels between the story of the Spanish Armada and the breaking of the Enigma code at Bletchley Park during World War II, of which more shortly.

My first encounter with Sir Francis Walsingham came during history lessons at School, especially concerning his role in the infamous Babington Plot of 1586, which resulted in the execution for treason of Mary Stuart (Mary Queen of Scots). Mary had been officially under arrest for 18 years, and had been moved around the country for much of that time with her retinue lest she become a focus for a Catholic plot to put her on the throne of England. In fact for much of her time in captivity, Mary had been communicating in secret with various individuals for precisely that purpose but, unknown to her, most of her letters were being read by Walsingham and his expert team of code-breakers, including  Thomas Phelippes. By 1586 Walsingham already had more than enough evidence to have Mary Stuart tried for treason, but he hit on a plan that if it worked would lead to the entrapment of a large number of her supporters as well as ensuring that he knew the full extent of the conspiracy surrounding Mary Stuart. And so the Babington plot was hatched.

In late 1585, Mary Stuart was moved to Chartley Hall in Staffordshire. A young man called Gilbert Gifford with impeccable Catholic credentials, and apparently sympathetic to the Stuart cause, starting working for the household.  Gifford was in fact a double agent, placed there by Walsingham. Mary was shown a new way to communicate with the outside world, by concealing letters in the beer barrels that were brought regularly in and out of the Hall. She was eventually persuaded to try this channel, but was reluctant to take too many risks; her caution led her to commit a terrible error.

The encryption system used by Mary Stuart was widespread in Europe at that time. It was a form of substitution cipher known as a nomenclator. This consisted of a large alphabet with symbols (some made up, some from other languages) standing sometimes for individual letters, and sometimes for the names of individuals or places. Interesting devices were also deployed to try to confound the frequency analysis that was already being used in code-breaking at this time: symbols were included in the alphabet to instruct the recipient to “repeat the next letter”, for example.

In fact the Babington cipher (or at least a copy of it) still exists:

443px-Mary-cipher-code

Incidentally, in the nomenclators in use by Spain during the time of the Spanish Armada the symbol for Sir Francis Drake was “22”. I’m tempted to suggest that this is the origin of the Bingo call “two little ducks, quack quack”!

As is the case with most ciphers of this type, both sender and receiver would have to have a copy of the agreed alphabet and it is in the possibility of intercepting the key that such methods are most vulnerable . Nomenclators are not impossible to break without the key but not easy either; some 16th century codes of this type remain unbroken to this day. Mary did not know that the communication channel that had opened up was compromised at the very outset, so it probably seemed a sensible move for her to use it first to send a new cipher alphabet to Babington. Of course that decision was an enormous stroke of luck for Elizabeth’s agents because it meant that Phelippes and Walsingham could immediately read every single word of her subsequent messages all of which were intercepted and transcribed, before being replaced in the beer barrels and delivered to their recipient. Her fate, and that of a dozen or so co-conspirators, was quickly sealed. A transcript of the crucial item of correspondence, in which Mary discussed openly the strategy for the planned coup, was forwarded to Walsingham after decryption with a macabre addition: a picture of a gallows drawn in Phelippes’ own hand.

Another dimension that emerges from this story relates to just how difficult it must have been to know who was really on what side. Double agents abounded, and Walsingham must have known that some of his own men were actually working for the enemy at least some of the time; he apparently kept them going despite knowing that they had been turned in order to feed them with false information for the purposes of deception. That’s a very dangerous game to play, but they were dangerous times.

A couple of years after the Babington Plot came the Spanish Armada. The English army was so tiny in comparison with the huge force that planned to invade in 1588 that there was no way it could defend the entire coastline of England. Walsingham relied on intelligence in order to come to the conclusion that the invasion (if it came) would be in Essex. The Spanish would have wanted to get to London as quickly as possible, so this was far more likely to be the landing place than Sussex or the Isle of Wight, both of which were touted as possibilities. An English army of 16,500 was therefore assembled at Tilbury. It’s by no means clear how they would have fared against the Spanish, who outnumbered them by more than two-to-one and who were vastly more experienced and better equipped, but at least they would have had a chance. Walsingham must have been vastly relieved when he received news that the Armada had passed Portsmouth without attempting a landing, because had they done so they would not have met with any meaningful opposition.

Of course we all know what actually happened: harried but not seriously disrupted by a much smaller English naval force, the Armada proceeded up the English channel to Gravelines where it was planned to link up with Spanish ground forces encamped in the Netherlands. There they were attacked by Drake’s Fire Ships and fled into the North Sea in panic. The bulk of the Armada foundered on the coasts of Scotland and Ireland trying to find its way back to Spain in terrible weather.

We’re all taught at school that this was a defining period in English history, when our island nation was saved from Spanish tyranny and emerged into an age of unparalleled peace and prosperity. That’s the narrative we like to hear over and over again, perhaps because it provides us with a sense of moral certainty. A truer picture perhaps emerges when you look at it through the eyes of a man like Walsingham. This is history in all its cloak-and-dagger brutality, fascinating but at the same time profoundly unsettling because it reveals that all that ever really happens is that one side is slightly cleverer and more ruthless than the other.

So what was Walsingham really like as  a man? Obviously we’ll never know. But I’m glad I’ll never have him as an enemy…

A Matter of Life and Death

Posted in Film, Poetry with tags , , , , on February 4, 2014 by telescoper

One for the file marked “they don’t make films like this any more”. Here is a clip from very near the beginning of the extraordinarily imaginative romantic fantasy A Matter of Life and Death. It’s not quite the opening sequence as titled, though: there’s an astronomically themed preamble before the sequence shown in the clip.

Directed by Michael Powell and Emeric Pressberger and released in 1946, A Matter of Life and Death has remained in most film critics’ lists of top British movies for almost seventy years. If you really want to know why then you’ll have to watch the whole film, but this is a memorable opening to a film if ever there was one.

Incidentally, the splendid poem by Sir Walter Raleigh from which Peter Carter character (played by David Niven) quotes is called The Passionate Man’s Pilgrimage. Here it is in full:


GIVE me my scallop-shell of quiet,

My staff of faith to walk upon,
My scrip of joy, immortal diet,
My bottle of salvation,
My gown of glory, hope’s true gage;
And thus I’ll take my pilgrimage.

Blood must be my body’s balmer,
No other balm will there be given;
Whilst my soul, like a quiet palmer,
Travelleth towards the land of heaven;
Over the silver mountains,
Where spring the nectar fountains:
There will I kiss
The bowl of bliss;
And drink mine everlasting fill
Upon every milken hill:
My soul will be a-dry before;
But after, it will thirst no more.
Then by that happy blestful day,
More peaceful pilgrims I shall see,
That have cast off their rags of clay,
And walk apparelled fresh like me.
I’ll take them first
To quench their thirst,
And taste of nectar suckets,
At those clear wells
Where sweetness dwells
Drawn up by saints in crystal buckets.

And when our bottles and all we
Are filled with immortality,
Then the blessed paths we’ll travel,
Strowed with rubies thick as gravel;
Ceilings of diamonds, sapphire floors,
High walls of coral, and pearly bowers.
From thence to heavens’s bribeless hall,
Where no corrupted voices brawl;
No conscience molten into gold,
No forged accuser bought or sold,
No cause deferred, nor vain-spent journey ;
For there Christ is the King’s Attorney,
Who pleads for all without degrees,
And he hath angels, but no fees.
And when the grand twelve-million jury
Of our sins, with direful fury,
‘Gainst our souls black verdicts give,
Christ pleads his death, and then we live.

Be thou my speaker, taintless pleader,
Unblotted lawyer, true proceeder!
Thou giv’st salvation even for alms ;
Not with a bribèd lawyer’s palms.
And this is my eternal plea
To him that made heaven, earth, and sea,
That, since my flesh must die so soon,
And want a head to dine next noon,
Just at the stroke, when my veins start and spread,
Set on my soul an everlasting head.
Then am I ready, like a palmer fit;
To tread those blest paths which before I writ.

Mirror in February

Posted in Poetry with tags , , , on February 2, 2014 by telescoper

The day dawns with scent of must and rain,
Of opened soil, dark trees, dry bedroom air.
Under the fading lamp, half dressed – my brain
Idling on some compulsive fantasy-
I towel my shaven jaw and stop, and stare,
Riveted by a dark exhausted eye,
A dry downturning mouth.

It seems again that it is time to learn,
In this untiring, crumbling place of growth
To which, for the time being, I return.
Now plainly in the mirror of my soul
I read that I have looked my last on youth
And little more; for they are not made whole
That reach the age of Christ.

Below my window the awakening trees,
Hacked clean for better bearing, stand defaced
Suffering their brute necessities,
And how should the flesh not quail that span for span
Is mutilated more? In slow distaste
I fold my towel with what grace I can,
Not young and not renewable, but man.

by Thomas Kinsella (b. 1928)

 

Aubade

Posted in Literature with tags , , on January 22, 2014 by telescoper

I work all day, and get half drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse
– The good not used, the love not given, time
Torn off unused – nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never:
But at the total emptiness forever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says no rational being
Can fear a thing it cannot feel, not seeing
that this is what we fear – no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision
Most things may never happen: this one will,
And realisation of it rages out
In furnace fear when we are caught without
People or drink. Courage is no good:
It means not scaring others. Being brave
Lets no-one off the grave.
Death is no different whined at than withstood.

Slowly light strengthens, and the room takes shape.
It stands plain as a wardrobe, what we know,
Have always known, know that we can’t escape
Yet can’t accept. One side will have to go.
Meanwhile telephones crouch, getting ready to ring
In locked-up offices, and all the uncaring
Intricate rented world begins to rouse.
The sky is white as clay, with no sun.
Work has to be done.
Postmen like doctors go from house to house.

by Philip Larkin (1922-1985).

 

Ivor Cutler: Walking to a Farm (past Jodrell Bank)

Posted in Music, Poetry with tags , , , , on January 21, 2014 by telescoper

For reasons not necessary to explain I just found this little video someone made to go with a rendition of Walking to a Farm by Ivor Cutler, who accompanies himself on harmonium, and was quite surprised to see a few images of Jodrell Bank on the way. That tenuous connection with astronomy, and the fact that I’ve been too busy today to think of anything else, convinced me that I should post it on this here blog:

 

 

The Falling Sky

Posted in Literature with tags , on January 18, 2014 by telescoper

thCAFHTTOSMy recent travels have at last given me the chance to finish reading the novel The Falling Sky by Pippa Goldschmidt. I actually started reading this some time ago, but absent-mindedly left the book in Cardiff during one of my occasional visits back to my Welsh residence. I remembered it when I was there over the New Year break and I brought it with me to Japan. I was indisposed with a tummy bug this morning so decided not to chance a trip to Kyoto, especially as I’m flying home tomorrow, but at least I got the chance to finish reading it.

Pippa Goldschmidt is now a professional writer, but she did a PhD in Astronomy and subsequently worked for some time as an astronomical researcher in London, in Imperial College to be precise, when I was working at the (then) Queen Mary & Westfield College. I remember her well from that time, although I hadn’t see her for ages until last year when we met in Edinburgh when I was visiting for a PhD examination.

Here’s the jacket blurb for The Falling Sky, which was shortlisted for the Dundee International Book Prize:

Jeanette is a young, solitary post-doctoral researcher who has dedicated her life to studying astronomy. Struggling to compete in a prestigious university department dominated by egos and incompetents, and caught in a cycle of brief and unsatisfying affairs, she travels to a mountaintop observatory in Chile to focus on her research. There Jeanette stumbles upon evidence that will challenge the fundamentals of the universe, drawing her into conflict with her colleagues and the scientific establishment, but also casting her back to the tragic loss that defined her childhood. As the implications of her discovery gather momentum, and her relationships spiral out of control, Jeanette’s own grip on reality is threatened, finally forcing her to confront the hidden past. This bittersweet debut novel blends black comedy, heartbreaking tragedy, and fascinatingly accessible science, in an intricate and beautiful examination of one woman’s disintegration and journey to redemption.

As the above description suggests, the plot weaves together two strands in the life and thoughts of the principal character, Jeanette. The initial reaction of most readers will be to find one strand immediately familiar and intelligible and the other obscure and difficult to understand. The first, more accessible, level of course comprises the straightforward world of cosmology and extragalactic astronomy, science politics and academic rivalry; the other concerns such unfamiliar and outlandish ideas as “emotions”, “sex” and “relationships”. Goldschmidt largely describes these latter concepts in language accessible to non-specialists such as myself, but I did tend to get lost when she touches upon female genitalia; those passages aren’t really in my comfort zone, and rather impenetrable to me for reasons that I’ve never been able to my finger on. Perhaps some form of glossary, or even a diagram, might be a useful addition to a future edition?

But, seriously, it’s really a very good novel with an interesting narrative structure involving flashbacks and other ingenious literary devices. It also offers many glimpses of a dark and rather quirky sense of humour. Amongst many other things it makes the point – that quite a few scientists themselves seem to deny – that science is something done by human beings, and the way we do our science is consequently greatly affected by our inner life (and vice-versa).

One of the games astronomers will play – and I know quite a few who have played it already – is to try to spot the real astronomers on whom some of the characters are based. I couldn’t possible comment myself, but I’ll offer the possibility below for others to offer suggestions…

Living in the Vortices of Infinity

Posted in Biographical, Literature, The Universe and Stuff with tags , , , , on January 16, 2014 by telescoper

As a boyhood fan of influential American horror writer Howard Phillips Lovecraft (known to his friends as “H.P.”), I was dismayed to discover some time ago a poem which revealed his obnoxiously racist attitudes. I always find it difficult knowing what to do when someone whose artistic work you admire turns out to have a dark side to his or her personality. It’s always hard to separate the creation from the creator. In the case of H.P. Lovecraft I’ve maintained an interest in him and his work, I suppose in an attempt to find some redeeming features.

Anyway, in Lovecraft’s Selected Letters, I came across a passage which is reminiscent of the following quotation from an interview with physicist Steven Weinberg:

I believe that there is no point in the universe that can be discovered by the methods of science. I believe that what we have found so far, an impersonal universe in which it is not particularly directed toward human beings is what we are going to continue to find. And that when we find the ultimate laws of nature they will have a chilling, cold impersonal quality about them.

I don’t think this means [however] there’s no point to life. Usually the remark is quoted just as it stands. But if anyone read the next paragraph, they would see that I went on to say that if there is no point in the universe that we discover by the methods of science, there is a point that we can give the universe by the way we live, by loving each other, by discovering things about nature, by creating works of art. And that — in a way, although we are not the stars in a cosmic drama, if the only drama we’re starring in is one that we are making up as we go along, it is not entirely ignoble that faced with this unloving, impersonal universe we make a little island of warmth and love and science and art for ourselves. That’s not an entirely despicable role for us to play.

This is the passage in Lovecraft’s Selected Letters

As you are aware, I have never been able to soothe myself with the sugary delusions of religion; for these things stand convicted of the utmost absurdity in light of modern scientific knowledge. With Nietzsche, I have been forced to confess that mankind as a whole has no goal or purpose whatsoever, but is a mere superfluous speck in the unfathomable vortices of infinity and eternity. Accordingly, I have hardly been able to experience anything which one could call real happiness; or to take as vital an interest in human affairs as can one who still retains the hallucination of a “great purpose” in the general plan of terrestrial life. … However, I have never permitted these circumstances to react upon my daily life; for it is obvious that although I have “nothing to live for”, I certainly have just as much as any other of the insignificant bacteria called human beings. I have thus been content to observe the phenomena about me with something like objective interest, and to feel a certain tranquillity which comes from perfect acceptance of my place as an inconsequential atom. In ceasing to care about most things, I have likewise ceased to suffer in many ways. There is a real restfulness in the scientific conviction that nothing matters very much; that the only legitimate aim of humanity is to minimise acute suffering for the majority, and to derive whatever satisfaction is derivable from the exercise of the mind in the pursuit of truth (from Letter to Reinhardt Kleiner  (14 September 1919), in Selected Letters I, 1911-1924 edited by August Derleth and Donald Wandrei, pp. 86-87).

I think my own philosophy of life is some sort of juxtaposition of these two…

Cosmological Tanka

Posted in Poetry, The Universe and Stuff with tags , , , on January 14, 2014 by telescoper

Most readers of this blog will be familiar with the form of Japanese poetry known as Haiku. I’ve even had a go at producing some cosmological Haiku myself. I suspect rather fewer will have come across another form known as Tanka. Being 31 syllables long rather than the 17 of Haiku, these are not quite as short but still quite a challenge to write.  They comprise 5 lines with a 5-7-5-7-7 pattern of syllables. I’m told by Japanese friends that Tanka are specifically written to celebrate a special event or to capture the mood of a particular moment. Here is an exquisite example by a famous poet called Otomo No Yakamochi:

From outside my house,
only the faint distant sound
of gentle breezes
wandering through bamboo leaves
in the long evening silence.

I’ve had a go at composing a couple of Tanka to do with specific moments in cosmology. Here’s one about the epoch of recombination:

An electron finds
a proton and marries it;
they make hydrogen.
Simultaneous weddings
free light across the cosmos.

I was talking to some students about the spherical collapse model so here’s a Tanka for that:

I was more dense than
my surroundings, expanded
more slowly, then stopped.
Now I must start to collapse;
soon I shall virialize.

Further attempts welcome through the comments box!

Japanese Jokes

Posted in Poetry with tags , on January 8, 2014 by telescoper

In his winged collar
he flew. The nation wanted
peace. Our Perseus!

William Blake, William
Blake, William Blake, William Blake,
say it and feel new!

Love without sex is
still the most efficient form
of hell known to man.

A professional
is one who believes he has
invented breathing.

The Creation had
to find room for the exper-
imental novel.

When daffodils be-
gin to peer: watch out, para-
noia’s round the bend.

I get out of bed
and say goodbye to people
I won’t meet again.

I sit and worry
about money who very
soon will have to die.

I consider it
my duty to be old hat
so you can hate me.

I am getting fat
and unattractive but so
much nicer to know.

Somewhere at the heart
of the universe sounds the
true mystic note: Me.

by Peter Porter (1929-2010)

To make an end is to make a beginning

Posted in Poetry with tags , , , on January 1, 2014 by telescoper

So, it’s New Year’s Day again. I’d like to take the opportunity to convey my very best wishes to everyone who follows this blog and to thank you all for showing an interest in my ramblings.

The beginning of a new year seems an appropriate time to post something from T.S. Eliot’s remarkable poetic meditation on the redemptive nature of time, Four Quartets. This is the last section, Part V, of the last of the four poems, Little Gidding.

What we call the beginning is often the end
And to make and end is to make a beginning.
The end is where we start from. And every phrase
And sentence that is right (where every word is at home,
Taking its place to support the others,
The word neither diffident nor ostentatious,
An easy commerce of the old and the new,
The common word exact without vulgarity,
The formal word precise but not pedantic,
The complete consort dancing together)
Every phrase and every sentence is an end and a beginning,
Every poem an epitaph. And any action
Is a step to the block, to the fire, down the sea’s throat
Or to an illegible stone: and that is where we start.
We die with the dying:
See, they depart, and we go with them.
We are born with the dead:
See, they return, and bring us with them.
The moment of the rose and the moment of the yew-tree
Are of equal duration. A people without history
Is not redeemed from time, for history is a pattern
Of timeless moments. So, while the light fails
On a winter’s afternoon, in a secluded chapel
History is now and England.

With the drawing of this Love and the voice of this
     Calling

We shall not cease from exploration
And the end of all our exploring
Will be to arrive where we started
And know the place for the first time.
Through the unknown, unremembered gate
When the last of earth left to discover
Is that which was the beginning;
At the source of the longest river
The voice of the hidden waterfall
And the children in the apple-tree
Not known, because not looked for
But heard, half-heard, in the stillness
Between two waves of the sea.
Quick now, here, now, always—
A condition of complete simplicity
(Costing not less than everything)
And all shall be well and
All manner of thing shall be well
When the tongues of flame are in-folded
Into the crowned knot of fire
And the fire and the rose are one.

Little Gidding, Part V, the last of the Four Quartets by T.S. Eliot.