Monthly Archives: April 2015

No abiding city


Things take odd turns sometimes. After my Byzantine Epiphany I felt sure I was on the track of something, yet it proved elusive: after a lot of writing I felt I was still circling round it, unable to pin it down.

Then this morning I woke to the news that (with the General Election just over a week away) David Cameron was pledging, if re-elected, to pass a law that would prevent his government from raising the level of a range of taxes for the duration of the next parliament.

I have to say that this struck me at once as absurd, the notion of a government passing a law to prevent itself doing something: why go to all that trouble? why not just say, ‘we won’t do that’?

There’s the rub, of course – election promises are famously falser than dicers’ oaths; against that background, Mr Cameron feels the need to offer something stronger – no mere manifesto promise, but an actual law! – what could be a stronger guarantee than that?

There’s a paradox here, of course – because politicians’ promises are notoriously unreliable, Mr Cameron says he will pass a law to ensure that he will not go back on his word – and that’s a promise. The whole elaborate structure is built on the same uncertain foundation.

I am reminded of advice from a more reputable source, the Sermon on the Mount:

‘Again, you have heard how it was said to our ancestors, you must not break your oath…
But I say this to you, do not swear at all… all you need say is “Yes” if you mean yes, “No” if you mean no; anything more than this comes from the Evil One.’

You are no better than your word: if that is worth nothing, no amount of shoring-up will rectify the matter; and if it is good, what more do you need?

But there is something deeper here: the key, I think, to the very matter I had been trying to resolve.

Let us start with Mr Cameron’s utterance: it is perhaps best understood as a theatrical gesture. The actor on stage, conscious of the audience’s attention (and also of his distance from them, compared, say, to the huge close-up of the cinema screen) may feel the need to make a gesture which in everyday life would strike us as exaggerated and – well – theatrical. So Mr Cameron, in the feverish atmosphere of an election campaign, feels the need to outbid his opponents – ‘they say they’ll do something? well, I’ll pass a law that will make me do as I say!’

I have to say that even in context it sounds rather silly, but it would be even sillier outside it – so that is the first point, the importance of context to understanding.

The second is this business of making a law and the appearance it offers of transferring the responsibility from the person to something independent and objective – ‘don’t just take my word for it – it’ll be the law!’ It overlooks the fact that legislation is a convention that requires our consent to operate: the laws of the land are not like the laws of physics – they do not compel us in any way; we obey them through choice, not necessity.

(And of course the existence of a range of penalties and agencies of enforcement like the police and the courts are proof of this – you do not need any of that to make things obey the Law of Gravity; you only need threat and compulsion where there is the possibility that people might do otherwise)

These two things – the importance of context to meaning and the attempt to transfer responsibility from the person to something apparently objective and independent – chimed with what I had been struggling to express before.
I had been focusing on the effect that the introduction of writing has on language, and through that, on our whole way of seeing the world.

The gist of my argument was this: from time immemorial, we have had Speech, which is our version of something we observe throughout the animal kingdom – bird song, whale song, the noises of beasts. Then, relatively recently – between five and six thousand years ago – we invent something unique: Writing.


At first it is used for relatively low-grade menial (indeed, prosaic) tasks, such as making lists and records; it is a good thousand years before anyone thinks to employ it for anything we might call ‘literature’. That should be no surprise: where Speech is natural and instinctive, the product of millions of years’ development, writing is awkward and cumbersome, a skill (along with reading) that must be learned, and one not everyone can master.

Speech has all the advantages that go with sound: it has rhythm, rhyme, musicality, pattern; Writing has none of these. But it does have one thing: where speech exists in time and is fleeting, ephemeral, Writing exists in space and has duration; it is objective; it exists in its own right, apart from any context or speaker.

My speech dies with me: when my voice is stilled, it is gone (though it may linger in the memory of others); but my written words will outlast not only me but a hundred generations – they could be around long after any trace or memory of their author is wholly erased.

Thus, from Speech we move to Language – by which I mean the complex thing that arises after Writing is invented. The important thing about Language is its dual nature, and the interaction and tension between its two forms, the written and the spoken. These are (as I discussed before) in many respects antithetical – where Speech is necessarily bound up with a speaker and so with a context – it is always part of some larger human activity – Writing stands on its own, apart from any context, independent of its author, with its own (apparently) objective existence.

(and the differences go deeper – where speech draws on a rich range of devices to overcome its ephemeral character and make itself memorable – rhyme, rhythm, vivid imagery etc – writing (though it can borrow all of them) has no need of any of these, having permanence; the problem it must overcome is lack of context – it cannot rely on what is going on round about to clarify its meaning; it must stand on its own two feet, and aim to be clear, concise, unambiguous, logical.)

What Mr Cameron’s absurd utterance brought home to me was the deceptive nature of Writing’s independence and objectivity, which is more apparent than real. Just as the law he holds out as having some objective, compelling force that is greater than his word is only so because we (as a society) agree to assign that power to it (in this connection, see my earlier post, ‘bounded by consent’) – and ultimately has no greater strength than the original word that promises it – so the objectivity and independence of the written word are not inherent properties but rather qualities we have conferred on it.

The independence and objectivity we assign to language is a kind of trick we play on ourselves, and it is bound up with the matter I discussed in my earlier posts (here, here and here) concerning the ‘carapace’ that we erect between ourselves and Reality – a carapace of ideas on which we confer the title ‘reality’ even though it is a construct of our own.

(It was interesting to realise that my philosophical hero Ludwiig Wittgenstein had made this journey before me: in his early work, e.g. the Tractatus, he is much concerned with his ‘picture theory’ of language, in which a proposition is seen as picturing reality, by having its elements related to one another in a way that corresponds to how the elements of the reality it pictures are related:
‘2.12 A picture is a model of reality.
2.13 In a picture objects have the elements of the picture corresponding to them.
2.14 In a picture the elements of the picture are the representatives of objects.

2.1511 That is how a picture is attached to reality; it reaches right out to it.

2.223 In order to tell whether a picture is true or false we must compare it with reality.’

This model takes for granted the objective nature of language: it is the words, the proposition, that is true or false, and that is established by comparison with the world; we do not seem to play much part.

However, in his later work, Wittgenstein moves to a different position: he now speaks of ‘language games’ and ‘forms of life’; it is only as part of a language game or a form of life – i.e. some human activity – that words have meaning; and indeed, as a general rule, the meaning of a word is its use in the language. He emphatically rejects the idea of a ‘private language’ in which our thinking is done before being translated into words: all that is available to us is the unwieldy, untidy agglomeration that is Language, a public thing that everyone shares and shapes but no-one controls or commands – despite the best efforts of organisations such as L’Academie Francaise)

As is typical of Wittgenstein, this modest-seeming manoeuvre effectively demolishes an edifice of thought that has stood for millennia: its implications are profounder than might at first appear.

If we go back to Plato and his fellow Greeks, we find a horror of mutability (‘change and decay in all around I see’, as the hymn has it) and a yearning for Truth to be something fixed and immutable – hence Plato’s world of Ideas, the unchanging reality that can be apprehended only by the intellect and lies beyond the veil of Appearance which so beguiles our poor, deluded senses.

Language – the complex thing that arises after the invention of the written form – is central to establishing this Platonic world, whose influence has lasted down to the present day, in particular its elevation of the intellect over the senses and its separation of Appearance and Reality.

The quality of Language on which all this hinges is the illusion it gives of being something that exists in its own right: words have meanings and can be used to describe the world; if only we tidied up language, rid it of its anomalies, used it more carefully and logically – freed it from the abusage of everyday speech – made it, in a word, more literate, truer to its written form – then we would be able to express the Truth accurately and without ambiguity, and permanently.

This is the edifice that Wittgenstein shows to be no more than a castle in the air: if meaning exists only in context, as part of some human activity, then all meaning is provisional; nothing is fixed (an idea I have discussed before). Language can never be tidied up and purified, cleansed of its faults, because language is ultimately derived from Speech, which is a living, dynamic thing, constantly changing with the forms of life of those who speak it, and the new ‘language games’ they invent.

The truth of what I have just said is by no means universally accepted; indeed, we have made some pretty determined attempts to contradict it: the first was the use of Latin as a scholarly language after it had ceased to be a living tongue (having transmuted, in the course of time, into the various romance languages – Italian, French, Spanish, Portuguese, Romanian). Latin was the vehicle of academic discourse from the foundation of the first European universities in the eleventh century down to the time of Newton and beyond, a span of some five centuries; it remains the official language of the Roman Catholic church (although mass in the vernacular was introduced with the refoms of Vatican 2 in the early sixties, the Latin mass was not ‘banned’ as popularly supposed – only a specific form, the Tridentine rite, was discontinued; mass is still said in Latin to this day in various places).

It is no surprise to find that the Church – very much bound to the notion of an unchanging Truth – should be one of the last bastions of a purely literate language. In the academic and particularly the scientific world, the role formerly played by Latin has to a large extent been taken over by English, and ‘Academic English’ as a form is diverging from the living language, which in turn is diversifying (with the disappearance of the British Empire and the emergence of former colonies as countries in their own right) in much the same way as Latin transformed into various tongues after Rome fell.

I am sure that there are many today who will view my assertion that all meaning is necessarily provisional with the same horror that the Greeks contemplated the mutability of things, but I think if you consider it steadily, you will see that it is both liberating and refreshing.

In my previous piece I began by talking about the perils of building in stone – namely, that what you make will outlive its capacity to be understood, because although it does not change, the people considering it do. I think this happens all the time with ideas, and especially the ‘big’ ideas, about ‘Life, the Universe and Everything’ – because they are important, we try to fix them for all time, but we overlook the fact that they are the product of a particular time, expressed in the language of that time, and that succeeding generations will see and understand things differently.

Of course the change of outlook and the decay of understanding is never sudden and can be delayed, and that is exactly what written texts do: they give a particular version of something an authority and a form that can last for generations, and which may block any development for a long time.

(That, broadly, is what happened with Scholasticism: the influx (via the Islamic world) of ancient Greek learning – chiefly Aristotle – into mediaeval Europe provided a huge intellectual stimulus initially, as great minds like Thomas Aquinas came to terms with it and assimilated it into the thinking of the day; but so comprehensive did it seem that there was no impulse to move beyond it, so that it began to ossify – the object of university study became to master Aristotle’s works, and the ‘argument from authority’ came into vogue – to settle any dispute it sufficed to quote what Aristotle (often called  simply ‘The Philosopher’) said on the matter – there was no going beyond that. This situation lasted till the Renaissance shook things up once more )

So am I, then, making a straightforward pitch for Relativism and denying the possibility of an Absolute Truth?

Not quite. Rather, this is an argument for ineffability, the idea that ‘Great Truths’ cannot be expressed in words. It is not so much that language is not equal to the job (but might be improved till it was), rather that the greatness of these ‘Great Truths’ (that label is of course inadequate) is such that it necessarily exceeds our ability to comprehend them, so limiting our capacity to express them; though poetry can get closer than prose:

‘Ah, but a man’s reach should exceed his grasp, or what’s a heaven for?’

and Art in general – music, painting, sculpture, dance, poetry – offers a more fruitful approach than philosophy – not to success, but a more rewarding kind of failure; or, as Mr Eliot so aptly expresses it,

‘but there is no competition—
There is only the fight to recover what has been lost
And found and lost again and again: and now, under conditions
That seem unpropitious. But perhaps neither gain nor loss.
For us, there is only the trying. The rest is not our business.’

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Filed under language-related, philosophy, theology

A Byzantine Epiphany

Screenshot 2015-04-21 13.30.17

The other day, I was composing a poem in the basilica of Sent Antuan in Istanbul, just before mass (you must forgive this opening: it’s so rarely I get the chance to make such a statement truthfully that I feel I must take the opportunity when it presents itself – and it is relevant, as a matter of fact).

The gist of the poem was that there were dangers in building in stone, as its permanence meant that what you were trying to express might outlast the capacity of people to understand it. This was prompted by a conversation we had been having the day before – about Sent Antuan (St Anthony’s) in fact – but also by thoughts that had occurred to me some time before in a different church, Holy Cross in Crosshill, Glasgow.

Holy Cross, designed by Pugin and built in 1911 (about the same time as Sent Antuan) has an interior that is very much an expression of nineteenth-century piety: carved stone angels abound. It could be called, in many repects, beautiful; the community that built it put a great deal of effort into it and must have been very proud of it, but to me it spoke a language I no longer understood – and that is the danger of building in stone: the stone stays the same, but the people (and their way of looking at things) change.

This thought came back to me later as I sprawled sultan-like on my divan (such behaviour is obligatory in Istanbul; besides, it was rather a wet and windy afternoon). By this time I was thinking about language and in particular the concept of what I will call ‘Literal Rationalism’.

That term calls for some explanation: what I mean by it is the way of thinking about things that arises after speech acquires a written or literal form. (It is worth noting and storing away the fact that, whereas speech is as old as humanity, letters and writing are a relatively recent invention – the oldest that we know just now is between five and six thousand years old; compare that with the wonderful cave paintings in France, Spain and Indonesia, which are between thirty and forty thousand years old – and it seems to have taken about a thousand years before anyone thought to use letters to write what we would call literature. The relevance of that will become apparent later, I hope)

What happens after speech acquires a written form – a long time after, since the process is gradual and ongoing – is that language develops a dual character, with the two aspects being not complementary but antithetical.

What is the nature of this antithesis? Not so long ago, my answer would have been to quote this latin maxim:

vox audita perit; littera scripta manet

(the voice heard perishes; the written word remains)

In other words, speech is fleeting; writing lasts.

That, after all, is surely what makes writing such a brilliant invention – it allows learning to be captured and transmitted from one generation to the next; it is, arguably, what makes the modern world possible, a necessary though not a sufficient condition for the industrial and technological revolutions that have shaped the way we live now.

Yet there on that wet and windy Sunday afternoon in Istanbul (following, as it happens, by the wonders of technology, my football team’s agonising defeat in the Scottish Cup semi-final, via computer links to the BBC and – of all places – Shetland) I recalled what I had been thinking about that morning, and I had an epiphany, a sudden and dazzling insight –

that Latin maxim was, quite simply, not true; it was little more than propaganda for the Literal Rationalist outlook

– on the one hand, the vaunted permanence of the written word was the same as those stone angels in Glasgow: the mere capacity for its form to survive was no guarantee that its content remained comprehensible (a notion neatly embodied in the Phaestos disc which is written in a language no-one now can read)

Screenshot 2015-04-21 13.12.20

while on the other hand, the assertion that speech is ephemeral – ‘vox audita perit’ – might be true in a trivial sense, as a description of the behaviour of sound-waves, but in the larger sense it was utter nonsense, the very opposite of the truth.

My father, who was an English teacher before becoming a headmaster, was a great reciter of verse: driving us to school of a dark morning he would declaim

Tis morn, but scarce yon level sun

can pierce the war-clouds rolling dun

where furious Frank and fiery Hun

fight in their sulphurous canopy!

or, as an alternative,

On Linden when the sun was low

all bloodless lay the untrodden snow

and dark as winter was the flow

of Iser, rolling rapidly

If it was a better morning he might say

Awake! for morning in the bowl of night

has cast the stone that put the stars to flight

and Lo! the Hunter of the East has caught

the Sultan’s turret in a noose of light!

While in April (as it is now) he could be depended on to give us

Loveliest of trees, the cherry now

Is hung with bloom along the bough,

And stands about the woodland ride

Wearing white for Eastertide.

Housman was the poet of his youth – he was born in 1913, on Easter Day – and another favourite recital came on the last night of November, at the back door (and indeed at other times when the weather was appropriate)

The night is freezing fast;

tomorrow comes December

and winter falls of old

are with me from the past;

and chiefly I remember

how Dick would hate the cold…

It was many years before I ever saw the text of any of those poems, and I have not had to look them up now (apart from the second line of ‘Loveliest of trees’); my point being that, as my recollection of my father’s recitations clearly demonstrates, the word heard does not perish: on the contrary, it lodges in the mind and stays there, as these lines (and many others) have for the better part of half a century.

And that is nothing to do with any unusual capacity on my part; rather it is an inherent quality of poetry in particular, and ‘sounding’ speech generally – because the utterance of speech, the pattern of sound waves, is ephemeral, it must use all the available resources – rhythm, rhyme, striking imagery, pleasing patterns – to make itself memorable; it is only the written form that need not make that effort.

So, to conclude for the present – for there is much more to be said here, believe me – the anithesis is not

Screenshot 2015-04-21 13.06.55

but rather

Screenshot 2015-04-21 13.07.05

and do not protest that writing can be all the things on the left, too – indeed it can, but these are but the clothes it borrows from speech to conceal its true nature, as delineated on the right.

I will look at this in more detail shortly.


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Pity or Terror? MR James and Jonathan Miller

Screenshot 2015-04-01 09.53.02Since MR James is our most noted writer of ghost stories, Michael Hordern one of our finest actors, and the many-faceted Jonathan Miller among our most celebrated directors, it should be no surprise that a production combining the talents of all three should acquire ‘classic’ status; but that should not stop us looking at it with a critical eye.

I am speaking, of course, of the 1968 BBC production of James’s tale ‘O whistle and I’ll come to you my lad’ which – not for the first time – has been the subject of some discussion on the MR James Appreciation Society Facebook page: one strand was initiated by a question about the ending, and whether it might not be more conclusive and in line with James; another asked who from the present crop of acting talent might play Professor Parkins, who has always been portrayed on TV as an older man (Hordern in 1968 was 57; John Hurt, in the recent remake, was around 70) despite being termed ‘young’ in the original.

This prompted me to go back and look again at the Miller version, which is available in full on YouTube (click here). It is frequently quoted as a classic adaptation of James’s tale (full text here) : does it deserve that accolade?

The Miller production – including the introduction, a curious feature we must return to – comes in at a little over 40’ long. In my edition, the original story runs to 30 pages of rather large type and takes about as long to read as the film does to watch; so there is not the usual need for paring-down of substance, character and incident.

Yet pared-down this production undoubtedly is: it centres almost exclusively on Hordern (he is seldom out of shot and generally alone) and considerable portions of the original tale are jettisoned, notably the university scene at the start, the encounter with the small boy outside ‘The Globe’ and the final stage of the encounter with the ghost (and what happens afterwards). In addition, the role of the colonel is considerably reduced, some events are conflated (the original has two whistleblowings and two rumpled bed incidents, the Miller version one of each) and the order of events is revised.

Now all that may be justified in terms of the change of medium, to bring the main storyline out more clearly; but James is a careful craftsman and seldom writes without purpose.

The TV story proper starts with a bed. It is in the foreground of the shot, viewed from an angle, a little from above. Two maids in frilly caps are in the process of making it; there is another bed, already made-up, in the background. The camera lingers on the bed as the maid smooths down the counterpane and satisfies herself that it is ready for whoever is coming.

Screenshot 2015-04-01 10.08.33

This is good dramatic technique: under the guise of every-day activity, our attention is drawn to the bed as something significant in the story; in our minds, we are already forming the question that is explicitly articulated later in the tale: ‘who is this who is coming?’

The question seems to be answered in the next scene: the maid’s exit through one door blends into the opening of another, in the cab that collects Michael Hordern from the station. The vintage of the cab – a Morris 25, I think – and the maids’ uniform suggest a time between the wars, the twenties rather than the thirties. The original story was written in 1903 and its setting is clearly contemporary, even though candles and rats in bedrooms are taken for granted as features of a provincial hotel. It is interesting that Miller has opted to set his story in the past, though given that 1968 was a time of great social and cultural upheaval, he probably thought a contemporary setting impossible.

Economy of storytelling in a TV production is often allied to drive and urgency, but that is not the case here: the pace is remarkably leisurely and the focus for a good ten minutes is entirely on establishing Hordern’s character: a man almost childlike in his lack of self-awareness and preoccupation with his own thoughts; he is, from the outset, an isolated figure – sitting at a separate table, put out of countenance by the overtures of an attractive single woman (later glimpsed with another, younger gentleman in tow), declining the offer of a round of golf, going for a solitary ramble.

Not till we are more than a third of the way in does Parkins, quite by chance and out of the blue, commit the act that precipitates the main action of the tale.

It is worth contrasting this with what James does. His Professor Parkins is first encountered in the hospitable surroundings of the College Hall, with the dons at table and looking forward to the break from academic teaching – it is the end of Full Term, and is either early December or early March (I incline to March because of the golf; but there is a reference to hotels being ‘closed for the winter’ which could be read either way).

In the first five pages (a sixth of the total) we establish not only Parkins’s character, but an important foundation for the rest of the story. Parkins is, like the character Hordern portrays, a recognisable type (and one does wonder if James had anyone specific in mind) but he is more subtly drawn than Miller’s and of quite a different sort. Far from being isolated, he is gregarious enough (‘my friends have been making me take up golf this term’) though his colleagues find him a bit of a pain: he is evidently one of those people who, having arrived at their own position on a matter and found it at odds with what is generally believed, feel compelled at every opportunity to ‘correct’ the popular notion. In Parkins’s case, the matter is the supernatural; he not only disbelieves in it, he actively deprecates it, and any mention of ghosts is guaranteed to get him up on his high horse, a propensity that some colleagues take advantage of for sport.

(there is some suggestion that his zeal is that of the convert – there is a reference later to his ‘unenlightened days’)

But alongside this character, Parkins is also given a motivation for his later actions. Rather like the bedmaking at the start of the Miller piece, it is introduced under the guise of everyday detail – a colleague asks him to look at the remains of a Templar Preceptory near where he is staying; but as with the bedmaking, the reader senses that this is something that will prove of greater significance in due course. The Templars, of course, had a reputation long before Dan Brown ever got hold of them, and James’s stories generally feature antiquarian things as key elements. (‘Oh Whistle’ first featured in ‘Ghost Stories of an Antiquary’ and the question about the preceptory is asked ‘by a person of antiquarian pursuits’).

So while the Miller character is still ambling about, absorbed in his own little world, we already know who the James character is, where he is going, and what he plans to do there.

At this point it is worth looking in detail at the introduction Miller provides. I have to say I find it rather odd, from its opening declaration ‘this is a tale of the supernatural’ – why is that necessary? – to the curious (and somehat disparaging) reference to James’s ghost-story writing as ‘a sideline’; (and is it accurate to describe James as ‘an archaeologist’?) but the bit I take real issue with is what follows, every part of which I think is questionable.

James’s tales, we are told, ‘have a peculiar atmosphere of cranky scholarship’ – do they, really? What follows deals with a cranky scholar, certainly, but he seems much more Miller’s invention than James’s; and I cannot really think ‘cranky scholarship’ is a significant factor in any of James’s tales.

And what are we to make of the claim that ‘O Whistle’ is ‘the darkest’ of James’s tales? The opposite is surely the case – for all its undoubted terror, it is conspicuously light, in several respects – the tone throughout is humorous, from the observation of the colonel’s ‘pronouncedly protestant’ views, the author’s self-depreciation of his knowledge of golf, to the touch of schadenfreude in the closing line; more importantly, the penalty suffered by Professor Parkins is light in comparison with those other James characters who are unwisely inquisitive, Mr Wraxall in ‘Count Magnus’ and the unfortunate Paxton in ‘A Warning to the Curious’; their ending is certainly dark.

And is it a tale of ‘solitude and terror’? again, that seems a better description of the tale Miller tells than of James’s: Hordern is very much alone throughout; the original Professor Parkins is not.

And does it have a moral? If the original has, it is lightly drawn – there is some suggestion (the reference to a surplice at the end) that Parkins has resumed the practice of his faith, but the main point of the story is a familiar one in James, that some things are best not meddled with; Parkins’s reason is not overthrown, but his rational certainties which were such an irritant to his colleagues have been considerably undermined. We are left with the feeling, in James’s tale, that Parkins is the better for his experience, at least in the sense that his colleagues will find him more tolerable company.

In short, then, Miller’s introduction is a piece of agenda-setting, which prepares the way for a tale quite different from James’s; but it also serves to disguise or distract from the weaknesses that arise in Miller’s version as a result of his deviation from the original.

As I have suggested, you tamper with a James tale at your peril: you will find little there that does not have some clear purpose. Miller’s omission of the Templar Preceptory is, to my mind, a blunder. As noted above, it is in many respects parallel to the focus on the bed at the start of the TV production: both prepare the ground for what comes later; but there is an important difference. James’s Professor sets out with a clear motivation.

The Templars are an odd lot and it would be no surprise if an object found in the ruins of one of their churches – in its own special place in the altar, mind – proved to be something out of the common run; and given that Parkins has undertaken to take a look at the preceptory, it is entirely credible that he would appropriate such an object out of legitimate antiquarian curiosity.

By contrast, some 13’ in to the TV version, the Hordern character is sketching out the itinerary for the ‘trudge’ he proposes in preference to a round of golf with the colonel: ‘take a packed lunch… take a look at the dunes… the beach… the cemetery.’ Why this rather clumsy addition? It seems an odd place to specify. Indeed, the main purpose seems to be to elicit from the colonel an equally improbable response: ‘oo-er – a bit too spooky for me!’ which Hordern echoes sceptically: ‘spooky? is it? (hmmm) spooky.’ In terms of subtlety, this is on a par with an elbow in the ribs; it also comes out of nowhere.

When he does come on the cemetery, he shows no more than passing, slightly scornful interest, tramping across graves and throwing out a quotation from Gray’s Elegy; emerging onto the crest of the dune, he finds a grave in the process of erosion: a bone is protruding. Again, he is unsubtly disrespectful: ‘give the dog a bone!’ and for a moment it looks as if he is actually going to desecrate the remains (but why would he do that?). Instead, he reaches over the edge and roots around – again, why? – and finds an object which he puts in his pocket, saying ‘finders keepers!’

Screenshot 2015-04-01 09.57.29

Evidently, this is meant to be his transgression – he has robbed a tomb – though why he does so is unclear (he is not an archaeologist – his discipline appears to be philosophy, and unlike James’s character, he is not acting on anyone else’s behalf). Further, instead of clarifying what follows, this act obscures it. If we are now embarked on a course that leads to the sheeted figure rising from the bed, what is the cause? It would appear to be the theft from the grave; what, then, of the blowing of the whistle, which comes later? is that merely incidental? And why, it might well be asked, is such a whistle in a grave in the first place?

The James character is an unwise meddler, but neither an arbitrary nor ill-disposed one; Miller’s character, by contrast, does something improbable, finds something unlikely, and suffers inexplicable consequences: why should taking an object from a grave cause bedsheets to rise up from an empty bed? – for that is as far as the Miller version goes: Hordern regresses to infancy at the mere sight of it; there is no direct assault on his person, no threat to life as there is in the original, where Parkins is almost forced out of the window.

And here, I think, we come to the crux of the matter: for all its superficial resemblance, Miller’s tale is quite different from James’s and not, I think, as good: where the original gives us a genuine thrill of terror – we can feel with Parkins – Miller’s version shows us somethng that moves us to pity only.

Something that James is particularly good at is crescendo: in his own words,
‘Let us, then, be introduced to the actors in a placid way; let us see them going about their ordinary business, undisturbed by forebodings, pleased with their surroundings; and into this calm environment let the ominous thing put out its head, unobtrusively at first, and then more insistently, until it holds the stage’

In many of his best tales this dictum is enacted by a steady convergence, as the threat, at first vaguely discerned and barely recognised, draws steadily nearer till it is in intimate and terrifying proximity (consider the ‘irish yew’ in Mr Humphreys, the progression from tram advert, man in the street with fliers, through removal of servants to the horror under the pillow in Casting the Runes; or the steady pursuit of Mr Wraxall across Europe to the terrible climax at Belchamp St Paul in Count Magnus).

And, as James observes, it is an important part of the effect that the protagonist is ‘undisturbed by forebodings’ – those are for the reader to feel. Thus, when Parkins spies a distant figure hurrying to catch up, it does not disturb his equanimity as it does ours; the moaning of the wind after he blows the whistle does not affect him as readily as ‘it might have… fanciful people’; and importantly the figure in his ‘waking dream’ of the lonely beach is a man whose pursuit he observes with some degree of horror but nonetheless the detachment of a spectator – he sees no cause to identify it with himself, though we do.

Likewise, the witness of the small boy the next day – ‘it wived at me out the winder’ – ratchets up the tension for us, but not for the pragmatic Parkins, who is more concerned that his room has been entered and his things interfered with. Likewise the recurrence of the curious rumpling of the other bed impresses us, but not him. When he does at last ‘see a figure suddenly sit up in what he had known was an empty bed’ it may be a complete shock to him, but we have been expecting something of the sort (with pleasurable dread) for quite some time.

By contrast, the Michael Hordern character feels apprehensions that we do not, because they arise, not from his circumstances, but the kind of man he is. Miller sets out to show (as he somewhat portentously puts it) ‘the dangers of intellectual pride and how a man’s reason can be overthrown when he fails to acknowledge those forces within himself which he simply cannot understand’. It could be argued that he succeeds, but the upshot is that the climax affects Hordern’s character much more than it affects us, and in a way that we may understand but do not share.

From the start, Hordern’s character strikes us as vulnerable, even childlike – everyday life could easily take him by surprise, let alone any supernatural manifestation. He is an unworldly man, wrapped in a cocoon of scholarship, quite out of touch with day-to-day reality, with little empathy for his fellow humans and no perception of how he appears to them, but at the same time completely assured in his learning – in short, he is something of a stereotype, the general public’s idea of an Oxbridge don, and by comparison to James’s version (intended, of course, for a university audience) the portrayal, though well-acted, is rather crudely drawn.

His intellectual collapse is not a crescendo but rather a slow appearance of stealthy cracks. We are shown him at his most secure in his breakfast-table lecture to the colonel on the matter of ghosts (though why, pray, has the colonel raised that topic with him at breakfast, a propos of nothing? the equivalent conversation in the original tale – about raising the wind – arises much more plausibly). The professor concludes the conversation by wittily inverting the Hamlet quotation that the colonel offers him: ‘there are more things in philosophy than are dreamt of in heaven and earth’ – but derives rather too much amusement from his own jest. This, then, is the eminence from which he is set to fall.

His first inkling of doubt comes on the dunes, where the recollection of his witticism comes back to him, but then reverts to its original form. As he settles down to read that night, the camera lingers on the empty bed and for some reason Parkins recalls the words on the whistle: ‘who is this who is coming?’ It is only now – almost half an hour into the forty minutes – that the waking dream of the beach-sequence occurs, but with the crucial difference that Parkins sees himself as the one pursued. At this point, I would say that his anxiety now overtakes our own – whereas in the original we are fearful on his behalf because he is oblivious to the full significance of what he sees, in the Miller version we can see no reason why he should see himself as the object of pursuit by the rather abstract flapping thing in the middle distance. We do not feel, in James’s words, that ‘something of the kind may happen to me.’

The next morning, Hordern’s Parkins moves still further beyond our sympathetic range. In the original tale, there are two incidents of bed-rumpling, the first after his troubled night with the beach sequence, which occurs much earlier than in the TV version, and the second after the incident with the little boy, which Miller omits altogether. In both cases, Parkins is able to rationalise it; it is the reader who is disturbed. Now, Hordern’s Parkins is deeply disturbed by the sight of the rumpled bed because he cannot rationalise it. He is driven to seek solace and reassurance in FH Bradley’s essay on Spiritualism – not, I would suggest, a course that many of us would take in the circumstances. Having regained something of his equanimity, he reads and then dozes by the fire, only to be roused by a second repetition (for no apparent cause) of the line ‘who is this who is coming?’ At this point we do begin to feel that we are watching a man’s reason in the process of being overthrown, but the terror is personal to him: we do not share it.

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After bathing, Parkins retires for the night only to be wakened by noises close at hand. In a prolonged reaction shot – lasting nearly thirty seconds – he gazes at something in growing horror; then we are shown the stirring bedclothes. As they rise up, Parkins inexplicably gets out of bed and goes across to the washstand by the window, which takes him nearer the thing on the bed, though not by the most direct route – he is neither confronting nor fleeing it but sidling past it at an angle. In the James version, there is a reason for this movement – he is going for his stick, to use as a weapon (it has been used to prop up a makeshift blind to keep the moonlight out); in the Miller version, there is no reason for it at all.

In the James version, this move is a mistake, as it allows the thing to get between him and the door; what follows is a genuinely nightmarish sequence, a sort of macabre dance in which Parkins realise his opponent is blind and might be evaded if only he could find a way past; but the sight of its ‘intensely horrible face of crumpled linen’ roots him to the spot, then the accidental touch of its draperies forces a cry of disgust from him and the creature pounces in the direction of the sound, driving him backward though the window ‘uttering cry after cry at the utmost pitch of his voice’ – it is this that brings the colonel (who has earlier indicated that he fears something might occur) to the rescue: he is just in time to see the dreadful group at the window, though the sheet-thing collapses to nothing as he closes on it.

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In the Miller version, the mere sight of the rearing bedclothes – with no threat to his person – so unmans the Professor that he regresses to infancy and sticks his thumb in his mouth and begins to utter muffled sobs, which somehow are loud enough to attract the attention of the colonel who (despite having no reason to think Parkins in any danger) bursts into his bedroom and switches on the light; all he sees is Parkins, whose sobs have now evolved into repeated denials: ‘O, no! O, no!’ These continue for nine repetitions as the colonel folds the sheet in the background and the titles roll over Hordern’s disbelieving face.

And we, the audience, feel pity at most, but hardly (I would argue) terror.

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