In the last chapter of A Wrinkle in Time, Mrs. Whatsit (a supernatural being, if you don't know) and Calvin, a young boy, argue about knowing the future.
"I do not believe it. And the Happy Medium doesn't believe
it, either."
"Can't she see what's going to happen?" Calvin asked.
"Oh, not in this kind of thing." Mrs. Whatsit sounded
surprised at his question. "If we knew ahead of time what
was going to happen we'd be—we'd be like the people on
Camazotz, with no lives of our own, with everything all
planned and done for us. How can I explain it to you? Oh,
I know. In your language you have a form of poetry called
the sonnet."
"Yes, yes," Calvin said impatiently. "What's that got to
do with the Happy Medium?"
"Kindly pay me the courtesy of listening to me." Mrs.
Whatsit's voice was stern, and for a moment Calvin stopped
pawing the ground like a nervous colt. "It is a very strict
form of poetry, is it not?"
"Yes."
"There are fourteen lines, I believe, all in iambic pentameter. That's a very strict rhythm or meter, yes?"
"Yes." Calvin nodded.
"And each line has to end with a rigid rhyme pattern.
And if the poet does not do it exactly this way, it is not a
sonnet, is it?"
"No."
"But within this strict form the poet has complete freedom to say whatever he wants, doesn't he?"
"Yes." Calvin nodded again.
"So," Mrs. Whatsit said.
"So what?"
"Oh, do not be stupid, boy!" Mrs. Whatsit scolded. "You
know perfectly well what I am driving at!"
"You mean you're comparing our lives to a sonnet? A
strict form, but freedom within it?"
"Yes." Mrs. Whatsit said. "You're given the form, but
you have to write the sonnet yourself. What you say is
completely up to you."
In addition to being an amusing approach to examining the question of free will and predestination, there is the added bonus of one of the speakers being called Calvin.
When I was a little boy, my aunt Sally (sit terra tibi levis) gave me A Wrinkle in Time for my birthday. At the time I was too grown up for children's books, and so I smiled, thanked her, and put it on the shelf, where it has always been ever since. Being younger than that now, and having run across a series of quotes by Madeleine L'Engle that I found interesting, I decided to read it.
This morning, as I lay in bed reading chapter 7, I arrived at the following passage, in which the three children encounter a menacing stranger with red eyes who can communicate telepathically and who has, it seems, dominated the minds of the men, women, and children on this world. As he attempts to control the children's minds, too, Charles Wallace, the youngest, a preternaturally clever and creepy five year old, whom for the life of me I can only hear speaking in the voice of Stewie Griffin, resists.
'...For you, as well as for the rest of all the happy, useful people on this planet, I, in my own strength, am willing to assume all the pain, all the responsibility, all the burden of thought and decision.'
'We will make our own decisions, thank you,' Charles Wallace said.
'But of course. And our decisions will be one, yours and mine. Don't you see how much better, how much easier for you that is? Let me show you. Let us say the multiplication table together.'
'No,' Charles Wallace said.
'Once one is one. Once two is two. Once three is three.'
'Mary had a little lamb!' Charles Wallace shouted. 'Its fleece was white as snow!'
'Once for is four. Once five is five. Once six is six.'
'And everywhere that Mary went the lamb was sure to go.'
J MS
The instant I read this, I sat up in bed. I had seen it before. In J. Michael Straczynski's brilliant SF series Babylon 5, a group of human telepaths have run away from Psi Corps, which is about as evil as it sounds. ('The Corps is mother; the Corps is father.') Now in the episode, A Race through Dark Places, they find themselves hunted by a Psi Cop, Alfred Bester -- that's right, Alfred Bester, and played magnificently by Walter Koenig -- who is strong enough to read their minds whether they want him to or not. Since they refuse to go back, they fear he will kill them. And so they prepare to resist both physically and mentally. To keep him out of their minds, they, too, recite 'Mary had a little lamb' over and over.
Alfred Bester, SF Author
Given the context in each scene, as well as how allusive and literary Babylon 5 is, I have little doubt this allusion to Madeleine L'Engle is intentional. Nicely done, JMS. Nicely done.
Allusions are one of the ways in which reading, or, in this case, reading and watching teach us that we are not all alone in the night. And A Wrinkle in Time and Babylon 5 are both rich in allusions to, and quotations from, literature and poetry. That's why I've worked several allusions of my own into this note: to a C. S. Lewis essay, to an apocryphal C. S. Lewis quote, to Bob Dylan, three times to Babylon 5. I didn't do so (merely) to be clever, or because, if you get them, then we'll both be clever, but because they will reveal a fellowship between us as reader and writer, between us as readers, and between us and the texts from which the allusions derive. Because it's this kind of connection that makes us human in a higher and better way that links us through past, present, and future.
Alfred Bester, SF Monster
The world's been looking pretty bleak in recent times. Whichever side of the issues that are dividing us each of us may be on, I don't think many of us are feeling too hopeful; and some of us are downright scared. To compare small things with great, I just wrote a testimonial for Mythmoot, which aimed to convey just how wonderful it was to be with all those people who understood each other's allusions and got each other's jokes. Allusions let me in. They let us all in. That's why reading glitters with hope. For it tells me that the connections we need to make can be made. Not only that, but the irony of this allusion is so sweet: it connects two sets of people, a writer and readers, to two sets of characters who are using 'Mary had a little lamb' to prevent a connection from being made at all. Which in turn makes me laugh, a proof of intelligent life according to the Minbari. I think I like that. I think I like that a lot.
… fairy-stories are not in normal English usage stories about fairies or elves, but stories about Fairy, that is Faërie, the realm or state in which fairies have their being. Faërie contains many things besides elves and fays, and besides dwarfs, witches, trolls, giants, or dragons: it holds the seas, the sun, the moon, the sky; and the earth, and all things that are in it: tree and bird, water and stone, wine and bread, and ourselves, mortal men, when we are enchanted.
(OFS, 32, ¶ 10, emphasis original)
As interesting and lovely as this section of On Fairy-stories is, we seldom note its implication that mortal men are the only parts of creation not by nature a part of the 'realm or state' of Faërie. Enchantment alone brings us within its borders. But when we recall another passage in Tolkien where mortal men are also singled out as unique, the two together become truly fascinating.
‘But to the Atani I will give a new gift’ [said Ilúvatar]. Therefore he willed that the hearts of Men should seek beyond the world and should find no rest therein; but they should have a virtue to shape their life, amid the powers and chances of the world, beyond the Music of the Ainur, which is as fate to all things else; and of their operation everything should be, in form and deed, completed, and the world fulfilled unto the last and smallest.
(S, 41-42, emphasis mine)
So without the benefit of enchantment Men cannot inhabit Faërie, but for all those things and creatures that do, the Music of the Ainur is 'as fate.' There is thus a dimension to the existence of Arda and everything in it that Men do not ordinarily perceive and in which they have no part. The 'being' of Men is not in Faërie, just as the being of the Elves is not beyond it. The existence of each has an element which the other does not share. Faërie lies parallel to whatever awaits Men 'beyond the world,'
It will be interesting to see where this might lead.
If you're not familiar with Housman's parody of Greek Tragedy, you don't know what you been missing. If you've ever read Aeschylus, Sophocles, or Euripides in the original, this will be an amazing treat.
FRAGMENT OF A GREEK TRAGEDY
by A. E. Housman
CHORUS: O suitably-attired-in-leather-boots
Head of a traveller, wherefore seeking whom
Whence by what way how purposed art thou come
To this well-nightingaled vicinity?
My object in inquiring is to know.
But if you happen to be deaf and dumb
And do not understand a word I say,
Then wave your hand, to signify as much.
ALCMAEON: I journeyed hither a Boetian road.
CHORUS: Sailing on horseback, or with feet for oars?
ALCMAEON: Plying with speed my partnership of legs.
CHORUS: Beneath a shining or a rainy Zeus?
ALCMAEON: Mud's sister, not himself, adorns my shoes.
CHORUS: To learn your name would not displease me much.
ALCMAEON: Not all that men desire do they obtain.
CHORUS: Might I then hear at what thy presence shoots.
ALCMAEON: A shepherd's questioned mouth informed me that--
CHORUS: What? for I know not yet what you will say.
ALCMAEON: Nor will you ever, if you interrupt.
CHORUS: Proceed, and I will hold my speechless tongue.
ALCMAEON: This house was Eriphyle's, no one else's.
CHORUS: Nor did he shame his throat with shameful lies.
ALCMAEON: May I then enter, passing through the door?
CHORUS: Go chase into the house a lucky foot.
And, O my son, be, on the one hand, good,
And do not, on the other hand, be bad;
For that is very much the safest plan.
ALCMAEON: I go into the house with heels and speed.
CHORUS
Strophe
In speculation
I would not willingly acquire a name
For ill-digested thought;
But after pondering much
To this conclusion I at last have come:
LIFE IS UNCERTAIN.
This truth I have written deep
In my reflective midriff
On tablets not of wax,
Nor with a pen did I inscribe it there,
For many reasons: LIFE, I say, IS NOT
A STRANGER TO UNCERTAINTY.
Not from the flight of omen-yelling fowls
This fact did I discover,
Nor did the Delphine tripod bark it out,
Nor yet Dodona.
Its native ingenuity sufficed
My self-taught diaphragm.
Antistrophe
Why should I mention
The Inachean daughter, loved of Zeus?
Her whom of old the gods,
More provident than kind,
Provided with four hoofs, two horns, one tail,
A gift not asked for,
And sent her forth to learn
The unfamiliar science
Of how to chew the cud.
She therefore, all about the Argive fields,
Went cropping pale green grass and nettle-tops,
Nor did they disagree with her.
But yet, howe'er nutritious, such repasts
I do not hanker after:
Never may Cypris for her seat select
My dappled liver!
Why should I mention Io? Why indeed?
I have no notion why.
Epode
But now does my boding heart,
Unhired, unaccompanied, sing
A strain not meet for the dance.
Yes even the palace appears
To my yoke of circular eyes
(The right, nor omit I the left)
Like a slaughterhouse, so to speak,
Garnished with woolly deaths
And many sphipwrecks of cows.
I therefore in a Cissian strain lament:
And to the rapid
Loud, linen-tattering thumps upon my chest
Resounds in concert
The battering of my unlucky head.
ERIPHYLE (within): O, I am smitten with a hatchet's jaw;
And that in deed and not in word alone.
CHORUS: I thought I heard a sound within the house
Unlike the voice of one that jumps for joy.
ERIPHYLE: He splits my skull, not in a friendly way,
Once more: he purposes to kill me dead.
CHORUS: I would not be reputed rash, but yet
I doubt if all be gay within the house.
ERIPHYLE: O! O! another stroke! that makes the third.
He stabs me to the heart against my wish.
CHORUS: If that be so, thy state of health is poor;
But thine arithmetic is quite correct.
'There, I'll be an orc no more,' he cried, 'and I'll bear no weapon, fair or foul. Let them take me, if they will!'
Sam did likewise, and put aside his orc-gear; and he took out all the things in his pack. Somehow each of them had become dear to him, if only because he had borne them so far with so much toil. Hardest of all it was to part with his cooking-gear. Tears welled in his eyes at the thought of casting it away.
...
With that he carried all the gear away to one of the many gaping fissures that scored the land and threw them in. The clatter of his precious pans as they fell down into the dark was like a death-knell to his heart.
(RK 6.iii.937-38)
Three quick remarks:
1) As Frodo utters these words, the most powerful weapon in the history of Middle-earth is hanging around his neck. He's heard it described as such by Boromir (FR 2.ii.267) and also, though unwittingly, by Faramir (TT 4.v.671). He has already used it himself to daunt and threaten Gollum (TT 4.i.618; iii.640; vi.687).
2) The words I have omitted contain Frodo's famous 'no taste of food, no feel of water' remarks in which he states that all else but the Ring is fading away for him. So he is keenly and painfully aware of it at all times.
3) Sam is the only one who can throw his precious into the pit, just as he was the only one who could give up the Ring with little or no hesitation (RK 6.i.911-12).
