New Books Extracts

The War against Humanity

Some apply the term liberalism  to this bundle of values. The Americans spoke of inalienable rights to ‘life, liberty, and the pursuit of happiness’. Others might prefer the more emphatic statement of the Germans at the start of their Constitution.  ‘Human dignity shall be inviolable. To respect and protect it shall be the duty of all state authority.’

When we speak of the kind of community that we want to live in here in Australia, we tend to mention notions like a belief in human worth or dignity, universal rights, the prospect of each of us being able to flourish, the government needing our consent to act against us, and a subscription to the notion of the rule of law that gives us reasonable prospects of protecting those rights.

The English philosopher John Locke went mostly unread outside universities in England, but he had great influence in the revolutions in America and France. He said that those in government hold power on trust for the people, and that the people would judge whether their trust has been respected.

You can source the emphasis on respecting the worth or dignity of each of us in either the teaching of the Jewish or Christian faiths, or in their secular statement by people in that phase of European history known as the Enlightenment.

Immanuel Kant was the most famous thinker (or philosopher) of the Enlightenment. Kant said dignity (or worth) was part of our humanity.

In the kingdom of ends, everything has a price or a dignity. … Skill and diligence in work have a market price; wit, lively imagination and humour have a fancy price; on the other hand, fidelity in promises and benevolence from basic principles (not from instinct) have an inner worth… Hence morality, and humanity, insofar as it is capable of morality, is that which alone has dignity.

You might be uneasy at the seeming loftiness of some of this, but we are not talking about the dignity of the mayoral robes of office or of the imposing personage at the head of the long table in the BHP boardroom.

No, we speak of dignity in the sense of intrinsic worth – a word Kant invoked in discussing this ‘principle of humanity’. The first meaning of dignity in the Oxford English Dictionary is ‘the quality of being worthy…worth…desert’. We speak of that worth being intrinsic because we see it as deriving from the fact that we are human – and nothing more.

Perhaps we don’t give enough attention to the fact that we are humans, not animals. To take just one example – mature reflection on the fact that we should not behave like animals would lead to an immediate improvement in behaviour in question time in federal parliament.

But in one way, ‘dignity’ may be a little like an elephant. We may have trouble defining it, but we know one when we see one. And we certainly know it when we see the flat opposite – as we do in, say, in governance in Russia or China or Iran. Very few of us could live comfortably in any such regime. It would be a nightmare for many reasons, but at base because they show no respect for you or me – respect that we are owed just because we are human.

Indeed, you can find respectable authority that, under Roman law, ‘any affront to the dignity of the individual was actionable’. Our common law never got close to that position, but the Americans are committed to the proposition that ‘all men are created equal’ – as Lincoln observed at Gettysburg.

There is another way in which we recognise dignity. If we think that a person treats us with respect, we tend to respond in kind. And the opposite applies – if they don’t act as if we are worth their time or respect, we give it straight back to them. You see it on TV with those hard-nosed hit-merchants who do not bother to hide the leer, jeer or sneer when confronting their adversary – someone from the ‘other side’ – like a Democrat brave or mad enough to go on Fox News. And so, confrontation promotes confrontation, and our public life continues its descent in a way that is beyond mere gorillas.

But there is more to our basic notions of communal life than notions of dignity or worth. Together with the sentiments that some address as liberalism, there is something else that matters to us here in Australia and those nations that we respect – except for the United States. We may have a sense of compassion for those not doing so well – like the sick, the aged, or the unemployed – but we go further and recognise that it is a function of government to look after such people. We think that they deserve more than just our sympathy, and that they need and that they should get help from us through our government.

The English had accepted that view about the responsibility of government for looking after the poor from at least the time of Queen Elizabeth I (1533-1603). That was a long time ago, but it never took hold in the New World over the water. That nation was founded by stern Puritans who saw both success and failure as coming from God. The Puritans were gladly ushered out of England, but they had the numbers in America. What is sometimes called the Welfare State is an essential part of our governance. It is in practice irremovable here. That has never been so in the U S.

It is worth pausing on this huge chasm between us and America. In the sixteenth century, before white people had even seen America, the English people had assumed obligations for their poor that would have been abhorrent to their Puritans back then, and which still look at best alien to Americans today. By 1563, the English had made a law for the compulsory levy for the maintenance of ‘impotent, aged and needy persons’. The Oxford History of England records that the English accepted that the poor were ‘a charge on public benevolence’ and that ‘responsibility in the matter could not be left to the conscience of the individual, but must be enforced by law upon everyone’. The distance from this very old English position to that in America now is as deep as the Atlantic.

The concern for welfare found one of its earlier and clearest statements when two future prime ministers of England presented what would be called the People’s Budget in 1908. In June of that year, Lloyd George, the son of a Welsh cobbler, introduced a bill for an old age pension to the House of Commons. In doing so, he stated the premise of what came to be called New Liberalism.

These problems of the sick, the infirm, of the men who cannot find a means of earning a livelihood … are problems with which it is the business of the State to deal. They are problems which the State has neglected for too long. (Emphasis added.)

Lloyd George was joined in what became a bitter and nation-defining campaign by Winston Churchill. Both were members of the Liberal Party, although Churchill had been a member of and would return to the Conservative Party. They were at least in part following the example of Bismarck in Germany – a Prussian Junker who has never been hailed as ‘liberal’ or ‘progressive’. But those statements would be seen as heresy today by many if not most in government in the USA. The poor are part of ‘the business of the State’? Tell that to the Trump family and the MAGA crowd.

So, we are not talking about values held universally. And that history also shows how inept if not useless today are terms like ‘socialism,’ ‘left’ or ‘right’, ‘liberal’ or ‘conservative’.

The Pursuit of Happiness

What is a profession?

In a tax case that I heard at the Victorian AAT a long time ago, I referred to the Oxford dictionary of a profession – ‘a vocation in which a professional knowledge of some department of learning is used in its application to the affairs of others, or in the practice of an art founded upon it.’  That seems about right, and I was happy to find that nurses come well within the term, a proposition that I embrace every time I receive their attention. 

I will only refer to my profession, although I think it has a lot in common with medicine.  Other areas may now be fraught, and the old standing of both law and medicine as an independent profession has altered fundamentally in my lifetime as government has taken over to a large extent the regulation of each.

It is as well to recall that we are speaking about human beings.  By definition, they are fallible, and the punters will draw their shares of idiots and ratbags.  The public think we charge too much, and often they are right.  But within the time of about one generation, professional earnings have been dwarfed by the telephone numbers handed out to the leaders of business – as often as not to people with little skin in the game, a scanty tertiary education, and minimal risk. 

Oddly enough, that imbalance may serve to reinforce the old professional values.  Or it may propel us to the dustbin of greed.  The great American judge and jurist Oliver Wendell Holmes, who had stopped three bullets during the Civil war, posed this question: ‘How can the laborious study of a dry and technical system, the greedy watch for clients and practice of shopkeeper’s arts, the mannerless conflicts over often sordid interests, make out a life?’

Let us look at the main ingredients of a profession. 

Calling

The word ‘vocation’ is not so often invoked now.  And the quota systems for law and medicine at our universities now obscure the issue.  At least in law, many appear now to take the course not to practise law, but to put it in their C V for politics or merchant banking.  And when you look at the major accounting and advisory firms, it is difficult to see ‘calling’ having much play – except for the trolls responding to the siren call of the dollar.

But I know of very few lawyers who appear to have been motivated solely by the prospect of high earnings – and I know of no decent or successful lawyer in that category. 

I would be surprised if the position were different in medicine.  It would I think be very difficult to succeed in either if you did not feel a real pull to get down to it, and feel the richness of some expertise in a worthy endeavour that has its own cherished hierarchy and history.  It’s not like going into a monastery, or even the Freemasons, but there is a lot more to it than Avon calling, or signing up with Twiggy Forrest or Rupert Murdoch.

Learning

In the two major professions, you are usually looking at a minimum of five years at university – followed by training on the job.  The universities leave it to others to take off the nappies.  That can be messy, and disappointing – at either end – but I enjoyed it – with six readers at the Bar and countless articled clerks.  I now enjoy a luncheon coterie with judges and King’s Counsel that serve as juristic god-children – and faithful friends and supporters.  I still enjoy mentoring students, just as I enjoyed introducing wide eyed graduates to the facts of life in or out of the forensic gutter.

You only get where you want to go by experience.  That is the way of the common law (the case law developed by the judges by applying the doctrine of precedent).  The countries that follow Roman law and the codes tend to embrace the rational rather than the empirical approach.  We favoured trial by jury in the adversarial mode.  The Europeans favoured the inquisitorial mode before a judge alone. 

Our drift in that direction unsettles old-timers like me.  Too few people see the vast difference in cast of thought between England and Europe.   The Roman law derived from codes and codification is its preferred mode of growth.  Roman lawyers look for formal elegance.  The Code Napoléon is a good example.  The common law eschews theory, grand designs, and codification.  It arrived, as if by accident, over a period of time – the product of trial and error in applying the doctrine of precedent to events that unguided chance throws up. 

One is the rationalist view of the world.  The other is the empirical.  Ultimately that philosophical divide is reflected in the logical divide between deductive and inductive reasoning.  From our point of view – that of the common law – there is a lot of truth in the well-known statement of Oliver Wendell Holmes that the ‘life of the law has not been logic, but experience.’  Jonathan Bate in The Genius of Shakespeare sawa similar divide in literature.  ‘The Shakespearian temperament was seen to match the English temperament: empirical, sceptical, unsystematic, ironic.’  That is spot on.

We speak of art and craft rather than science.  We will leave it to AI to reduce us all to algorithms.  We don’t trust high theory – or intellectuals.  We have too much respect for what Kant called ‘the crooked timber of humanity.’  The result is that we only learn from practice.  Judi Dench spoke of a drama teacher who told her students that she could not teach them how to act, but that she could teach them how to learn to act.

In one episode of The Human Universe, Bryan Cox showed a Japanese sword-maker at work.  His family has been doing it for centuries.  It takes months for one sword to emerge in this age-old process.  In one episode, the maker appears to shake as he holds the blade to the fire.  He is, we are told, infusing the blade with his soul.  That is called alchemy

When I heard old jurists like Justice Cardozo talk about alchemy in the law, I used to dismiss it as romance.  I don’t now.  I saw it one day forty years ago when Neil McPhee, QC cross-examined a witness in a way that escaped both the witness and his counsel.  They were dead meat served bland.  You can’t teach cross-examination – let alone finesse like that.  I sat there mesmerised.

And that is why hot-shots who come in just to make money usually come a gutser – very publicly.

The Adversarial Trial

Controlling the hearing

While a great amount of court time is spent on directions for steps to be taken before the hearing, not much time is spent at the hearing in controlling and expediting the process.  The trouble is that nearly every direction that a court gives before the hearing requires a party to do something, and that means that the lawyers have to work, and that means that the bill keeps going up.  But we rarely see the court giving directions that are designed to reduce the bill. 

Most lawyers work on a meter – on an hourly or daily rate.  The more hours or days they spend on a job, the more they get paid.  It is not in their financial interests to do their work so as to reduce as far as possible the time that they spend on the job.  Two or more generations ago, this was done not by paying them for time spent but by paying them a lump sum.  They were not paid to read the brief or to prepare for the hearing – they got a fee for the whole brief to appear.  It was called a brief fee, and if, say, that was enough to cover a couple of days in court, counsel would not be minded to take much longer.  You could rely on them for that.

The courts therefore have an interest in controlling the time that counsel take to conduct the trial.  They have more than an interest in doing so, because their main job is to provide a fair hearing, and they do not do that if they allow the hearing to get of hand so that one or both parties cannot afford to go on.  Indeed, it is sometimes hard to avoid the conclusion that some judges just sit there blandly in the God-given hope that eventually the combatants will run out of steam and surrender – at which point the judge most graciously congratulates them on their wisdom.  And delay usually hurts the weak more than the strong.

It was perhaps inevitable that parliaments would relieve tribunals from being obliged to follow the rules of evidence, because undue technicality could frustrate their doing their jobs, and because not many understand the rules.  But most of the law of evidence just applies logic or common sense or basic notions of fairness.  Unless you apply some notion of relevance, you may never finish.  If one side is going to say that a witness for the other side is mistaken or lying on a point, that should be put to that witness while they are in the box so that they can deal with it.  If one party can call a witness about what happened, but does not, they are open to the comment that the inference is that the witness would not help them.  These are all matters of common sense that any tribunal should apply.

And if it has any sense, it should apply the rule that says that if an answer is given to a question that is not related to a fact in issue but merely goes to credit, then that answer is final.  The other party cannot call evidence to contradict it.  Otherwise, you are exposed to an infinite regress.  The failure to observe this rule is one reason why cross-examination takes so long.  Another reason is the delusion held by so many at the bar that cross-examination is a no-fly zone for the laws of evidence.  There is a general miasma about this which I think has contributed greatly to the length of hearings.

Not many people now can cross-examine.  They don’t get enough practice.  Rather, they get together a large pile of documents, which it has cost the parties a fortune to assemble, and let the witness know that he or she is going to be invited on a long and painful journey.  Tabbed court books of documents and computer files have contributed to this deterioration.  So far as I know, it is still the law that if you call on the other side to produce a document, you can be compelled to tender it.  In our paper-crazed condition, that law is barely heard of now or even remembered.

So, one way to control the hearing is by applying rules of logic and sense.  Another way is by fixing time limits.  If we got through, say, half a dozen witnesses between 10 am and 11.45, I could apportion the time remaining until lunch between counsel for their addresses.  They might want to go on after 1 pm, but gastric juices then play their part.  Nor did I hesitate to tell counsel that cross-examination was too long, going nowhere, or just plain unhelpful.  ‘How will this questioning assist this process?’ 

I do not know how judges can just sit there while cross-examination goes on for hours or days in an apparent attempt to revive trial by ordeal.  If counsel have not scored a real hit in an hour, it is time to intervene.  It is your job to provide a fair and sensible trial: to put people out of pain, not to extend it.

Judges are properly wary of quotes for time given by barristers – especially if their chance of getting a start improves with a low quote.  For your own purposes, you might double the quote.  For their purposes, you might halve it. 

I chaired a public inquiry in a very sensitive and much publicised matter.  I had four lay people around me who had full-time jobs and little time to spare.  (One was the late Ron Casey of Channel 7 and World of Sport.)  Senior counsel for both sides gave a considered estimate of four months for a hearing to start much further down the track.  We told them we would start shortly, and that they could have four days – and we held them to it. 

Sometimes you have to put your foot down.  No organ of government has unlimited means, and every organ of government bears some responsibility for dealing with its cost.  The great Lord Mansfield recognised that lawyers are the main cause of delay – together with litigants without merit.

Before leaving the discussion of the hearing, I might mention another issue that may affect the nature and the length of the hearing.  You would think that the questions was he negligent or was he honest would attract the same kind of inquiry as the questions was he in a position of confidence or did he act unconscionably?  But because of our history of common law and equity, that may not be so. 

Sarah Jenyns, who was born in 1865, ‘conducted a matriarchal business in corsets and surgical appliances.’  The business was hugely successful and involved her seven children.  In 1946, she transferred the business to a company, but she did not ensure that each child took shares, ‘and thereby [she] planted the seeds to this litigation’. 

A subsequent transfer to one son was attacked.  He was said to have been in a position of confidence when she was vulnerable.  The trial in Queensland had to be before a jury and it ran for 28 days.  The evidence revealed that Mrs Jenyns had her foibles – she could have walked straight out of a novel by Patrick White.  She claimed to be in touch with the Almighty; she fell into periods of silence when she would only communicate in paper; and she had developed a taste for rum, whisky, and opiates.  She was a living land-mine for litigation.  As the joint judgment of the High Court (Dixon, CJ, and McTiernan, and Kitto, JJ) said:

There were conflicts of expert and other evidence characteristic of such issues, but doubtless the root cause of this controversy lay in the unusual nature of Mrs. Jenyns’ personality and the complex and inconsistent psychological elements forming it.  In a woman of proved business capacity, and considerable practical experience, possessing a peculiar understanding of her specialized trade and its profitable exercise, never separating her business and family life and always striving to dominate in both, and yet long accustomed to profess that her actions were guided by direct communications from a divine source, lacking all sense of the incongruous in the purposes for which she vouched heaven as her authority, temperamental in many of her attitudes and judgments, uninhibited either by a sense of humour or a fear of ridicule, it must have been difficult as she advanced in age to distinguish in her what was merely temperamental or perhaps histrionic from what was irrational, and difficult to judge whether her less rational expressions and ideas had any bearing on her business instinct and understanding and how far family predilections competed in her judgment with practical considerations affecting her own business advantage.  One curious feature of the case is that at the trial Mrs. Jenyns was still living and might have been called as a witness.

The Queensland Supreme Court set aside the transfer of shares that was attacked.  The High Court allowed the appeal on the merits.  The High Court commented on the obvious difficulty in running a case like this before a jury, and in in the kind of language that we associate with that Court, it said:

The jurisdiction of a court of equity to set aside a gift or other disposition of property as, actually or presumptively, resulting from undue influence, abuse of confidence or other circumstances affecting the conscience of the donee is governed by principles the application of which calls for a precise examination of the particular facts, a scrutiny of the exact relations established between the parties and a consideration of the mental capacities, processes and idiosyncrasies of the donor.  Such cases do not depend upon legal categories susceptible of clear definition and giving rise to definite issues of fact readily formulated which, when found, automatically determine the validity of the disposition

Their honours referred to the remarks of an English equity judge made not long after the Battle of Waterloo: ‘A court of law works its way to short issues, and confines its views to them.  A court of equity takes a more comprehensive view, and looks to every connected circumstance that ought to influence its determination upon the real justice of the case.’

For better or for worse, that difference in the trial process may still be with us every day – even in humble statutory tribunals. 

The other worrying thing about this case is that apart from allowing the appeal on the merits, the High Court held that the whole action was outside the powers of the statutory officer who sued, and that the action should have been dismissed on this ground alone.  It looks like the point was not noticed until the parties got to the High Court.  The conversations between the parties and their lawyers might then have become a little strained.


Games

Games were an integral part of life in ancient Greece.  The funeral games of Patroclus show us that they go back to the days of Troy and the Iliad.  Their place in the Olympic Games continues in a very different form until today.  The historian of Greece, H D F Kitto, said that ‘among us it is sometimes made a reproach that a man makes a religion of games.’  He was probably then (1951) thinking of football and cricket.  Only God knows what he would say about the alpine levels of bullion involved in that part of the entertainment industry now known as sport. 

But the point that Kitto wanted to make was that the Greeks made games part of their religion.  The various games were held in the honour of the gods – such as Zeus of Olympia.

Moreover, they were held in the sacred precinct.  The feeling that prompted this was a perfectly natural one.  The contest was a means of stimulating human aretê [excellence], and this was a worthy offering to the god.  In the same way, games were held in honour of a dead hero, such as Patroclus in the Iliad…..But since aretê is of the mind as well as the body, there was not the slightest incongruity or affectation in combining musical contests with athletic…..It was aretê that the games were designed to test – the aretê of the whole man, not a merely specialised skill…The victor in one of the great games was a Man.  He was indeed almost something more, a Hero, and was treated as such by his fellow citizens.

Later –

So, at every hand we meet the idea of ‘contest’, agȏn.  Those things that we weakly translate ‘Games’ were, in Greek’ agȏnes – contests in which poet was pitted against poet, actor against actor…. Our word ‘agony’ is  a direct development from agȏn; it is the anguish of the struggle that reveals the man.

So, what they looked for was the drama in the contest that reveals the man.  The particular kind of contest was irrelevant to the test of character in the contest.  Those who confine themselves to the techniques on display miss the whole point of the drama inherent in the context. 

If I am laboring this point, it is because it is fundamental.  As I have remarked elsewhere (in the forthcoming book The Pursuit of Happiness):

So much in sport turns on character – for those on both sides of the fence.  The great champions of sport and the great minds of letters and history and the artists make and discover things that arouse our sense of wonder and remind us of our limitations.  It is not just their genius that we admire, but their courage to go on with it….

In professions, politics, business, or sport, I believe that you take a certain amount of ability as given, and then the rest is character.  This is what gives interest to sport, theatre, and the practice of the law – and life generally….

In my view, when you get a leader in their field – say opera, or rugby, or in the court room or the operating theatre, or test cricket, or politics – you take for granted a certain amount of talent, training, and experience – up to say ninety per cent of the package – and the rest is character.  You can’t teach or buy that, but in the end, it is often character that makes the difference.  And it is very moving to be there when that happens. 

The successful businessman who rebuilt the Geelong Football Club, Frank Costa, had a sign in his office: ‘Character first.  Talent second.’  He got that dead right.  Formula 1 is another good example of the importance of character – on top of unbelievable skill.  And every now and then you get a freak, someone who has something no one else has.  Call it alchemy.  You might get one in a generation. 

If I keep going, someone will put the Dog Act on me.  Perhaps the rot began to set in when the Romans employed professionals to drive in chariot races, and then threw dissidents to the lions.  But the emphasis on the test of character in games – sport – at the highest level remains constant – not least in life a great city when the community meets to celebrate the life of a hero.

Why am I saying this?  Because it was all on show on the Queen’s Birthday game at the MCG last evening between Collingwood and Melbourne.  It caused me to shed tears just on television replay.  This was truly a celebration of life in our city.

And God knows just how much we need it.

Falstaff at Covent Garden – a kind of alacrity in sinking


This is how Sir John Falstaff reflects on the ignominy of being dumped in the Thames with filthy washing.

Have I lived to be carried in a basket like a barrow
of butcher’s offal, and to be thrown in the Thames?
Well, if I be served such another trick, I’ll have my
brains ta’en out and buttered, and give them to a
dog for a New Year’s gift.  S’blood, the rogues
slighted me into the river with as little remorse as
they would have drowned a blind bitch’s puppies,
fifteen i’ th’ litter! And you may know by my size
that I have a kind of alacrity in sinking; if the bottom
were as deep as hell, I should drown. I had
been drowned, but that the shore was shelvy and
shallow—a death that I abhor, for the water swells
a man, and what a thing should I have been when
I had been swelled! By the Lord, I should have
been a mountain of mummy.

This may remind you of the philosophical reflection of a sometime Spanish knight after a similar humiliation.  After being trampled on by a herd of bulls, Don Quixote laments:

Here I am with my name in the history books, a famous man of arms, courteous in my conduct, respected by princes, sought after by damsels, and just when I was expecting palms, triumphs, and crowns, I find myself this morning, as a climax to it all, trodden under foot, battered and kicked by a herd of filthy animals.

These are probably the two most famous characters in our literature.  They were created at about the same time.  In saluting what we may call the modern era, or the end of the Middle Ages, they stand for the end of all that moonshine about chivalry.  In the case of The Merry Wives of Windsor, we seethe arrival of the middle class as the centre of attention on our stage, a kind of Elizabethan prelude to Coronation Street, Neighbours, and Friends – although we had to wait centuries before Jennifer Anniston became the most photographed person on the planet, and bowed out in front of 52 million television viewers.

Well, that is one factor behind the snobbery that this play of Shakespeare attracts.  It may be his only play for which he supplied most of the plot, but the lead, Sir John Falstaff, had exploded on the stage in two history plays, before being killed off in another. 

But, as fans of Shakespeare are wont to remind fans of Verdi, the Falstaff of the comedy is much softer than the Falstaff of the history plays.  The brash insolence, fraud, drunkenness, cowardice, and womanizing are constant.  But in the comedy, and the Verdi opera Falstaff, we are spared watching Falstaff the recruiter accepting bribes to allow some poor blighters to be be despatched for cannon fodder.  If he cannot be said to rat on his mates, it’s because he does not have any.  It was this kind of nastiness, which gives a guilty edge to our glee, that led Sir Anthony Quayle call Falstaff ‘frankly vicious.’

The play and the opera are both put on to make us laugh and give us a good time – and reconcile ourselves to our condition.  Well, God only knows how much we need that release and therapy now.  Someone in the trade got up Verdi’s nose by saying he could not write an opera for comedy like Rossini.  Falstaff was Verdi’s answer.

At the beginning of the play, Page is discussing the form of his greyhound, which had just been outrun.  He tells Falstaff they have a hot venison pasty for dinner, and says ‘Come, gentlemen, I hope we shall drink down all unkindness.’  At the end of the play, his wife says ‘let us every one go home, And laugh this sport o’er by a country fire….’  That is precisely the tone of the whole show – and it is precisely the tone of the whole Verdi score.  It may be the most remarkable marriage of script and score that I know.

Still, some snobbery attaches to the play – but not I think to the opera.  W H Auden just refused to lecture on the play.  Well, at least he had the courtesy to refer his audience to the opera.  My own view is that if you are not uplifted by any decent performance of the play, you need help.  As for the opera – Shakespeare is the best playwright that we know, and there are only two challengers to Verdi for that position as composer of opera.  In the result, Falstaff is not just my favourite Verdi opera, but my favourite across the board.  (I may say that I have never taken to the opera Macbeth, and that the play Othello gives me the willies.   Strawberries out of order have the same effect on me as they did on Humphrey Bogart in The Caine Mutiny.)

And for those who have been cruelled by Wagner, Falstaff has one unassailable charm.  It is not too long.  It takes less time than the final act of Wagner’s comedy.

Well, those who turned out to Covent Garden in October, 1999 to see a new production of Falstaff sure got their money’s worth.  The house, especially behind the famous curtain, had just had a major rebuild.  The lead was played by a popular local, Bryn Terfel.  The band was conducted by the urbane and unflappable Bernard Haitink.  The costumes and sets were alarmingly attention-grabbing.  The full crowd was expectant and knowing – and they got all that they wanted.  This is, after all, a show in which the English may claim some rights.  And I was at home, with Opus Arte, red at hand, cheering them all on.

At first, I thought the sets and costumes were overdone, and distracting.   But I acclimatised, especially after hearing the director say later that this is after all an Italian opera, and that the story had Italian roots.  (In the extras, Haitink said this is the one opera of Verdi where not one note, not one, is out of place.  Terfel in interview was entirely at ease and bore a remarkable resemblance to Richard Burton in so many ways.  The commentary on the massive work backstage is riveting.) 

This is an opera where the music is integral to the whole show to an extent rarely seen outside of Mozart and Wagner.  As it goes, it gets ethereal, but we always come back to what it is there for – to give us a great night out and send us home more at peace with our neighbours and the world.  And that’s God’s work.

The highlight of this show was the peak of dramatic irony where Falstaff is telling Ford disguised as Brook how he will get Ford’s wife into bed.  The incoming bourgeoisie, the future rulers of television and the world, are terrified of being cuckolded.  You may as well be castrated.  The English language has no female counterpart to ‘unmanned.’  The sequence is as paralyzingly funny as the mirror sequence with Groucho Marx in Duck Soup, and is a warrant for the value of filming this kind of theatre, so that we can see close-up the facial contortions of the splendid Italian actor.  For some reason, his pain and anguish at the cruelty of fate reminded me so strongly of that of Jackie Gleason in The Honeymooners.  There are times when we get almost viscerally grabbed by the universality of theatre going right back to commedia dell’ arte and the Greeks.  And all this at what used to be a convent, then a red-light area, and now one of the more singular tourist traps on this earth.

And with it all there is a sense of elegy – unless that is just my coming to grips with coming gutsers as I get older.  Falstaff is not what he was.  They know it, and so does he.  An autumnal wistfulness pervades Henry IV Part II until it is shattered by an act of brutal betrayal.  We are spared this in the comedy and opera based on it, but not in Orson Welles’ Chimes at Midnight also entitled Falstaff.  (I do think it was a bit rich to give Jeanne Moreau second billing, when the tart Doll Tearsheet gets about three lines.)

In his play, Parolles gets his come-uppance too, but his decline and fall is total, and the pathos is scarcely funny.  As Tony Tanner remarked in discussing All’s Well, Falstaff in the comedy ‘dusts himself off fairly breezily…his attitude is more resigned – you win some, you lose some, and as you get older you lose more.’ 

I know just what he means, and perhaps that is why this play and opera just keeps getting better for me as I age.  It calls to mind a desolate Friday lunch in an Adelaide pub after court about forty years ago with a fading silk.  ‘You know, Mate, we are just like cats.  For every fight you have, you have one less to give.’

The Australian Opera put on a show of Falstaff in Melbourne about twenty years ago that mesmerised me and converted me to being a life-long a fan of both the play and the opera.  Well, this show at Covent Garden, now on film, is up there with the best – perhaps the locals can claim a home ground advantage, even if we now miss the subtle charms of the Crush Bar.  If anyone wants to challenge the West End as the beating heart of world theatre, they will have to get up bloody early.

Erotic Vagrancy

This is the title of a book about Elizabeth Taylor and Richard Burton.  The title is curious but apt.  A vagrant is someone who has no settled home or job.  Erotic is, well, erotic.  The author, Roger Lewis, adopts a stream of consciousness approach to a subject on which it is impossible to say something new. 

Like most contemporary biography, it is far, far too long.  I started skimming early, and tossed the towel in half way through. 

Each subject was deeply troubled, insecure, and unhappy.  The catalogue of misery just wears you down.  For example, any luster of a list of the ‘conquests’ of Burton is shattered by the disclosure that he liked one to keep on her school uniform during the consummation so devoutly to be desired.  It is about then that you may feel like a Peeping Tom.  (Some readers may be relieved to hear that Julie Andrews is specifically ruled out, although the author in an aside says that when in Camelot, she sings of the ‘simple joys of maidenhood’, ‘there’s absolutely no randy undercurrent or subtext.’  Keep the faith, Julie – and keep handy that big, cold spoon.)

Burton had that wonderful voice and he could act.  I cannot recall much discussion in the book of Taylor as an actor.  She was made for the screen – he for the stage.  It looks to me that he never forgave himself for giving up the stage for the movies – and the money. 

His alcoholism was on a par with that of the contemporary Welsh poet, Dylan Thomas.  (His death certificate referred to ‘insult to the brain.’  He redefined alcoholism by ordering a beer spider for breakfast.) 

It is amazing Burton lived until fifty-eight.  Taylor seemed to be in love with illness and had no conception of a home – none of her many pets was toilet trained.  They both had a Wagnerian conception that the world owed them a living because of the gifts they bestowed on it.  They got fabulously rich and viciously unhappy.

As they plough their way through betrayal after betrayal, you may get the impression that they deserve each other, and feed off the weaknesses of each other – just like Antony and Cleopatra (especially as played by Ciaran Hinds and Estelle Kohler)But you are left wondering whether anyone in that cesspit ever manages to find contentment.

Mr Lewis certainly knows all about the movies – most of which look to be catalogued and noted helter-skelter in full Joyce-like waterfalls.  But you have to wonder about ‘a prize-winning student of St Andrews University and Magdalen College, Oxford’ who can say – apparently with a straight face:

And they were similar in another way, too – as spoilt children.  Shakespeare’s Antony is an ‘old ruffian’, a version of Falstaff; Burton’s is the needy lost boy Taylor described…

And Don Quixote stood for Spanish sanity, and Leopold Bloom for Irish social security.

The cover of the paperback is covered with the usual deceitful blurbs that demean the club and the house that publish them.

When was the last time you watched Cleopatra or Camelot?

Erotic Vagrancy

This is the title of a book about Elizabeth Taylor and Richard Burton.  The title is curious but apt.  A vagrant is someone who has no settled home or job.  Erotic is, well, erotic.  The author, Roger Lewis, adopts a stream of consciousness approach to a subject on which it is impossible to say something new. 

Like most contemporary biography, it is far, far too long.  I started skimming early, and tossed the towel in half way through. 

Each subject was deeply troubled, insecure, and unhappy.  The catalogue of misery just wears you down.  For example, any luster of a list of the ‘conquests’ of Burton is shattered by the disclosure that he liked one to keep on her school uniform during the consummation so devoutly to be desired.  It is about then that you may feel like a Peeping Tom.  (Some readers may be relieved to hear that Julie Andrews is specifically ruled out, although the author in an aside says that when in Camelot, she sings of the ‘simple joys of maidenhood’, ‘there’s absolutely no randy undercurrent or subtext.’  Keep the faith, Julie – and keep handy that big, cold spoon.)

Burton had that wonderful voice and he could act.  I cannot recall much discussion in the book of Taylor as an actor.  She was made for the screen – he for the stage.  It looks to me that he never forgave himself for giving up the stage for the movies – and the money. 

His alcoholism was on a par with that of the contemporary Welsh poet, Dylan Thomas.  (His death certificate referred to ‘insult to the brain.’  He redefined alcoholism by ordering a beer spider for breakfast.) 

It is amazing Burton lived until fifty-eight.  Taylor seemed to be in love with illness and had no conception of a home – none of her many pets was toilet trained.  They both had a Wagnerian conception that the world owed them a living because of the gifts they bestowed on it.  They got fabulously rich and viciously unhappy.

As they plough their way through betrayal after betrayal, you may get the impression that they deserve each other, and feed off the weaknesses of each other – just like Antony and Cleopatra (especially as played by Ciaran Hinds and Estelle Kohler)But you are left wondering whether anyone in that cesspit ever manages to find contentment.

Mr Lewis certainly knows all about the movies – most of which look to be catalogued and noted helter-skelter in full Joyce-like waterfalls.  But you have to wonder about ‘a prize-winning student of St Andrews University and Magdalen College, Oxford’ who can say – apparently with a straight face:

And they were similar in another way, too – as spoilt children.  Shakespeare’s Antony is an ‘old ruffian’, a version of Falstaff; Burton’s is the needy lost boy Taylor described…

And Don Quixote stood for Spanish sanity, and Leopold Bloom for Irish social security.

The cover of the paperback is covered with the usual deceitful blurbs that demean the club and the house that publish them.

When was the last time you watched Cleopatra or Camelot?

Some pairs in King Lear

Two old men, King Lear and the Earl of Gloucester (or Gloster), drive a theme with two plot-lines.  They are both now past it, and they are out of touch with the next generation – which in their case contains predators to whom they are vulnerable.  They respond by casting out the innocent child.  If Hamlet is about angry young men, King Lear is about angry old men.

Two sisters compete for nastiness.  ‘Tigers, not daughters.’  Bradley looks to give the palm to Regan – notwithstanding that Goneril murders her, and offers to give the same medicine to her own husband in order to make room in her bed for the bastard.  Bradley remarked that Regan had ‘much less force, courage and initiative than her sister, and for that reason is less formidable and more loathsome.’  Tales of evil sisters have a long history, but these too are hard to beat.  When Regan says she is sick, Goneril, the poisoner, says, aside: ‘If not, I’ll ne’er trust medicine.’  The humour is very black and morbid at the end.  But Regan does have ‘Let him smell his way to Dover.’  And that is pure evil.  Perhaps Bradley had in mind that being weaker, and second in line, Regan was the crueller bully when she got her chance.

Two sons, and brothers of sorts, are very different.  The bastard lives up to the argot in his title.  Gloster’s legitimate son, Edgar, is very hardly done by, but he finishes in triumph, while taking out the bastard, and coming into power.

The two husbands of the evil sisters fall out almost immediately, we are told.  Cornwall is the archetypal villain.  Albany comes fully to understand his folly in marrying Goneril.  Cornwall gets his due from a servant – exquisite irony.  Albany is set to retire hurt.  He was not built for this sort of game.

Two members of the aristocracy – two nobles, if you prefer –react in their own way to events above them.  Kent is nothing if not forthright – and he is ferociously loyal.  He is the first out of the family to feel the wrath of the king in his descent into madness.  Gloster is appalled at what is happening, but he plays the role of the dutiful courtier.  But when civil war is started, he has to take sides, and he pays the ultimate price in the cruellest scene of this playwright outside of Titus Andronicus.

The two French wooers of Cordelia are very different.  Burgundy is naturally unsettled that the offer of wealth has been withdrawn by a cranky king of perfidious Albion.  (He takes the Macron view of commerce.)  France is curious and big hearted – but at the end, he picks a bad time to have an alternative engagement, and his wife is murdered.

Two victims stand out because they are effectively disinherited for no good reason – Cordelia and Edgar.  Cordelia is the victim of her father’s hot blood, and the evil of her sisters.  Edgar is the victim of the evil of his sibling, and the pompous rashness of his father.  Gloster commits what might be called the Othello mistake – he convicts a loved one without hearing from him first.  (The mechanics of the two frauds are very similar.)  By contrast, Lear puts some kind of test to his daughter, and then snaps when she refuses to play the game.  There is thus a symmetry of evil and rashness in the story of two of the principal victims.

Two characters are sacrificed because they are simply not up to it.  Neither Gloster nor Albany is set in anything like the heroic mould.  They are courtiers who make up the numbers and who become collateral damage.  Albany survives, but his interest in ruling has died, and it will be a while before he thinks of marrying again.  One such ‘interlude’ is enough.

Two characters are cracked in the head – the Fool by nature, and Poor Tom by design.  The first adds to the theatre; Poor Tom does not do that – at least for most audiences today.

Two are there to meet in a fight, like that at the OK corral – Edgar and Oswald.  And each is up for it.  But Kent was the more natural antagonist: ‘His [Oswald’s] countenance likes me not.’   On this form, he could become an honorary member of the Marylebone Cricket Club. 

(The spray that Kent gives Oswald at 2.2.14ff could excite the jealousy of the coach of Melbourne Storm.  He is justly famous for his sprays of his manly entourage.  One of the milder forms of abuse of Kent for Oswald is ‘the son and heir of a mongrel bitch.’  Speaking of Melbourne Storm and rugby league – which is not the upper-class version of rugby – at their first meeting, Kent labelled Oswald ‘you base football player.’  The Everyman annotation reads: ‘a low game played by idle boys to the scandal of sensible men.’  The football reference makes dating the action in the play even more difficult, but the analogy is now complete.  This play is about the heaviest of this playwright on the stage.  Kent on Oswald is the play’s one belly laugh, and it should be played for all it is worth – otherwise the audience, too, might go mad.)

And there is something of the mathematics of the western in the fugue of the finale – two of the black hats get taken out by two of the white hats. 

And, finally, there is also an element of Greek tragedy.  Lear, Gloster, and to some extent Albany, are cleansed and enlightened by their suffering – Bradley says ‘purified.’  Which is what members of the audience might aspire to as the curtain comes down, and they go out to face the world.

The purpose of the play is to answer the question: ‘Is man no more than this?’  For that purpose, we the audience take upon ourselves the mystery of things, ‘as if we were God’s spies.’  And the answer is that all that stands between us and the primal slime is about as strong as a Tallyho cigarette paper.  That is why the study of evil in the theatre of the grotesque of the ages in King Lear is seen as this author’s greatest work.

Shakespeare – theatre – drama.