Spomenite mi sa ve4e neto4ni, no legendata glasi, che Ian Anderson reshava vuv vtoria konceptualen album na Jethro sled "Thick As A Brick"da izsledva temite za zhivota/smurtta, kato preobrushta malko postanovkata : zhivotut = na chistilishte predi smurtta ? I natupkva za uzhas na kriticite celia album s nonsense biseri, za da im pili na nervite i do dnes Angliiskia nonsense kakto e izvestno igrae roliata na ezopov ezik za izkazvaneto na universalni istini (Mecho Puh e klasikata v zhanra), problemut e che vsichko e zakodirano pod cial edin plast absurden humor. Tuk mlukvam zashtoto useshtam, che shte nagazia v sushtia kriticheski "batak".
Nai-vazhnoto e che tulkuvaniata na izmislenite scenki v angliiskia nensense mogat da sa nai-razlichni i ne po-malko - pravdopodobni

Za teksta na edna ot pesnite v albuma Jethro puskat obiava za konkurs vuv vestnicite. Pecheli go razkazut na edin tretoklasnik - "The Rabbit Who Lost Its Glasses".

A eto po-nadolu kakuv kupon se vihri i do dnes v kritikata otnosno tozi tekst Kakto vinagi, pod vola e namereno ne tele ami cial zhiraf :))
Za tezi koito imat nervi da go iz4etat :


One of the commonest criticisms of 'A Passion Play' is that there's a childish, 'nonsense' piece inserted between Acts Two and Three, which bears no relation to the rest of The Play. In 1973 concerts, the band left the stage after Act Two and a filmed version of 'The Hare...' was shown; this is now available on the 25th Anniversary video.

So why was it included?
The usual explanation, generally accepted but unconfirmed, is that it reflects the structure of a genuine mediaeval Passion Play. Such productions were (are) punctuated by comic interludes; relief from the deadly seriousness of the main play.
'behling57' suggests that the practice extends back to Classical Greece, and I'm aware of similar devices in Shakespeare, but such cases tend to be incorporated into the main plot. I think the key point about the interval of a Passion Play is that the comic piece need not relate to the main story at all. In the highly religious mediaeval plays, the interludes were often secular, even bordering on pagan. This is reflected (presumably deliberately, though I have no confirmation) in the film shown at concerts, with a horned narrator, a maypole and other pagan imagery.

At the natural break in a LP recording (i.e. the point where the listener needs to turn the album over), and in the context of a stage play (reinforced by the album sleeve), a brief interval makes sense. On a more pragmatic level, the interval was presumably included in live performances to give the band a rest and toilet break!


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The Lyrics
The full lyrics, accompanied by a transcript of how they fitted into the film, are here.



'The Hare...' is very reminiscent of A.A. Milne's 'Winnie the Pooh' stories, especially in featuring an owl, a kangaroo and a rabbit (not a hare). However, I feel Kangaroo was included primarily for the '...can, Guru,...' pun.


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'The Hare...' was developed into a children's book in 2002, by New York artist Michael Korb. His project is viewable here, though he does not yet have a print publisher - can you help?


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Who is the Hare, anyway?
As usual, a potentially more 'profound' interpretation can be drawn from 'The Hare...'. Andy Jackson makes a persuasive argument for the identity of the metaphorical Hare: Jeffrey himself. "I see the story of the Hare is a kind of allegory of Jeffrey's youth as a highly-introverted potential artist at the beginning of his 'journey'." Jeffrey did wear glasses at school and occasionally afterwards, though that's probably not particularly relevant to the Hare's metaphorical spectacles.

The central premise of 'The Hare...' is that everyone believes Hare to be in crisis, lacking direction (he can't see where he's going), and unable to help himself. Yet at no point does Hare admit to being in any kind of trouble (or to anything...). He's excited, and only appears helpless in the opinions of others.

It's known from interviews that Jeffrey's parents frequently hassled him about his prospects for life after school. "I can't imagine Jeffrey being the kind of guy to openly argue, but rather chew it over in silence and - eventually - decide for himself." He had formulated some embryonic 'life plans', but chose not to explain himself to onlookers, family and friends.

Hare never speaks, but sits in the middle of a commotion concerning his fate, caused by others around him and somehow not actually involving Hare himself. He is 'ostensibly motionless', and mute, which "... brings to mind Jeffrey's comment that an old acquaintance of his described him as being 'like wallpaper' and 'highly eccentric' at the same time - a kind of blank, and yet containing a bizarre energy. Hare only appears to be doing nothing, but there's an almighty internal buzz going on: the workings of the imagination."

It could be argued that the stern, scowling Owl is a father figure, whereas Kangaroo, the other, more interventionist authority figure of the piece, associated with Owl throughout, could be a mother figure, arguing with Owl about what's best for Hare.

"... young Hare can't go with Owl, because he's nodded off in his armchair, he can't go with Kangaroo because he's too big for her pouch, i.e. he's not a child any more, and can't return to the womb. He has to make it alone."

I'm unsure how the allegory extends to Newt and Bee, or, for that matter, the optician. Andy proposes Bee as a friend of Hare; that's as good an interpretation as any. The point is that the others know nothing about spectacles i.e. they are ignorant of Hare's needs and personal priorities. Ultimately, that's his business (his own affair) - "it's his journey, and his 'story', after all. Again, imagine a 16-year-old's, "You just don't understand!" - his private, mute dismissal of everyone's 'tempting' ideas.

"Because, in the end, Hare can see perfectly well where he's heading" - he has a back-up plan.


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Coincidentally, Meyers also proposes Owl as a father figure, but only in a sense that fits his spurious grand thesis (that Tull's material 1971-78 form one work): "The Owl is the wise one who hinders the imagination of the poet... the ancestral father. Hare is Jethro Tull questing for vision of spectacles. Kangaroo is the Muse.... This little story actually illustrates the anxiety [Ian] feels in wrestling with the giant dead of his cultural heritage.".
Considering the interval piece in isolation, this suggestion is typically flawed, not least because the actions of Owl and Kangaroo simply don't fit these characterisations.


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Leslie Miller acknowledges that the story of 'The Hare...' was indeed probably thrown in as a comic relief, but is also a fable, in the tradition of Aesop - a morality play with animals symbolising good/bad, foolish/wise, etc. The animals were very foolish to believe the ridiculous Hare. Moral: be wary of fools who are out to trick you, and be careful not to blow a minor issue out of proportion.

Michael Dawson interprets the piece as a restatement of the anti-clerical theme of 'My God' and 'Wind-Up'; the spectacles represent vision, in both a literal and a spiritual sense. Hare wisely rejects the conflicting advice of the various 'gurus' or religious leaders, realising that a clear vision is within himself all along, represented by the spare pair of spectacles. Personally, I regard this as a credible interpretation but unlikely to be that intended by the author; I'm unsure whether Jeffrey shared Ian's views of organised religion and would have particularly wished to address the subject.