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1000 results for “David_Epithet”
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Pylon
Lakeview Mountains#bw #BWPhoto #BlackAndWhite #Photography #Granite #Tonalite #Southern California #MyPhoto
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"Oxygen was banned in 2040 due to media reports that it was being widely used by immigrants."
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"Oxygen was banned in 2040 due to media reports that it was being widely used by immigrants."
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"Oxygen was banned in 2040 due to media reports that it was being widely used by immigrants."
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it seems #Cameron did not follow proper process or do due diligence when enobling #Mone
At the time, he was advised that her Ultimo lingerie business was reporting losses, and it had to be bailed out by a Sri Lankan businessman, but Cameron decided she earned the epithet of 'business tzar
Time moves on, Cameron is made a Lord himself so he can be our new Foreign Secretary and Michelle's bra business went bust
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it seems #Cameron did not follow proper process or do due diligence when enobling #Mone
At the time, he was advised that her Ultimo lingerie business was reporting losses, and it had to be bailed out by a Sri Lankan businessman, but Cameron decided she earned the epithet of 'business tzar
Time moves on, Cameron is made a Lord himself so he can be our new Foreign Secretary and Michelle's bra business went bust
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it seems #Cameron did not follow proper process or do due diligence when enobling #Mone
At the time, he was advised that her Ultimo lingerie business was reporting losses, and it had to be bailed out by a Sri Lankan businessman, but Cameron decided she earned the epithet of 'business tzar
Time moves on, Cameron is made a Lord himself so he can be our new Foreign Secretary and Michelle's bra business went bust
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it seems #Cameron did not follow proper process or do due diligence when enobling #Mone
At the time, he was advised that her Ultimo lingerie business was reporting losses, and it had to be bailed out by a Sri Lankan businessman, but Cameron decided she earned the epithet of 'business tzar
Time moves on, Cameron is made a Lord himself so he can be our new Foreign Secretary and Michelle's bra business went bust
-
it seems #Cameron did not follow proper process or do due diligence when enobling #Mone
At the time, he was advised that her Ultimo lingerie business was reporting losses, and it had to be bailed out by a Sri Lankan businessman, but Cameron decided she earned the epithet of 'business tzar
Time moves on, Cameron is made a Lord himself so he can be our new Foreign Secretary and Michelle's bra business went bust
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Anyone have Wikipedia editing privileges? I just happened to notice a small typo (spelling error) under https://en.wikipedia.org/wiki/Hades#Cult_and_epithets, subhead: “In Latin or Etruscan:” where the next to last bullet entry reads: “• Uragus, expressive of bis power over fire.”
That “bis” should obviously be corrected to “his”.
cc @[email protected] @[email protected]
#Wikipedia #Mythology #Typo #SpellingError #Misspelling #Correction #Suggestion #Thanks #TIA
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Unlikely Kindred Spirits: Kripke, Heaney, and Elizabeth I: A Linguistic and Philosophical Analysis
At first glance, the analytic philosophy of Saul Kripke, the dramatic poetry of Seamus Heaney, and the political statecraft of Queen Elizabeth I could not seem more disparate. What could a 20th-century logician, a Nobel Prize-winning Irish poet, and a 16th-century monarch possibly share? Yet, beneath the surface, each grappled with language, identity, and authority in redemptive ways. Each, in their own silo, understood that naming and narrative wield power – whether it’s designating a possible world in logic, naming the unnameable traumas of Irish history, or styling oneself “Virgin Queen” to command a realm. In this exploratory conversation, we’ll sink into Kripke’s revolutionary ideas about reference and necessity, examine Heaney’s dramatic explorations of history and identity, and uncover how Elizabeth I engineered her political identity through language. We’ll reveal subtle connections – the resonances in their treatment of naming, authority, and the notion of necessity – to see how each shaped their world and left a lasting impact on the future. The journey is a thoughtful occupation: part historical detective work, part philosophical reflection, as we uncover lessons and methods from this unlikely trio.
Saul Kripke: Naming, Necessity, and the Nature of Identity
Saul Kripke’s contributions transformed analytic philosophy by showing that language is not just a game of labels, but a key to metaphysical insight. In his seminal work Naming and Necessity (1980), Kripke tackled fundamental questions: How do names refer to things in the world? What is the nature of identity? Are there truths that are necessary (true in all possible worlds) even if we discover them empirically? His answers shook the foundations of philosophy of language. Kripke argued against the then-dominant view that a name is essentially a description of an object. According to those older descriptivist theories (attributed to Frege, Russell, and others), calling someone “Aristotle” might implicitly mean “the student of Plato who taught Alexander” or any cluster of facts we associate with Aristotle. But Kripke pointed out a startling problem: what if Aristotle had died as a toddler, fulfilling none of those famous descriptions? Would we say “Aristotle never existed” simply because he didn’t do what we expected of him? Of course not – he would still be Aristotle. This thought experiment undermined the idea that names get their meaning wholly from descriptive facts. Instead, Kripke proposed that names are “rigid designators,” pointing to the same entity in every possible scenario.
Rigid designation means that a name like “Aristotle” or “Elizabeth I” refers to that person in any conceivable world where they exist – the name locks onto the individual’s identity, regardless of whether their life stories unfolded differently. For example, the name “Richard Nixon” denotes the same historic person in every hypothetical scenario (every “possible world”) where Nixon exists, whereas a description like “the winner of the 1968 U.S. presidential election” could denote Nixon in our world but someone else (say, Hubert Humphrey) in another imaginable world. The name tags the identity directly, while a description might accidentally switch referents if circumstances were different. In making this case, Kripke gave intellectual muscle to the idea that individual identity is something real and essential, not just a collection of properties that can change. A proper name, once attached via a historical/causal link to its bearer, sticks. This suggests a metaphysical reality to individual identity, not just a collection of changeable properties. It’s as if the universe recognizes “Aristotle-ness” or “Nixon-ness” beyond any particular story or trait – a view that quietly revives a more metaphysical notion of essence.
Kripke didn’t stop there. He famously introduced the concept of “a posteriori necessities,” truths that are necessarily true in all possible worlds yet are known only through experience. Classic examples include identity statements like “Hesperus is Phosphorus” (the evening star and morning star turned out to be the same planet Venus) or “Water is H₂O.” These facts, once discovered empirically, aren’t just true – they couldn’t have been otherwise (you can’t have water that isn’t H₂O in any world). In short, Kripke drew a bold line between what is contingent (could have been otherwise) and what is necessary (true no matter what), while also separating how we know a truth from what makes it true. This was radical: even a contingent-looking thing like the historical identity of a star could mask an underlying necessity. Through such arguments, Kripke revitalized metaphysics within analytic philosophy, insisting that questions of essence and necessity are meaningful and not just “wordplay”. His work gave philosophers a formal tool – possible world semantics – to talk about alternate scenarios rigorously, mapping out worlds where different facts hold, yet where “Aristotle” or “Elizabeth” still denote the same individuals.
Kripke’s insights into naming and necessity may seem abstract, but they reveal a faith in the stability of reference: words can latch onto the world with a kind of permanence. This almost poetic idea – that a name carries the essence of its bearer through every storm of possibility – will echo unexpectedly when we look at Heaney and Elizabeth. Kripke, in essence, handed us a concept of identity as destiny (if “water” truly must be H₂O, if “Elizabeth I” once named always refers to that same woman in any scenario) and of language as power: our choice of words — name versus description — can determine whether something is deemed necessarily or just accidentally true. Keep these ideas in mind as we shift from pure philosophy to poetry and politics. The other two figures, in their own ways, grappled with naming, meaning, and the weight of necessity in human life, albeit in far more narrative and practical contexts.
Seamus Heaney’s Dramatic Voice: Identity, History, and the Language of the Past
Seamus Heaney, best known as a poet, also celebrated for his adaptations of ancient Greek plays, poured his linguistic genius into drama – particularly through adaptations of ancient Greek plays. His dramatic works like The Cure at Troy (1990, based on Sophocles’ Philoctetes) and The Burial at Thebes (2004, based on Antigone) are steeped in questions of identity, moral necessity, and historical burden. Heaney was an Irish writer deeply attuned to the legacy of history – especially the traumas and politics of Northern Ireland’s “Troubles.” In these plays, Heaney uses the classical past to reflect modern struggles, substantially naming contemporary pains in the language of myth. Identity is central: Heaney’s characters must decide who they are in the face of conflicting loyalties and narratives (just as people in Heaney’s own Ireland grappled with British vs. Irish identity, or Protestant vs. Catholic labels). Heaney’s Philoctetes, for instance, is not just a Greek hero wounded and abandoned – he becomes a symbol for the marginalized and oppressed of Northern Ireland, left to suffer until others realize they cannot win the “war” without reconciliation.
The play asks: can old wounds be healed? Who gets to tell the story of those wounds? In The Cure at Troy, the act of forgiveness and returning Philoctetes to the Greek camp is a kind of renaming of him from outcast to comrade, an assertion of a new identity that helps end the war. Heaney uses this myth to explore the necessity of healing – a moral necessity as binding as any logical axiom. “History says, don’t hope // On this side of the grave,” the chorus intones, acknowledging how the cycles of vengeance feel inevitable. Yet the play famously continues: “once in a lifetime // the longed-for tidal wave // of justice can rise up, // and hope and history rhyme.” Here Heaney practically sings of a miracle: that fate (history) might align with our deepest hopes. This resonates with a Kripkean flavor – the idea of an unexpected necessary truth emerging from the grim facts of the world. In context, it’s a call for believing that the seemingly immutable historical antagonisms can necessarily give way, as if justice is an essential property of history that will manifest eventually.
Heaney’s engagement with language in these plays is particularly striking. Just as Kripke dissected how naming functions, Heaney explores what it means to call something by its true name – whether it’s naming injustices or naming one’s own identity. In The Cure at Troy, he doesn’t just transplant Sophocles; he infuses the dialogue with the cadences of Irish speech and landscape, translating the Greek story into the “language” of Irish historical experience. Notably, characters at times speak in a mixture of English and Irish (Gaelic) terms. This bilingual texture is more than stylistic – it reflects the “complex cultural and linguistic identity” of Ireland. By switching tongues, Heaney is naming identity itself as hybrid, a product of layered history. Much as Kripke might say an object can have an essential origin, Heaney suggests his people’s identity essentially includes both English and Irish elements – an unavoidable truth of who they are.
In The Burial at Thebes, Heaney again uses language pointedly. The play deals with Antigone defying King Creon’s edict to deny her brother a burial (because the state has named the brother a traitor). Here the power of names is deadly serious: being labeled “traitor” vs. “kin” means the difference between an ignoble exposure or honorable interment. Heaney emphasizes the conflict between personal conscience and state labels. Antigone insists on calling her brother family and worthy of rites, challenging the state’s naming of him as enemy. This mirrors Northern Ireland too, where one person’s “freedom fighter” was another’s “terrorist” – the crux of identity resting on who controls the narrative. Through these dramas, Heaney is wrestling with the meaning of meaning: does moral truth have an essential, necessary character (Antigone feels it does – divine law trumping man’s decree), or is it contingent on who’s in power (Creon’s view)? Heaney sides with the former, portraying the tragic costs when language and authority part ways with justice. In doing so, he echoes Kripke’s bold separation of truth from consensus – truth (whether moral or factual) isn’t just whatever description the powerful choose; it has its own reality. One can almost hear a Kripkean Antigone: “Polynices is Polynices” – my brother in every possible world – and no decree can make him not my brother. The necessity of that familial identity drives her actions, much as the necessity of reference anchors a name to its bearer.
Heaney also plays with the poetic power of history, much like a queen might wield propaganda. In The Cure at Troy, the chorus serves as the voice of collective memory and prophecy, blending past and future in resonant oratory. Heaney understood that to control the narrative of the past is to shape the future – a theme we’ll see explicitly with Elizabeth I. In his Nobel lecture, Heaney spoke of the “redress of poetry,” how art can adjust our angle on reality. His dramas attempt exactly that: to redeem the past’s pain by reframing it. By invoking ancient names (Philoctetes, Antigone) in modern contexts, he claims that some human experiences are universal and necessary – the names change (Greek or Irish) but the essence (suffering, loyalty, courage) remains rigidly the same across cultures and eras. This nearly philosophical stance – that a story or name can be a rigid designator for certain human truths – feels akin to Kripke’s insistence that some meanings hold steady across possible worlds. Heaney, of course, approaches it emotionally and culturally. But when he ensures that hope and history rhyme, he is, in a sense, uniting two “worlds” (the ideal and the actual) under one name, one meaning.
Crucially, Heaney’s linguistic choices also reflect a strategy of identity. In the North, language itself was politicized (English vs. Irish, even accents marking you as one side or another). Heaney often incorporates Gaelic phrases or Irish place-names into his English texts, a deliberate celebration of dual identity. Critics have noted that this merging of Irish words into English poems reflects Heaney’s own identity – rooted in a land of two tongues. On stage, this might appear as a character slipping into an Irish idiom at a key moment, grounding a universal tale in local reality. It’s a reminder that what we name things (and in what language) shapes our reality. A field in Ulster might be called the bog in English, but “the Strand at Lough Beg” in Irish memory – each naming carries different connotations, different histories. Heaney knew this power of naming intimately (he once wrote an essay on place-names in Irish poetry). In sum, Heaney’s dramas grapple with the interplay of name, narrative, and necessity just as surely as Kripke’s lectures did, albeit in a very different key. Where Kripke is analytical, Heaney is lyrical – yet both concern themselves with how what we say connects with what is real, and how identity persists.
Queen Elizabeth I: The Politician as Poet of Her Own Identity
If Kripke philosophized about names and Heaney poetically reinvented them, Queen Elizabeth I lived the reality of wielding names and narratives as tools of power. Ruling from 1558 to 1603, Elizabeth Tudor faced a maelstrom of political and personal challenges: religious schism, gender prejudice, foreign threats, and succession crises. She survived and thrived largely by mastering language and image – essentially turning her reign into a grand performative act of self-definition. In an age when a woman on the throne was met with skepticism, Elizabeth realized she had to control her identity narrative absolutely. She became, in effect, the author of “Queen Elizabeth” as a concept, engaging in what we might call a linguistic and existential project to secure her authority. She is perhaps history’s greatest example of “the naming of self” as political strategy: she carefully chose her titles, her epithets, her public words to shape how others perceived reality.
One striking example is how Elizabeth managed her role as the head of the Church of England. Her father, Henry VIII, had been declared “Supreme Head” of the Church, but many in the 16th century balked at a woman assuming such a title (either for sexist reasons or out of Catholic belief that the Pope was the true head). Elizabeth’s solution was brilliant in its phrasing: in the Act of Supremacy 1559, she took the title “Supreme Governor” of the Church instead of “Head.” This subtle change of wording placated critics – it suggested a caretaker role rather than an overt appropriation of spiritual headship. By renaming her authority, she neutralized opposition: Catholics could imagine the Pope remained the “head” in spiritual terms, and conservatives uncomfortable with a female leader could accept “governor” as sufficiently modest. As one historian notes, Elizabeth favored “Supreme Governor” perhaps “to appease those who believed a woman could not be head of the church.” In essence, she redefined the narrative through a single word, proving that in politics, as in philosophy, names and descriptions carry real power.
The difference between head and governor was the difference between deadlock and an “easy” passage of the Act. This recalls Kripke’s point about descriptions vs. names: change just a description and people’s entire perspective can shift, even while the underlying reality (Elizabeth leading the church) remains the same. It’s as if Elizabeth intuitively grasped a lesson: when confronted with an identity paradox, adjust the language around it to preserve the essential truth. She maintained her authority (essential role) by tweaking the accidental detail of its label – a very pragmatic deployment of something akin to rigid designation of her position (the position stays the same, but she found a label everyone could accept in all “worlds” of opinion).
Elizabeth’s speeches and public letters were likewise carefully crafted to shape perceptions – she used rhetoric to command both loyalty and a sense of mythos. A famous example is her 1588 speech to the troops at Tilbury as the Spanish Armada loomed. Facing professional soldiers who might question a woman leading defense, Elizabeth uttered the immortal lines: “I have the heart and stomach of a king, and of a king of England too.” In this moment, she explicitly redefined her identity in language: acknowledging her female body (“a weak and feeble woman”) yet claiming a male, kingly courage and resolve. By proclaiming within herself both woman and king, she solved the existential dilemma of her queenship – she named herself as essentially two-in-one. This is more than inspirational oratory; it’s a wild act of self-naming that gave her the authority of a man without sacrificing her role as a woman monarch.
It was psychologically necessary for her troops to believe in her, so she adjusted the modal identity: in any possible world, Elizabeth asserts, my inner essence is that of England’s sovereign, undiminished by gender. The rallying effect was tremendous – the speech “boosted morale” and solidified her image as a courageous leader. In the eyes of her people, she became something almost beyond ordinary categories – Gloriana, the Virgin Queen who could be both mother and father to the nation. This public persona was nurtured through an early form of propaganda that Elizabeth both encouraged and curated.
Indeed, Elizabeth orchestrated what’s often called the “Cult of Elizabeth” — an early form of what would later be termed propaganda. She recognized that controlling the narrative was as important as wielding the sword. Under her guidance, portraits, pageants, poems, and plays all served to project a consistent image of her virtue and power. Her portraits were laden with symbolism (roses for Tudor lineage, pearls for chastity, a globe under her hand for imperial dominion). These visual “texts” were carefully disseminated to shape public perception, portraying her as ageless, wise, and nearly divine. Writers like Edmund Spenser flattered her through literature – The Faerie Queene allegorizes her as Gloriana, an immortal fairy queen symbolizing glory and rightful rule. Even Shakespeare, while more subtle, wrote strong, wise monarchs and themes of legitimacy that resonated with her reign’s ideology. All of this was early modern spin-doctoring: Elizabeth named herself in so many ways – as Astraea (the just maiden of myth), as Cynthia (the chaste moon goddess), as the mother of her people married only to England.
This last identity, “married to the realm,” was one she explicitly cultivated. After years of pressure to wed (which could have cost her independence or sparked factional conflict), she declared she would have no husband but England itself. As one account puts it, “she declared herself to be married to England” – a shocking notion at the time, but one that allowed her to retain sole power. In other words, she turned a personal “failure” to produce an heir into a virtuous myth: the nation itself became her progeny. By manipulating the language of marriage and motherhood, Elizabeth flipped the script of her narrative from “last of her line” to “virgin matriarch of a golden age.” The political necessity of not marrying (to avoid foreign entanglement and domestic rivalry) was thus elevated to an almost sacred choice, woven into the legend of her reign.
Language was Elizabeth’s gilded armor. She used it not just to inspire or to spin, but to negotiate power in real time. Her letters and diplomatic missives often played people against each other with careful ambiguity and flattery. She even used plural personae: sometimes signing as “Elizabeth R” (Regina, the queen) and other times writing more intimately to her subjects or suitors. We see in her a keen understanding that what is said and unsaid can control outcomes. A scholar of her language, analyzing a 1586 speech about Mary Queen of Scots’ fate, notes how Elizabeth conjured an “imagined group of ‘we princes'” to justify her hesitation to execute Mary. By linguistically grouping herself with other monarchs (we princes), Elizabeth bolstered her stance as one sovereign judging another, as if speaking for all royalty.
Such rhetorical moves gave her moral cover and collective authority in sticky situations. Over and over, she proved adept at adopting different personae: one moment the humble “weak woman” seeking counsel, the next the imperious ruler by divine right – each role invoked through carefully chosen words. This fluidity recalls Heaney’s ability to switch languages in a play to convey layered identity, although Elizabeth shifted between roles rather than linguistic codes. Elizabeth treated her public identity as a poet treats a poem: every word, every symbol was deliberate, aimed at an effect. In doing so, she ensured that her story would be the one remembered. Indeed, by the time of her death, she had so successfully imprinted her chosen image that history largely remembers her as she intended – Gloriana, the victorious, wise, virgin queen of a glorious era. It’s notable that even after four centuries, popular memory of Elizabeth I is full of the mythic qualities she cultivated rather than, say, her personal foibles or policy missteps. That is the testament to her total control of narrative.
Intersections: Language, Identity, and Authority Across Three Lives
Bringing Kripke, Heaney, and Elizabeth into the same frame, we can now trace some unexpected similarities in how they each dealt with identity, authority, language, and necessity. They operated in different spheres – abstract philosophy, literary imagination, and realpolitik – yet a few common threads emerge, almost as if they were conversing across time.
The Power of Naming and Reference
All three demonstrate that what we call something has meaningful consequences. Kripke formalized this idea: a name isn’t just a convenient tag; it connects an object’s identity across a range of scenarios. In a way, he gave philosophical backing to the notion that names have power – a truth long known in poetry and politics. Heaney, as poet and playwright, instinctively understood this. In his works, to name the past (the bog bodies in his poems, or the analogues of Ireland’s trauma in Greek myth) is to claim it and possibly heal it. In The Burial at Thebes, when Antigone insists on naming her brother honorable through burial, she’s fighting Creon’s attempt to redefine him as “traitor” by leaving him unburied – it’s a battle of naming, where each name carries a different truth.
Heaney’s use of Gaelic terms in an English text likewise is an act of naming that carries identity: Broagh, dinnshenchas, Ulster, Troy – these names evoke worlds of meaning. By embedding Irish names and references, Heaney is asserting that the reference of those words must be honored in the shared world (much as Kripke argued a name’s reference isn’t up for subjective debate. Queen Elizabeth, on the other hand, used naming in the arena of power. She named herself and her role in carefully crafted ways – Supreme Governor, virgin, mother of England – and by doing so, she changed how others had to relate to her. There’s a nearly magical sense in which once she established herself as the “Virgin Queen,” that name took on a life of its own, referencing not just Elizabeth Tudor the person, but an idea of a semi-sacred monarch married to her land. It became a rigid designator of a political myth.
Enemies at home and abroad tried to label her differently (usurper, heretic, “bastard” daughter of Anne Boleyn), but her narrative ultimately prevailed. We see in all three the idea that who controls the naming controls the reality. Kripke wrested the control of naming away from subjective impressions and gave it to objective links; Heaney gave naming back to the marginalized, using poetic language to reassert their identity; Elizabeth seized the power to name herself before others could. Each, in essence, demonstrates that naming is an assertion of identity’s permanence.
Language as a Tool of Authority and Authenticity
For Kripke, language (especially logical language) was a tool to access truths about the world. By analyzing how we talk about possibility and necessity, he was reclaiming a kind of authoritative knowledge – saying that our words can genuinely latch onto reality’s structure. In doing so, he challenged the authority of earlier philosophers (like Quine or Russell) who were skeptical about talking of “essences” or possible worlds. Kripke’s confidence in language’s ability to refer clearly and fixedly is a kind of intellectual authority: it makes language a trustworthy bridge to reality, not a misleading veil. Heaney, too, treats language as something that can carry moral and historical authority.
Think of the chorus in The Cure at Troy commenting on justice – those words come charged with a moral weight that politicians of Heaney’s day explicitly drew upon (lines from that play were quoted during the Northern Ireland peace process because they carried the authority of shared hope and suffering). Heaney’s adaptation of Sophocles was used by figures like Bill Clinton and Joe Biden in speeches, borrowing Heaney’s language to lend authenticity and depth to political rhetoric. This is not unlike Elizabeth enlisting Shakespeare and Spenser – in both cases, the authority of art bolsters the authority of rule or political action. Elizabeth herself was a supreme example of language conferring authority. She knew that if she spoke like a monarch, in the cadence of Scripture or classical oration, she would be accepted as one. Her speeches are remembered as masterpieces of persuasive authority – consider how her Tilbury speech simultaneously quelled doubt and stirred fervor simply through words. Moreover, by maintaining control over her public narrative, she ensured that her authority remained legitimate in the public’s eyes.
This is analogous to a Kripkean name maintaining a single reference – Elizabeth made sure the “Queen Elizabeth” the people imagined was always her, always authoritative, never undermined by some alternate image. She and her council even suppressed portraits that didn’t match the official image of her ageless beauty. In essence, she curated the truth that people could know about her – an ethically gray move, perhaps, but one that underscores the raw power of controlling language. The through-line here is that language can actualize power: for Kripke it actualizes intellectual power (clarity about reality), for Heaney cultural power (shaping understanding of history), for Elizabeth sovereign power (commanding allegiance).
Identity, Essence, and the Idea of Necessity
Each of our three figures deals with the tension between what is contingent and what is necessary in identity. Kripke gave us the clearest formulation: an object or person might have accidental properties (Aristotle might have had a different hair color or even no hair, he might have not taught Alexander) but also has essential ones (Aristotle could not have been anyone other than himself, nor could anyone else have been Aristotle). This notion of an immutable core identity finds echoes in Heaney’s and Elizabeth’s realms. Heaney’s characters often sense a pull of destiny or essential duty – Antigone feels it is necessary that she honor her brother according to divine law (her identity as a pious sister compels it), and that necessity is worth dying for.
In The Cure at Troy, there is a prophecy that Troy cannot fall without Philoctetes – a necessity of fate that drives the plot. Odysseus and Neoptolemus must recognize that despite all their schemes, they need Philoctetes; they cannot rewrite that necessity. How they achieve it (trickery or honesty) is up to them – just as Elizabeth’s counselors recognized certain political necessities (securing succession, placating both religious factions) and had to cleverly navigate how to meet them. Elizabeth herself constantly balanced what was necessary against what was contingent. She famously said she did not want to “make windows into men’s souls” – acknowledging she couldn’t control private conscience, only public conformity. Thus it was necessary for national unity that people outwardly follow the Church of England, but she let it remain contingent what they inwardly believed. This pragmatic separation of inner essence from outer behavior is almost Kripkean: she distinguished between the essential loyalty (no foreign Pope’s authority, which she required) and the accidental details of personal faith (which she was comparatively lenient about).
Moreover, Elizabeth seemed to believe in a kind of destiny for her reign. After the Armada defeat, the legend grew that she was the Protestant Deliverer, guarded by Providence. Her existence became entangled with a sense of historical necessity – that England’s flourishing needed Gloriana. By the end of her life, people had trouble conceiving England without her; indeed, a cult of memory grew that the time of “Good Queen Bess” was a golden age that had to end when she died, as if by a cosmic script.
Another interesting commonality: the interplay of personal identity and broader identity. Kripke talks about identity mostly at the level of individuals and natural kinds. Heaney deals with identity at individual (his characters) and collective levels (Irish identity, human identity in the shadow of history). Elizabeth’s very personal identity (her virginity, her femininity, her lineage) became symbolic of a national identity (England as a “virgin” unconquered island, or as a unified Protestant realm). All three thus confront how an identity can resonate outward. Kripke might say that the name “Elizabeth I” in 1600 rigidly designates one woman, but that name also became shorthand for an era – “the Elizabethan age.” Similarly, “Heaney” as a name now rigidly refers to Seamus Heaney, but also evokes a broader cultural voice (people say “In Heaney’s Ireland…” as if he embodies a whole tradition). This broadening of identity through linguistic reference is a phenomenon none of them would likely have predicted, yet it happened. The lesson here could be that when language captures an identity powerfully, that identity can transcend itself – a person becomes an icon, a name an institution. Elizabeth consciously wanted this – to be an icon in her own time.
Heaney perhaps more humbly became an icon of conscience through his words. Kripke, ironically, became an icon in analytic philosophy for reasserting the importance of reference and identity (some have dubbed it the “Kripkean revolution” in philosophy. The necessity aspect comes in when we consider how each dealt with inevitable constraints: Kripke argued some truths are inevitable (necessary) even if we don’t know them immediately; Heaney grappled with inevitable cycles of history but sought moments of grace when fate could change (as if invoking a new necessity – the necessity of justice); Elizabeth confronted the seemingly inevitable doubts about a female ruler and the inexorability of time (no heir, aging body) by creating a counter-narrative of necessity – it became necessary in people’s minds that she remain single and ageless for England’s sake. She turned what many saw as her biggest vulnerability (no husband, no heir) into a mark of providential design (the country needed a Virgin Queen). It’s a remarkable example of using narrative to alter what people consider historically necessary or inevitable.
Controlling Narrative and Historical Perception
Underlying these similarities is a fundamental theme: the control of narrative – be it logical narrative, poetic narrative, or historical narrative. Kripke controlled the narrative in philosophy by reframing how we talk about language and reality. He changed the story from “names are just descriptions we can swap out” to “names forge a stable link to reality that shapes what’s possible”. This influenced not only philosophy but linguistics and cognitive science, braying into the future of those fields. Heaney, in writing and re-writing ancient stories, was explicitly attempting to control the narrative of history’s impact on the present. By choosing which myths to retell and how to infuse them with modern urgency, he tried to guide how people in late 20th-century Ireland might view their own struggles – not as endless sectarian conflict, but as an ancient drama that might find resolution and catharsis. His famous lines about hope and history have indeed entered the narrative of peace and reconciliation; they’re quoted in political speeches and memorials, showing that he succeeded in altering the perception of what was possible.
Queen Elizabeth, of course, was all about narrative control: she and her advisors put forth an official story of her reign – one of benevolent success, national glory, and religious providence – and worked hard to suppress or discredit competing narratives (like those of Catholic detractors or of Mary Stuart’s claim). The propaganda of the Cult of Elizabeth was essentially a massive narrative project: through art and text, convince the populace (and posterity) that Elizabeth is a legendary good ruler. It succeeded to a remarkable degree. Even centuries later, popular culture loves the Elizabeth story (films, biographies, etc.), and it’s usually a sympathetic if not hagiographic tale. In a sense, she wrote the history before it happened. This is not unlike how Heaney, through dramatizing historical themes, aimed to rewrite the future by influencing hearts in the present; or how Kripke, by rewriting philosophical doctrines, influenced future research.
One could even say there’s a warning embedded across these stories: beware who authors the narrative. Kripke’s lesson is that if we get the theory of reference wrong, we might tie ourselves in philosophical knots and deny real truths (imagine if descriptivism were true – we might absurdly say “Aristotle never existed” if he didn’t match our description. In other words, a misnaming can obliterate reality. Heaney’s work warns that if we let others narrate our history (for instance, let hate or hurt dictate the story), we remain victims of it. But by seizing the narrative – telling our own story with honesty and hope – we can change the future’s course.
Elizabeth’s life is a case study in narrative as double-edged sword: wield it well and you gain power and unity; use it to mask truth and it can become propaganda. She largely used it to positive effect (for stability and loyalty), but the concept in less scrupulous hands can be dangerous. Modern politics is full of “alternative facts” and spin – a lineage traceable to the Tudors’ mastery of image. The lesson for us is to strive for authenticity even as we craft narratives. Each of our three figures, at their best, aligned narrative with a deep sense of truth or necessity: Kripke aligned it with metaphysical truth, Heaney with moral truth, Elizabeth with a vision of national stability (arguably a political truth of what England needed at the time).
Conclusion: Past as Prologue – Organic Revelations Across Time
Exploring Saul Kripke, Seamus Heaney, and Queen Elizabeth I side by side, we uncover a surprisingly coherent conversation about how words shape worlds. In each domain – logic, literature, leadership – we see that identity is both discovered and invented through language. Kripke teaches us that there’s an underlying order to how words latch onto reality, a lesson in humility and precision: some things are what they are, no matter what we call them, so we’d better call them rightly.
Heaney teaches us that while history may weigh like fate, language can illuminate paths through the darkness: by naming our demons and our hopes, we can find meaning and maybe even healing in what seemed necessary suffering. Elizabeth shows us that perception can be as powerful as truth – but also that a leader who understands the poetry of power can steer a nation’s fate. She intuitively grasped, as Kripke did philosophically, that naming is an act of creation: by naming herself and her story on her own terms, she in effect created a new political reality, one where a queen could be as revered as a king (and in her case, far more successful than many).
There is a compelling coherence in these connections. It’s as if Kripke provides the theory that words have fixed referents, Heaney provides the humane practice of using words to anchor meaning in a tumultuous world, and Elizabeth provides the proof in action – showing that by fixing the meaning of her role (in the minds of her people) she attained a kind of necessary place in history. All three legacies continue to resonate. Kripke’s ideas about naming and necessity still influence debates in philosophy, cognitive science, and linguistics – shaping how future thinkers conceive of meaning. Heaney’s lines and reimagined myths continue to give solace and insight – their use by peacemakers and readers ensures that the past’s lessons are not forgotten, that the future can be approached with “hope and history” in harmony.
Elizabeth’s reign, often romanticized, stands as both inspiration and caution: a woman who led with wisdom and words, yet whose very success depended on a kind of constructed reality. Modern leaders study her for tips on public image and statecraft – the notion of the “media monarch” arguably begins with her. The past, in these stories, isn’t past at all; it actively shapes the future, as each of these figures understood.
In drawing together Kripke, Heaney, and Elizabeth I, we’re reminded that human beings live at the intersection of language and reality. Our philosophies, our arts, and our politics are all attempts to bridge the world as it is with the world as articulate it. There’s a kind of revelation in seeing these threads: it shows that truth and story, necessity and freedom, logic and poetry are not opposites but partners in the grand narrative of human civilization. Each of these individuals, in their own way, cautions us to use our words wisely – to seek the true names of things, to speak with integrity about our history, and to recognize the creative power we wield whenever we declare “this is who I am” or “this is what must be.”
And perhaps the final insight here is this: by examining such unlikely companions side by side, we engage in the very process they all cared about – connecting names to meaning. We connect their names – Kripke, Heaney, Elizabeth – and find a meaningful constellation. In doing so, we participate in that endless project of making sense of the world, one connection at a time, guided by those who came before and lighting a way for those who come after.
Sources
Kripke, Saul. Naming and Necessity. Harvard Univ. Press, 1980. (Summary of key concepts en.wikipedia.org en.wikipedia.org en.wikipedia.org )
Heaney, Seamus. The Cure at Troy (1990) and The Burial at Thebes (2004). (Analysis of themes of identity, history, language literarysum.com en.wikipedia.org )
Historical accounts of Queen Elizabeth I’s speeches and propaganda (Tilbury speech, 1588 tutorchase.com ; Act of Supremacy title, 1559 elizabethi.org ; Cult of Elizabeth questionai.com tutorchase.com )
“The Elizabethan Religious Settlement (1559)” – Elizabeth I’s title “Supreme Governor” and its significance elizabethi.org .
Literary analyses of Heaney’s adaptations (e.g., use of Irish linguistic elements literarysum.com literarysum.com ).
Melvyn Bragg’s The Adventure of English and other works (context on Elizabethan language and identity crafting).
#cureAtTroy #drama #england #Heaney #insight #irish #kripke #labeling #literature #meaning #nebraska #philosophy #politics #QueenElizabeth #theatre
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Our system is broken.
Our system was broken before Trump. He and his cronies are just stepping on the shattered pieces, crunching them into dust. For all their flaws, Democrats at least try to make things better. The Republican's latest epithet, DEI, is an example. Ask any Republican voter what those letters stand for, and they likely won't be able to tell you.
http://davidscottmoyer.com/2025/05/16/our-system-is-broken/
#DEI #FionaApple #DonMiguelRuiz #TheFourAgreements #MusicVideo #Communication
-
Snapshots of the author
House of Many Ways by Diana Wynne Jones.
HarperCollins, 2008.Many of the pieces in Reflections, the collection of writings by and about Diana Wynne Jones, address the question authors often get asked: Where do you get your ideas? And of course there is no single simple answer. She does however offer this suggestion, in an item entitled ‘Some Hints on Writing’:
When I start writing a book, I know the beginning and what probably happens in the end, plus a tiny but extremely bright picture of something going on in the middle. Often this tiny picture is so different from the beginning that I get really excited trying to think how they got from the start to there. This is the way to get a story moving, because I can’t wait to find out.
With House of Many Ways I found it hard to force a plan onto a review, so adopting Jones’ modus operandi for this commentary seemed an appropriate way to go about it. The beginning has been taken care of, and the conclusion is virtually foregone, and now it’s time to move to the images that arise almost unbidden from a second reading of this fantasy. Many of them involve snapshots of the author herself.
Early 19th-century Styria.Diana was both dyslexic and left-handed, and both these issues come out in the story. One protagonist finds distinguishing left from right a problem and so ties coloured threads to his fingers, a strategy that doesn’t always work out. Another protagonist is shown plans of the different ways in the house but the first is “the most confusing map I ever saw in my life!” while the second, with “swirling lines on the piece of paper … seemed easier”. It struck me that drawing a mindmap with swirly lines or even collaging a mental scrapbook page of the themes and memes in House of Many Ways might be a good key to making sense of the very varied ideas she presents and help with trying to explain them (see the photomontage above).
Let’s start with the main protagonists. One is the young Charmain Baker (whose father is, naturally, a baker). Throughout the book she is constantly being called ‘Miss Charming’ — which is rather sweet, except that she isn’t always diplomatic or even sweet-tempered. Before we assume that this is a totally misplaced epithet we discover that she has natural magic ability, at last rendering ‘charming’ rather appropriate rather than a misnomer.
The other main protagonist (the one with directional issues) is Peter Regis, a wouldbe apprentice wizard with whom Charmain is determined not to get on. Charmain resents Peter’s intrusion into her new life at Great Uncle William’s cottage which she has been expected to house-sit, however weird a place it is. And she is determined not to let Peter get in the way of her new occupation of sorting through old documents for Adolphus X, the King of High Norland, in the library of the Royal Mansion.
You’ll have gathered that this is a world similar to but not the same as ours. The action takes place in place called High Norland, with neighbouring states called Montalbino, Strangia and Ingary. The latter country — with a name at once reminiscent of both Hungary and England — is south of High Norland and has given its name to a series featuring a wizard called Howl: previous titles in the trilogy were Howl’s Moving Castle and Castle in the Air. Strangia suggests both somewhere strange and the region straddling Austria and Slovenia called Styria, in which John Ruskin’s literary fairytale The King of the Golden River was set. Finally, Montalbino (“white mountain”) while contrasting with our own Montenegro also reminds us of the snowy Alps, particularly Mont Blanc (Monte Bianco in Italy). We’re firmly in a region that is both Anglophone and yet central Europe, and High Norland brings to mind Switzerland, particularly when we have gnome-like creatures constructing a cuckoo-clock on one point in the story.
Charmain’s Great Uncle William is Wizard Norland. At the start of the tale he is due to disappear from the narrative: his bossy niece Sempronia tells us “He has a growth, you know, on his insides, and only the elves can help him. They have to carry him off to cure him…” (Less than two years after this novel appeared it was announced that Jones had lung cancer, from which she was to die in March 2011, and this detail in House of Many Ways is either very prescient or Jones knew early on that something was badly amiss.)
William’s illness has meant that Charmain is called upon to be his house-sitter, and she soon finds out that this dilapidated single-storey cottage surrounded by hydrangeas is not what it seems. The title of the book has a very biblical or Taoist ring to it, but it exactly describes what to expect: as with Dr Who’s Tardis time and space are distorted within it. As one exits a door, turning in a different direction or walking backwards through the portal leads to different passages, rooms or even the past. Labyrinthine scarcely begins to describe the House, and even with Peter’s coloured threads as clews (the name given to the ball of thread Ariadne gives to Theseus to follow out of the Minotaur’s maze) Charmain and Peter are always in danger of losing their way in the magical labyrinth.
Another theme that runs through the book is food — how to get it and how to deal with it. Charmain at first gets pastries and pasties from her parents before it turns out the house provides meals when asked, though not always in the form one expects. Later, hot buttered crumpets and cakes feature, heaven for the child in many of us.
Charmain enjoys her comfort food almost as much as she enjoys reading, another link back to Jones’ own childhood where she was literally starved of books, surviving on shared literary rations with her sisters and coping by making up her own stories. Reading matter in the wizard’s house includes spell books such as The Boke of Palimpsests (‘palimpsest’ describes a manuscript where previous writing has been erased to allow new text to be inserted). It is this Boke that leads Charmain into real trouble and precipitates much of the action of the tale.
The Lubbock is perhaps one of Jones’ most frightening creations. What to call it? An insect humanoid? A human insectoid? It’s almost as terrifying as the creature in David Cronenberg’s The Fly, and made more abhorrent by its ability to produce offspring called lubbockins via human hosts. The lubbockins are exploitative, a human characteristic that for Jones was a real bête noir.
Luckily, lighter relief is provided by kobolds, the traditional gnomes of Central European folklore, who mostly live underground and here make wooden objects (including the aforementioned cuckoo-clock and a sled which is later used by Matilda, the Witch of Montalbino — rather like the sleigh that Jadis, the White Witch of The Lion, the Witch and the Wardrobe, travels around in like the Snow Queen).
The final animal that Jones introduces into her story is “an extremely small and ragged white dog” called Waif. This dog, as we are told by Jones’ son Colin, is modelled on his own dog: Jones, herself a dog-lover, liked to feature them in many of her books, beginning with her early fantasy Dogsbody (1975). But Waif is more than just a dumb creature — she is magical, almost elemental, rather like a cross between the cat Mogget and the Disreputable Dog of Garth Nix’s Old Kingdom series (with which Jones was probably familiar). As Colin Burrows says, “My old dog Lily is effectively the hero of House of Many Ways,” and there is more to her than meets the eye.
We come now to the figures that link all these Ingary books, namely Wizard Howl Pendragon, Sophie Hatter and the fire demon Calcifer. Howl originally came from Wales (Jones’ own father was Welsh) where he was known as Howell Jenkins; but then, travelling through a magic portal, he became a wizard in Ingary, where he met Sophie Hatter. By the time of House of Many Ways Howl is nowhere in evidence (to the dismay of many young female fans) but a lisping and annoying child Twinkle is, along with Howl and Sophie’s noisy toddler Morgan.
Happily, Sophie is still the lovely bumptious individual we know from before — she “says a bad word” at some point, to which Twinkle says, “Naughty-naughty!” — chivvying her charges and fussing around, because somebody has to. And, of course, we have the famous perambulating Castle, powered by the fire demon, which unlike the marvellous creation of the Miyazaki film is black, foursquare and slightly sinister.
Jones is known for her endings, which are often criticised for being a little pat and where time appears to stand still while the principal players get to their positions. In Reflections Charlie Butler points to “the The Importance of Being Earnest-style multiple revelations of identity and relationship that feature in several of her final chapters” in which all is explained and loose ends firmly tied. Here I’m also reminded of the denouement of, say, a classic detective novel where the perpetrators are publicly confronted with their wickedness; and in fact before the chase arrives in the hall of the Royal Mansion somebody shouts “Not in the library!” and everyone veers away from the traditional venue where the detective unmasks the villain.
I started off by mentioning how Jones got inspiration from tiny, bright pictures which begged to be linked somehow to the opening and conclusion of a book, and I hope to have thrown some light on this process in House of Many Ways. Now may be a good point to mention the line drawings of Tim Stevens that adorn several of her fantasies and which appear here as chapter headings. Not everyone is good at imagining characters and settings, and Stevens’ illustrations help remedy that deficit with what appear to me as faithful and sympathetic interpretations. They have a classic look to them which perfectly captures the traditional character of many of Jones’ fantasies.
Repost of the October 2013 review, first 12 September 2014, now for #MarchMagics2026.
Still from Studio Ghibli film Howl’s Moving Castle. #dianaWynneJones #fantasy #HouseOfManyWays #HowlSeries #HowlSMovingCastle #Ingary #MarchMagics2026 -
Snapshots of the author
House of Many Ways by Diana Wynne Jones.
HarperCollins, 2008.Many of the pieces in Reflections, the collection of writings by and about Diana Wynne Jones, address the question authors often get asked: Where do you get your ideas? And of course there is no single simple answer. She does however offer this suggestion, in an item entitled ‘Some Hints on Writing’:
When I start writing a book, I know the beginning and what probably happens in the end, plus a tiny but extremely bright picture of something going on in the middle. Often this tiny picture is so different from the beginning that I get really excited trying to think how they got from the start to there. This is the way to get a story moving, because I can’t wait to find out.
With House of Many Ways I found it hard to force a plan onto a review, so adopting Jones’ modus operandi for this commentary seemed an appropriate way to go about it. The beginning has been taken care of, and the conclusion is virtually foregone, and now it’s time to move to the images that arise almost unbidden from a second reading of this fantasy. Many of them involve snapshots of the author herself.
Early 19th-century Styria.Diana was both dyslexic and left-handed, and both these issues come out in the story. One protagonist finds distinguishing left from right a problem and so ties coloured threads to his fingers, a strategy that doesn’t always work out. Another protagonist is shown plans of the different ways in the house but the first is “the most confusing map I ever saw in my life!” while the second, with “swirling lines on the piece of paper … seemed easier”. It struck me that drawing a mindmap with swirly lines or even collaging a mental scrapbook page of the themes and memes in House of Many Ways might be a good key to making sense of the very varied ideas she presents and help with trying to explain them (see the photomontage above).
Let’s start with the main protagonists. One is the young Charmain Baker (whose father is, naturally, a baker). Throughout the book she is constantly being called ‘Miss Charming’ — which is rather sweet, except that she isn’t always diplomatic or even sweet-tempered. Before we assume that this is a totally misplaced epithet we discover that she has natural magic ability, at last rendering ‘charming’ rather appropriate rather than a misnomer.
The other main protagonist (the one with directional issues) is Peter Regis, a wouldbe apprentice wizard with whom Charmain is determined not to get on. Charmain resents Peter’s intrusion into her new life at Great Uncle William’s cottage which she has been expected to house-sit, however weird a place it is. And she is determined not to let Peter get in the way of her new occupation of sorting through old documents for Adolphus X, the King of High Norland, in the library of the Royal Mansion.
You’ll have gathered that this is a world similar to but not the same as ours. The action takes place in place called High Norland, with neighbouring states called Montalbino, Strangia and Ingary. The latter country — with a name at once reminiscent of both Hungary and England — is south of High Norland and has given its name to a series featuring a wizard called Howl: previous titles in the trilogy were Howl’s Moving Castle and Castle in the Air. Strangia suggests both somewhere strange and the region straddling Austria and Slovenia called Styria, in which John Ruskin’s literary fairytale The King of the Golden River was set. Finally, Montalbino (“white mountain”) while contrasting with our own Montenegro also reminds us of the snowy Alps, particularly Mont Blanc (Monte Bianco in Italy). We’re firmly in a region that is both Anglophone and yet central Europe, and High Norland brings to mind Switzerland, particularly when we have gnome-like creatures constructing a cuckoo-clock on one point in the story.
Charmain’s Great Uncle William is Wizard Norland. At the start of the tale he is due to disappear from the narrative: his bossy niece Sempronia tells us “He has a growth, you know, on his insides, and only the elves can help him. They have to carry him off to cure him…” (Less than two years after this novel appeared it was announced that Jones had lung cancer, from which she was to die in March 2011, and this detail in House of Many Ways is either very prescient or Jones knew early on that something was badly amiss.)
William’s illness has meant that Charmain is called upon to be his house-sitter, and she soon finds out that this dilapidated single-storey cottage surrounded by hydrangeas is not what it seems. The title of the book has a very biblical or Taoist ring to it, but it exactly describes what to expect: as with Dr Who’s Tardis time and space are distorted within it. As one exits a door, turning in a different direction or walking backwards through the portal leads to different passages, rooms or even the past. Labyrinthine scarcely begins to describe the House, and even with Peter’s coloured threads as clews (the name given to the ball of thread Ariadne gives to Theseus to follow out of the Minotaur’s maze) Charmain and Peter are always in danger of losing their way in the magical labyrinth.
Another theme that runs through the book is food — how to get it and how to deal with it. Charmain at first gets pastries and pasties from her parents before it turns out the house provides meals when asked, though not always in the form one expects. Later, hot buttered crumpets and cakes feature, heaven for the child in many of us.
Charmain enjoys her comfort food almost as much as she enjoys reading, another link back to Jones’ own childhood where she was literally starved of books, surviving on shared literary rations with her sisters and coping by making up her own stories. Reading matter in the wizard’s house includes spell books such as The Boke of Palimpsests (‘palimpsest’ describes a manuscript where previous writing has been erased to allow new text to be inserted). It is this Boke that leads Charmain into real trouble and precipitates much of the action of the tale.
The Lubbock is perhaps one of Jones’ most frightening creations. What to call it? An insect humanoid? A human insectoid? It’s almost as terrifying as the creature in David Cronenberg’s The Fly, and made more abhorrent by its ability to produce offspring called lubbockins via human hosts. The lubbockins are exploitative, a human characteristic that for Jones was a real bête noir.
Luckily, lighter relief is provided by kobolds, the traditional gnomes of Central European folklore, who mostly live underground and here make wooden objects (including the aforementioned cuckoo-clock and a sled which is later used by Matilda, the Witch of Montalbino — rather like the sleigh that Jadis, the White Witch of The Lion, the Witch and the Wardrobe, travels around in like the Snow Queen).
The final animal that Jones introduces into her story is “an extremely small and ragged white dog” called Waif. This dog, as we are told by Jones’ son Colin, is modelled on his own dog: Jones, herself a dog-lover, liked to feature them in many of her books, beginning with her early fantasy Dogsbody (1975). But Waif is more than just a dumb creature — she is magical, almost elemental, rather like a cross between the cat Mogget and the Disreputable Dog of Garth Nix’s Old Kingdom series (with which Jones was probably familiar). As Colin Burrows says, “My old dog Lily is effectively the hero of House of Many Ways,” and there is more to her than meets the eye.
We come now to the figures that link all these Ingary books, namely Wizard Howl Pendragon, Sophie Hatter and the fire demon Calcifer. Howl originally came from Wales (Jones’ own father was Welsh) where he was known as Howell Jenkins; but then, travelling through a magic portal, he became a wizard in Ingary, where he met Sophie Hatter. By the time of House of Many Ways Howl is nowhere in evidence (to the dismay of many young female fans) but a lisping and annoying child Twinkle is, along with Howl and Sophie’s noisy toddler Morgan.
Happily, Sophie is still the lovely bumptious individual we know from before — she “says a bad word” at some point, to which Twinkle says, “Naughty-naughty!” — chivvying her charges and fussing around, because somebody has to. And, of course, we have the famous perambulating Castle, powered by the fire demon, which unlike the marvellous creation of the Miyazaki film is black, foursquare and slightly sinister.
Jones is known for her endings, which are often criticised for being a little pat and where time appears to stand still while the principal players get to their positions. In Reflections Charlie Butler points to “the The Importance of Being Earnest-style multiple revelations of identity and relationship that feature in several of her final chapters” in which all is explained and loose ends firmly tied. Here I’m also reminded of the denouement of, say, a classic detective novel where the perpetrators are publicly confronted with their wickedness; and in fact before the chase arrives in the hall of the Royal Mansion somebody shouts “Not in the library!” and everyone veers away from the traditional venue where the detective unmasks the villain.
I started off by mentioning how Jones got inspiration from tiny, bright pictures which begged to be linked somehow to the opening and conclusion of a book, and I hope to have thrown some light on this process in House of Many Ways. Now may be a good point to mention the line drawings of Tim Stevens that adorn several of her fantasies and which appear here as chapter headings. Not everyone is good at imagining characters and settings, and Stevens’ illustrations help remedy that deficit with what appear to me as faithful and sympathetic interpretations. They have a classic look to them which perfectly captures the traditional character of many of Jones’ fantasies.
Repost of the October 2013 review, first 12 September 2014, now for #MarchMagics2026.
Still from Studio Ghibli film Howl’s Moving Castle. #dianaWynneJones #fantasy #HouseOfManyWays #HowlSeries #HowlSMovingCastle #Ingary #MarchMagics2026 -
Our system is broken.
Our system was broken before Trump. He and his cronies are just stepping on the shattered pieces, crunching them into dust. For all their flaws, Democrats at least try to make things better. The Republican's latest epithet, DEI, is an example. Ask any Republican voter what those letters stand for, and they likely won't be able to tell you.
http://davidscottmoyer.com/2025/05/16/our-system-is-broken/
#DEI #FionaApple #DonMiguelRuiz #TheFourAgreements #MusicVideo #Communication
-
Our system is broken.
Our system was broken before Trump. He and his cronies are just stepping on the shattered pieces, crunching them into dust. For all their flaws, Democrats at least try to make things better. The Republican's latest epithet, DEI, is an example. Ask any Republican voter what those letters stand for, and they likely won't be able to tell you.
http://davidscottmoyer.com/2025/05/16/our-system-is-broken/
#DEI #FionaApple #DonMiguelRuiz #TheFourAgreements #MusicVideo #Communication
-
Our system is broken.
Our system was broken before Trump. He and his cronies are just stepping on the shattered pieces, crunching them into dust. For all their flaws, Democrats at least try to make things better. The Republican's latest epithet, DEI, is an example. Ask any Republican voter what those letters stand for, and they likely won't be able to tell you.
http://davidscottmoyer.com/2025/05/16/our-system-is-broken/
#DEI #FionaApple #DonMiguelRuiz #TheFourAgreements #MusicVideo #Communication
-
Our system is broken.
Our system was broken before Trump. He and his cronies are just stepping on the shattered pieces, crunching them into dust. For all their flaws, Democrats at least try to make things better. The Republican's latest epithet, DEI, is an example. Ask any Republican voter what those letters stand for, and they likely won't be able to tell you.
http://davidscottmoyer.com/2025/05/16/our-system-is-broken/
#DEI #FionaApple #DonMiguelRuiz #TheFourAgreements #MusicVideo #Communication
-
Good Morning!!
Today Judge Juan Merchan will give instructions to the jury in the Trump hush money case and then they will begin deliberations. Some experts are predicting there will be a verdict today. I kind of doubt that, but what do know? A decision could certainly come this week.
At The New York Times, William K. Rashbaum and Jonah E. Bromwich write: Judge’s Instructions Will Be a Road Map for Jury Weighing Trump’s Fate.
Justice Merchan will describe the legal meaning of the word “intent” and the concept of the presumption of innocence. He will remind the jurors that they pledged to set any biases aside against the former president before they were sworn in, and that Mr. Trump’s decision not to testify cannot be held against him.
Then, according to a person with knowledge of the instructions that Justice Merchan plans to deliver, he will explain the 34 charges of falsifying business records that Mr. Trump faces. It will likely be the most important guidance that the judge offers during the trial. And it is no simple task.
Judge Merchan
In New York, falsifying records is a misdemeanor, unless the documents were faked to hide another crime. The other crime, prosecutors say, was Mr. Trump’s 2016 violation of state election law that prohibited conspiring to aid a political campaign using “unlawful means.”
Those means, prosecutors argue, could include any of a menu of other crimes. And so each individual false-records charge that Mr. Trump faces contains within it multiple possible crimes that jurors must strive to understand.
The moment that the jurors begin to deliberate will mark the first time that the complicated case will be assessed not by judges or a parade of commentators, but by everyday New Yorkers. The group may be aided by the two jurors who are also lawyers — though neither appears to have criminal experience, and one said during jury selection that he knew “virtually nothing about criminal law.”
Marc F. Scholl, who served nearly 40 years in the district attorney’s office, noted that jury instructions are often difficult to follow, particularly given that, in New York, jurors are barred from keeping a copy of the guidance as they deliberate. And he said that defendants are often charged with several different crimes, requiring even more elaborate instructions.
Still, Mr. Scholl said, one point of complexity stood out: “Usually you don’t have this layering of these other crimes,” he said.
Justice Merchan, according to the person with knowledge of his legal instructions, will proceed through each of the 34 charges count by count, explaining to jurors what each requires prosecutors to have proved.
The knotty legal instructions were the product of intense argument between the prosecution and the defense, culminating in a hearing last week in which each side sought to persuade the judge to make minor edits that could have had a major impact.
Read more details about those arguments at the NYT link.
People who have been covering the trial inside the courtroom, eg, Harry Litman, have expressed concerns about one juror who appears to be sympathetic to the defense. This is from Marc Caputo at The Bulwark: Trump Legal Team Pins Hopes on Hung Jury.
AS THE JURORS FILED into the Manhattan courtroom, day after day, almost none of them would look at Donald Trump. It’s one of those unsettling signs for defendants and their lawyers who worry about a guilty verdict.
Those worries have only grown in Trump’s orbit as allies have all but abandoned hope of acquittal. Even Trump, though he railed Monday on social media about the judge and the case, has privately sounded a note of resignation.
Trump sleeping in court
“Whatever happens happens,” Trump told one person recently. “I have no control.”
But there is one clear hope MAGAville clings to: a hung jury that results in a mistrial.
If that happens, Trump allies suspect that it will be chiefly due to the one juror who has made friendly eye contact with Trump from time to time as the jury enters the room and walks right past the defense table.
“There are eight people on that jury who definitely hate Trump. If there’s one person who doesn’t, it’s [this] juror,” said one court attendee who, like others for this story, relayed their observations on condition of anonymity to The Bulwark, which is also protecting the privacy and safety of the juror in question by not disclosing identifying details.
As the trial has progressed since April 15, these sources relate, this juror has appeared to nod along in seeming accordance with the defense at times. On other occasions, the juror has seemingly reacted favorably to and made eye contact with Trump’s congressional surrogates who began joining him in court in recent weeks.
I hope they’re mistaken. All we need it to have this end in a mistrial.
You might also be interested in this piece by Liz Dye at Public Notice. She provides an explanatory primer for people who haven’t followed the day-to-day action in the trial: What you need to know about Trump’s trial before the verdict.
From Charles R. Davis at Salon, a little schadenfreude: “Full panic mode”: Experts say Trump mad he’s “finally being treated like any other defendant.”
Donald Trump is not behaving like someone who expects to be found “not guilty.” In a series of posts over the Memorial Day weekend, the former president deviated from the norm of honoring soldiers who fought and died for the United States by instead posting on his website, Truth Social, about how unfair it is that standard courtroom procedures are not being bent in his favor.
Posting in all caps, Trump – facing 34 felony counts of falsifying business records to cover up a hush payment to an adult film star – on Monday raged against the order in which closing arguments will be made in his Manhattan trial. It is a “big advantage,” he said, and “very unfair” that the prosecution gets to go second. “Why can’t the defense go last?”
Whether he knows this and is just riling up gullible followers or if he simply never retained the information his defense counsel could surely provide, Politico’s Kyle Cheney noted that Trump is here complaining about a fact of life “in virtually every criminal court.” Per Cheney, “Prosecutors typically get a rebuttal during closings because [the] burden or proof lies with them, not [the] defense.”
Trump prosecutor Joshua Steinglass gives final arguments
Trump, then, is complaining about an order that exists because of the far higher standard that prosecutors must meet. The defense only needs to sow doubt about the government’s case, and it really only needs one juror to entertain the former president’s argument that the case is a “witch hunt”; the prosecution must show that its case is not just probable, but prove it beyond a reasonable doubt.
“Trump is finally being treated like every other defendant,” said Joyce Vance, a former U.S. attorney who has been following his hush money trial. “[R]eally,” she argued, “that’s what he objects to.”
In another weekend rant about the case, Trump again opined that it was wrong to bring a case against him while he’s running for president. If there was evidence of a crime, he wrote, referring to himself in the third person, “it should have been brought seven years ago, not in the middle of his Campaign for President.” [….]
Since Trump is no longer president, and can no longer pick those charged with enforcing the law, he is now just another man who must stand before and be judged by it. For a man who has long enjoyed impunity, it is intolerable. And while he may be able to evade financial penalties, at least for a time, in this case his actual liberty is at stake: it is not inconceivable that, when closing arguments conclude this week, jurors return a guilty verdict and Judge Juan Merchan decides that this particular defendant deserves some time behind bars.
George Conway, a conservative attorney turned harsh critic of the former president, believes Trump is reacting to his loss of control. “The defendant,” he posted on Threads, “is clearly in full panic mode.”
A couple of articles about the stalled Mar-a-Lago stolen documents case:
David Kurtz at Talking Points Memo: Aileen Cannon Threatens To Sanction MAL Prosecutors.
In the up-is-down world of the Mar-a-Lago classified documents case, prosecutors attempted to stanch Donald Trump’s vitriolic attacks on federal law enforcement – the kind of thing criminal defendants would not typically be allowed to engage in while on pre-trial release – and wound up themselves threatened with sanctions by the judge.
As Morning Memo recounted yesterday, the move by prosecutors to modify the terms of Trump’s pre-trial release came late Friday before the Memorial Day weekend and prompted a heated response from Trump.
U.S. District Judge Aileen Cannon weighed in Monday, denying the prosecution motion, chastising them for playing loose with the local court rules, and threatening to impose sanctions on them in the future. On small bright spot, if you can call it that, is that she didn’t accede to Trump’s request to sanction the prosecution team immediately. Cannon’s denial was without prejudice, meaning prosecutors can refile their motion:
Cannon insisted that prosecutors had not sufficiently conferred with the defense team before filing and ordered that all future filings contain a statement of no more than 200 words by the opposing side of its position.
In a normal case, I’d applaud a judge keeping a tight leash on the prosecution team. But we’re in such uncharted territory here that you can’t attribute this to i-dotting or t-crossing by Cannon. Given any chance to chide the prosecution, she takes it. Given deplorable behavior by Trump that would normally never fly, she finds herself mute again and again.
The judge’s routine has become so predictable that even the analysis by legal observers bakes in a certain Cannon quotient: Anything that DOJ does that even arguably deviates from the rules leaves an opening that Cannon will take. So DOJ ends up graded on a weird Cannon curve while the Trump’s dangerous and unprecedented conduct gets set to the side.
One pattern emerging with Cannon is that when prosecutors implore her to assert herself and take more control over the case like so many judges do, she retreats to treating everything as an adversarial contest that she merely referees. But when it’s a matter of importance to Trump, she regularly asserts herself, going so far as to raise issues on her own. It’s another way in her handling of the case is imbalanced to Trump’s advantage.
At The New York Times, Alan Feuer has an piece about Judge Cannon: Emerging Portrait of Judge in Trump Documents Case: Prepared, Prickly and Slow.
…[A]t seven public hearings over more than 10 months, Judge Cannon has left an increasingly detailed record of her decision-making skills and judicial temperament.
The portrait that has emerged so far is that of an industrious but inexperienced and often insecure judge whose reluctance to rule decisively even on minor matters has permitted one of the country’s most important criminal cases to become bogged down in a logjam of unresolved issues.
She rarely issues rulings that explain her thinking in a way that might reveal her legal influences or any guiding philosophy. And that has made the hearings, which have taken place in Federal District Court in Fort Pierce, Fla., all the more important in assessing her management of the case.
Aileen Cannon in court in stolen documents case
Regardless of her motives, Judge Cannon has effectively imperiled the future of a criminal prosecution that once seemed the most straightforward of the four Mr. Trump is facing.
She has largely accomplished this by granting a serious hearing to almost every issue — no matter how far-fetched — that Mr. Trump’s lawyers have raised, playing directly into the former president’s strategy of delaying the case from reaching trial.
It appears increasingly likely that the documents case will not go to a jury before Election Day, and that the only trial that Mr. Trump will face this year will be the one now ending in Manhattan, where jurors are expected to begin deliberating on Wednesday over whether he falsified business records in connection with hush money payments to a porn star.
Still, the next few weeks will bring Judge Cannon’s handling of the case in Florida into even sharper focus.
She may soon rule on a request by Jack Smith, the special counsel overseeing the two federal prosecutions of the former president, to bar Mr. Trump from making public statements that could endanger federal agents working on the documents case. That move, which the judge denied this week on procedural grounds, came in response to the former president’s baseless assertion that the F.B.I. was authorized to use deadly force against him during the search two years ago of Mar-a-Lago, his private club and residence in Florida.
After a hearing in June, Judge Cannon will also have to make a significant decision on whether to give Mr. Trump’s lawyers access to communications between Mr. Smith’s team and top national security officials. The lawyers made that request hoping to bolster their contention that the so-called deep state colluded with the Biden administration to bring the charges.
Read the rest at the NYT.
Yesterday, New York Times reporter Jodi Kantor had another update on the strange story of the Alitos and their protest flags: The Alitos, the Neighborhood Clash and the Upside-Down Flag.
The police in Fairfax County, Va., received an unusual phone call on Feb. 15, 2021. A young couple claimed they were being harassed by the wife of a Supreme Court justice.
“Somebody in a position of authority needs to talk to her and make her stop,” said the 36-year-old man making the complaint, according to a recording of the call reviewed by The New York Times. The officer on the line responded that there was little the police could do: Yelling was not a crime.
The couple placed the call after a series of encounters with Martha-Ann Alito, wife of Justice Samuel A. Alito Jr., that had gone from uneasy to ugly. That day, Emily Baden, whose boyfriend (now husband) contacted the police, had traded accusations with Mrs. Alito, who lived down the street. In a recent interview, Ms. Baden admitted to calling her a lewd epithet.
The clash between the wife of a conservative Supreme Court justice and the couple, who were in their 30s, liberal and proud of it, played out over months on a bucolic block in Alexandria. It was the kind of shouting match among private citizens, at the height of tensions over the 2020 election, that might have happened in any mixed political community in America. But three years later, that neighborhood spat — which both sides said began over an anti-Trump sign — has taken on far greater proportions.
Interview with Ms. Baden:
Amid the controversy, Ms. Baden said she was surprised to find herself playing a central role in Justice Alito’s account about a war of words, political signsand a flag. “I never saw the upside-down flag, never heard about it,” she said.
The Alitos
To better understand the clash, The Times interviewed Ms. Baden, her mother and her husband, as well as other neighbors, and reviewed the texts that Ms. Baden and her husband sent to friends after the episodes. Justice Alito, who did not respond to questions for this article,has in recent weeks given his own explanation of what happened.
There are some differences: For instance, the justice told Fox News that his wife hoisted the flag in response to Ms. Baden’s vulgar insult. A text message and the police call — corroborated by Fairfax County authorities — indicate, however, that the name-calling took place on Feb. 15, weeks after the inverted flag was taken down….
The justice later elaborated in an interview with Fox News, saying that in January 2021 a neighbor on the block displayed a vulgar anti-Trump sign, near where children wait for the school bus. Mrs. Alito complained to the neighbor. “Things escalated and the neighbor put up a sign personally addressing Mrs. Alito and blaming her for the Jan 6th attacks,” tweeted the Fox News reporter who interviewed the justice.
While the Alitos were on a neighborhood walk, “there were words between Mrs. Alito and a male at the home with the sign,” the network reported. The justice said the man used “vulgar language, ‘including the C-word,’” After that exchange, “Mrs. Alito was distraught and hung the flag upside-down,” the Fox reporter relayed.
But in the Baden family’s version, the justice’s wife initiated the conflict. “Aside from putting up a sign, we did not begin or instigate any of these confrontations,” Ms. Baden said later.
During the Covid crisis, Baden moved in with Baden’s mother Barbara, who lives in the Alito’s neighborhood. Her boyfriend, who grew up in the area also moved back home.
The couple participated in Black Lives Matter protests in Washington, propped up Biden-Harris signs, and on the Saturday in November when the election was called, whooped and danced in the streets of the nation’s capital. When they got home, they displayed a political sign they had made from torn-up Amazon boxes, saying “BYE DON” on one side and “Fuck Trump” on the other….
Shortly after Christmas, as Emily Baden was with her dog in her front yard, an older woman approached and thanked her for taking down the sign, which had merely blown down. Ms. Baden realized that the woman was Martha-Ann Alito. The sign was offensive, Mrs. Alito said, according to both the justice’s account and a text message from Ms. Baden to her boyfriend.
Martha-Ann Alito and Emily Baden
Ms. Baden told her the sign would stay up, she recalled in the interview. The family was taken aback: Though the Badens and the Alitos lived just a short distance apart, Barbara Baden couldn’t recall ever communicating with the justice’s wife beyond a neighborly wave. In the interview, Emily Baden could not remember whether she put the signs up again.
Then came Jan. 6. Rocked by the violence and threat to democracy, the couple soon put up new signs in their yard, saying “Trump Is a Fascist” and “You Are Complicit.” Emily Baden said in interviews that the second sign was not directed at the Alitos, but at Republicans generally, especially those who weren’t condemning the Capitol attack.
Soon afterward, her mother took them down, out of safety concerns. “Look what these people can do,” she said in an interview, recalling her fears at the time about the mob that had stormed the Capitol. “I do not want to mark my house.”
It’s not clear whether Mrs. Alito saw those signs, but the day after the Capitol riot, as the couple parked in front of their home, she pulled up in her car, they said. She lingered there, glaring, for a long moment, recalled the couple, who texted their friends about the encounter.
In another incident, the young couple drove by the Alito’s house.
Mrs. Alito happened to be standing outside. According to interviews with Ms. Baden and her husband, as well as messages they sent to friends at the time, Mrs. Alito ran toward their car and yelled something they did not understand. The couple continued driving, they said, and as they passed the Alito home again to exit the cul-de-sac, Mrs. Alito appeared to spit toward the vehicle.
The couple, still shaken by the Capitol riot, said the encounter left them feeling uneasy and outmatched by the wife of someone so powerful.
Mrs. Alito seems a bit unhinged.
One more from Josh Dawsey at The Washington Post: Trump makes sweeping promises to donors on audacious fundraising tour.
When Donald Trump met some of the country’s top donors at a luxurious New York hotel earlier this month, he told the group that a businessman had recently offered $1 million to his presidential effort and wanted to have lunch.
“I’m not having lunch,” Trump said he responded, according to donors who attended. “You’ve got to make it $25 million.”
Another businessman, he said, had traditionally given $2 million to $3 million to Republicans. Instead, he said he told the donor that he wanted a $25 million or $50 million contribution or he would not be “very happy.”
As he closed his pitch at the Pierre Hotel, Trump explained to the group why it was in their interest to cut large checks. If he was not put back in office, taxes would go up for them under President Biden, who vows to let Trump-era tax cuts on the wealthy and corporations expire at the end of 2025.
“The tax cuts all expire for wealthy and poor and middle-income and everything else, but they expire in another seven months and he’s not going to renew them, which means taxes are going to go up by four times,” Trump said, exaggerating the size of the cuts. “You’re going to have the biggest tax increase in history.”
Seconds after promising the tax cuts, Trump made his pitch explicit. “So whatever you guys can do, I appreciate it,” he said.
The remarks are just one example of a series of audacious requests by Trump for big-money contributions in recent months, according to 11 donors, advisers and others close to the former president, who spoke on the condition of anonymity to describe his fundraising. The pleas for millions in donations come as the presumptive Republican nominee seeks to close a cash gap with Biden and to pay for costly legal bills in his four criminal indictments.
Trump is completely corrupt. So what else is new? Read the whole thing at the WaPo.
That’s it for me today. I hope I’ve given you something worth reading while we wait for the verdict.
https://skydancingblog.com/2024/05/29/wednesday-reads-59/
#EmilyBaden #hungJury #JudgeAileenCannon #JudgeJuanMerchan #JudgeSamuelAlito #MarALagoDocumentsCase #MarthaAnnAlito #TrumpCorruption #TrumpHushMoneyCase
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Airway Epithelial Innate Immunity
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Final #MathOnco keynote at #SMB2025 @smbmathbiology.bsky.social with Mohit K. Jolly taling about Epithelial to Messenchymal Plasticity (EMP). Great talk and of great importance not just for #metastasis (the context in which it is usually studied) but also #treatmentResistance
