Tuesday, September 15, 2026

Fire Serpent and Water Mountain III

 Previous

Chapter Three: The Road Up the Mountain in The City of the Gods

Tera had not quite yet learned to temper her expectations. She had expected marvelous sights beyond the ken of Vilim, but the road the wagon slowly but steadily went along was not fundamentally different from any mountain road. The road itself was well made, certainly, but it functioned like any road, and it looked like any road. Along the road grew red clover, yellow and white yarrow, and pinkish-purple thyme, different subspecies but very obviously in the same species as the similar flowers that grew along the roads up to and down from the Hall of the Fire Serpent. The elder trees did seem older and more robust than the similar trees back home, but that was all. The stones by the road were stones still, the dust was dust still. The only major difference was the sky. Davir and Mizur were lands famous for snow and rain, respectively, but the sky here was open and clear and startlingly blue.

The land was gently hilly, although it became slowly steeper as they went. Up and around the road turned, curving this way and curving that way, and for a while it followed a small creek. In terms of size it was not impressive, but the creek was cheerfully oblivious to this and went charmingly along its pre-set path. But it was here that Tera first saw a difference. A creek is not merely a flowing of water but of possibilities, and, just as the gods were more rounded in possibilities than Vilim, so too this creek was more rounded, less possibility-flat, than other creeks she had seen. It was subtle, but also startling. It was only an ordinary creek and yet was an ordinary creek in The City of the Gods, and so many Davnan interacting with it in subtle ways all along its path made possibilities far beyond the reach of the creek itself draw near, and become nearly, not quite but nearly, available to it, as if this ordinary creek needed only a tiny little divine push to do something no other creek could.

The flowers were too transient and small to be much affected by the presence of so many gods in one area; the stones and the sky were too enduring and vast. But the creek was at something like the balance point, a constant and yet transient thing, small yet extensive, and the result was that it popped out from everything else. It was as if you saw a painting with trees and stones and a little waterfall, but when you drew nearer, you could see that the trees and stones were painted, yes, but the waterfall was a real waterfall coming out of the painting.

"That," said Uncle Llew, "is Nanmonyd Creek, which is practically a member of our family. Our father used to take your mother and I to pan for gold in it, although that the place was much farther down. In early spring it rushes and leaps, but it gets quite lazy in the summer and autumn. It never quite dries up, and never quite freezes, though. It is also unusual in going the wrong way. Almost all the waters in these mountains go out to Great Lake, and thence eventually to the Western Bay, or else through Abernant Lake and out in a northeasternly direction to North Sea, but this little creek, as if it had a mind of its own, happens to fall down in the opposite direction, south toward the Eglur River, which comes out of an entirely different mountain range. "

Eventually they came to a forking path. "That path," he said, "if you follow it long enough, will eventually fork again, with one path curving a long way around to Great Lake Harbor and the other taking a very winding path out to North Landing on the other side of the mountains. But we are turning here and heading around and then up Mount Vanyd. Brickanbreck, our family hall almost since the Landing Days, is quite far up. Most of Vanyd and the immediately surrounding area belongs to the Embiadwe and the Muriaki." He stopped, and his face grew darker and harder to read. "And I suppose these days to some of the Wenovar, too, since Manawydan and Rhiannon are out near Abernant."

He was quiet and stormy-looking and thoughtful for a while after that, as they slowly went around and up Mount Vanyd. The trees became more evergreen and more ancient-looking as the road slowly became steeper. On one side of the road, the mountain went rockily upward; on the other side, it went plummeting downward. Uncle Llew's mood slowly improved and he eventually began making occasional comments, pointing out places where he had climbed the rockface or that various minor family events had happened. The scenery was lovely, but very much what you would expect. Here, however, the road itself seemed more than a road should be. In some manner that was difficult to pin down, it became far more obviously a road made by gods than the road had hitherto been. Even to Tera's un-Enrolled eyes, unassisted by Oracle, this road had clearly had its possibilities shaped by Davnan hands. Yet it also did not seem artificial in the way even the artifacts of the gods usually did. It had not had its possibilities shoved into a particular direction, but shaped, cultivated, as if it had been a living thing and had been trained to one specific future, its future, a future in which it could only endure and never fail, in which no weather or normal action could ever make it stop being a road. It was not a road, really; it was The Road, the thing that could not but be road.

Tera fumblingly tried to explain what she saw, in these and other words, to Llew. He nodded slowly, with a smile, "That is good. Not everyone can see it quite so well. This road is one of the oldest roads in The City, built in the early days of First Landing. According to family history, it was handbuilt by Cumor Nine-Mury Forest Deer, one of your answers. It has never needed repair. Even Davnan roads get buried by dust over centuries, but the dust just blows off this one. It is always safe and always clear. They could build them in those days." 

This reflection, when spoken out loud, seemed suddenly to make Llew moody again, and he said nothing more for a while, until he pointed out something like a spire of rock down below, rising above the trees. "That rock is The Face. They say that this side of it, despite being an entirely natural formation, used to look exactly like a Davnan face. It was said to be a sign that we belong here, although a sign from what or from whom no one would ever say. When I was a boy, though, it was starting to look rather shabby, and there was talk of shifting its possibilities back to the way it had been said to be. That turned into a big argument over whether it was an appropriate use of the Vault of The City. It was still going on when I left, but as you can see, it does not look like any kind of face at all now. Nothing was done and it has just been weathering for almost a thousand years, wearing down and wearing away." Moody again.

Tera could appreciate that coming back to his old haunts might have this effect, so she simply endured it and tried to enjoy the scene, the piney air, the picturesque ruggedness of the rocks.

It was starting to get warm, though, and she was starting to wish they were already there, when they came to a place where The Road went on around the mountain, but a path moved off and more directly up it. At the crossroads great, almost flat, slanted rock heaved up.

"Ah," said Uncle Llew, suddenly casting off his moodiness and exchanging it for delight. "The Starwatching Rock! Still almost exactly as it was. This is the beginning of the family estate. And I'll give the Embiadwe credit for having the sense and taste to recognize that the Starwatching Rock was one of the things on the estate that needed to be preserved properly. "

From this, Tera expected the house to be soon in sight, but in fact this just began a long, slow zigzagging up a switchback trail on an increasingly steep slope. It was perhaps half an hour before any buildings at all came into sight -- various sheds and servant's course. One particularly beautiful circular building Llew pointed out as the 'Brickanbreck Platform'. Only on the path turning at the Platform did the actual hall come into view.

Brickanbreck was built directly into a sheer cliff face across a deep chasm from the Platform, across which one long glittering arc of a bridge spanned. A short distance to the left side of the bridge was a small waterfall pouring slowly out of a long, thin crack in the rock and then falling in glittering drops and streams to the distant floor below. A short distance to the right was a tower graceful arching out and upward from the cliff wall. The bridge leaped out to a large ledge, about twice the length of a man's height deep and about three times that wide, right before a doorway in the wall. The doors were very wide and tall, and in their ancient wood, glittering like rubies and topazes, was inset the glyph of the Fire Serpent.

They went across the bridge, and as Llew's foot stepped on it, the doors opened, and they went inside, wagon and all. The great arch of the doorway was quite deep, almost a short tunnel, and then there was another set of great doors that swung open into the welcoming hall, which was a large room several times the size of that at Fire Serpent Hall.  Great tapestries with Llew's emblem-name were hung at one end. As he helped Tera down from the wagon, Vilim servants entered the hall, and Llew set them to collecting the baggage before sending the wagon away.

"We should have something to eat," said Llew, and one of the servants showed them to the high table in the large dining hall, where they were served slices of chicken simmered in clarified butter from a sideboard, which Tera thought was quite good for Vilim food, and a tea of hibiscus and chamomile. Llew took one drink of the latter and made a face, but Tera thought it quite refreshing. All in all, it was the best Vilim meal she had ever tasted, and she noted that, despite the face, Uncle Llew drank two large cups of the tea. After the meal, Llew went down to the workshops to see their condition, and Tera was free to explore the place.

It was all quite strange. Everything was well lit, although in most rooms there were no windows, and she usually could not tell the source of the light. Brickanbreck was also much more labyrinthine than the Hall of the Fire Serpent, and there were many rooms that could only be reached through a long succession of other rooms. There was a small room near the welcoming hall in which a great clock mechanism one wall ticked away the time. She found a large room full of shelves, which she assumed was intended to be a library, but none of the shelves had any books of any kind on them. She did find, in one corner of the library, a nook with cabinets with glass-like doors, which clearly contained scrolls and loose parchments of some kind. The possibilities available to the cabinets were very strange, and Tera did not fully understand them. She supposed that the cabinets had been designed to preserve what was inside them. Perhaps also they were designed to prevent theft, because the cabinets were simply impossible to open. Usually physical shiftings like this could be overcome by physical means, if you applied enough power or force, but that required a path of available possibilities. The possibilities of being opened or broken had been so far removed from these cabinets that Tera could not, however much she strained, see where they had gone, much less how to make them available again. 

Off the library there was a small room that Tera assumed was supposed to be a study of some kind, but it was empty except for a large, very stylized painting on one wall of a very Llew-like person with a smile that was almost mischievous. A small symbol on the signet ring on his hand turned out to be the emblem-name 'Forest Deer', so this was probably be the Cumor Nine-Mury who had built The Road.

What she had never really been prepared for was the sheer vastness of the place. Tera had lived all her life in large buildings, first the palace in Davir and then Fire Serpent Hall in Mizur, but both of those places seemed small and cozy compared to Brickanbreck. She went through room after room, some furnished but most empty, upstairs several levels and downstairs even more, and nothing ever seemed to come to an end. She was not afraid being lost. As a goddess, doorways were to her not merely doorways but possibilities of reaching other places, possibilities that she, unlike the Vilim, could directly read, if she tried. Yet here too there was something strange, because not all of the possibilities of the doorways were stable. This was another puzzle that Tera could not figure out. She would look at a doorway once and see that she could get back to the library from it, but then look at the same doorway again and see that there was no way through that doorway to get to the library. Perhaps that could be done by completely sealing doors, but the only person in all of Brickanbreck who could have done that was Uncle Llew, away down in the workshops. She also could not imagine what possible reason he would have for randomly sealing and unsealing doors. The only other solution she could think up was even more unimaginable, namely, that the rooms of Brickanbreck occasionally changed which other rooms they adjoined.

Eventually she tired all of this exploration and began to make her way to her bedroom for a late afternoon nap. On some level below -- with a disconcerting strangeness similar to that which infected the doorways, a room would seem in one direction to be one level below another and in the opposite direction seem to be two levels below it -- she discovered with interest a large, long room, filled with looms, and sewing equipment of various kinds, some of which she had never even seen before.

Growing up as Goddess-Princess of Davir, Tera had been taught the basics of many textile arts, since that was one of the things Princesses of Davir were expected to do, and she had always made her own clothes, since if she had not, she would have had to wear the sorts of things Vilim make. Their clothes were never quite right. But whoever had stocked this room knew the crafts and arts of cloth to a degree so far beyond Tera's own knowledge that it was practically wizardry.

She explored the weaving room for a while, and then went up to her bedroom. It was about the same size as her bedroom back home, but much more nicely furnished. It had no windows, but one of the doors connected to the tower she had seen from the outside. It had several excellent windows from which she could look across the chasm and down the mountain. It was later than she had thought, as the the light across the trees was that of the setting sun. She went all the way up the tower, looking out each window, with the topmost views being dizzyingly high, until eventually she reached a level she could not go beyond, since there was no further stair. There was a ladder to a door in the ceiling, but that door was sealed in exactly the same way the cabinets in the library had been.

Tera went back down and began to unpack, and she was still at it when Uncle Llew came by.

"I was thinking of going down to the Starwatching Rock to see the stars. Would you like to come?"

She did, so they went down. It was much faster going down than it had been coming back up. It was also all in the dark but, being Davnan, neither were likely to stumble. Uncle Llew did have a small orb that, when twisted, gave off a softly glowing light, but they did not need it going down. They also had soft blankets that they laid down after they had clambered up the Rock. 

They laid back, looking at the stars for a long while. It was a good night for star-viewing, clean and clear. 

Finally Llew said, "Your mother and I used to come down here all the time. When I was a boy, I would look up at the skies, and it seemed like infinite freedom. A universe of possibilities beyond imagining. I suppose it never stopped being that, but later it always seemed like looking at the stars is looking at freedom from behind prison bars. A universe of possibilities that are not available and can never be reached."

"But we came from the stars," said Tera. "That was what mother always said. We sailed the seas of the heavens from star to star to star."

"Yes," said Uncle Llew. "Our people once lived among the stars. That much of our history is known."

"And we came to this world in ships from the stars. They say we were a traveling folk until we discovered the Vilim, a sad and desperate people, and we took pity on them. We landed and became their gods and gave them the ways of the gods."

There was a palpable pause. "Did your mother tell you that?" Llew asked in a cautious tone.

"No," said Tera, "it was in one of the books you had me read. I forget which."

"Hmmm," said Uncle Llew. "Well, it is not quite right, but we did indeed land our ship at First Landing and make ourselves gods of the Vilim. There was only one, whose name was The City of the Gods, although there was a smaller survey ship attached to it that ended up at North Landing. The ship was wholly dismantled, though, as was the survey ship. The Oracle, the Engine, the Vaults, the essential elements of the Platform network -- they are all repurposed parts of the ship. We do not know how to make it again." He reached up his hand as if to grasp the stars, and closed his hand. "We sailed the heavens once, but now they are closed to us." He let his fist drop to his chest.

They lay there a long while, looking up at the stars, occasionally talking of this and that, and then, somewhere after midnight, went back up to Brickanbreck.


to be continued

Sunday, September 13, 2026

Fortnightly Book, September 13

 Some friends recently gave me Anthony Powell's series of books, A Dance to the Music of Time. So the next fortnightly book will be the First Movement, which consists of three novels:

A Question of Upbringing

A Buyer's Market

The Acceptance World

The story of A Dance to the Music of Time opens in about 1921 and ends in about 1971. A Question of Upbringing (originally published in 1951) goes from about 1921 to 1924, A Buyer's Market (published in 1952) occurs around 1928, and The Acceptance World (published in 1955) is from 1931 to about 1934. Together they cover the life of Nick Jenkins and his closest friends in Britain from their school days, through university, into their early career.

The entire sequence gets its name from a painting by the seventeenth-century painters, Nicolas Poussin:

The dance to the music of time c. 1640

Beyond knowing that the series had some very favorable critical reception and a few very, very general things about the story, I know very little about what to expect, so we will see how it goes.

Saturday, September 12, 2026

J.-K. Huysmans, The Oblate

 Introduction

Opening Passage:

For more than eighteeen months now, Durtal had been living in Val-des-Saints. Tired of Chartres, where he had provisionally settled, and plagued by desultory longings for the cloister, he'd left for the abbey of Solesmes.

Recommended to the head of the monastery by Abbé Plomb, one of the curates at Chartres who had known his reverence a number of years, Durtal had been cordially received and had stayed at the monastery on several occasions for more than a fortnight, but he always came back more ill at ease, more uncertain than before. He would meet up again joyfully with his old friends, Abbé Gévresin and his housekeeper, Madame Bavoil; he would return to his lodgings with a sigh of relief, and then the same thing would happen: little by little he was seized again by memories of the conventual life at Solesmes, so utterly different from that which he'd experienced at La Trappe. (p. 23)

Summary: His imagination captured by the Benedictine work with plainchant at Solesmes, Durtal is convinced by a Benedictine monk, Dom Felletin, to try smoe time at Val-des-Saints, and settles in so well that he begins to consider becoming an oblate. The oblature is path for those who wish to participate in monastic life with the monks but who for one reason or other require a life that overlaps more with the world than a monk's life; althought, beyond that, exactly what an oblate is, or should be, is not always clear (a recurring theme in the book is discussion of various historical forms the oblature has taken). 

Val-des-Saints is not perfect. Durtal is really in many ways a city boy so this small-town provincial life occasionally grates on him. The town is also in a bit of a slow-motion crisis. As a monastic town, it's very difficult to be a parish priest -- you are always having to navigate the monastery having at least as much, and sometimes more, authority and influence than you do, which is a problem because in practice you are always having to mediate, if you can, between the abbot and the bishop. The compromise that has been temporarily accepted as Durtal settles down there is that the monastery is providing all the priestly functions for the parish, including its pastor, until the bishop can find a suitable secular priest. This however, causes tensions in another directions; a monk as parish pastor is very good at many things, but being part of the social life of the town is practically impossible. In particular, the local gentry are pushing hard to have him replaced with a priest they can invite to dinners and the like. For Durtal, however, it means an excellent context. This is especially true as he makes friends with the monks, with Mademoiselle de Garambois, a fellow oblate, and her uncle Monsieur Lampre, a crotchety curmudgeon of a bachelor who has a heart of gold, an enthusiasm for collecting illuminated prayer books, and a complaining but constant support for the Benedictines. When his friend Madame Bavoil comes to stay with him, that only makes it better.

Inevitably, there are clouds on the horizon. The bishop eventually selects a parish priest, Father Barbenton, who immediately begins a power struggle with the monastery, and, to Durtal's astonished horror, decides to do so by picking on plainchant, substituting hymns set to the music of popular showtunes. The local gentry, at first relieved finally to have a priest who can participate in their social life, but begin to be less enthusiastic when they come up against one of the perpetual problems of parish laity, the fact that all the things they want their parish church to do cost time and money. When the parish activities had been part of the work of the monastery, the monastery (which like Benedictine monasteries generally has its own income as well as donations from visitors) had diverted part of its funds to maintaining parish needs. Now that the monastery is no longer in charge of the parish, the monastery is no longer paying for parish resources, and things that were being treated by the locals as free turn out to require funds that can only come from them. It's the old story: Everybody takes for granted good things for which they don't have to pay; but when they have to pay, everybody is also sure that someone else is better positioned to pay for those good things than they are. This does not work to the favor of the monks; the monastery seems to some of the locals to be sitting on a lot of funds, and that they might need such things for the complicated work and many charitable requirements of monastic life is not the sort of thing that the locals would consider.

Far more seriously than the local tensions is the impending Law of Associations, which will strip religious institutions of a number of their protections and require of them things like lists of their members and their personal information and a complete inventory of all the property of the monastery (not always an easy thing when you are a several-centuries-old monastery). The monks and a few of the shrewder locals realize immediately what that means -- the state can only tax what it can see, and it is trying to measure how much stored wealth is available to be skimmed. Up to the very passing of the bill, the monks are hoping that it will go away. When it is passed, it is like a thunderbolt into the city. Religious institutions across France have to assess their options. For monasteries in particular, one of the problems is that the Law of Associations in effect treats bishops as the primary relevant authorities even when canon law does not. A Benedictine monastery, like that at Val-des-Saints, will no longer have its monastic independence if it stays, with the danger of continual infringements on its customs and traditions. The abbot at Val-des-Saints decides that their only real option is to move to Belgium. But what is a monastic town without a monastery? Not much. The monastery, of course, brought in tourists; it also brought in donations which, while paid to the monastery, eventually in one way or another circulated into the local community. All of that begins to dry up almost immediately.

As for Durtal, he looks around him at French Catholics, and he sees little room for hope. French Catholics are mostly supinely passive beneath the law. They will not fight for the things they are losing. Durtal had had a bit of a daydream of a thriving French Catholic community centered on a Benedictine monastery as a great center of religious art of all kinds, taking the success of the Solesmes community and expanding it to all other arts. But French Catholics are apparently willing to accept showtune-hymns and sentimentalist kitsch. Good taste is not necessary for faith or religion, but bad taste weakens the Church. And whether it is cause, effect, or correlate of this, French Catholics are also willing to accept not fighting for the things that have been built over long years. Many of the monks think the Law of Associations is a temporary thing; but Durtal is not so sure. So he returns to Paris with his books, not knowing what the future will be. His hopes are largely in shambles, although he recognizes that many others have it worse than he does in this matter. But there's nothing much to do except put one foot in front of another. Thus the book, and the whole Durtal series, ends:

'Ah, my dear Lord, give us the grace not to haggle like this; to forget ourselves once and for all; to live at last, no matter where, so long as it be far from ourselves, and close to you.' (p. 350)

Favorite Passage:

In the countryside, when a boy is sickly and unable to bear the strain of working on the land or in the vineyards, his mother says: "He's delicate, this little chap; we'll make a priest of him," and that's how Father Barbenton was entered into a seminary, then sent successively to various villages as a curate, and finally appointed as the parish priest of Val-des-Saints.

All the priests to whom Monsignor Triaurault had offered the post had declined, being well aware of the awkward position a parish priest would be in, opposite an abbot and his monastery.

Father Barbenton, however, had accepted, on the assurance that after a certain time he would be transferred to a better parish, which was highly unlikely because it was quite clear that if he succeeded in his conflict with the abbey, the bishop would be in no hurry to move him, and if the opposite was the case, he wouldn't promote him, and if he felt he'd been too compromised wouldn't hesitate to crush him. (p. 197)

Recommendation: Highly Recommended. This is in some ways both a funnier and a sadder book than the previous ones.


****

J.-K. Huysmans, The Oblate, Brendan King, tr., Dedalus (Sawtry, Cambridgeshire: 2022).

Friday, September 11, 2026

Dashed Off XXVII

 Greed sabotages markets.

Reading books is already a prosocial activity, and already involves empathy.

Bethsaida was renamed Julias by Philip the Tetrarch sometime before AD 34, but the Gospels consistently use 'Bethsaida'.

Jn 21:19 treats Peter's death as still in the future.

The world we find around us is a world within which one can sometimes play. Things have a sort of affordance for human playfulness.

"If everything really depended on everything else, in the organism as well as in nature, there would be no laws and no science." Maurice Merleau-Ponty
"...to learn never consists in being made capable of repeating the same gesture, but of providing an adapted response to teh situation by different means. Nor is the response acquired with regard to an individual situation. It is rather a question of a new aptitude for resolving a series of problems of the same form."
"In an organism, experience is not the recording and fixation of certain actually accomplished movements: it builds up aptitudes, that is, the general power of responding to situations of a certain type by means of varied reactions which have nothing in common but the meaning."
"The physical experiment is never the revelation of an isolated causal series: one verifies that the observed effect indeed obeys the presumed law by taking into account a series of conditions, such as temperature, atmospheric pressure, altitude, in brief, that is, a certain number of laws which are independent of those which constitute the proper object of the experiment."
"What is demanded by the actual content of science is certainly not the idea of a universe in which everythign would literally depend on everything else and in which no cleavage would be possible, but no more so is the idea of a *nature* in which processes would be knowable in isolation and which would produce them from its resources; what is demanded is neither fusion nor juxtaposition, rather it is structure."
"The relation of structure and law in science is a relation of reciprocal inclusion."
"Since the body itself is not grasped as a material and inert mass or as an external instrument but as the living envelope of our actions, the principle of these actions has no need of being a quasi-physical force. Our intentions find their natural clothing or their embodiment in movements and are expressed in them as the thing is expressed in its perspectival aspects."

consciousness as milieu selection

Memory guarantees that what we experience can be seen in more contexts, and through more layers of meaning, than could be done at the time of the experience. Through memory we experience our experiences through other experiences.

Finding the best way to say something is often the beginning of real success and progress in inquiry.

Love makes truths meaningful.

Every perfect duty grounds supporting imperfect duties.

The realm of art is broader and richer than the narrow minds of critics.

"The Son was born of the Father, and the Holy Spirit proceeds principally from the Father, and since the Father gives without any interval of time, He proceeds from both in common." Augustine (De Trin 15.26)

energy as the measure of the scope for change

monads as useful fictions (like treating body as entirely at center of mass)
-- monadology as metaphysical modeling

In rehearsing for a play we are not rehearsing to copy the rehearsal but to cultivate the aptitude for the actual play.

The husk is not a mere optional extra for the life of the kernel.

Free acts are in light of the universal as such.

the perceived as an availability for conception, judgment, and reasoning

The problem with Newcomb's Paradox is that rationality and correctness of decision are not measured in dollars.

Almost everybody pays people to do things that they could themselves do for free.

Kant is right that a church would have to be one, pure, free, and immutable, but he is wrong about what these exclude, and he fails to recognize that each of these must have an actual form suitable for human beings, which will not be optional for human beings.

being relative to esse: essence
being relative to operation: nature
being relative to definition: quiddity
being relative to what is affirmed of it: res

We usually do not need arguments to believe things.

The tendency of the modern world is to create systems that depend on morals that the systems can't sustain and sometimes even subvert.

sensation as more primitive than memory, memory as more primitive than imagination

Some contingent truths must be contingent truths about necessary things.

Never try to be more clever than the truth.

Bayesian epistemologies treat belief purely as a 'software' process and thus do not do justice to what Pascal calls 'the machine'.

The poet captures the scent of a region of the intelligible realm.

In a relationship one sometimes must be there just for the being there.

book-relationships of pleasure, of use, and of virtue

extrapolative object --> family of extrapolative objects --> fictional object

Story-reference does not reduce to statement-reference.
-- one sign of this is that stories can include statements inconsistent with each other, simply speaking, but organized in such a way as to be consistent (misattributions, unreliable claims, etc.) -- the organization is essential. The referent, of course, may still be the same, precisely because of the organization.

Lejeune on le pacte autobiographique (i.e., autobiography depends on an implicit agreement between author and reader that narrator is author)

The application of law requires metalaw.

The claim that there are only two truth values only works in a specific context.

All naturalisms are based on universalizing an analogy or family of analogies.

Reading is a partial socialization.

We assess whether a story is fictional or nonfictional with respect to other stories.

In Cartesianism, the brain seem to function as a diagram of associative habit. (Hume seems to recognize something like this.)

All technical language has to be approached through nontechnical language.

the understanding that touches, the understanding that comprehends, the understanding that dwells

primary and secondary deontic structure for stage props
primary: role on stage
secondary: rules maintaining the stage prop for its role on stage (e.g., "'Don't touch/move props unless authorized")

Every fiction involves nonfictional elements (e.g., necessities).

Great writing must be earned.

Man receives from others the power to make something of himself.

Everything that can be said, can be said unclearly.

There is much to be learned from things that are almost, but only almost, nonsense.

 the careful description of obscure and confused ideas

'real' as a designation of importance or significance

In personal relationsihps, truth is not so much proven as cultivated and allowed to emerge.

We learn a lot by saying things unclearly. Sometimes, although not always, it is the thing we most need to learn.

When we say that something is true, we generally are saying that it is true of something.

People appealing to empathy in ethical arguments are generally appealing to their own moral authority, as they conceive it to be.

An important thing to grasp in doing 'public philosophy' is that many people will approach philosophical arguments as negotiations, because that is how they approach arguments generally.

satispassion in death of the baptized (in baptism, in penance, in unction, in death proper)

Reading allows one to be alone socially without necessarily requiring that it be parasocial.

People don't generally aim for the most pleasant life, but for the life worth living.

The living body is a language game.

the totality of eventful things

The intellect is the person as capable of understanding, the will is the person as capable of intending. The intellect is the intellectual person, the will the volitional person.

What LLMs show is that any sufficiently large collection of signs of a general kind will have object-tendencies when interrelated; signs, in sufficient quantity, in definite relations, exhibit dispositions allowing for methods of extrapolation to work.

Passions shift the meanings of other passions with which they are associated.

An ethics adequate to human life will give to human life plot, characterization, and theme, and allow it to be adorned by eloquence and art.

Whether or not any consequence is good or bad depends on overall context.

It is a rare kind of exchange for which we can keep track of quantity, quality, and price throughout.

substantive goods of good quality in good quantity and distributed well

The same things may satisfy and not satisfy in different respects; what satisfies now may not later, and more, the satisfaction itself may become something with which are dissatisfied. Satisfaction is like a negotiation with life, one that is always shifting and here the optimal deal is never stable enough to be guaranteed or even always discovered.

free will as a postulate of play

The past as we know it is a realm of witness.

Thought interacts with thought until there is system.--But it seems not to create system of itself; system requires synthesizing insight.

face-off, team-up, pell-mell

Some problems keep having to be solved because their solutions are not easily externalized in a consistent way, so that they never reach 'answer in the back of the book' status, but have to be relearned by every generation.

dropping a stone into the probabilistic poole

The two kinds of innovation are teleology and chance.

Chance is a byproduct of final causality.

Pastiche fantasy works by stereotypes and allusions.

Causal intervention presupposes non-interventional causation.

Compassion requires a toughness that must be deliberately cultivated.

Most discussion of identity and inclusivity seem to be attempts to will social connections and communities into existence.

Goodness is something we first find in life itself.

Competence always posits an objective standard.

Only humility can unite the vastness and the meticulousness, the sublimity and the subtlety, of intellectual thought & life.

The humble man is always close to the true metaphysics.

The humble man has an intellectual courage that endures all things in the realm of thought.

Comedy requires that there be recognizable incongruities and therefore recognizable comparabilities, and that these be such as to be shareable.

To laugh at yourself is a path of self-knowledge.

the historian of philosophy as custos hortulorum

To read Wittgenstein well, one must read what he says as a condensation of a lot of conversation and soliloquy.

"Love is the extremely difficult realisation that something other than oneself is real." Iris Murdoch

Thursday, September 10, 2026

My Heart Leaps Up

My Heart Leaps Up
by William Wordsworth 

My heart leaps up when I behold
A rainbow in the sky:
So was it when my life began;
So is it now I am a man;
So be it when I shall grow old,
Or let me die!
The Child is father of the Man;
And I could wish my days to be
Bound each to each by natural piety.

Wednesday, September 09, 2026

Music on My Mind

 

Powerwolf, "Joan of Arc". It drives me a bit crazy that the video keeps spelling 'pyre' as 'pire', although apparently this is a common variant spelling in some dialects.

Tuesday, September 08, 2026

Sumerian Bar Joke

 Anyone who has been online a lot knows of the Sumerian bar joke, because it's gone viral in memes more than once. Found in a collection of Sumerian proverbs and aphorism, it is proverb 5.77:

A dog entered a tavern and said: "I can't see a thing. I'll open this one!"

Because of the structure it is often called the 'first bar joke'. There are many speculations about what this might mean. A very popular one is that the dog's eyes are closed. Another is that there is a series of sexual innuendoes. The word for 'tavern' is sometimes associated with prostitution (not necessarily a brothel, but someplace you might find prostitutes), for instance.

But I wonder. While it likely has a humorous edge (many of the Sumerian proverbs we have seem to), and could have sexual innuendo (a number of them do), most of the aphorisms in the collections have a typical didactic point you would expect proverbs from a proverb collection to have. So we would expect this one to capture a lesson of some sort, as well.

It's natural when reading the proverb to take it to give a sequence -- the dog enters the tavern and then says something. But it may make more sense to see the dog's comment as explaining its entry into the tavern. There is another, recurring proverb we find in the collections (3.26, 19.c2, 24.9):

When the sun is setting outside so that you cannot even recognise the hand in front of you, go indoors!

The humorous point is perhaps then that the dog (often a symbol in the aphorisms for a self-indulgent person) picks the tavern as the 'indoors' when going inside for the night. There are two possibilities:

The dog is foolish. Doing something apparently common-sensical (it's too dark to see, so it goes inside), the dog has no sense and therefore opens the seediest possible door in order to get inside.

The dog is disingenuous. The dog is doing something apparently reasonable, but it has rigged it up so that it will be outside a tavern when it's time to do it. He's covering, by an excuse, the fact that he is actually just indulging himself. In this sense the idea might be that a vicious person uses advice as an excuse to indulge his vices. Alternatively, the dog might just be nosy. There is another Sumerian proverb in the collections (2.109),

A sniffing dog entering all houses,

which seems to convey the idea of a nosy person. Thus the dog is trying to pretend it's just being reasonable in indulging its nosiness.

In any case, it's anyone's guess. In interpreting such things, we're a bit like Athanasius Kircher trying to decipher hieroglyphics.