Sunday, December 14, 2025

Macbeth and Lord of the Rings

for Shakespeare For Future English Teachers class, 2022

Great Fangorn Forest to High Isengard Shall Come (And Then, For Good Measure, to Helm’s Deep Shall Come)

In The Two Towers, the second book of the Lord of the Rings trilogy by J.R.R. Tolkien, one of the eponymous towers[1] meets its end in a most Macbeth-inspired way. No prophecy is involved in the Tolkien here, but a clear line can be traced from one of the witches’ masters’ prophecies in Shakespeare’s Macbeth to the fate of the tower of Orthanc and the fortress of Isengard.[2]

The third apparition conjured by the witches – the Child crowned, with a tree in his hand – informs Macbeth that he “shall never vanquish’d be until/Great Birnam wood to high Dunsinane hill/Shall come against him.”[3] In the end, the prophecy of Macbeth’s doom is fulfilled when the armies of Macbeth’s enemies take branches and boughs from Birnam Wood and march holding them, to disguise their number as they approach Macbeth’s stronghold at Dunsinane.[4] This was, in Tolkien’s opinion (at least when he was a boy), an utter cop-out; absolutely dodgy, wimpy writing.

Tolkien therefore devised a race of tree-people who dwell in Fangorn forest in Middle-Earth called Ents, who, after holding an Entmoot to discuss the matter at length, elect to march on Isengard, where the antagonist Saruman dwells and builds his forces. And so it is that the forest of Fangorn literally comes to Isengard and destroys it.[5] The parallel is not a coincidence.

(Jackson, The Lord of the Rings: The Two Towers, 2002)

Tolkien wrote to his friend W.H. Auden that the Ents’ “part in the story is due, I think, to my bitter disappointment and disgust from schoolboy days with the shabby use made in Shakespeare of the coming of ‘Great Birnam wood to high Dunsinane hill’: I long[ed] to devise a setting in which the trees might really march to war.”[6]

The Ents then send the Huorns of Fangorn forest – slower-moving and less sapient tree-people shepherded by the Ents[7] – to assist the protagonists at the Battle of Helm’s Deep[8], so Tolkien wrote himself a nice little twofer of biting his thumb at Shakespeare.

The Hand of No Man Shall Harm the Witch-King of Angmar

There is at least one other clear and obvious Macbeth parallel in Tolkien’s Legendarium. This one does involve a prophecy, but we do not have the same clear word from Tolkien’s own hand that he was inspired by one-upping Shakespeare.

In The Silmarillion, a prequel to The Lord of the Rings, the elf Glorfindel issues a prophecy about the Witch-King of Angmar, chief of Sauron’s Nazgûl, that "not by the hand of man shall he fall."[9] Compare this to the prophecy given to Macbeth by the bloody Child apparition, “laugh to scorn/The power of man, for none of woman born/Shall harm Macbeth.”[10] Both Macbeth and the Witch-King of Angmar interpret their respective prophecies as foretelling total invulnerability and invincibility, and both of their interpretations are proven incorrect by an unforeseen twist that fulfills the prophecy yet allows for their dooms.

Macbeth ends up executed by Macduff, a man who is not technically of woman born, but instead from woman “untimely ripp’d” – transitioned from fetus to baby via a C-section.[11]

Similarly, the Witch-King of Angmar is killed at the Battel of Pelennor Fields, not by a man, but by the tag-team of the Hobbit Meriadoch Brandybuck (using an ancient magical blade given to him by Tom Bombadil, which undid some of the magic protecting the Witch-King) and the woman Éowyn (who lands the killing blow using a mundane sword, presumably procured the old-fashioned way from the armory of the soldiers of Rohan). Tolkien, being a professional academic linguist, was very deliberately clever about his use of the word “man” here – Merry is a man by gender, but is not of the race of Man; while Éowyn is of the race of Man, but is not a man by gender; apparently two man-in-one-sense-but-not-in-the-other adds up to close enough to zero men to successfully fulfill Glorfindel’s prophecy. The Witch-King of Angmar, not being a linguist, was taken by surprise by this turn of events.[12]

(Jackson, The Lord of the Rings: The Return of the King, 2003)

In Pedagogy

A substantial discussion could be driven by prophecy in fiction, starting with the five prophecies in Macbeth (by my count[13]); continuing on with the parallel of one of them with Glorfindel’s prophecy about the Witch-King of Angmar; open an exploration of ancient Greek stories where struggling against fate was common (considering all the stories featuring the Oracle at Delphi, with a bonus sprinkle of the story of Cassandra for taste), and stories from other mythologies featuring prophecy; delve into how prophecy/fate can interact with free will[14]; there’s a whole slew of discussions and lessons one can engage in about prophecy.

While Tolkien is perhaps not as relevant to the youth of today as he was when he was first published, or when Peter Jackson’s film adaptations came out in the early ‘00s, there should certainly still be some students familiar with these works. Painting pictures from Tolkien could help get some students more invested in the Shakespeare. Certainly, using scenes or stills from Peter Jackson’s movies could help to illustrate the parallel concepts from Macbeth (perhaps one might make a video of clips of the Ent attack on Isengard and the Huorn intervention at Helm’s Deep and putting it on repeat before the beginning of the class period that we’re to discuss Birnam Wood coming to Dunsinane, and leaving it playing as students trickle in).

On the other hand, letting it be known that one parallel event in Tolkien derived from Tolkien’s scorn for how Shakespeare wrote it (even if that scorn originated when Tolkien was a youth, it was still expressed when he was an adult) could be counterproductive, so this merits some thought and care.

Certainly, painting a picture of the long tapestry of human literature (in the very broadest sense here – plays, epics, poetry, novels, television, movies, everything) as an unending chain of creators, inspired by one another and answering one another, could serve pedagogy, especially if I make note to explicitly include my students in the chain. In short, if riffing on Shakespeare was good enough for Tolkien to be literature (and riffing on actual history, as he did in very many of his plays, was good enough for Shakespeare to be literature), riffing on either of them is certainly good enough for my students to be literature.

Reflection

A big – perhaps the biggest so far – revelation in the teaching of Shakespeare came early on, in discussion of cutting. The point that Shakespeare is not sacred – that trimming him for pedagogical purposes is not mangling – is useful on its own and reflects a deeper point about Shakespeare pedagogy. To wit: we are not teaching Shakespeare because Shakespeare is himself in any way sacred – Shakespeare is ultimately not a lesson, but a teacher; we are teaching Shakespeare and his works because we can learn lessons from him and them.[15] Which, in turn, is a valuable thing to keep in mind when teaching any text.

Getting up and moving around the space is mildly awkward, and I can imagine high school students finding it very awkward and being resistant. Still, it’s possible to persuade high school students to leave their desks – I just the other week observed a high school class at Lafayette where part of the class was a daily “Circle” exercise where students stand in a circle at the perimeter of the room and express themselves through movement. I’m coming to realize that this less a hint about teaching Shakespeare specifically and more a hint about pedagogy in general. I’m less sold on the notion that getting up and moving is good for the body and the brain, but almost sold on the notion that getting up and moving at the very least might break up the monotony of high school a little bit.

I think one thing I want to do, and one thing I wished to have done in high school, is examine one (or more) of Shakespeare’s comedies. The tragedies always get the top billing, to the point that most students in this class had never studied any of his comedies at all; I don’t even know how different they are from the tragedies. I did express in high school that I at least liked Hamlet because everybody dies – which is admittedly true of most or all of the tragedies – and I have expressed on a few occasions this semester that it turns out I like Macbeth even better than Hamlet because two of the people who die in Macbeth at least really deserve it, but I’m very intrigued by the possibility of reading a Shakespeare play where perhaps nobody dies. I am therefore looking forward to Much Ado About Nothing, and to probably doing my final project on A Midsummer Night’s Dream (just as you suggested in an early week when I expressed interest in that play on the discussion board).

Works Cited

Banks, F. (2013). Creative Shakespeare: The Globe Education Guide to Practical Shakespeare. London: Bloomsbury Publishing Plc.

Jackson, P. (Director). (2002). The Lord of the Rings: The Two Towers [Motion Picture].

Jackson, P. (Director). (2003). The Lord of the Rings: The Return of the King [Motion Picture].

Pullman, P. (1995-2000). His Dark Materials. Northern Lights/The Golden Compass; The Subtle Knife; The Amber Spyglass. United Kingdom: Scholastic Print.

Shakespeare, W. (1606). The Tragedy of Macbeth. London.

Tolkien, J. (1954). The Fellowship of the Ring. London: George Allen & Unwin.

Tolkien, J. (1954). The Two Towers. London: George Allen & Unwin.

Tolkien, J. (1955, June 7). Letter 163. The Letters of J.R.R. Tolkien. (C. Tolkien, & H. Carpenter, Eds.)

Tolkien, J. (1955). The Return of the King. London: George Allen & Unwin.

Tolkien, J. (1977). The Silmarillion. (C. Tolkien, & G. G. Kay, Eds.) London: George Allen & Unwin.

Sunday, December 7, 2025

Study of Etymology in the Secondary English Classroom

for The Teaching of Writing class, 2020


Why, I might begin, is English so riddled with contradictions? Why do similar words not have the same structures – “mouse” and “louse” pluralize to “mice” and “lice”, so why does “house” pluralize to “houses” while “dice” is the plural of “die” (and “douse” is an unrelated verb, not even a noun)? Why do so many words just not follow the rules? We call such maverick words “irregular”, but they’re so common that irregularity is practically the norm.


In the video game Katamari Damacy, I might illustrate, there is a ball, the eponymous katamari, which accretes objects to itself. As you roll the katamari over objects, they stick to it, and it grows, until you have grown it from accumulating pins and bugs to accumulating whales and skyscrapers. Why, then, is English such a linguistic katamari, accreting vocabulary to itself until it grows bloated and pendulous with exception upon irregular exception, in a way that other languages are not?

CONQUEST, I might declare, jabbing a finger in the air. Conquest of the rest of the world by English invaders, obviously; we are all well aware of this centuries-long history, whence we get words like “juggernaut” (from Hindi “Jagannath”, “lord of the world”) and “barbeque” (from Arawakan “barbacoa", “framework of sticks”) and “safari” (from Swahili and Arabic, meaning “journey”).

However, I might amend, before its history of conquering everyone else, England has an even longer history of being conquered by other Europeans. The Romans; the Germanic tribes of Angles, Saxons, and Jutes; the Vikings; and, central to my point, the Norman French under William the Conquerer. William, Duke of Normandy, conquered England, installed his Norman cronies at all levels of the government, and instituted Norman French as the language of law and governance. Meanwhile, the Anglo-Saxon peasantry continued on as they always had, speaking Anglo-Saxon. Over the centuries, the two languages merged into one creole, which became modern English. The grammatical structure and about a quarter of our vocabulary remains Germanic from the Anglo-Saxon, but much of the rest of our vocabulary is from Latin via the French (and via later importation by scholars directly from Latin).[1]

English, I might exemplify, has, unusually among the world’s languages, different words for many meats than the animals whose flesh those meats are made from. “Pork” comes from Old French “porc”, while “pig” comes from Anglo-Saxon “picga”. “Beef” comes from Old French “boef”, while “cow” comes from Anglo-Saxon “cu”. Why? Because only the French-speaking Norman nobility could afford to eat meat, while the Anglo-Saxon serfs raised the animals for them! Picga in the Anglo-Saxon farmyard, porc on the Norman dinner table.[2]

Many of the baffling inconsistencies in English, I might conclude, come from this imposition of Norman French upon Anglo-Saxon. Most of the words that conjugate or decline in the middle, like “goose” → “geese” and “throw” → “threw”, come from Anglo-Saxon, while the words that do so at the end, like “duck” → “ducks” and “toss” → “tossed”, come from Norman French. Anglo-Saxon has its own rules, separate from those of French vocabulary.

Germanic/Anglo-Saxon words, I might elaborate, have long been considered by many English thinkers to be stronger, more emphatic, and more earthy than namby-pamby, formal, and distant Norman French/Latin. Many efforts or exemplifications have been made, some more serious than others, to de-Latinize the language.[3] The linguist and novelist JRR Tolkien, for example, wrote The Lord of the Rings with heavy reliance on the Anglo-Saxon words, in part to read as stronger, but also because he was trying to simulate a native English mythology, free of Continental influence.

It is this history, I might bring the lesson home, that informs the choice that somebody made, at some point, based either on either a scholarly or an instinctive understanding of this distinction, the decision that the past tense of the new-fangled slang verb “yeet”[4] is not weak and formal Norman “yeeted” but strong and burly Anglo-Saxon “yote”.

 

So, more or less, would go the lesson, one I’ve been crafting in my head (and with my friends and my partner, and on Twitter, and in a few different contexts in a few different classes, and so on) since around the time I decided to become an English teacher. Not in those specifics, necessarily – Katamari Damacy and Lord of the Rings may be dated references already, let alone by the time I get into teaching young people, and who knows how long “yeet” will last in the lexicon – but in that general gist, for sure.

But this is an etymology lesson, and halfway a history lesson – does this have a place in the English classroom? Just how multidisciplinary is the modern high school classroom?

Of less direct relevance to me, an English Education 7-12 student, but still an intriguing question: what of the English as a Second/Next/Foreign Language classroom – would just knowing that there really is some logic to the inconsistencies help English language learners?

Is there a most appropriate time to introduce this lesson – conspire with the social studies teachers to teach this when they are covering medieval Europe, perhaps? – though that was fifth grade when I was going through the system, a bit earlier than I’m going to wind up qualified to teach.

Most centrally of all, the question I shall focus most of my efforts upon: how can teaching etymology and the history of English be best incorporated usefully into teaching modern English grammar (syntax, spelling, vocabulary, etc.)?

 

I preliminarily begin my quest with searches on Buffalo State’s library system for “etymology teaching”, “etymology pedagogy”, and their ilk.

My eyeball is immediately seized by an article from 1693 by one Joseph Aickin, “M.A. and Lately one of the Masters of the Free-School of London-Derry”. How does the English teacher of the past feel about the present study of the English of the past?

It turns out, even in his day, students of English were complaining of how ridiculous the language is – “that Englishmen as well as strangers should account the English Tongue intricat and difficile; and that they should think that it cannot be reduced to Grammatical Rules”.[5]

And his response was similar to mine: He thinks it makes sense, actually:

Besides it is the easiest tongue to be taught and learned in the world; for the Grammatical part of it, may be reduced to a very small volume: and it may be improv’d far beyond the Latine, Greek, or French: it being very fertile and fit for compositions. There is no difficulty at all in the parts of speech, for Nouns have for the most part but two endings, to distinguish their Numbers. There are but two genders. Verbs have but two endings, and but few irregular; all the moods are express’d by eight particles, the tenses by fourteen signs: the formation of the passive voice is made by the auxiliary verb, am; so that the whole Etymological part of the Grammar, is a very short and compendious business.[6]

…Except for the parts where it doesn’t:

for indeed the Orthographical part of the English Tongue is the most difficile; There are many defects in the Orthographical part of the Tongue: for the number of Characters, are not sufficient to express the several articulat sounds, we have, as may appear by the several sounds of the vowel a as in can, cane, call, man, &c. o likewise hath several different sounds, as in god, roll, come, &c. g hath two different sounds as in get and generation: t hath two as in time and nation, c hath two, as in censure and came. Besides custom hath obtained so far upon us, that we are forced to spell words according to the idiom of the Tongue, from whence they are borrowed: nay and most commonly we are forc’t to pronounce these words contrary to the genious of our Tongue; Besides as our Alphabet is defective, so likewise it is Superfluous, for either c or k are needed. Ph sounds the same with f. q might as well be expressed by cw since w e are forced to add u after q to asist it. Cs might found x. ts z. g and j are two letters of the same sound, whereas the one viz. g. might always expresse the sound of g in get: and the other viz. j the sound of g in generation and j in Jesus its natural sound: w indeed is a neat connexion of two single uu’s: but the sound might aswell be expressed by two single uu’s. Y might aswell be express’d by i vowel: when it is taken for a vowel. It would be a great ease to Children, if all the Letters were named from their proper force and sound. But a sudden remedy thereof, is not to be expected.[7]


Aickin is right: English orthography is the most difficile (at least, I think, outside of those languages which have hundreds of characters to keep track of). And he’s right about the source of the problem: English is a linguistic katamari[8], and we are forced to spell words according to the idiom of the tongue from whence they are borrowed. We can’t blame just Anglo-Saxon and Norman French for this one.

Perhaps my case in the hypothetical lesson was overstated: the Norman Invasion only explains a substantial chunk of English’s irregularity and is only a subset of what I now hypothesize to be the ultimate twin causes of everything that’s weird or interesting about English: conquest and trade (including the transfer of scholarly ideas under “trade”). Still, the gist of the Norman Invasion more or less fits into one lesson (so long as you omit irrelevant specifics like individual battles); good luck covering all English conquests and trades in less than at least a full year.

Whether or not I’m inclined to overemphasize the Norman Invasion, the broader question remains at issue. Aickin is of little help on the specific issue of teaching etymology and the history of the language, except as an example – he offers only English in his English class, and he even holds somewhat the opposite position from what I’m trying to ascertain the efficacy of: he takes specific issue with the standard schooling practice of his time, the teaching of Latin to the exclusion of English (he does include in his text the teaching of “etymology”, but he doesn’t seem to mean by that what we mean today)[9].

In the 17th century, learned discourse was still conducted in Latin – René “Renatus Cartesius” Descartes published in Latin from the 1620s through ‘40s; Galileo Galilei’s Dialogue Concerning the Two Chief World Systems was translated into Latin in 1635, 3 years after its initial publication in Italian[10]; Baruch “Benedictus” de Spinoza’s magnum opus, Ethics, Demonstrated in Geometrical Order, was published in Latin in 1677; Sir Isaac Newton published his Principia Mathematica in Latin in 1687. Although one might notice that those esteemed gentlemen were each of a differing nationality from all the others (only one of them English), giving them good cause to use a common lingua franca; why not Latin?

On the other hand, Aickin’s position, that English should be taught on its own merits, makes sense in history – by the late 17th century, the turn-of-the-century English works of William Shakespeare and the King James Version of the Bible (not exactly the first English Bible ever, but the first major officially Church-sanctioned English Bible) would have had time to grow established in the canon of literature. Aickin would have been well-positioned to argue his case that English is at least as good for literature, scholarship, and religion as Latin or any other vernacular[11]. And, to be sure, history has demonstrated him correct, at least insofar as English has taken over from Latin as the language of science[12].

Aickin is a fascinating diversion, and the above digression could easily germinate another example lesson in the history of the language, but he doesn’t exactly answer: How can teaching etymology and the history of English be best incorporated usefully into teaching modern English?

 

 “Every standardized test that the student takes from high school through college contains a section on word meanings. I have found that a one-semester etymology course can raise the class vocabulary average a full grade level”[13]. That’s more like it. J.D. Sadler: “Etymology and Latin Teaching”, 1970. In this paper, Sadler is trying to recruit students to Latin classes, by discussing the Latin roots of many English words. He gives a plethora of examples – without covering the actual history of why English has all this Latin vocabulary.

If you were a student of Latin, you could be forgiven for assuming that our Latin words come from Roman rule over England in the first four centuries (as my Latin textbooks, the Cambridge Latin Course, implied). But it turns out that Roman Latin only had limited influence on Anglo-Saxon (as the Anglo-Saxons later invaded Britain and imposed their own Germanic language on the Celts, mostly overwriting the earlier Roman influence on the Celts), and most of these words come through the Normans and later scholars importing Latin words![14]

Sadler’s article also touches on teaching English etymology to improve student understanding of Latin. Which does recall how I did well in my Latin classes – most Latin words have English descendants, so if you have a large enough English vocabulary, most Latin words are easily rememberable (and a smattering of Spanish vocabulary picked up the slack) – so I agree with him here.

Similarly, Rasinski et al. summarize existing research since Sadler: “Studies have demonstrated the promise of teaching Latin and Greek roots in the intermediate grades”, and go on to propose that Latin and Greek roots be taught even at elementary levels – though, again, without their historical contexts.[15]

Moreover, Hosseini et al. studied etymology as a technique for teaching vocabulary to learners of English as a Foreign Language and determined that it compares favorably in results to memorizing the dictionary definitions. Latin and Greek etymology of English words helps every English learner, but especially native speakers of Romance languages.[16]

Thus the literature appears to have a broad consensus: learning etymology, in the form of common roots and affixes, especially Latin and Greek ones, is beneficial for learning English vocabulary. The answer to this part of the question is a straightforward “yes”, seeming to require not a tremendous amount of elaboration.

But I see no mention being made of teaching the history of the language as context for that etymological study. Perhaps the academy wants us to just stay in our lane as English teachers and leave history to the history teachers.

So, the unanswered part of the question remains: How can teaching the history of English be best incorporated usefully into teaching modern English?

 

A few initially promising, but ultimately fruitless, articles ensue in further explorations. Then:

Aha, a find! Kate Parry: “A language in common: an approach to teaching the history of English”. Sounds perfect!

Parry teaches a course on English literature, which she structures into three parts, which she calls European, Neo-European, and Non-European. European is the history of the English language up until the Age of Exploration, before England started colonizing everything (which, one might observe, covers the overwhelming bulk of recorded history, not to mention all of human prehistory, though Parry consciously eschews teaching any prehistory); Neo-European covers English settlers and colonists and  invaders elsewhere; and Non-European covers everybody who’s been forced, more or less against their will, to speak the language – primarily, those who dwelt upon land colonized by Europeans and persons forced to migrate at the end of a whip, into servitude under English speakers. [17]

Parry aims her focus strongly at the side of history where Zinn’s People’s History dwells, that which has often been neglected in mainstream education but has come into vogue recently, the history of that informs the English(es) her City University of New York students tend to speak. Even though the European category forms the overwhelming bulk of time, not to mention of development of the language, Parry focuses at least equal attention on the Non-European category. She likes to use primary and literary sources, but, as she points out, “literary sources […] have an inbuilt bias. Their authors must be literate, which means that before the nineteenth century nearly all those who wrote in English belonged to a minority that was at least relatively wealthy and relatively close to the centers of power.”[18]


    I say Zinn-style history has been neglected in mainstream education, but really, the lesson I outlined at the beginning of this paper was also neglected in my education – not once in all my history classes from kindergarten through secondary school, much less in any English classes, were the name “William the Conquerer” or the term “Norman Invasion” so much as mentioned in passing. I first encountered reference to this series of events through a video game, Crusader Kings II, which I first played as an adult, years after having acquired a bachelor’s degree. (Virtually all of what I know about history – indeed, everything outside of the Revolutionary War, which was all any of my history classes ever covered, with the exception of a vague overview of Medieval Europe in fifth grade and a barest surface-level survey of the entire history of the entire world, called “Global Studies”, in ninth grade – I have learned, from a variety of sources, since leaving school. My beef with the state of history pedagogy, at least as it was inflicted upon me in ‘90s and early ‘00s America, could stock a butcher’s shop for a year. But I am studying to be an English teacher, not a history teacher.)

Parry’s focus on the development of the language from the perspective of the oppressed is one I hadn’t considered, and which should probably inform future lessons... just not, perhaps, William the Conquerer – except insofar as the native Anglo-Saxon dwellers in England found themselves on the oppressed side of history under Norman boots, at the points of Norman swords.

It does come to mind that the Anglo-Saxons themselves had invaded the native Celts only half a millennium prior, not to mention the Roman occupation of the first few centuries. Is there a point to be made that even the English have a long history of having been oppressed? Perhaps England is as the schoolyard bully who only inflicts upon his peers what has been inflicted on him at home. Or does that simply muddy the dominant “England has oppressed everyone forever” narrative?

Here's an interesting lesson, from Parry:

My students do a substantial amount of work, however, on documented changes in English spelling, grammar, and vocabulary, through a series of assignments in which they examine in detail two biblical verses as translated by Ælfric in c. 1000, by the Wycliffites in 1375, by Tyndale in 1525, and by the King James translators in 1611 (Burnley 2000). They have first to transcribe their verses (I tell them that they must pretend to be medieval monks), then gloss each word of the two earlier versions (which requires using the Oxford English Dictionary extensively as well as the Anglo-Saxon Dictionary of Bosworth and Toller) and write about the changes that they have observed in the language through doing these exercises[19]

This recalls the Aickin-based rudiments of a lesson, above. It doesn’t sound very fun – a bit tedious, in fact – but it’s for sure interesting. (It would probably be improper to pick any of the really fun verses, like the part where Jesus gets hangry at an out-of-season fig tree and curses it to barrenness[20], or the part where the prophet Elisha sics two she-bears to maul forty-two youths who were calling him names[21], or the randiest parts of Song of Solomon, or the most psychedelic parts of Revelation.)

Parry’s teachings seem a solid basis for borrowing ideas from, but only as history of English qua history of English. Would her work inform learners of the English language, its grammar and vocabulary?

At this point, we have now explored teaching the history of English, as pertaining to the earlier question of teaching etymology, so the portion of the question that remains is: How can the above be best combined and incorporated usefully into teaching modern English?

 

As I’m running into a bit of a wall, source-wise, let us take stock. What have we accomplished so far? We have, among other things, determined that Latin and Greek etymology is useful for teaching modern English; and we have explored how to teach history of English. Perhaps our quest is now to simply construct a transitive argument, connecting the teaching of history of English to the teaching of etymology, and thereby determining: “We have determined that Latin and Greek etymology is useful for teaching modern English, and we (will) have determined that history of English is useful for teaching etymology, so therefore history of English is useful for teaching modern English.” (The possibility remains open that there is not much overlap between the portions of history of English that are useful to teaching etymology and the portions of the teaching of etymology that are useful to teaching modern English, but I’m content to leave that possibility dangling.) What we need now, to complete the argument, is to determine if history of English really is useful for teaching etymology. On the one hand: obviously yes. On the other hand: let’s see if we can find some support for this obvious thing.

Fred Robinson’s article, “The History of English and Its Practical Uses”, covers both etymology and history. I first found it to back up my existing understanding of Anglo-Saxon and the Norman invasion[22], but it’s good for other purposes, as well. It is not about teaching etymology through teaching history, but it does teach etymology through teaching history, so at least I have an example of this working well. (He also draws a new-to-me distinction, which could be further explored in the lesson I sketched out while writing about Aickin, between the Latinate words that come to us via Norman French and the Latinate words that come to us through the coinages of late-medieval, Renaissance, and Enlightenment scholars.) Robinson, therefore, is an example of an apparently effective pedagogical technique, not a study of the effectiveness of pedagogical techniques, so the answer to question of “how”, then, has currently become “as Robinson does.[23]

 

Summing up, then:

I have determined that etymology and the history of English clearly have a place in the English classroom, and the latter can inform the former; that etymology, at least, has a place in the English as a Second/Next/Foreign Language classroom, though I haven’t specifically answered whether simply knowing that there is a logic to English can help English language learners; I have not addressed specifically when this history of English should be taught, though for etymology it seems fine to sprinkle it through every vocabulary lesson.

As for the centralmost question: How can teaching etymology and the history of English be best incorporated usefully into teaching modern English grammar (syntax, spelling, vocabulary, etc.)? I have dug up a few examples[24] that seem effective and interesting to me, through I have turned up little scientific study of the assessment-based results of this specific pedagogical technique. This, then, is the traditional point where one might say “Further study is warranted.”


Further study is warranted.        


Works Cited

Aickin, J. (1693). THE English Grammar: OR, The ENGLISH TONGUE Reduced to Grammatical Rules: Containing The Four parts of Grammar, [etc.]. London: M.B. Retrieved from https://suny-bsc.primo.exlibrisgroup.com/permalink/01SUNY_BSC/vfepa5/alma999210693104813

Hosseini, E., Sarfallah, S., Bakhshipour, F., & Dolatabadi, H. R. (2012, September). The Impact of Using Etymological Analysis on Teaching Vocabulary to EFL University Students. Theory and Practice in Language Studies, 2(9), 1868-1876. doi:10.4304/tpls.2.9.1868-1876

Parry, K. (2018). A language in common: an approach to teaching the history of English. Word, 64(1), 1-8. doi:10.1080/00437956.2018.1425185

Rasinski, T. V., Padak, N., Newton, J., & Newton, E. (2011). The Latin-Greek Connection: Building Vocabulary Through Morphological Study. The Reading Teacher, 65(2), 133-141. doi:DOI:10.1002/TRTR.01015

Robinson, F. C. (2004, July 1). The History of English and Its Practical Uses. The Sewanee Review, 112(3), 376-395. Retrieved October 26, 2020, from https://suny-bsc.primo.exlibrisgroup.com/permalink/01SUNY_BSC/7q3gmc/cdi_proquest_journals_212014859

Sadler, J. (1970, December). Etymology and Latin Teaching. The Classical World, 64(4), 117-120. doi:10.2307/4347341

 


[1] (Robinson, 2004)

[2] (Robinson, 2004)

[3] (Robinson, 2004)

[4] yeet, v. to throw from oneself with great force

[5] (Aickin, 1693)

[6] (Aickin, 1693)

[7] (Aickin, 1693)

[8] Not his words.

[9] (Aickin, 1693)

[10] I love the central conceit of Galileo’s Dialogue – he’s practically like, “Here are two opposing worldviews, equal in weight, which I present without bias or opinion, and also one of them is espoused by a character named Imbecile.”

[11] (Aickin, 1693)

[12] One could argue, accurately but perhaps sophomorically, that the current most common language of science (and everything, and everyone) is, in fact, binary code.

[13] (Sadler, 1970)

[14] (Robinson, 2004)

[15] (Rasinski, Padak, Newton, & Newton, 2011)

[16] (Hosseini, Sarfallah, Bakhshipour, & Dolatabadi, 2012)

[17] (Parry, 2018)

[18] (Parry, 2018)

[19] (Parry, 2018)

[20] Matthew 21:18-22

[21] 2 Kings 2:23-24

[22] I found Robinson at roughly this point in writing the paper, just before beginning to piece together a final conclusion – my example lesson was initially from my own recollections of previously-read sources, not new-to-me sources, and I tucked the Robinson citations in well after the writing of that section.

[23] (Robinson, 2004)

[24] (Robinson, 2004) (Parry, 2018)

Sunday, November 30, 2025

Metaphors and Aliens

for Philosophy of Language class, 2012

 

Abstract

                In Metaphors We Live By, George Lakoff and Mark Johnson argue that most concepts we talk about and most concepts we think about are expressed metaphorically, i.e., in terms of other concepts. I argue that the omnipresence of metaphor in English is something of which writers of science fiction and fantasy should at least be aware, and which a skillful writer can probably use to great effect. This paper will mostly consist of examples of the kind of thing I mean – a skilled writer could probably pull off much more subtle and effective metaphors than my undoubtedly relatively clumsy examples.

 

Lakoff and Johnson

                One of the more common kinds of metaphors in our language, according to Lakoff and Johnson, are orientational metaphors, where concepts are described in terms of spatial orientation. Consider a few examples of orientational metaphors and examples of an English expression derived from each, direct from the book[1]:

  • ·         happy is up”: “that boosted my spirits”
  • ·         sad is down”: “I'm depressed
  • ·         conscious is up”: “wake up
  • ·         unconscious is down”: “he fell asleep”
  • ·         health and life are up”: “Lazarus rose from the dead”
  • ·         sickness and death are down”: “he fell ill”
  • ·         having control or force is up”: “I am on top of the situation”
  • ·         being subject to force or control is down”: “he is low man on the totem pole”
  • ·         more is up”: “my income rose last year”
  • ·         less is down”: “If you're too hot, turn the heat down
  • ·         “[prestigious] status is up”: “he's at the peak of his career” (Lakoff and Johnson phrased this in terms of the words “high status”, which is itself an example of this metaphor.)
  • ·         “[unprestigious] status is down”: “he's at the bottom of the social hierarchy” (or, again, “low status”.)
  • ·         good is up”: “things are looking up
  • ·         bad is down”: “things are at an all-time low

 

                These metaphors are rooted in physical and cultural experience, and so may vary from culture to culture.

                What is less likely to vary is the coherence between these metaphors: for example, more is up, and up is good, so more is good. Sad is down, down is bad, and sad is bad. There exist subcultures that use inconsistent metaphors (for example, members of an ascetic cult might think more is up and up is good, but more is bad), but such incoherencies are only ever relatively recent inventions, adapted from existing language. Incoherence between metaphors is rare in language that has arisen and grown naturally.

 

A large part of the point is that these things aren't just in the language: they're in the way we think. Consider some examples:

Where is Heaven? Where is Hell? If they existed, they probably wouldn't literally be anywhere we can access; up and down would be meaningless with respect to the afterlife. But we still think of Heaven as being above us and Hell as being below us. Up is good, down is bad.

The story is similar for the denizens of Heaven and Hell: people refer to “God in the Highest”, calling for "gloria in excelsis Deo". And of course all the angels serve under God, in some cases literally (according to legend, God sits on some angels; they're called Thrones). At the other end of the spectrum, Satan is said to be the lowest of the low – but more on demons later.

Consider also: people are always trying to build the tallest skyscraper in the world. It's been nearly a constant competition ever since skyscrapers were invented, because up is good. In mythology, too; the story of the Tower of Babel is a point of overlap between skyscrapers and heaven. Up is good, up is important, skyscrapers are up, so skyscrapers are considered good and important.

But how many people cared when the Russians dug the deepest hole in the world at the time, just to see what would happen? (I refer to the Kola Superdeep Borehole, dug in 1970.) Very few! (Excepting, of course, the people who have, ever since, circulated fabrications about the borehole breaking into hell, or hearing the screams of the damned at the bottom.) The Kola Superdeep Borehole is still considered the deepest hole ever drilled and the deepest artificial point on Earth; nobody has bothered to dig deeper, because few people care about big holes, because nobody cares about down, because down is bad. Down is bad, down is unimportant, the Kola Superdeep Borehole is down, so the Kola Superdeep Borehole is widely considered bad or unimportant[2].

 

Applications In Fiction

One of my biggest complaints about most science fiction and fantasy is that aliens (be they elves, Klingons, lichs, Sebaceans, Goa'uld, garuda, anthropomorphic animals, or what-have-you) very frequently wind up simply being humans in non-human bodies – usually American humans, at that. (In this paper, by “alien”, I will mean, roughly, “persons who are not American humans”.)

Some authors do better than others at this: the alien-ness of aliens is a plot point in several of the sequels to Ender's Game, but even the formics and pequeninos are just humans with one or two bizarre concepts ("there's no such thing as an individual" and "one needs to be vivisected in order to advance to the next stage of life", respectively) pasted on.[3]

The house elves of Harry Potter, for another example, take utmost joy in slavery, something which is even more alien to us liberty-obsessed American humans. With one exception, being freed is considered by the house elves to be the worst thing that could possibly happen to them. But aside from that, they still read as basically human-minded.[4]

But, and this is the important part, these aliens still tend to use all the same metaphors we use in English.

The point is this: alien minds will use alien metaphors. When writing dialogue for aliens, an author should be careful about the non-literal language they use. If an alien doesn't have a reason to use the same metaphorical constructions we do, then they shouldn't. But even more, if the author doesn't want aliens to just read like humans in alien bodies, they should use different metaphors for the sake of having different metaphors.

 

C.S. Lewis did this fairly competently at least once: in The Screwtape Letters, the demons use words like "lowerarchy", and speak proudly of being demoted to a more prestigious, lower rank. For demons, having control or force is down, more is down, prestigious status is down, good is down. (Or, put in a more C.S. Lewis-y way, bad is good, so just reverse everything we say about good and call it a day.) Satan, the big boss, the one with force and power and prestige, is at the bottom, and all his inferiors (I almost wrote "subordinates") are arrayed above him.[5]

China Miéville’s Perdido Street Station, a book whose major themes include the incomprehensibility (to humans) of alien minds, does this even better, at least in one instance. Consider the character of the Weaver, a transdimensional spider-like creature, the epitome of alien-ness, which speaks predominantly in metaphorical references to the fabric of reality. Consider a typical Weaver monologue:

 

. . . over and up in the little passage it was it was born the cringing thumb the twisted runt that freed its siblings it cracked the seal on its swaddling and burst out I smell the remnants of its breakfast still lolling oh I like this I enjoy this web the weft is intricate and fine though torn who here can spin with such robust and naive expertise . . .

. . . lovely lovely, the snipsnap of supplication and yet though they smooth edges and rough fibres with cold noise an explosion in reverse a funnelling in a focus I must turn make patterns here with amateurs unknowing artists to unpick the catastrophic tearing there is brute asymmetry in the blue visages that will not do it cannot be that the ripped up web is darned without patterns and in the minds of these desperate and guilty and bereft are exquisite tapestries of desire the dappled gang plait yearnings for friends feathers science justice gold . . .[6]

 

It makes only marginally more sense in context (the Weaver is doing something like explaining why it has chosen to aid the main characters).

But notice that the Weaver still uses common English container metaphors: “in reverse”, “in a focus”, “in the minds” – reverse, focus, and minds are not actually containers, so the usage of “in” is metaphorical in this context. (“in the little passage” is not a container metaphor; a passage is, more or less literally, a container, though the passage in question may itself be metaphorical.) So even in this style, riddled with obvious metaphors, the subtler metaphors of English creep in. (I wouldn’t be surprised if this turned out to have been deliberate on Miéville’s part; he may have discovered that expunging all our natural metaphors impeded understanding too much for his purposes.)

 

Lakoff and Johnson even provide a guideline, in passing, for use of novel metaphors in this fashion: an author should make sure the metaphors of their aliens are coherent with one another. If demons think good is down and more prestigious is down and more power is down and more is good, it won't do for it to suddenly turn out that they use more is up metaphors. It's inconsistent and, I suspect, is likely to grate on many readers, even if they don't consciously notice it.

 

Exercise 1: Xenophobia

Let us now, as an exercise, construct a culture by constructing its metaphors. Let's imagine that this culture is profoundly xenophobic, insular, and isolationist. Which is to say: out is bad; in is good. Let's just take the examples I cited previously examples and plug "out" and "in" in place of "up" and "down". Many of these metaphors actually exist in English (container metaphors being another of the most common kinds of metaphors we use), and the main change will be that we're emphasizing them over vertical metaphors. Others will require all-new metaphors. The metaphors, and the kinds of things these cultural xenophobes would say: 

  • ·         happy is in: "I am in good spirits."
  • ·         sad is out: "I am out of good spirits." (not "I am in bad spirits" – apparently good spirits are a substance)
  • ·         conscious is in: "I am in my body."
  • ·         unconscious is out: "I'm feeling out of it."
  • ·         health and life are in: "I'm in good health."
  • ·         sickness and death are out: "I am out of health." (This has some overlap with health is a limited substance, familiar to anyone who plays games with “hit points”.)
  • ·         having control or force is in: "I have an in with the organization."
  • ·         being subject to force or control is out: "I'm outside his power." (This could get confusing, as it means exactly the opposite of the usual English usage, where to be in someone's power is to be under their control. If a writer actually uses examples such as this in the text, they should be sure to add a clarifying note, to avoid confusion. Alternately, the characters themselves could become confused, and it could become a plot point.)
  • ·         more is in: "I'm in great wealth."
  • ·         less is out: "I'm out of money."
  • ·         prestigious status is in: "The inner circle of the organization."
  • ·         lack of status is out: "He's an outside man on the ring."

 

           As you can see, it is possible to create a sense of alien-ness simply by emphasizing some existing English metaphors over others.

          Now consider what one might expect to follow, given the above metaphors:

        These people probably think that heaven is within oneself, and hell is outside (be it outside the self, outside the home, outside the city, outside the civilization, outside the world, or what have you). Obviously, they'll practice meditation, focusing on the self, spending time inside oneself rather than thinking about the outside world. Perhaps they believe that good people, when they die, remain inside the body – perhaps this culture, in a fantasy setting, approves of necrourgy[7], as it allows people to, in some way, remain inside their bodies. Or perhaps they believe that the soul simply remains inside the heaven of the body for as long as the body remains intact, so they practice mummification to preserve the heaven of the body for as long as possible.

These people are, of course, likely to believe that the world is the center of the universe. But they don’t necessarily believe it to be spherical; instead, the metaphor inclines one to suppose that the world is flat. The city is the center of the country, the country is the center of the world, and the world is the center of the universe. If you go too far out, horizontally, you'll reach Hell. (The sky and the ground are probably conceptually less important to this culture than they are to us.)

Demons literally live outside the world (but one must be sure not to say demons live in Hell, because in is good, and any proximity to Hell cannot be good; you might say instead that demons live at Hell, a more neutral, less metaphorical term); the people who live outside the country are actively demonic; the people who live outside the city are bad; the people who live outside the home are merely distasteful. Which is to say: this culture of xenophobes is also likely to be a culture of introverts. This is unlikely to be a very large country; more likely it is to be many city-states, each of which comes into belligerent conflict with one another despite (indeed, because of) their shared culture.

 

Notice how I have taken a one-concept description ("xenophobic/insular/isolationist"), derived from that the sort of metaphors they’re likely to use, and then derived additional details of their culture and religious beliefs which simply follow from the metaphors. An author who has trouble with world-building might consider this as a world-building technique.

 

Exercise 2: Color

And yet "in is good, out is bad" is still a pretty human metaphor, by dint of its many points of overlap with our English container metaphors. We can easily see the culture of xenophobes being a human culture.

What if we want to describe truly alien minds? Let's consider creatures which are not subject to the force of gravity at all. Perhaps they're celestial beings, or they live in space, or they're jellyfish-people who live in a gas giant (with an atmosphere so thick it would take a lifetime to float from bottom to top or vice versa) and are neutrally buoyant.

Spatial metaphors may not be completely absent from the vocabulary of these creatures, but they're likely to be much less important. Being radially symmetric, jellyfish aliens will themselves not have a front or back or sides, so they're unlikely to have many metaphors that hinge on front or back or sides, if they even have words for “front” or “back” or “sides” at all.

They might have concepts of up and down, or at least top and bottom, unless they are perfectly spherical jellyfish. But, in this situation we’ve constructed, there's effectively no difference between travelling up and travelling down, so vertical spatial metaphors will probably be mostly absent from their vocabulary.

But if we're trying to make truly alien-minded aliens, let's just expunge all spatial metaphors entirely. Yes, container metaphors, too. No in/inside/out/outside.

 

So what metaphors remain for them to use, then? Let's suppose, for the sake of simplicity, that they see colors roughly like we do. (This is probably implausible, if they're gas-giant-dwellers; it's probably somewhat dark inside a gas giant, and it’s hard to imagine their diet consisting largely of fruit, which seems to be the reason color is so important to humans. But for the sake of exercise, we shall imagine it to be plausible.) Perhaps, then, as examples: 

  • ·         happy is red: "I am red with joy."
  • ·         sad is violet: "I'm feeling blue."
  • ·         conscious is red: "I was orange and alert."
  • ·         unconscious is violet: "I'm going to go see purple [i.e., sleep] for awhile."
  • ·         health and life are red: "The redness flows in me."
  • ·         sickness and death are violet: "My breathing organs are tinged with violet."
  • ·         having control or force is red: "I oranged and he gave me all his money." (Exactly what sort of activity "oranging" is might need to be explained.)
  • ·         being subject to force or control is violet: "He is the violet man in the painting." (The “painting” in question being the same sort of metaphor as the “totem pole” on which a person can be the “low man” in English.)
  • ·         more is red: "My boss reddened my pay today."
  • ·         less is violet: "My savings are so blue I can hardly feed my family."
  • ·         prestigious status is red:  "He wears the red." (Note that, in this culture, red, not purple, is associated with royalty, because prestigious status is red and royalty is prestigious.)
  • ·         lack of status is violet: "He was purple with envy." (Not green, as one might expect an English-speaker to say.

 

"Infrared" and "ultraviolet" are likely to be roughly equivalent to our "110%" and "less than nothing", respectively.

One advantage of color metaphors: they allow for somewhat more of a spectrum than spatial metaphors. If one is rooted to up/down metaphors, one can speak of up and down, further up and further down, but using color in this way makes it easier and more natural to pinpoint a specific point on the spectrum.

This implies that these aliens are more likely to think in terms of continua where we think in terms of black or white. Perhaps it’s impossible to get a straight yes-or-no answer out of one of these guys; they'll always give you some shade of “maybe-leaning-towards-yes” or “almost-but-not-quite-no” – which they have words for, probably the same words as they use for the colors. “Strong yes” is red, “strong no” is violet, “maybe/no opinion” is green or greenish-yellow. They may well identify more specific points on the color spectrum than the six or seven colors we choose to pick out as the most important ones.

Similarly, what we call “middle management”, these creatures would call “green management”; a “middleman” would instead be a “green man”. A greenman is green between a purpleman and a redman – which may imply that, in this color-oriented culture, all transactions are considered inherently and explicitly unequal. One can be spatially in the middle between two others, but spatial metaphors are irrelevant to these jellyfish-people; color is the metaphor that matters, and it is difficult to be “in the middle” between two colors without one being more red or more violet than the other.

 

Other Examples

All of the above examples do privilege happiness, consciousness, health and life, control and force, amount, and status, which is itself an anthropocentric view. What if a culture doesn't care about control or status, but does care about, say, delicious flavor? Delicious is up, disgusting is down!

A writer might use a particularly violent people – orcs, for example – whose metaphors are all in terms of violence – violence is good, peace is bad. Consider the situation: an orcish elder explains the plan to pillage and massacre the village of Aardham. A young upstart orc things they should pillage and massacre Beantown instead, and shouts out, metaphorically, "the elder is advocating peace!" Meaning that the elder is saying bad things, not that he's literally advocating peace, which he isn't. Or perhaps, if an orc eats the most delicious pie he's ever eaten, he might opine that "This pie really stabs me in the face!"

 

Or consider the most alien of all: cultures which communicate exclusively in metaphors, or cultures which use no metaphors in communication at all.

 

The former idea was explored in the Star Trek: The Next Generation episode “Darmok”, wherein the Enterprise encounters the Tamarians, a species of aliens who communicate exclusively in metaphors, or more specifically references to stories, which the universal translator lacked the cultural context to properly translate. The pronouncements of the Tamarians were statements such as "Darmok and Jalad at Tanagra" (referring to fighting a common enemy), "Shaka, when the walls fell" (failure), "Temba, his arms wide" (giving and receiving), and "Sokath, his eyes uncovered" (comprehension). By the end of the episode, “Picard and Dathon at El-Adrel”, a reference to the events of the episode, had apparently become the Tamarian term for “first successful communication between Tamarians and humans”.

“Darmok” wound up being among the most critically-praised episodes of TNG, and I think it was certainly one of the episodes that was most like traditional (e.g., Asimovian) science-fiction. It was done quite well, if a bit awkwardly; I wouldn't necessarily expect anybody to be able to use this concept without any awkwardness. But it is a very interesting concept to explore, and I'd love to see it explored by more people.

 

A culture with no metaphors at all, on the other hand, would be even more awkward to write. The author wouldn't be able to use orientational or container metaphors. They would, for example, never speak of being in an organization or an emotion, they would never speak of being in love.

Indeed, a metaphor-free culture would never reify at all. Emotions, colors, properties, actions, thoughts, etc., are only metaphorically things at all. A metaphor-free culture would have no concept of "concepts". They would probably become confused if you used the word “love” or tried to describe it at all: love is itself not a literal thing.

Metaphor-free language would be so difficult to think with, let alone communicate with, that I doubt such a culture would have anything like the focus on linguistic communication that we do.

For comparison, years ago, I came up with an idea of a culture which, early on in their development of mathematics, discovered that you cannot divide by zero without entailing terrible nonsensical things. It didn’t occur to them, for whatever reason, to arbitrarily disallow dividing by zero as we do, so on that basis they concluded that all of mathematics is just incoherent. This culture threw out the whole discipline of mathematics, so all of science and engineering in this culture would run purely on trial-and-error, so they never would have gotten beyond the Iron Age.

In a similar way, it seems like a culture which never invented/discovered metaphors may have long since discarded language as an almost entirely fruitless endeavour.

 

Conclusion

Being aware of metaphors in the dialogue and thoughts of characters can be an important tool in selling the idea that the characters are not simply human minds in non-human bodies.

I have only given a few examples of the kind of thing I mean. There are, of course, countless other ways a writer could structure the metaphors of fictional aliens. As long as all the metaphors are coherent with each other and with the culture the author is trying to describe, I think almost any variation can work.


 

Works Cited

Card, Orson Scott. Speaker For The Dead. New York: Tor Books, 1986. Print.

"Darmok." Star Trek: The Next Generation. Season 5, episode 2. Paramount, 1991. Television.

Lakoff, George and Mark Johnson. Metaphors We Live By. Chicago: University of Chicago Press, 1980. Print.

Lewis, C.S. The Screwtape Letters. London: Geoffrey Bles, 1942. Print.

Miéville, China. Perdido Street Station. New York: Random House Publishing Group, 2000. Print.

Rowling, J.K. Harry Potter. 7 vols. New York: Scholastic Press, 1997-2007. Print.

Wikipedia contributors. "Kola Superdeep Borehole." Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 17 Apr. 2012. Web. 30 Apr. 2012.



[1] Lakoff & Johnson (1980), pp. 14-17.

[2] Wikipedia.

[3] Card (1986).

[4] Rowling (1997-2007).

[6] Miéville (2000), p. 344.

[7] The usual word is “necromancy”, but the “–mancy” suffix refers to divination – necromancy is specifically telling the future by talking to the dead. As I strive for clarity, accuracy, and precision, the manipulation of the dead and the creation of “undead” creatures call for a different suffix, in this case “–urgy”, from the Greek for “work” – necrourgy thus being a more general “working with death”.