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1. The Power of Names

Michelle Rafferty, Publicity Assistant

Barry Blake is Emeritus Professor of Linguistics at La Trobe University, and his books include Playing with Words, All About Language, and this most recently Secret Language: Codes, Tricks, Spies, Thieves, and Symbols. In the following piece he reveals the mysterious significance of the name in societies past. To read more from Barry Blake check out his piece on allusions that may have eluded you.

In Western Society we have at least two official names, a given name and a surname. Surnames carry some history in that they give an indication of our ethnic origins. Think of Zellweger, Banderas or Zeta-Jones, to take a few at random. Given names often have similar associations of ethnicity or religious affiliation; some tend to be associated with a particular generation, and a few such as Napoleon and Washington evoke particular historical figures. Occasionally we have to hide our ethnic or religious affiliation. During World War I the British royal family had to change their name from Battenberg to Windsor, but normally we have no fear about revealing our name, and right from when we start school we have to give our name to authorities. However, in many societies in the past, and still in some today, people tended to keep their name secret. This is possible in a small-scale traditional society where there are no authorities wanting to record your real name, and for most purposes you are called by a pet name, a nickname, or a kin name like ‘little brother’ or ‘nephew’.

The reason for keeping personal names secret is that one’s name can be used in sorcery. In a wide variety of cultures it is believed that if enemies know your name, they can place an effective curse on you. This belief in the power of a name is linked to a belief that a name is part of one’s being just like an arm or a leg. In English we can say ‘my arm’ or ‘my leg’ just as we might say ‘my dog’ or ‘my car’. We treat them all as possessions, though of course an arm or a leg is part of one’s body. In some languages you cannot speak of body parts as possessions. For example, in most of the indigenous languages of Australia words for ‘my’ and ‘your’ cannot be used with body parts. In the Kalkadoon language, for instance, although you can say, ‘There’s a spider on your blanket’ to say ‘There’s a spider on your arm’, you have to say, ‘There’s a spider on you, arm.’ In other words you say the spider is on the person and then specify what part of the person is involved. Names are treated like body parts. You can’t say, ‘He wrote down my name’, you have to say, ‘He wrote down me, name.’

Since a name was considered an integral part of a person, it could be an effective target for sorcery. In some literate societies mistreating a person’s name was thought to be able to produce an analogous effect on the person. In Ancient Egypt the names of enemy kings would be inscribed on pottery bowls and ritually smashed with the aim of bringing about the death of these rulers. Curse tablets from the Ancient Greek and Roman world have been unearthed in whic

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2. Have these Allusions Eluded You?

Michelle Rafferty, Publicity Assistant

Barry Blake is Emeritus Professor of Linguistics at La Trobe University, and his books include Playing with Words, All About Language, and this May’s  Secret Language: Codes, Tricks, Spies, Thieves, and Symbols. In the following piece he samples some allusions that may have eluded you over the years.

Have you ever wondered where the titles of novels, plays, films and the like come from? Some are obvious, at least after you’ve read the book or seen the movie, as with Star Wars and The English Patient, but many titles are not transparent and leave you wondering just why the author chose them. These are usually allusive, they refer to something in history or literature or they take their wording from a text. These allusions are often quite esoteric, and authors must know that only some of the audience or readership will pick up on them. Presumably they get satisfaction from choosing a title with some kind of hidden significance and some theatregoers or readers probably find gratification in spotting the allusion. Surveys I have conducted over the years reveal that many allusions are lost on university students, so I’ve rounded up some examples I find to be the most “elusive.”

LITERATURE

John Steinbeck’s novel East of Eden takes its title from the Bible (Genesis 4:16) and refers to Cain, who slew his brother Abel and was exiled to live ‘on the East of Eden’. There is no mystery about the source of the title for it is discussed in the novel, but its use summons up an allusion to the whole story of Cain and Abel. The novel is about two rival sons, the goody-goody Aron and the not-so-good Cal, and as the story proceeds the reader sees parallels with the Bible story and begins to wonder if Cal will kill Aron.

Along with the Bible the other main source of literary allusions is Shakespeare. Another novel by Steinbeck, The Winter of Our Discontent takes its title from the opening words of Richard III,

Now is the winter of our discontent
Made glorious summer by this son of York

These lines, which incidentally contain a pun, have become a most hackneyed source of allusion, and journalists writing about any unpleasant winter are likely to trot out this phrase in the title of their article.

TELEVISION AND FILM

A few years ago there was a television series called To the Manor Born. This combines a pun and an allusion since it is based on Hamlet’s remark,

-though I am a native here,
And to the manner born,-it is a custom
More honour’d in the breach than the observance.

There is a fi

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