President Trump & Word Association

As a lover of words, I am of course interested in the following Quinnipiac poll which asked responders "What is the first word that comes to mind when you think of Donald Trump?"  The list provides endless fodder for analysis of speaker meaning.  The top two answers were "idiot" and "incompetent."  Did the speakers mean some subtle difference between those terms?  What about any meant difference between those two terms and such other terms as "unqualified," "ignorant," "stupid," and "clown"?  The third most frequent response is "liar."  Was "liar" meant in a different sense from "dishonest" or "con-man" which pop up later in the list?  Is "leader" (fourth on the list) a complement or is it a factual statement such as "president"  (sixth on the list)?  What about "trying"?  Does that mean the man is attempting to succeed (my guess but it's only a guess) or that he is "causing strain, hardship, or distress" (American Heritage College Dictionary 4th ed.)?  I also wonder how Originalists like Neil Gorsuch would interpret and parse each word in this list.  Reasonable contemporaneous readers can of course draw wildly different conclusions about the meanings of these words.

Embracing Life: Shakespeare and "Existentialism"

              Sartre claims that existence precedes “essence,” that “being-in-itself” is thrust upon us, that we have our subsequent brief existence to create our identities or “essences” (our “beings-for-itself”).^[1]   The great American pragmatist William James also notes that we are thrust into a swirl of experience which we try to predict and organize with concepts and theories as our “tools.”[2] 

            Many years before James and Sartre, Shakespeare’s Macbeth, Lear, Hamlet, Jaques, and other diverse characters also opine on one’s brief moments thrust upon life’s “stage.”  Lear’s naked babe, for example, cries when tossed upon that “stage.”  Interestingly, the infant has feeling and tears for coming to a “great stage of fools”^[3] even though it presumably lacks language and concepts such as “stage” or “fool.”  Shakespeare’s babe suggests a pre-conceptual link to the swirl of experience—a feeling link which James’s concepts and theories for predicting and navigating experience could then supplement and build upon. (For those interested in feeling and emotional connections to the world, I have explored the subject further in my Cognitive Emotion and the Law .)

            Lear’s babe also gives us moral as well as epistemic insight. The infant “comes to” rather than “brings” foolishness to a “great stage of fools.”  Not choosing to navigate this swirl of experience, the babe can’t be a fool for just being born--any foolishness it may display must come after mere birth itself.  As Emily Dickinson also notes, mortals born into the swirl aren’t given an initial “Skipper’s” or “Buccaneer’s” choice in the matter:

A Sonnet on the Jerusalem Cross

For me, the Jerusalem Cross is endlessly inspiring:  Christ before Paul; the Kingdom that’s within; the wisdom of the Buddha; William Blake and all he tried to do, say, draw, and paint; the semiotics of the endless signified and signifier; the freedom and choice in how we frame; the crosses we bare and bear; the number 5 that I somehow took as “my” number when I was a child.  Such crosses cross beyond mere prose:

               The Jerusalem Cross

Her references are kingdoms built within,

Are centers of what is, are plots of peace,

Are emanations of Blake’s Albions,
Are heavenly vistas of Jerusalems,

Are fresh imaginations testing worlds,

Are fourfold noble truths, are eight crossed paths

That frame a centered cross that wisdom bares

To study all the crosses that it bears.

Her signifiers are two crossing lines,

Four smaller pairs, too, eight paths framing round

Just four right angles centering sixteen more

That also form at most a single square--

Or four or five depending on the count.†

                          *****


†(The cross's lines are personal as well
  In ways they interweave both "H" and "L,"
  In ways they cover Everyone with "E"
  Should some find some initials tough to see.)

 

"Nature Hath Framed Strange Fellows" William Shakespeare and Natural Law

A. Introduction

             

             Natural law theorists might turn to The History of Troilus and Cressida to start building their case.  They might begin with Ulysses’ lofty outline of the “natural” order:

The heavens themselves, the planets, and this center          

Observe degree, priority, and place,                            

Insisture, course, proportion, season, form,                    

Office, and custom, in all line of order,                       

And therefore is the glorious planet Sol                        

In noble eminence enthroned and sphered                         

Amidst the other; whose med'cinable eye                         

Corrects the influences of evil planets

And posts, like the commandment of a king . . . .[1]                      

Such theorists might then use Ulysses’ further stirring words to blend such “natural physical order” with a “natural order” in law and morality as well:

Take but degree away, untune that string,                      

And hark what discord follows. Each thing meets                

In mere oppugnancy.  The bounded waters                          

Should lift their bosoms higher than the shores              

And make a sop of all this solid globe;                         

Strength should be lord of imbecility,                          

And the rude son should strike his father dead;                 

Force should be right; or rather right and wrong,             

Between whose endless jar justice resides,                    

Should lose their names, and so should justice too.^[2]                             

As far as it goes, it is hard to imagine a more eloquent case for natural law than this.

Shakespeare and Legal Positivism

            Despite his limited formal education, Shakespeare’s works display a great deal of legal knowledge.^[1]  As a part of Shakespeare’s vast imaginative universe, his storylines and characters help us (among countless other things) to analyze the command form of legal positivism, a form of legal positivism holding that laws are commands of sovereigns backed by threats of punishment. Various scenarios in the plays help us see how such an approach cannot succeed.  As I plan to show in subsequent blogs, Shakespeare also: (a) beautifully lays out arguments for natural law only to demolish them; (b) centuries before Holmes formulated his prediction theory of law (the theory that the law is a set of predictions as to how the courts will act in certain circumstances), Shakespeare penned plays that help us see how such theory fails; and (c) Shakespeare otherwise gives us insightful bits and pieces from which we might begin generating a workable jurisprudence complying with the semiotics of law and its inherent restraints.^[2]   In this first of four planned blogs (all four of which draw from my longer article Let’s Skill All the Lawyers), I’ll briefly explore the command theory form of legal positivism using insights from Shakespeare.

Gorsuch and Originalism: Some Critiques from Logic, Scripture, and Art

(This blog combines, expands, and end-notes two prior blogs)

Neil Gorsuch? Originalism and the Ten Commandments

Current Supreme Court nominee Neil Gorsuch claims that judges should “apply the law as it is, focusing backward, not forward, and looking to text, structure, and history to decide what a reasonable reader at the time of the events in question would have understood the law to be ....” On its face, this is at best an odd claim. Laws are generally forward looking in their desire to govern future behavior. And even if we could always focus back to determine legal meaning, why would we want to disconnect meaning from ongoing life in such a way? Why, for example, should the absence of email in George Washington’s day mean our modern use of email isn’t covered by our modern notions of “speech”? Excluding email from “speech” today would be silly and we have refined “speech” to include email in both law and in life. Of course, if we refine meaning for “speech” and “email,” why shouldn’t we do the same for other things in other contexts as they change with time? It’s hard to see how Originalism’s odd backwardness isn’t fatal from the outset.

Parsing Babble in North Carolina's HB-2 and Calling Out the Need for Immediate Repeal

Read here my parsing of ambiguous bathroom provisions in North Carolina's HB-2 and the immediate need to repeal the flawed statute in light of further imminent threatened boycotts of the state.

Rethinking The Elect

                            The Elect

Take that long-suffering slave:  if she instead

Were master, could descent dissent and shed

Vile arrogance slaves shirk and in its stead

Renounce the life that life inherited?

Take that starved, broken pauper:  if instead

Of life so harsh he often would be dead

He had a fuller purse, was fuller fed

Would he have known to offer paupers bread?

Take that queer soul who's “different”:  if instead

He'd turned out “normal” would he think a dead

Queer's better than a live one, too, and spread

Intolerance majorities have bred?

Is this not Grace?  Spared from such tests as these,

Has God not favored his minorities?

In a time of Trump when I fear many devalue diversity and many more do not see the frequent grace in minority, struggle, and lack of material wealth, I highlight this poem from Charms and Knots.  I also highlight the poem for a time when many no longer appreciate the endless powers of formalist verse.  Apart from the inherent power of sonnet form, twelve same-rhymed lines followed by two fresh rhymes actually participate in the grace and rarity of difference (indexical expression of the point to use Peirce's terminology).

Ekphrasis & Prose: Sonnet Translations of Poe & Hawthorne

I sometimes wonder whether a prose piece should have been verse from the outset.  Could the deep meaning have been more effectively captured and conveyed by poetic form than by prose?  I've wondered that, for example, in the case of Poe's "The Mask of the Red Death."  With no illusions that Poe's sonnet wouldn't have been much better, here's a concrete example of what I mean: 

Shadow After Poe 

We noticed there was pestilence about.

We played instead of passive victim an
Aggressive agent capable of plan
And execution.  In, we locked it out,

A simple action, really, which we sealed
With weighty velvet curtains drawn across
An iron door bolted tight.  “Our gain, Hell’s loss!”
We toasted with good bourbon and were steeled.

“God helps who helps himself,” we boasted till
We saw a shadow by a comrade still
And cold throughout the reverie.  It hid

As quick within the heavy draperies.  Did
Drink fool?  No.  Oh, no fancy has composed
Such vast lost voices in a single ghost.

I've also wondered the same about individual passages in longer works.  Here, for example, is a bit of Hawthorne's The House of The Seven Gables set to sonnet form:

Originalism and the Fall of Icarus

Well, here we go again. With Neil Gorsuch as the current Supreme Court nominee, once more we hear praises of “originalism” as a judicial interpretive philosophy. As Gorsuch puts it, judges should “apply the law as it is, focusing backward, not forward, and looking to text, structure, and history to decide what a reasonable reader at the time of the events in question would have understood the law to be . . . .” Since law generally looks forward to govern future and not past behavior, and since context drives meaning in much more complex ways than Gorsuch’s words suggest, I’m amazed that people take this backward-looking and overly-simplistic philosophy seriously. I’ve written at length about the problems with such an approach but now also wonder if an old painting might more quickly dispatch such error.

Two Performance Review Mantras (“Mercy and Truth Are Met Together; Righteousness & Peace Have Kissed”)

I. Mantra For Myself

I smile if I have shown a light.

I smile if I if I have aimed at right.

I smile if I have done my best.

Imperfect, I’ve no other test.

II. Mantra For Others

I smile if they have shown a light.

I smile if they have aimed at right.

I smile if they have done their best.

Imperfect, they’ve no other test.

Wake Forest Law Review Publishes "Revisiting Langdell: Legal Education Reform & The Lawyer's Craft"

The Wake Forest Law Review has published its 2015 Legal Education Reform Symposium volume entitled Revisiting Langdell: Legal Education Reform & The Lawyer's Craft.  The volume can be purchased here and I hope it will make a positive difference in legal education reform. 

My introductory article in the volume highlights longstanding, substantial damage Christopher Columbus Langdell has inflicted on law schools and legal education. Much of this damage stems from three of Langdell’s wrong and counterintuitive notions: (1) law is a science of principles and doctrines known with certainty and primarily traced through case law; (2) studying redacted appellate cases is “much the shortest and best, if not the only way” of learning such law; and (3) despite Langdell’s own roughly fifteen years of practice experience, practice experience taints one’s ability to teach law. I briefly highlight problems with, and harms resulting from, each of these wrong notions. Among other things, I briefly explore: (A) contradictions, oversights, and wrong assumptions in Langdell’s views; (B) how the very meanings of “theory” and “practice” reject Langdell; (C) how the necessary role of experience in meaning itself rejects Langdell; (D) parallels between Langdell and unworkable Cartesian dualism; and (E) how the necessary role of framing in the law rejects Langdell. I also briefly survey some remedies suggested by reason, experience, common sense, and modern cognitive psychology. These include rejecting the redacted appellate case method as a primary mode of instruction, recognizing the necessary fusion of theory and practice, recognizing the need for practice experience in law professors, recognizing the embodied nature of meaning and the resulting role of practice and simulation in good legal education, embracing the humanities (including classical rhetoric) in legal education, abandoning meaningless distinctions such as distinctions between “doctrinal” and “non-doctrinal” courses, and abandoning “caste” systems demeaning those with law practice experience and elevating those who lack such necessary experience.  My introduction can be found here.

Pat McCrory Should Think Twice Before Trying To Pack The North Carolina Supreme Court

In this month’s North Carolina Supreme Court elections, Democrat Michael Morgan soundly defeated Republican Robert Edmunds thereby shifting control of the Court from Republicans to Democrats by a margin of one. With no Court vacancies “currently occurring” which Republican Governor Pat McCrory could fill to shift control back to Republicans, rumors are afoot that Pat McCrory will soon call a special session of the North Carolina General Assembly where the General Assembly will “create” two new Supreme Court “vacancies” for McCrory to “fill” with Republican justices. If this is true, it would not only be a stunning rebuke of democracy. It could well be unlawful under a best reading of the North Carolina Constitution.

                                                     Click here for remainder of post

Blake Within Blake Within Blake Without End

As I have written before, the great William Blake magnificently employed signs beyond mere words in his poetry.  His powerful illustrations of verse add much additional meaning to his work.  As I have noted before, his symbols such as words are greatly supplemented by other types of signs such as the iconic signs of his drawings.  He applied these same principles in reverse in his great illustrations of the verse of other poets such as Thomas Gray and Edward Young.  Such illustrated verse injects blocks of symbols within Blake's icons, and it can be fascinating to replace these blocks of others' symbols with additional iconic expressions by Blake himself.  Blake's illustrations repeat common themes and can build on each other in such fascinating exercises.  I think Blake would enjoy seeing others doing this with with his icons, and I would enjoy seeing how others might attempt the endless possibilities of such substitutions.  For example, in the illustration above I have replaced Gray's verses about the "Stern Rugged Nurse" with one of Blake's illustrations of Urizen, the severe god of reason who traps the imagination with his compasses and strict categories.  The compass in fact is an awful symbol for Blake.  It's no accident that the "Stern Rugged Nurse" has one in her hand just like Urizen.

Beyond Words Alone: Poets as Artists of the Intentional

 

In his wonderful The New Book of Forms, Lewis Turco tells us that poets “focus on mode, on language itself.”  Focusing on language, a poet in Turco’s view is therefore an “artist of language; his or her concentration is upon the language itself.”  Taken this way, “[p]oetry can thus be defined as the art of language.”

Though these definitions of poets and poetry are correct as far as they go, they do not go far enough. Poets are artists of the intentional; they are artists using signs that point to things beyond the signs themselves.  Since words are not the only signs, why should poets limit themselves to words?  Using C.S. Peirce’s terminology, there are in fact three kinds of signs: symbols (arbitrary signifiers such as words), icons (signifiers such as paintings that resemble what they signify), and indexes (signifiers like photographs or weathervanes that participate in what they signify).  In the realm of symbols, why should poets limit themselves to words?  In the broader realm of signs, why should poets ignore icons and indexes?  They should not of course, and William Blake gives us excellent proof.   

LBJ's Villanelle: Old Chamberlain & Chambers of the Heart (Addition to "The Apology Box")

The Johnson name shall live forevermore

At home and overseas.  Of virile heart,

I shall not risk the loss of any war.

I’ll slay Jim Crow and poverty before

Another president can steel the part--

The Johnson name shall live forevermore.

I shall not ape old Chamberlain though war

Endangers plans at home. I've rhetoric's art--

I shall not risk the loss of any war.

No hypocrite, I've nitroglycerin for

Myself as well and lob it at my heart--

The Johnson name shall live forevermore.

Though pills roll out my mouth, I've countless more
To keep me standing as I ply my art:

"I shall not risk the loss of any war.

No, we shall overcome Jim Crow, the gore,

The jungles, and old chambers of the heart.
The Johnson name shall live.  Forevermore,

I shall not risk the loss of any war."

© Harold Anthony Lloyd 2016

  
The current contents of "The Apology Box" can be found here.