The Light of Rutupaie Going Out

Rutupaie, the modern Richborough Castle, in Kent, England was once the site of a notable Roman military garrison graced by an enormous marble triumphal arch visible to ships arriving in the port, a tall lighthouse, and a thriving civilian town with an amphitheater. The lighthouse and the triumphal arch are long gone, but a large portion of the circuit of twenty-five-foot-high walls still remain visible above ground. This was the terminus of Watling Streat, a keystone in the network of carefully engineered roads which covered Britain like a net. It was most likely the site of the original Roman bridgehead in the time of the Emperor Claudius, which would in large part become the province of Britannia. Rutupaie became the major port of entry all throughout the four centuries that Roman power held sway over that far and misty isle, their ships and galleys guided into safe harbor after dark by the fire atop the lighthouse.

In one of the opening chapters of the novel The Lantern Bearers, a young Roman-British soldier makes his decision to remain in Britain when the legions are finally and officially withdrawn by order of the Emperor. Having deserted his unit as they are on the point of departure for the last time, he lights the great fire atop the lighthouse, as the galleys row away on the evening tide; a last defiant fire, as darkness descends. Peter Grant, who blogs at Bayou Renaissance Man noted this week that Rosemary Sutcliff’s series of novels about the Romans in Britain and the long, slow, painful dying of Roman civilization there were being republished at a reasonable price in eBook. This reminded me again of my very favorite historical author; The finest and most evocative historical novel ever in English is either the Rider of the White Horse or her retelling of the Arthurian epic, Sword at Sunset. Marion Zimmer Bradley’s version, The Mists of Avalon, is overwrought trash in comparison.

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Out Of All Patience

I read the various news and commentary about the regular police force; five full-time officers and a chief strong, and a couple of other city employees resigning in a body from their jobs in Kenly, North Carolina, in protest over the hostile work atmosphere generated through a new city manager hire. Details on this are all obscure about the personalities and specific incidences of workplace hostility involved. One can sort of fill in the empty spaces, just applying what can be deduced from the personal details and past employment record of the city manager involved, and suppositions regarding the civic employees who have resigned. That and reading the comments appended to the news stories about this interesting happening from those who seem to be familiar. All the parties involved seem to be tight-lipped about what set the whole thing off. The town council was supposed to have held a closed-door meeting on Friday to resolve the situation, but there has not been anything new in the news media that I can find.

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It’s Called Acting, Dear Boy

Or so Laurence Olivier is supposed to have said to Dustin Hoffman, during the filming of The Marathon Man, when Hoffman got a little too deeply immersed in his role.

It’s acting convincingly pretending to be a person you are not; experiencing events and emotions on the stage or screen that the actor might or might not have really experienced. It’s pretending, in the service of storytelling. In our current over-the-top state of extreme wokery, any kind of illogical insanity seems to rule; in this latest example, an American soprano singer, one Angela Blue, has made a great show out of quitting an opera performance, because of her objections to another opera performance and singer in the same venue. Angela Blue objected vociferously to Russian soprano Anna Netrebko singing in the title role of Aida, while made-up to appear as … gasp … Ethiopian. (A production design originated by the late Franco Zeffirelli, as an aside.) Angela Blue, who is African-American, terms it as ‘blackface’, although comparing serious grand opera to the buffoonery of vaudeville minstrel shows of a century ago is considerable of a stretch. What adds an interesting twist to this, is that the opera performance which Angela Blue walked away from was La Traviata, and her role as Violetta a French courtesan, and in the original concept, a woman not of any color save lily-white.

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The Hill to Die On

I swear, I have never been able to understand how the loud and proud Capital-F official feminists made the ready availability of abortion the hill (for the pre-born fetal humans, mostly) to die on. Yes, I’ve pondered this in blogposts many a time. The 19th century suffragettes certainly were what we would now cast as pro-life, and so was a modern iteration, IIRC. (I used to get their newsletter.) Why that one single aspect, out of all the others which would have a bearing on the lives of females; extended maternal leave and benefits, quality childcare … practically any other concern other than that of abortion on demand at any stage of pregnancy could be a rallying ground for those affecting an intense interest in matters of a particularly female orientation. This, when birth control in so many forms (and for male and female alike) is readily and economically available. This is not the 19th century anymore, not even the first half of the 20th,. Truly, it is a mystery why this particular cause and no other animates the radical fem-fringe. I can only surmise that many of the radical and early feminists had abortions, felt horrifically guilty about it all and wished to drag other women into that particular hell with them as a matter of solidarity.

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“Red Flag” Laws

Via commenter Miguel Cervantes. A brilliant exposition:

https://threadreaderapp.com/thread/1537404101901918209.html