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The Rule of Names
The Rule of Names
The Rule of Names
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"The Rule of Names"
Short story by Ursula K. Le Guin
CountryUnited States
GenreFantasy
Publication
Published inFantastic
Publication typeMagazine
Media typePrint
Publication date1964
Chronology
SeriesEarthsea
 
The Word of Unbinding 		 
A Wizard of Earthsea

"The Rule of Names" is a short story by American writer Ursula K. Le Guin, first published in the April 1964 issue of Fantastic and reprinted in collections such as The Wind's Twelve Quarters.[1] This story and "The Word of Unbinding" convey Le Guin's initial concepts for the Earthsea realm, including its places and physical manifestation. Most of the characters from the novels do not make an appearance, with the exception of the dragon Yevaud.[2] Both stories help explain the foundations of the Earthsea realm, in particular the importance of true names to magic.[3]

Plot summary

[edit]

Sattins Island (among the Islands of Earthsea, though this is not mentioned in the original story) contains a rustic village and a resident wizard, nicknamed "Underhill" because he lives in a cave below a hill. Fat, shy, and largely incompetent, Underhill mostly uses simple magic to help the villagers with day-to-day minor medical and agricultural difficulties. Meanwhile, the village's teacher, the pretty Palani, introduces the concept of naming to her schoolchildren: each citizen of Earthsea has one name as a child, which they abandon at puberty in favor of their "true name", but this name must be kept private as it can be used by ill-intentioned magicians to control the individual.

One day, a lone handsome stranger from the distant Archipelago arrives on the island. The locals dub him Blackbeard. He hires a village lad called Birt to guide him to Underhill's home. Speaking to Birt, Blackbeard reveals his purpose: he is a powerful magician searching for his ancestors' treasure, which was stolen by a dragon. He believes Underhill to be a wizard who defeated the dragon and made off with the treasure.

Birt and Blackbeard arrive at Underhill's home. There, Blackbeard confronts Underhill, culminating in a battle in which the two magicians shapeshift into different animals and natural forces. After Underhill transforms into a massive dragon, Blackbeard reveals that he knows Underhill's true name, Yevaud, and that speaking the name will lock Underhill into his true form. This proves effective, but not as Blackbeard expected; Underhill explains that he is in fact the dragon who stole the treasure of Blackbeard's ancestors, and so his true form is indeed that of a dragon. Blackbeard, caught out, is swiftly dispatched by Yevaud. Meanwhile, Birt flees the island, taking his love Palani with him. As he does so, Yevaud, embracing his predatory dragon nature, prepares to devour the villagers of Sattins Island.

In A Wizard of Earthsea, Ged knows this tale as an ancient bit of lore and makes a desperate gamble based on it.[4]

Literary significance and criticism

[edit]

Susan Wood writes that during the early 1960s, when Ursula K. Le Guin was selling stories such as "The Word of Unbinding" and "The Rule of Names", she "was an accomplished writer, expressing valuable insights with grace and humour".[5]

The story underscores the importance of language to the entire Earthsea Cycle. In particular, the use of "names" in the title, along with the use of "word" in "The Word of Unbinding", solidifies this message in the first two Earthsea stories.[6] Specifically, within the Earthsea realm, knowing another man's or dragon's true name gives one power over them; as a result, sharing one's true name with another is an act of complete trust.[4]

Richard D. Erlich writes that Le Guin has the dragon Yevaud take on the Tolkienian use-name "Mr. Underhill",[a] because "he lives in a small Hobbit-style house under a hill".[8]

In later parts of the Earthsea Cycle, the concept of humans and dragons being akin and having been originally one species is developed, and some persons such as Tehanu have a dual human-dragon nature. However, there is no hint of that in this early story. Yevaud had turned himself into a human being for the purpose of hiding, as Ged turned into a bird in A Wizard of Earthsea and Festin into a fish in "The Word of Unbinding", and there is no suggestion that being human was inherent to him in any way.

Notes

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References

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Sources

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The Rule of Names

View on Grokipedia
from Grokipedia
"The Rule of Names" is a fantasy by American author , first published in the April 1964 issue of Fantastic magazine. Set in the fictional archipelago of , the story centers on the foundational magical principle that the of any person, animal, or object holds immense power, allowing the knower to command or influence the named entity, thus making names closely guarded secrets among wizards. This concept underscores the narrative's exploration of identity, deception, and the perils of magical knowledge. As one of Le Guin's earliest published works in the Earthsea Cycle, "The Rule of Names" predates her seminal novel (1968) and establishes core elements of the series' cosmology, including the equilibrium of power through language and the role of in sorcery. The tale unfolds on a remote island village, where a seemingly unassuming wizard encounters a boastful stranger, leading to revelations about hidden identities and a confrontation involving a dragon. Le Guin's subverts conventional fantasy expectations, blending humor with tension to highlight the dangers of underestimating appearances. The story was later reprinted in Le Guin's 1975 collection , which gathered many of her early pieces, and has been translated into multiple languages, including Czech, French, German, Spanish, and others. It remains significant for introducing the world's linguistic , influencing later works in the cycle and contributing to Le Guin's reputation for innovative world-building in .

Background and Publication

Composition and Authorial Context

Ursula K. Le Guin, born in 1929 in , to the anthropologist Alfred L. Kroeber and writer , pursued academic studies culminating in an M.A. in French and Italian Renaissance literature from in 1952. She began writing full-time in the late 1950s after years of poetry and short stories, initially gaining traction in science fiction during the early 1960s, a period dominated by "hard" grounded in scientific principles. Her debut novel, , appeared in 1966, but Le Guin's creative interests soon expanded into fantasy, reflecting her childhood fascination with imaginative tales from pulp magazines like and her exposure to diverse cultural narratives through her family's anthropological background. This shift allowed her to blend speculative elements with deeper explorations of human societies and myth. Le Guin's entry into fantasy coincided with the composition of short stories that laid the groundwork for her Earthsea universe, beginning with "The Word of Unbinding," published in Fantastic in January 1964 and featuring early motifs of magic and isolation in an archipelago world. "The Rule of Names" followed closely, drafted in 1963 in a notebook that captured her evolving ideas on power and identity, and published in the April 1964 issue of the same magazine. Written during a phase of experimentation with anthropological themes—such as cultural rituals and social structures—within fantastical frameworks, the story emerged before Le Guin committed to the expansive Earthsea novels starting with A Wizard of Earthsea in 1968. This period marked her deliberate move away from science fiction's technological focus toward fantasy's mythic and introspective potentials. Central to "The Rule of Names" is Le Guin's innovative magic system rooted in true names, influenced by her broad intellectual engagements with mythology, Taoism, and linguistics. Mythological traditions from diverse cultures, encountered through her father's work and her own readings of fables and folktales, informed the story's emphasis on names as conduits of essence and control. Taoist philosophy, which Le Guin studied extensively and later rendered in her 1997 translation of the Tao Te Ching, shaped the narrative's underlying principles of equilibrium between opposites, where naming aligns with the natural order of existence. Her academic grounding in French and Renaissance literature further sparked an interest in semantic theory, viewing names not merely as labels but as forces that confer reality and identity upon the world, a concept she described as a "mystical thing" essential to advancing her storytelling.

Publication History

"The Rule of Names" was first published in the April 1964 issue of Fantastic Stories of Imagination, edited by Cele Goldsmith, as one of Ursula K. Le Guin's initial contributions to fantasy literature. The magazine, a digest-sized publication from Ziff-Davis, featured the story alongside other speculative fiction, providing Le Guin with an early platform in the genre amid her burgeoning career. At the time, Fantastic maintained an average paid circulation of around 32,500 copies, which helped elevate Le Guin's profile among readers of science fiction and fantasy periodicals. The story, clocking in at approximately 3,500 words, experienced no significant revisions across its editions, though minor editorial adjustments were applied for inclusion in anthologies and collections to fit formatting standards. It was reprinted in The Most Thrilling Science Fiction Ever Told No. 13 in summer 1969 and in Algol issue 21 in November 1973, broadening its reach within fan and small-press circles. Its most prominent reprint appeared in Le Guin's debut short story collection, , published by in October 1975, which solidified the tale's place in her oeuvre. Subsequent anthologies further disseminated the work, including Phantasmagoria (1977), Bestiary! (1985), and The Ultimate Dragon (1995), often highlighting its Earthsea connections. In 2012, it was featured in The Unreal and the Real: Selected Stories, Volume Two: Outer Space, Inner Lands, a comprehensive gathering of Le Guin's speculative tales issued by Small Beer Press. Digital formats emerged later, with a standalone ebook edition from Harper Perennial in 2017 and inclusion in The Books of Earthsea: The Complete Illustrated Edition by Saga Press in 2018, which compiled the full Earthsea cycle.

Earthsea Setting

Introduction to the Earthsea Universe

The Earthsea universe, created by Ursula K. Le Guin, is a vast archipelago comprising hundreds of islands scattered across an immense ocean, where maritime travel connects isolated communities and shapes daily life. This island-based geography evokes Pacific Island cultures through its emphasis on seafaring, diverse local traditions, and a sense of boundless sea enclosing habitable lands. Islands vary from rugged, mountainous terrains like Gont to quieter, low-key settings such as the fictional locales central to early tales, fostering a world where geography influences social structures and magical practices. At the heart of Earthsea's magic system lies the Old Speech, an ancient tongue spoken by dragons and wizards, in which every object, creature, and force has a that encapsulates its essence and grants power over it when uttered correctly. Knowing a allows a wizard to command elements, heal, or even alter , but this power demands profound understanding and restraint to avoid disrupting the natural order. are thus closely guarded secrets, known only to the worthy, establishing a core principle that underscores the perils and responsibilities of magic in this realm. Earthsea's archipelagic society features decentralized communities in villages and ports, where minor wizards or sorcerers address practical needs like calming storms, mending tools, or warding off dangers, relying on innate talents passed through oral traditions. This contrasts with the elite training at the Great School on Roke Island, reserved for those mastering the deeper arts of the Old Speech. Infused with a dualistic philosophy drawn from , the universe stresses equilibrium between opposing forces—light and shadow, creation and destruction, the known and the mysterious—viewing imbalance as a threat to cosmic harmony.

Role in the Earthsea Cycle

"The Rule of Names" holds a pivotal position as the second short story in Ursula K. Le Guin's Earthsea Cycle, following "The Word of Unbinding" (January 1964) and preceding the novel A Wizard of Earthsea (1968). Written and published in April 1964 in Fantastic magazine, it represents an early exploratory piece in the development of the Earthsea universe, which Le Guin described as "slight; more like a sailor's chance sighting of a couple of islands than the discovery of a new world." This story laid initial groundwork for the series' magical and cultural framework, establishing key lore that would underpin the expansive narrative across six novels and additional tales. Central to its contributions is the introduction of the "rule of names," a foundational asserting that hold inherent magical power, encapsulated in Le Guin's maxim, "In the name is the magic." This concept permeates the entire Earthsea Cycle, where naming becomes essential to wizardry and control over reality, influencing character arcs and conflicts in works from to (2001). The story's depiction of naming as both a tool of power and a sets a for the series' exploration of language's metaphysical role, evolving in later volumes to encompass broader philosophical inquiries into identity and equilibrium. A key narrative link to the broader cycle appears through the dragon Yevaud, portrayed here as a menacing antagonist terrorizing the island of Way, which establishes as a independent of the protagonist Ged's storyline in . In the novel, Ged confronts and binds Yevaud using his , reinforcing the rule's mechanics without direct reference to this earlier tale, thus creating subtle continuity. Additionally, the story's focus on minor characters like the farmer Birt highlights themes of ordinary folk navigating extraordinary events, a motif echoed and expanded in later collections such as (2001), where everyday individuals grapple with magic's intrusions into rural life. Furthermore, "The Rule of Names" offers early of the dragon-human boundaries that become central to the cycle's later installments, particularly The Farthest Shore (1972), where interactions between dragons and humans probe existential divides and ecological harmony. This prelude underscores the series' progression from isolated magical mishaps to interconnected tales of cosmic balance, enriching the lore without relying on the central wizardry arcs developed in the novels.

Narrative Elements

Plot Summary

The "The Rule of Names" is set on the remote island of Sattins in the archipelago of , where the villagers live simple lives centered around fishing and superstition. The apparent wizard Mr. Underhill resides in a beneath a hill, occasionally performing minor illusions and tricks for the locals, such as levitating objects or creating small fires, though his abilities are often dismissed as unimpressive. The narrative unfolds from the perspectives of ordinary islanders, including the young fisherman Birt and the schoolmistress , who teaches the children about the island's strict custom of concealing to prevent others from gaining power over them. The inciting incident occurs when a stranger with a black arrives by , introducing himself as a sea-peddler but quickly drawing suspicion from the villagers, particularly the old seacaptain Fogeno, who recognizes him as a wizard. Dubbed by the locals, the newcomer inquires about the island's wizard and soon confronts Mr. Underhill directly at his , probing his magical prowess through subtle challenges and revealing his own superior spells, such as summoning wind or altering his form slightly. This encounter builds tension as Blackbeard accuses Underhill of hiding greater power and demands the return of treasure stolen from the isle of Pendor by a dragon. The rising action escalates into a dramatic magical when challenges Underhill to prove his wizardry, leading to a sequence of rapid : Underhill transforms into a , then a clump of trees, and a , while counters as a great cat, a roaring , and a cliff. The confrontation intensifies with displays of elemental magic, drawing Birt and as hidden witnesses. In the climax, utters the "Yevaud," expecting to compel submission, but Underhill instead reveals himself as the dragon Yevaud in disguise—the very creature who stole Pendor's treasure—and leaps upon the wizard with outstretched talons, causing to vanish. In the resolution, three days later, Yevaud reemerges in his full draconic form from the cave, spreading black wings and flying toward the village, posing an imminent threat to the islanders. Birt and , having overheard the revelations, seize a and row desperately away from Sattins, glimpsing the dragon's approach as they flee into the sea, leaving the story on a note of unresolved peril for the remaining villagers.

Characters and Motivations

Mr. Underhill, the apparent village wizard on Sattins , is revealed to be the Yevaud in , adopting the role of a benevolent but inept mage to conceal his predatory nature. His primary motivation stems from a yearning for secrecy and the tranquility of a simple village existence, allowing him to hoard his treasure undisturbed while performing minor spells for the locals. This alias, "Mr. Underhill," alludes to J. R. R. Tolkien's in , yet Underhill's drive reflects Le Guin's interest in veiled identities over heroic journeys. In contrast, , a skilled mage from the North and descendant of Pendor's lords, arrives as a curious and inquisitive outsider, his thick masking a sharp intellect. Motivated by the desire to recover his family's treasure stolen by the dragon Yevaud, whom he believes to be hiding as Underhill, he probes the wizard's authenticity, igniting the story's core tension through his determination to reclaim what was lost. Birt, a young fisherman, initially harbors admiration for his mentor's supposed wisdom, but this evolves into profound fear as the wizard's true form emerges, positioning Birt as an bystander ensnared by the unfolding deception. His wife, , embodies and wariness of the arcane, driven by a survival-oriented that prompts her to prioritize escape from the island's perils over any faith in magic. The story's compact ensemble amplifies the fragility of trust in this isolated community, where the characters' concealed motives and revelations strain personal bonds and collective harmony.

Themes and Symbolism

The Power of True Names

In the Earthsea universe, true names—uttered in the ancient Old Speech—represent the fundamental essence of a being or object, granting the knower command over it, whether a stone, animal, or dragon. This linguistic magic system underscores that to speak a true name is to invoke and control the true nature of the named entity, as the word and the thing are inextricably linked. Central to "The Rule of Names," this power manifests as a strict guideline: must not be disclosed casually, as revelation invites peril and domination by others. The illustrates this through the dangers of exposure, where withholding one's serves as a safeguard against exploitation in a world where equates to authority. Philosophically, true names embody the core of existence, drawing from Le Guin's interests in and , where naming captures an object's intrinsic being and vulnerability arises from its disclosure. In this framework, a is not merely a label but the soul's blueprint, aligning with Taoist principles of and balance through precise, intuitive understanding rather than force. A pivotal example occurs when the wizard Blackbeard speaks the Yevaud's , pronounced correctly in the Old Speech, compelling its transformation to its true dragon form but ultimately revealing the dragon's superior power rather than submitting to control, in stark contrast to protective use-names like "Underhill," which obscure one's essence to evade detection. However, in "The Rule of Names," this power is subverted, as Blackbeard's invocation backfires due to the power imbalance, emphasizing that true dominance transcends mere knowledge of names. This concept evolves across the Earthsea cycle; in , the rule extends to naming intangible forces like , where uttering the integrates and neutralizes them, restoring equilibrium to the self and world. Such developments deepen the initial mechanics introduced in "The Rule of Names," emphasizing naming as a path to wholeness.

Identity and Deception

In "The Rule of Names," deception manifests as a deliberate strategy employed by characters to preserve social harmony in the insular village of Sattins, where individuals adopt false names and unassuming appearances to conceal their true capabilities and avoid conflict. The figure known as Mr. Underhill presents himself as a bumbling, ineffective practitioner of minor spells—summoning teakettles instead of grander feats—to blend into the community and evade scrutiny, reflecting a broader societal norm in where overt displays of power could disrupt the fragile peace of rural life. This motif underscores how serves as a protective , allowing potentially disruptive entities to coexist without challenging the village's equilibrium. The theme of identity fluidity is vividly explored through , which symbolizes the tension between concealed inner selves and external facades, particularly in the Yevaud's human guise as Mr. Underhill. By suppressing his draconic —complete with fiery breath and immense strength—Yevaud embodies a hidden, primal identity that threatens to erupt when exposed, serving as a for the dangers of repressing one's authentic essence in a society that prizes conformity. This fluidity extends to other characters, such as the visiting wizard Blackbeard, whose charismatic exterior masks vengeful intentions, highlighting how mutable forms enable both and manipulation within magical interactions. Socially, trust in Earthsea's villages hinges on unspoken agreements to respect personal secrets, a balance shattered by unchecked curiosity that invites chaos and upheaval. Blackbeard's persistent probing questions about Mr. Underhill's background exemplify this tension, as his quest for hidden truths—driven by a desire to reclaim stolen treasure—erodes the community's implicit pact of non-interference, ultimately unleashing Yevaud's destructive power and scattering the villagers. This breach illustrates the precarious interplay between communal harmony and the integrity of magical boundaries, where deception fosters stability until revelation disrupts it. Symbolically, the villagers' tolerance of "minor" , such as illusory tricks at festivals, reinforces the story's exploration of versus , blurring the lines between harmless pretense and profound concealment. These everyday deceptions normalize a worldview where appearances govern social bonds, yet they also foreshadow the peril of underestimating deeper truths, as the acceptance of superficial spells parallels the overlooked threat posed by Yevaud's disguised presence. In this context, mechanics briefly intersect, as naming pierces the veil of , but the emphasis remains on the relational fallout of such disclosures.

Reception and Legacy

Contemporary Reviews

Upon its publication in the April 1964 issue of Fantastic Stories of Imagination, "The Rule of Names" earned no major awards at the time. The story's reprinting in Le Guin's 1975 collection elicited further acclaim, with critics viewing it as an approachable introduction to the setting. Similarly, Susan Wood's review in the November 1975 issue of Locus lauded the anthology as an effective showcase of Le Guin's versatility and linguistic precision, particularly in the stories' evocative world-building.

Scholarly Criticism and Influence

Scholarly criticism of "The Rule of Names" has highlighted its intertextual nods to , particularly in the wizard's alias "Mr. Underhill," which echoes Frodo Baggins's pseudonym in and underscores themes of deception and hidden identity. In the , ecocritical analyses have linked the dragon's themes to environmental identity, as in Bektaş and Calderón-Sanou's 2022 reading, which posits the story's emphasis on "name-listening" and kinship with nonhumans as a posthumanist antidote to , drawing on Le Guin's Taoist influences to critique anthropocentric domination. While queer interpretations of identity fluidity in Earthsea exist, scholarly focus on "The Rule of Names" remains limited. "The Rule of Names" established the true-name magic trope as a of modern fantasy, shaping canonical lore in Le Guin's cycle by introducing systems where naming confers ethical power over reality. This concept has influenced subsequent works employing linguistic control, contributing to the genre's exploration of magic as linguistic and moral discipline. As a precursor to the cycle's deeper inquiry into power ethics, the story prefigures Le Guin's later integration of Taoist principles, evident in her essays on balance and restraint in fantasy creation.

References

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  34. https://theses.cz/id/6wppe1/55477976
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