Geek Orthodox

Fr. Justin (Edward) Hewlett

Orthodox Christianity and geek subculture, hosted by Fr. Justin, an Orthodox priest and life-long book-, computer-, game-, sci-fi-, and fantasy-geek. geekorthodox.substack.com

  1. -2 ДН.

    AI and the World of Code

    Hello and welcome to Geek Orthodox. I’m Father Justin, geek from my youth. AI has taken the world by storm. Whether we like it or not, it’s embedded in pretty much everything. My wife was just on the phone with an AI agent. This technology is being promoted, pushed, and distributed in all areas of our society. It comes from the world of code and is becoming an essential part of it. In fact, it’s part of the reason why I started this “World of Code” arc of my Geek Orthodox podcast. I want to try and explain in the simplest possible layman’s terms what this world of code is that we are immersed in, so that we can understand how it is affecting our lives in a better-informed way. However, undertaking to explain even the Large Language Model (LLM) version of AI is a massive task. Some of the introductory videos I’ve seen are three hours long, and I don’t want to get that deep. I’m not that much of an expert myself, but I do have a long-standing relationship with AI, thanks in part to the oldest AI chat-bot that took the world by storm back in the 1970s: Eliza. The Legacy of Eliza Eliza was a chat-bot written by Joseph Weizenbaum. It was the first chat-bot to “kind of, sort of” pass the Turing test—the informal test of whether a computer can fool a user into thinking it’s human. It shares a number of attributes with modern AI. It was originally written in a relatively obscure programming language called MAD-SLIP, but it was popularized in my favorite language, BASIC. Weizenbaum didn’t release the original MAD-SLIP code of ELIZA, but he did publish a paper documenting what the program did and how it worked, which inspired reconstructions in a number of different computer languages. BASIC was the universal language of the early computer revolution, and a BASIC implentation of Eliza was published in Creative Computing Magazine in 1977. My own first exposure to it was a version customized for my beloved TRS-80 Color Computer by my friend Bruce. I actually have some of the handwritten code he used to customize it, including sheets containing all the variables—something you had to do back when variables were limited to single or double letters. Most of the program consisted of “DATA” statements, which were essentially fragments of conversation. Eliza worked by taking your input, looking for keywords, and then rearranging the relevant portions of your input into a grammatically appropriate response which incorporated one of the conversation fragments which was most relevant to your most important keyword. It functioned best as a “Rogerian” psychologist—the kind of psychologist who asks questions to get the patient to provide more information. For example, if I said, “I have bad dreams,” Eliza might respond, “What does that dream suggest to you?” This illusion tricked many early users into thinking a real person was on the other end of the terminal. However, the illusion fell apart quickly. If you repeated yourself or challenged the bot, it would fall back on canned responses like, “We were discussing you, not me.” From Keywords to Transformers If Eliza was the height of AI back then, current versions are like Eliza on steroids. Well, that’s oversimplifying, of course, but we have to oversimplify something as complex as AI in order to understand. What modern LLM AIs are doing now is not simply looking for single keywords, but using conversation patterns to respond to combinations of keywords. The core of my understanding of AI comes from this wonderful video by Andrej Karpathy, who was one of the founders of OpenAI and also worked with AI for Tesla. He’s more recently famous for inventing the term “vibe coding,” which brings us back to the world of code. And in this video, which is now getting very old—it’s two years since it was posted—he builds a large language model (LLM) AI from scratch using Python. Python is, of course, the modern programming language that's fairly easy to use which we've touched on before in previous episodes of the World of Code. In this case, what he does is he creates what's called a transformer. The “GPT” in ChatGPT stands for Generative Pre-trained Transformer. You train it ahead of time on data with patterns, and the computer analyzes those patterns to generate new text that follows them. In this video, Karpathy builds a transformer that analyzes the works of Shakespeare character by character (i.e., letter-by-letter), which then is able, by statistically analyzing the relation of each letter to the characters that tend to follow it, to predictively generate Shakespearean sounding language, producing sentences like, “Verily, my lord. The sights have left thee again the king.” Like this, modern AI doesn’t just look for single keywords; it looks for relationships between common combinations of words. It “tokenizes” text, giving numerical representations to words, parts of words, and punctuation. To illustrate this, I’ve “vibe coded” with AI a tool that analyzes text patterns. If you feed it some “training text”—preferably something with a limited vocabulary that is somewhat repetitive, like the first chapter of Genesis in Basic English—it analyzes the relationship of each word to the next word and then to the third and fourth following words. It creates a statistical map of relationships between words and word-parts that allows it to function, much like a modern LLM AI, as a next-word predictor. So, if I type “God saw,” into my Genesis 1-trained mini-AI, the model predicts “that” as the next word with high likelihood (“God saw that”), and “everything” with a lower likelihood (“God saw everything”). And this is essentially how large language models work. The example I always use is the classic typewriter test-phrase, “The quick brown fox jumps over a lazy dog”, since as soon as we say “the quick brown,” anybody who knows that phrase will assume that the next word is most likely going to be “fox”—or possibly “dog” because people sometimes switch the test-phrase around. But what large language models are doing is not simply predicting the next word, but generating whole phrases and compositions based not on a single small passage of Scripture, but on patterns observed across a massive corpus—all of Scripture, all of Shakespeare, and much of the internet. LLMs, as they analyze the whole corpus of a language for the patterns inherent in such data structures, are essentially mining language for representations of meaning. Stochastic Parrots and the World of Code Another important concept to understand with modern LLM AIs is temperature. Temperature determines how random the next word selection is, which is important because usually we don’t want every AI generated response to a particular query to be exactly the same. In order to generate new patterns that are meaningful to us, we need to introduce, alongside the pattern-derived response, some element of randomness. High temperature introduces more variety but also leads to “hallucinations” or weird responses. I once ran the “quick brown fox” test-phrase through ChatGPT, and it started talking about a “quick brown table.” It’s a legitimate grammatical construction, of course, but tables—even brown ones—aren’t usually “quick” unless they’re on the back of a truck! AI models are often called stochastic parrots. “Stochastic” basically means semi-random. If you roll a single six-sided die (1d6), you'll get a value between one and six, and, on multiple rolls of that die, those values should be fairly evenly distributed. But if you roll two dice, while the outcome is random it follows a pattern, in that you are much more likely to roll a seven (1+6, 2+5, 3+4) than a two (only 1+1). AI follows patterns derived from language, but, given that those patterns are nothing more than vast arrays of statistical interrelationships between words and parts of words represented as numbers, AI doesn’t actually “understand” anything. It just semi-randomly puts together patterns of text that, statistically speaking, are more frequently associated with one another, which generally results in our perceiving meaning—and often useful meaning—in those generated texts. In the coding world, we’ve moved from machine language to higher-level languages like BASIC to reduce complexity. AI now offers a way to reduce that complexity even further by using our own native languages to generate code. My “vibe coded” tool was created by giving the AI English instructions, which it then translated into functional JavaScript and HTML. AI is actually getting pretty good at this, aided, in part, by the deliberately disambiguated nature of computer languages, which, in some ways, makes them statistically much simpler to master. However, there is a catch. In BASIC, a command is deterministic—it always translates to the same machine code. An LLM is non-deterministic. Because of that semi-random element, we can’t always be sure what the translation will be. So, as we offload these tasks—any tasks—to AI, we must ask: What does this mean for us? What impact does this offloading have on our intellect, our character, and our morality? These are questions we that we—as people who care about things like faith, morality, and meaning—must consider as we think about the impact of AI on the world of code in which we “live and move and breathe and have our being.” References * an excellent site on the history of the ELIZA chat-bot * the BASIC port of ELIZA in Creative Computing’s Big Computer Games * Jeff Shrager’s original BASIC implementation of ELIZA * a playable version of the BASIC version of ELIZA at Archive.org * a great list of visualizations of how GPT AIs work * a relatively simple visualization of how GPT “transformers” work * an in-depth interactive visualization of how LLM AIs work * the

    35 мин.
  2. 25.10.2025

    The Tale of My Beloved Stellar Empires

    It’s story-time again! This one has a bit of almost all things World of Code about it: early computing history, strategy gaming, programming, BASIC, some actual code analysis, engagement with real-live early programmers, me getting names mixed up, the relationship between computer hardware and software, an actual hardware/software BASIC programming project, and AI triumphs and failures (mostly failures). Let me take you back in time to the early days of my programming and computer-gaming history, and forward to a significant future programming project intended to take folks back to the past, and down into the weeds of debugging and building what, for me, is a pretty significant project. I do get a little bit technical towards the end, but, if you make it that far, do bear with me… I try to make it mostly understandable and my intention as a story-teller is to give you a sense of the joys and perils of programming that is hopefully at least impressionistically accessible to the non-programmer. I feel particularly bad about mixing up Ted and Drew Shorter, the son and father duo who ported my favourite game, “Stellar Empires” (the main subject of this story), to the TRS-80 Color Computer, where I encountered it. For the record, Ted is the son and Drew is the father, and it was Drew (now more than 80!), who, as far as we know, added the “computer player” feature to the game that enabled me to get into it as a solo player—and that really got me digging into the code to reprogram it! I didn’t “re-shoot” that portion because this whole video-podcast was actually done in a single take (and then lightly edited), and I didn’t want to mess with the continuity. I owe a debt of deep gratitude to them and to the game’s original author, Graham Wilson, that this story and this project are attempting to honour. This episode is based, in part, on the following blog-posts, which I hope to transfer over soon to my brand-new technically focussed Substack, Back to BASIC: * The Stellar Empires Project, Part I: The Program, Its Significance to Me, and the Project Proposal * The Stellar Empires Project, Part II: Porting and the Early “Open Source” Community * The Stellar Empires Project, Part III: The Plan, the Problems, and the Development Environment And I would be remiss if I did not also include a link to Graham Wilson’s very enjoyable StellarEmpires.net site! This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit geekorthodox.substack.com/subscribe

    39 мин.
  3. 19.09.2025

    World of Code: Switching Things Up II

    In this second half of this two-part World of Code episode in which we dive into actual code and the experience of coding, we’ll take our BASIC light-switch program and re-implement it in a modern programming language, Python, on a modern computer, my M3 MacBook Air. The main takeaway from the experience, I hope, will be a sense of how the ever-increasing power and capabilities of computer technology leads inevitably to more complex code, which then makes necessary the development of new tools that help us to manage the increasing complexity and to take advantage of the increasing power and capabilities the new computer technology. If we track this in terms of the computer technologies and programming languages we’ve covered or alluded to in the World of Code arc of the Geek Orthodox podcast so far, a simplified timeline might look something like this: * computers are hard-wired to do specific tasks * binary code (machine/assembly language) simplifies the process of reprogramming computers * higher-level languages (C, BASIC, etc.) simplify coding and control of computers * operating systems (DOS and then Mac/Windows) simplify control and increase the capabilities of computers but make programming more complicated * modern programming languages are themselves programs, and use Integrated Development Environments (like IDLE) to simplify programming * AI may make programming more accessible (simpler?) by allowing us to “program” computers using natural language (prompts) → see next episode… For those interested in the technical details, here are the four “light-switch” programs we made (two in BASIC, two in Python) over the course of these two episodes: Basic Light-Switch (On/Off) in BASIC: 10 CLS(0) 20 I$=INKEY$ 30 IF I$="" THEN GOTO 20 40 IF I$=CHR$(94) THEN CLS(5) 50 IF I$=CHR$(10) THEN CLS(0) 60 GOTO 20 Notes: In TRS-80 Color Computer BASIC (every early version of BASIC was slightly different, as each version was customized to control the computer it ran on), there are nine colours, 0 = black, 5 = white, the CLS command clears the screen, the INKEY$ command polls the keyboard, and CHR$ refers to characters by their ASCII values, in which 94 = up arrow and 10 = down arrow. Advanced Light-Switch in BASIC: 10 CLS(0) 15 T=5 20 I$=INKEY$ 30 IF I$="" THEN GOTO 20 40 IF I$=CHR$(94) THEN CLS(T) 50 IF I$=CHR$(10) THEN CLS(0) 60 IF I$=CHR$(8) AND T>3 THEN T=T-2:CLS(T) 70 IF I$=CHR$(9) AND TNotes: Early versions of BASIC only allowed one- or two-character variable names, so here T = color temperature; ASCII values 8 and 9 indicate the right- and left-arrow keys, respectively; the colon (:) in BASIC allows multiple commands to be strung together on a single line, with all commands on the same line following an IF statement only being executed if the statement is true; and colours 3 and 7 on the TRS-80 are magenta and dark blue, respectively. Hidden Display Layer and Functions Starting Both of the Light-Switch Python Programs: import pygame # pygame setup pygame.init() screen = pygame.display.set_mode((1280, 720)) UP = pygame.K_UP DOWN = pygame.K_DOWN LEFT = pygame.K_LEFT RIGHT = pygame.K_RIGHT def theUserClosedTheWindow(): # poll for events # pygame.QUIT event means the user clicked X to close your window for event in pygame.event.get(): if event.type == pygame.QUIT: return(True) return(False) def cls(colour): screen.fill(colour) # flip() the display to put your work on screen pygame.display.flip() def inkey(): return(pygame.key.get_pressed()) Notes: Imports the pygame library to detect key-presses and display coloured rectangles, sets up a 720p screen, defines the UP, DOWN, LEFT, and RIGHT keys as nicely named constants, defines a function that determines when the user closes the window, and implements the BASIC commands CLS and INKEY to make clearing the screen and detecting keystrokes look more familiar. Basic Light-Switch (On/Off) in Python: running = True colour = "black" cls(colour) while running: if theUserClosedTheWindow(): running = False i = inkey() if i[UP]: cls("white") if i[DOWN]: cls("black") pygame.quit() Notes: Follows and depends upon the first portion of the program, above. Turns the screen “on” (white) when the up-arrow is pressed and “off” (black) when the down-arrow is pressed. Advanced Light-Switch in Python: r = 255 g = 255 b = 255 running = True colour = (r,g,b) cls("black") while running: if theUserClosedTheWindow(): running = False i = inkey() if i[UP]: cls((r,g,b)) if i[DOWN]: cls("black") if i[LEFT] and r > 0: if b 0: if r Notes: Replaces the “basic switch” code above, and likewise follows and depends upon the “hidden display layer” code. Represents the “coolest” colour temperature as light blue (cyan), which it moves towards as the left arrow key is pressed (r,g,b = 0,255,255), and the “warmest” colour temperature as yellow (r,g,b = 255,255,0), which it moves towards as the right arrow key is pressed. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit geekorthodox.substack.com/subscribe

    39 мин.
  4. 15.08.2025

    The First Literary Death of Arthur: Geoffrey of Monmouth

    Continuing the process of re-issuing the first arc of my podcast, following on from Episode 1, “The Historical Deaths of Arthur”, available here. In which we examine the transition from the treatment of Arthur as a primarily historical to a primarily literary figure in Geoffrey of Monmouth’s History of the Kings of Britain, and the resultant changes to the handling and implications of Arthur’s death Geoffrey of Monmouth, for all his claims to be writing a history of the kings of Britain, seems actually to have been much more interested much more interested in establishing Arthur as a legendary, heroic figure, and succeeds in establishing many of the main themes of Arthurian legend, despite Geoffrey being (in the words of my hero, C.S. Lewis) “an author of mediocre talent and no taste.” Show Notes: 1. Geoffrey of Monmouth, History of the Kings of Britain * Date: AD 1138 * Causes of Arthur’s death: * Mordred’s betrayal: Arthur’s nephew, who is left in charge during Arthur’s Roman campaign, rebels and marries Guinevere * Civil war: Arthur dies fighting his fellow Britons and a collection of enemies, primarily Saxons, but also “Scots, Picts, Irish” and others * Aftermath: * Guinevere (Guanhumara) flees to a convent * Arthur “mortally wounded” and carried to the isle of Avallon to be cured * kinsman Constantine succeeds the throne, but a rapid succession of rivals replacing one another as well as civil war over the next ten years or so leads to the wasting of what is left to them and the domination of the Saxons * Beginnings of the subsequent shape of the “matter of Britain”: * Theme of freedom: Uther, on defeating the Saxons (leading his troops on a litter due to illness): “Victory to me half-dead is better than to be safe and sound and vanquished. For to die with honour is preferable to living with disgrace.” * Mordred’s betrayal, left in charge because he is Arthur’s kinsman (though here nephew, not son) * Guinevere’s infidelity (though with Mordred) * Single-combat between Arthur and Flollo looks a lot like a joust * Tournaments: three-day tournament at the coronation, with prizes given on the fourth, including: “The military men composed a kind of diversion in imitation of a fight on horseback; and the ladies, placed in a sportive manner darted their amorous glances at the courtiers, the more to encourage them.” * Civil war, which Geoffrey condemns: “Why foolish nation! oppressed with the weight of your abominable wickedness, why did you, in your insatiable thirst after civil wars, so weaken yourself by domestic confusions, that whereas formerly you brought distant kingdoms under your yoke, now, like a good vineyard degenerated and turned to bitterness, you cannot defend your country, your wives, and children, against your enemies?” * Geoffrey’s account, written in Latin and thus widely disseminated, was hugely popular and influential, but was not well received by all his contemporaries – or even by later critics, like C.S. Lewis. * William of Newburgh (c. 1196) condemns Geoffrey for weaving “ridiculous figments of imagination” around historical events recorded by the Venerable Bede and cloaked these old, British “fables about Arthur … with the honorable name of history by presenting them with the ornaments of the Latin tongue.” It is interesting that one of the possible motives he ascribes to Geoffrey for doing so is “to please the Britons, most of whom are known to be so primitive that they are said still to be awaiting the return of Arthur, and will not suffer themselves to hear that he is dead.” William wonders how “the old historians, to whom it was a matter of great concern that nothing worthy of memory should be omitted from what was written … could … have suppressed with silence Arthur and his acts, this king of the Britons who was nobler than Alexander the Great,” and further disparages Geoffrey for translating “the fallacious prophecies of a certain Merlin, to which he has in any event added many things himself” into Latin. * Gerald of Wales, who writes an account of the discovery of King Arthur’s body (more on that later), condemns Geoffrey’s Historywith the story of a man who could see demons: “When he was harrassed beyond endurance by these unclean spirits, Saint John’s Gospel was placed on his lap, and then they all vanished immediately, flying away like so many birds. If the Gospel were afterwards removed and the History of the Kings of Britain by Geoffrey of Monmouth put there in its place, just to see what would happen, the demons would alight all over his body, and on the book too, staying there longer than usual and being even more demanding.” * Lewis, on the other hand, condemns Geoffrey from a more modern, literary perspective: “Geoffrey is of course important for the historians of the Arthurian Legend; but since the interest of those historians has seldom lain chiefly in literature, they have not always remembered to tell us that he is an author of mediocre talent and no taste. In the Arthurian parts of his work the lion’s share falls to the insufferable rigamarole of Merlin’s prophecies and to the foreign conquests of Arthur. These latter are, of course, at once the least historical and the least mythical thing about Arthur. If there was a real Arthur he did not conquer Rome. … The annals of senseless and monotonously successful aggression are dreary enough reading even when true; when blatantly, stupidly false, they are unendurable.” 2. Intermediate sources I’m going to skip Geoffrey’s influential History established Arthurian legend as the English ur-text, the “matter of Britain” and inspired a whole range of imaginative elaborations, most notably the addition of Lancelot by the French, writing in the “courtly love” tradition which Lewis engages with in his most important academic work, The Allegory of Love, as well as English works such as the alliterative Morte Arthure, which seems to have inspired the beginnings of Malory’s great Arthurian work. * French prose cycle: Lancelot, Quest for the Grail, Mort Artu (Malory’s “French book”) * 14th C English alliterative Morte Arthure * 14th C stanzaic Le Morte Arthur This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit geekorthodox.substack.com/subscribe

    33 мин.
  5. 23.07.2025

    Thinking through and Implementing the Algorithm

    This is a free preview of a paid episode. To hear more, visit geekorthodox.substack.com It’s been a while since I posted any bonus content for my few paying subscribers! Since I’ve chosen to put only optional extra content behind my paywall, consistent with the principles I’ve outlined previously, my tendency is to make almost everything public. However, today I have a treat for any paying subscribers who are interested in my approach to programming and/or who would like to learn to program in TRS-80 Color Computer BASIC. While I’ve already covered the basics of BASIC (pun intended) in previous videos, most notably in my latest World of Code episode, in this exclusive excerpt you can see me thinking through the algorithm I want to use to implement our virtual light-switch, and then programming it on my virtual TRS-80 Color Computer. The video also provides a glimpse into the relatively primitive world of programming as it existed way back in the 1980s: editing tools were necessarily a lot more basic and unintuitive back then! Besides the need to juggle the use of BASIC as both the programming language and the “operating system”, without a mouse or a dedicated editor, line-editing had to be done entirely with pretty unintuitive keyboard shortcuts. Geek Orthodox is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Besides giving me a chance to share fun bonus content with my few paying subscribers, my hope and my strategy in making paid content available at a deeply discounted price is to give folks a way * to encourage me to devote more time to creating more geeky content of various types, and * to encourage more general paid support of internet content that we actually love, at an affordable rate.

    1 мин.
  6. World of Code: Switching Things Up

    22.07.2025

    World of Code: Switching Things Up

    Having wrapped up the first arc of this “World of Code” arc of the podcast with an examination of the ways in which some of the attributes of computer code have had an impact on two very human activities that are very near and dear to my heart: telling stories and playing games; we now begin a new arc in which we examine some of the impacts that the inherent complexity of computer code has on our world, beginning with the complexity of actually creating code by programming a simplified virtual version of our code-enhanced wireless light-switch. This is the first half of a two-part episode: in this first half, we’ll implement a BASIC version of the light switch on my TRS-80 Color Computer—not to teach programming, of course, but to experientially engage with how code is created and how it works, in order to better understand both what code is and how it rapidly scales up in complexity. In the second half, we’ll re-implement the light-switch program on more modern hardware (my Mac) in a more modern programming language (Python), which will illustrate how the addition of more computing capabilities further increases the complexity of code, leading to all sorts of significant problems which we need to address with new tools that simplify through abstraction but which themselves add even more layers of complexity. This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit geekorthodox.substack.com/subscribe

    31 мин.
  7. 09.07.2025

    The Historical Deaths of Arthur

    Why does Arthur—someone who may or may not have been King of England, and may or may not have even existed—become such a hugely important figure in England and English Literature, and why is the death of this one man so important? The beginning of our answer, I think, can be found in what he comes to represent, and the time (or times) in which he represented it: Arthur, as warleader (dux bellorum) and later as king, fighting as the leader of the remnants of Roman Britain against the various barbarian invaders, came to represent the last valiant stand of civilization against the overwhelming forces of chaos and collapse. It was, for the Romanized Britons, long accustomed to the benefits and comforts of Roman civilization for almost half a millenium, the end of the world—or at least the end of the world as they knew it, and they did not feel fine. While it would be nice to be able to say definitively whether Arthur existed or not, the historical evidence is, ultimately, inconclusive. Evidence for his existence from the Annals of Wales may have been inserted later, given the relatively late date of our extant copies, and our best contemporary source (Gildas) for the final collapse of Romanized British civilization mentions the Battle of Badon and Ambrosius Aurelianus, but not Arthur. There may, of course, be good reasons for this, such as Arthur being only a warleader, not a king, or my favourite rationale, that Gildas held a grudge against Arthur for killing his brother, but the fact remains that the earliest semi-reliable historical source we have for Arthur ends up being Nennius’ The History of the Britons, written some three centuries later. For what it’s worth, I myself am partial to giving the Annals of Wales entries more credence than most, and if there is a good case to be made for Arthur’s historicity, I think it is as Ambrosius Aurelianus’ warlord. Perhaps most notably, not necessarily for Arthur’s historicity, but for what he comes to represent as the myth becomes the man, is the repeated mention of Arthur triumphing at the Battle of Badon bearing a Christian symbol—whether that be the cross of Christ or an image of the Virgin Mary—on his shield and armour, with the victory over the barbarians on that day being almost unanimously attributed, in the historical (or semi-historical) record, to Arthur as an instrument of the Lord. Ultimately, then, it doesn’t matter that much whether Arthur actually existed, or whether he was a king or just a warlord: what he came to represent for the British people was a sort of Christ-figure, or, at this point, an instrument in the hand of God for the preservation and salvation of His people—or at least His civilization—holding at bay for a brief but glorious time the forces of barbarism, chaos, and darkness. This is the legendary and/or historical kernel of what Arthur and his death will ultimately come to represent for the British people, and, by extension, for the people of all English-speaking countries, as we will see in the upcoming episodes. Show Notes: Historical Context: Roman Britain, AD 43 – AD 410 * conquest began 43-47 with four legions sent by Claudius, conquering the southeast (SE of Fosse Way) * continued 77-84, conquering as far north as Caledonia/north-Scotland (up to the Antonine Wall) * road network completed around AD 150 * Emperor Honorius, himself under siege at Ravenna at the time, tells the Roman Britons they are on their own AD 410 1. Annals of Wales * Date: c. 12 C copy of 10th C original Year * Main quote re Arthur: * 72 [c. AD 516] The Battle of Badon, in which Arthur carried the cross of our Lord Jesus Christ on his shoulders for three days and three nights and the Britons were victors. * Year 93 [c. 537] The Strife of Camlann in which Arthur and Medraut (Mordred) fell and there was death in Britain and in Ireland. Notes: * The words for “shoulder” and “shield” were, however, easily confused in Old Welsh – scuit “shield” versus scuid “shoulder” – and Geoffrey of Monmouth played upon this dual tradition, describing Arthur bearing “on his shoulders a shield” emblazoned with the Virgin. * Alternate dates for the Battle of Badon, sometime between AD 430 and 516: 493 or 501. Or maybe 490. 2. Gildas, “On the Ruin and Conquest of Britain” * Date: c. AD 526/560 * Homily on the ruin of Britain by someone who would be a contemporary of Arthur * Fascinating description of the ruin of Roman Britain by one who personally witnessed the final stages of the dissolution of the remnants of the Roman state: “A council is held, to deliberate what means ought to be determined upon, as the best and safest to repel such fatal and frequent irruptions and plunderings by the [Scots and the Picts]. At that time all members of the assembly, along with the proud tyrant, are blinded; such is the protection they find for their country (it was, in fact, its destruction) that those wild Saxons, of accursed name, hated by God and men, should be admitted into the island, like wolves into folds, in order to repel the northern nations. … They sailed out, and at the directions of the unlucky tyrant, first fixed their dreadful talons in the eastern part of the island, as men intending to fight for the country, but more truly to assail it. To these the mother of the brood, finding that success had attended the first contingent, sends out also a larger raft-full of accomplices and curs, which sails over and joins itself to their b*****d comrades. From that source, the seed of iniquity, the root of bitterness, grows as a poisonous plant, worthy of our deserts, in our own soil, furnished with rugged branches and leaves. Thus the barbarians, admitted into the island, succeed in having provisions supplied them, as if they were soldiers and about to encounter, as they falsely averred, great hardships for their kind hosts. These provisions, acquired for a length of time, closed, as the saying is, the dog’s maw. They complain, again, that their monthly supplies were not copiously contributed to them, intentionally colouring their opportunities, and declare that, if larger munificence were not piled upon them, they would break the treaty and lay waste the whole of the island. They made no delay to follow up their threats with deeds. … In this way were all the settlements brought low with the frequent shocks of the battering rams; the inhabitants, along with the bishops of the church, both priests and people, whilst swords gleamed on every side and flames crackled, were together mown down to the ground, and, sad sight! there were seen in the midst of streets, the bottom stones of towers with tall beam cast down, and of high walls, sacred altars, fragments of bodies covered with clots, as if coagulated, of red blood, in confusion as in a kind of horrible wine press: there was no sepulture of any kind save the ruins of houses, or the entrails of wild beasts and birds in the open, I say it with reverence to their holy souls (if in fact there were many to be found holy), that would be carried by holy angels to the heights of heaven. For the vineyard, at one time good, had then so far degenerated to bitter fruit, that rarely could be seen, according to the prophet, any cluster of grapes or ear of corn, as it were, behind the back of the vintagers or reapers. Some of the wretched remnant were consequently captured on the mountains and killed in heaps. Others, overcome by hunger, came and yielded themselves to the enemies, to be their slaves for ever, if they were not instantly slain, which was equivalent to the highest service. Others repaired to parts beyond the sea, with strong lamentation… Others, trusting their lives, always with apprehension of mind, to high hills, overhanging, precipitous, and fortified, and to dense forests and rocks of the sea, remained in their native land, though with fear. After a certain length of time the cruel robbers returned to their home. A remnant, to whom wretched citizens flock from different places on every side, as eagerly as a hive of bees when a storm is threatening, praying at the same time unto Him with their whole heart, and, as is said, “Burdening the air with unnumbered prayers,” that they should not be utterly destroyed, take up arms and challenge their victors to battle under Ambrosius Aurelianus. He was a man of unassuming character, who, alone of the Roman race chanced to survive in the shock of such a storm (as his parents, people undoubtedly clad in the purple, had been killed in it), whose offspring in our days have greatly degenerated from their ancestral nobleness. To these men, by the Lord’s favour, there came victory.” [source] * Mentions the Battle of Badon (“obsessionis Badonici montis” = seige of Badon Hill): * “From that time, the citizens were sometimes victorious, sometimes the enemy, in order that the Lord, according to His wont, might try in this nation the Israel of today, whether it loves Him or not. This continued up to the year of the siege of Badon Hill, and of almost the last great slaughter inflicted upon the rascally crew. And this commences, a fact I know, as the forty-fourth year, with one month now elapsed; it is also the year of my birth.” * Mentions Ambrosius Aurelianus, but not Arthur * Arthur ahistorical? assumed? not relevant to homiletical purpose? But if Ambrosius is mentioned to contrast ancient heroism with modern corruption, why not Arthur? * Alternate explanation offered by Gildas’ 12th C hagiographer: * “That Arthur had gone unmentioned by Gildas, ostensibly the source closest to his own time, was noticed at least as early as a 12th-century hagiography of Gildas which claims that Gildas had praised Arthur extensively but then excised him completely after Arthur killed the saint’s brother, Hueil mab Caw.” [Wikipedia] 3. Nennius, The History of the Britons * Date: c. AD 828 (Nennius’ “Preface” dates itself 858) *

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