Thoughts Beyond the Novels: What’s in a Name?

At some point in this blog, the author
will get a little personal in her choices
of names due to their meanings
throughout the three novels, however
trite.

Once upon a time, there was a young woman named Sarah whose husband was named John. The winds of trade made them a union. For her, privileged in her own land, she met some discomfort with her new family because Sarah was a Jewess and John was Catholic in Nova Scotia in the early 1800’s. As noted below, one can perceive that Sarah knew Shakespeare, especially about the star-crossed couple, Romeo and Juliet. (By the way, Sarah in Hebrew means Hebrew name that means “princess,” “noblewoman,” or “lady” due to the biblical wife of Abraham.) The couple had a son they named Arthur in 1889. During the time of his birth, “Arthur” ranked 20th in popularity; and it bore the following meanings: “bear,” “Thor,” “eagle,” and “strong man.” The continuation of the family origin story is unknown. (Much is conjecture. Nonetheless, Grandfather Rose was a builder of wooden ships that sailed to far lands. Arthur Rose became an accountant for the Singer Sewing Machine Company, which became the Singer Corporation in the 1900s. Arthur was assigned to the Mexico hub.)

The author surmises that Sarah knew the story of Romeo and Juliet when she gave Arthur his middle name coupled with the surname—Montague Rose. This insight comes when we think of what Juliet said to Romeo about the meaning of a name.

Illustration

Mask On Book. Classical white Venetian mask on old book against dark background (Dreamstime.com)

In Act II, Scene II, Juliet implies that names are arbitrary and do not change the essence of Romeo whose family name is Montague, making him an enemy of her family. In their forbidden moments, Juliet thinks over Romeo’s surname: “What’s in a name that which we call a rose / By any other word would smell as sweet?” Her words imply that, though names carry immense meaning, heritage, prejudice, and/or power, her love was in true form. When Sarah took to heart what was spoken by Juliet, did Sarah identify her circumstances with any of the implications from the family into which she married? Her suffering was twofold, for her own family disowned her for marrying a Catholic. The exogamy practice, which prevails in certain cultures, was both ethnic and religious in nature.

So, from a pragmatic perspective, name labels matter a lot, for they reflect culture, heritage, and/or history. They can also, carry baggage and influence social and business perceptions. They can create stereotypes. But from a philosophical perspective, a name is simply a label or a social convention; and It should not affect the value of the named person.

Basically, the origin of a name can be from a trade, a location, or bestowed affection. An example of this is the name Armentano, which can indicate both a place, Armento, in Calabria and Basilicata, Italy, and a trade name (Armento) as cattle herder.

A name can contain identity and meaning—aspirations, hopes, or family history to guide a person’s identity, A legendary example of this is the birth of Siddhartha Gautama. According to Buddhist legend, Queen Maya had a dream, during which time a white elephant (explained below) entered her side, When she awoke, she realized she was pregnant. She knew of the prophecy beforehand in which case, if the child born were to remain home, the child would become a ruler; however, if the child were to leave home, the child would become a universal leader. Queen Maya decided to name her neonate Siddhartha, a Sanskrit name that means “one who has attained his goals.”

As for the symbolism of the “white elephant,” it represents the sacred nature of Maya’s pregnancy—in that a significant and powerful being would be born—foreshadowing the auspiciousness of her son’s birth would highlight wisdom to be brought to mankind through him, thus the Awakened One (Buddha).

Names and their meanings play an important part in the naming of various characters in the three novels: Book I introduces Dara who is named after my lovely dance teacher of Raqs Sharqu (Arabic name for “Eastern Dance”, Belly Dance in English). Her name was Maja (an alias) and was born in Egypt. Nona, which means “Nine” (or “ninth”) is also introduced in Book I. She was named after the first born of my college mentor (chief librarian). Nona foreshadows Ana in that the word “nona” is often used as a prefix in a number of scientific and other technical terms (e.g., nonapeptide).

In Book III, Ana, an MIT physicist, was named after a dear high school friend who felt betrayed because I married the son of the colonel who fired her father, a civilian personnel officer who sold honorable discharges for monetary gain). I do not think my friend knew why her father was discharged.

Ana is a name I would have given myself if my Father had not told me, when I was about five, that I should never let my name Armida be changed. In some ways, I betrayed him because, when in high school, I gave myself the nickname “Mimi” and then, during my federal career, “Armee,” pronounced “Army.” Then, there was this girl I knew who would call me “Army Navy” for “Armida Nagy.” What a drag! Father just did not know that my name was mispronounced and misspelled all too often. It is only now that I am long in the tooth that I embrace my given name. This was my secret from my dad.

In all three novels, there is one name that holds an honorary place. The name is “Andrew, or variations thereof. of my Father’s given name, meaning “manly,” “strong,” or “brave.” He was all three in every sense of the word. His characteristics are reflected in the characters in the trilogy. I was the apple of his eye, and he was my hero.

One thing is certain, however, about the women of the Armida Trilogy. They all showed a potential for leadership. Even the Dalai Lama contemplates on reincarnating as a woman since he believes women are particularly suited for leadership due to their inherent compassion. He surmises that, if there were more female leaders, the would would be more peaceful. In most instances, in their compassion, they also know how to give and to instruct, instead of take, take, take.


What’s in a name? Everything and nothing at all. I will settle for “I am that I am” . . . a vibrant part of the universal eye of consciousness, being. Or as Popeye said in the 1933 animated film, “I yam what I yam.”

Illustration

Mind’s Eye: AI Abstract Poartrait of Human Consciousness and Energy Flow (Dreamstime.com)

The Armida Trilogy, which is not named after the author’s given name per se, is named after a fictitious character, Armida, with historical and literary connections: A Damascus warrior-queen from the 1st Crusade in Torquato Tasso’s Gerusalemme Liberata (1591). Tasso’s epic poem had inspired numerous artists and composers, each interpreting Armida’s character in unique ways. As such, she embodies the archetype of the forsaken woman in literature. Yet, many view Armida as a more relatable and sympathetic figure, adding depth to her portrayal. For more information about the various artists and composers who were inspired by Tasso’s Gerusalemme Liberata,

Tasso’s GERUSALEMME LIBERATA and “Armida”

Imagine a protagonist named Armida inspired 18 operas entitled “Armida” and their composers, ranging from the 17th to the 21st centuries. Most operas focus on the character of said name while others focus on her relationship with the Crusader knight named Rinaldo. There was even a film and a ballet, not to mention many paintings.

Painting, Rinaldo and Armida by Tiepolo (1755)

There are a few narrative origins in Tasso’s epic poem, and they are the following:

Armida is a Saracen enchantress modeled after mythic figures–Circe from Homer’s The Odyssey and Alcina in Ludovico Aristo’s Orlando Furiosa (The Frenzy of Orlando). The latter was based on an unfinished chivalric romance (Orlando innamorato) by Matteo Maria Bolardo and was published posthumously in 1495, which exerted wide influence in northern Italian culture.

Homer’s enigmatic Circe represents the duality of feminine power and the boundary between civilization and wilderness, blending danger and hospitality as well as seduction and wisdom. As for Aristo’s Alcina, she is the pagan princess who is loved by Orlando, a Christian knight. His unrequited love drives him mad and forgets his original purpose to fight the Saracen army that was invading Europe to overthrow Charlemagne’s Holy Roman empire.

In Tasso’s epic poem, Armida is a Saracen enchantress. Sent to disrupt the Christian crusaders, she infiltrates their camp with seductive magic, turning the knights against each other and even transforming some into animals. Rinaldo, the greatest knight, is abducted by Armida when she finds him sleeping and is smitten instead of slaughtering him. She whisks him away to a magical isle where Rinaldo is bewitched by Armida, forgetting his duties as a crusader against the infidels.

When Rinaldo recognizes his enchanted state with the help of his companions, Carlo and Ubaldo, he is drawn back to the fight.

Painting: The Rose from Armida’s Garden by Marie Spartali Stillman (1894).

She is often depicted in a lush garden.

Devastated by his departure, Armida raises an army to battle the Christian crusaders and to seek vengeance. Once defeated, she attempts suicide but is rescued by Rinaldo who asks her to convert to Christianity. Once she recanted, however, she is burned at the stake as a witch.

In other renditions, Armida is abandoned.

Painting, Renaud abandonnant Armide, Charles Errard (17th century)

These are some of the known composers of various operas Armida and/or Rinaldo:

Claudio Monteverdi (1627), Jean-Baptiste Lully (1686), John Dennis (1698), George Frideric Handel (1711), Antonio Vivaldi (1718), Tommaso Traetta (1761), Niccolo Jommelli (1770), Antonio Salieri (1771), Antonio Sacchini (1772, 1773), Christoph Willibald von Gluck, (1777), Josef Mysllivecek (1780), Joseph Haydn (1783), Giuseppe Sarti (1786), Francesco Bianchi (1802), Gioachino Rossini (1817), Antonin Dvorak (1908), and Judith Weir (2005).

There are three ballets–Armida, Le Paillion d’ Armide, and Rinaldo and Armida; and there is a 10-minute segment in the anthology film Aria that is loosely based on a version of Armide.

The operas named Armida or related to her character were black listed by the Roman Catholic Church in what was vernacularly referred to as the Black List. Officially known as the Index Librorem Prohibitorium, it listed banned books deemed heretical or contrary to Catholic morality since 1559. It was updated annually until Pope Paul VI abolished the end of its enforcement in 1966. Until then, many Armida works were banned!

Last but not least, the name Armida has several claims as to origin. “Little Armed One” is a more current meaning in Italian and in Spanish. However, according to the Wisdom Library, the name has an Old High German origin–Irmhild (Irm means something like “universal” and hild means “battle”). Moreover, the name is associated with the Arabic word “Armid to mean “strong-willed.” As “Ermin,” Armida symbolizes wholeness, completeness, and universality.

Notwithstanding the above paragraph, there is a shared etymology to the terms “army” (English), “armada” (Spanish/Portuguese), “armata” (Medieval Latin), and “armée” (French).  They are derived from ar(e) or h2er, a Proto-Indo-European root that means “to fit together” as in arming or equipping for service or battle. Strangely enough, the Italian word for army is “esercito”. The Latin arma, to mean weapon, appears throughout the Romance family of languages. In Celtic languages, it cognates as arf or arm. In Ancient Greek, it is harmos (fitting together); in Sanskrit, it is irma; in Old Armenian, it is armukn.

Attestation of arma appears in Early Latin inscriptions of the 6th century BCE. In Ancient Greek, harmos appears in Homeric and classic texts. And, in Sanskrit, irma appears in Vedic and classical Sanskrit, relating to the meaning of “limb” and “fitted part” and somewhat like Sanskrit ayudha, which in Spanish translates as “help” or “aid”.  All this leads to the conclusion, linguistically and culturally, that these terms evolved somewhat independently in accord with regional religious, military, and cultural priorities but retained a core concept of fitting, arming, aiding, and weaponry.

But, we still have no idea why Tasso used the name Armida; and yet, it is a befitting name for a she warrior.

Overall, the name embodies themes of strength, femininity, independence, empowerment, and allure, even power is softness, making it a captivating name in various cultures.

Armida is pronounced “ar-MEE-dah.