An unfortunate reality which I am determined to alter is the prevalence of economic arguments for The British Monarchy. Many in The Mallard have wrote fantastic pieces on the Monarchy, for example Xander West’s article exploring of the “Republican Option” was an excellently written and intellectually brilliant piece in its deconstruction of the abysmal yet ever prevalent republican argument.
My issue in this article is not so much the republican argument, but the royalist one. More specifically the economic argument for the Monarchy. This argument often relates to tourism, or other businesses which profit from the Royal Family, and while there are truths and falsities to these arguments in various manners, I believe they completely miss the mark on the advantages of The Monarchy. In fact, I find the inability to assert an effective non-economic argument for the Monarchy illustrates a lack of true respect and support for the most important institution in our Great Nation.
Looking at the world through monetary value alone is a sad consequence of liberalism’s iron grip on society, and the Monarchy for the most part hasn’t escaped this sad reality. Many seek to promote the necessity of the Monarchy for financial reasons, and I believe that this can only be understood as arguing that the main advantage of a car is its paint colour while ignoring the true substance of the vehicle. The Monarchy was never intended to be a money maker, because it was never something crafted or forged to serve the people, rather it was the other way around. This flip of perspective has relegated the Monarchy to the post-metaphysical level, and thus removes it of its core value and its actual importance. In a sense, this switch of the Monarchy serving us as a monetary gain, over the joint relationship of service both ways for a stronger symbol of the nation and its values is in effect cutting the meat off the bone and throwing it all away.
Conservatives are passionately aware of the Monarchy’s true value, and standing, because more often than not we are metaphysical in our thought. We seek to attribute special value beyond materialism, and the monetary nature of our liberal society. The Monarchy is something which goes beyond money, it is a symbol of our nation itself. Not a reflection, an idea which is often asserted. The Monarchy is not a reflection, instead it is the ideal to strive towards. The Monarchy is a guiding force through the calamity of the postmodern world, and all of the consequences which come of it. Our Monarchy is steeped in the legitimacy of the centuries by which it has presided and led our Great Nation. Money is nothing in comparison to our rich history, and special traditions. When our Monarch sits to open Parliament in front of that grand gold display, enacting a tradition centuries old in a building which will soon reach 1000 years of age, something special is occurring. The fibre of goodness which is left in the liberal melting pot of modern Britain comes to the forefront, and when our armed forces march with determination and people fly their flags in pride of their Monarch and nation, the reality of our Monarchy shines brighter than the bleak alternative of a republic.
Tourism and money cannot match the respect, reverence and admiration of the world when they see our Royal Family. Money cannot reach the levels of symbolism and leadership our Monarchy provides. Simply put, our Monarchy is more than money, and to reduce it to such material levels is a shameful reminder and promotion of liberalism’s destructive presence in royalism today.
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Current Criticism on Austen: An Overview of the Norton Critical Pride and Prejudice, 4th Ed.’s Back Material
“Short and easy will be the task of the mere biographer. A life of usefulness, literature, and religion, was not by any means a life of event…to the little disappointments incidental to human life was never added, even for a moment, an abatement of good-will from any who knew her.”
No, this quote does not refer to the late Queen Elizabeth II—though several aspects of it, from the humble understatement to the positive rapport among her acquaintances, could just as well describe the late monarch (ignoring the lacking a “life of event” part) as they do its actual subject, Jane Austen.
Written by her brother Henry and included as a preface to the posthumous volume containing Northanger Abbey and Persuasion, the brief biography is one of the many resources found in the 2016 Norton Critical Edition (the fourth) of Pride and Prejudice, edited by Donald Gray of Indiana University and Mary A. Favret of Johns Hopkins. Besides confirming that one cannot understand Austen without understanding her, as he puts it, “thoroughly religious and devout” faith (another parallel between Austen and Her Royal Highness, and many others), the biography gives several details that lend insight into not only P&P but Austen’s other novels, as well.
This is, of course, the purpose of Norton Critical Editions, which I have used since my first essay as a California kid at Oxford (due on a Monday after meeting my tutor on Friday). The Norton Alice’s Adventures in Wonderland, bought, read, and cited in a two-day scramble, saved my grade that weekend, and it still graces my bookshelf for whenever I or mine might need it.
While pieces contemporary with the books’ printings, like the above biography, letters from the author to family and friends, and subsequent reviews at the time (for P&P from Scott, C. Bronte, Emerson, Twain, and others) provide a great context, as a student I found most useful the critical excerpts included in each edition, which attempt to give an up-to-date view on the literary conversation surrounding a certain work. For undergraduates who may not know where to look for sources on a certain author, I usually suggest Norton Criticals (and, by God, the several-page-long Selected Bibliography in the back—my brother and sister in Christ, THEY DO YOUR WORK FOR YOU), if only as a primer for larger critical discussion.
But the editions aren’t, and shouldn’t be, limited to the student; indeed, fans of Austen (or whom have you) might wear down their editions faster and more thoroughly than the student who buys it for a two-week paper. Although written with the academic in mind, works like Norton Critical Editions might very well contribute to the canon being preserved outside of the university, providing, as they do, the tools for a historical and critical understanding of one’s favorite work.
Literally one of the greatest novels ever written, and second in my mind only to The Brothers Karamazov, qua novel, Pride and Prejudice needs no encomium from me. Based on and in parts expanding my Goodreads review, what follows is a summary of and, at times, response to the recent critical sources in the 4th Norton Edition. I hope it will prove useful to Austen lovers as much as students.
D.A. Miller, “No One is Alone,” from Jane Austen; Or the Secret of Style (2003).
Discusses the break between Austen’s style and her characters, with the former being omniscient and the latter being little-knowing. Recounts how Austen’s style developed from reading 18th-century writers like Sam Johnson and how she novelized several aspects of their articles. Discusses the paradox of Elizabeth’s marrying Darcy (Miller cynically sees it as an unfortunate contradiction) by supposedly eschewing the very wit (or “impertinence”) that made her unique.
Jeff Nunokawa, “Speechless in Austen,” from Differences 16 (2005).
Discusses the timelessness in Austen (both narration and characters), whose writing seems to have no idea of the enormous cultural changes that were to come in the 1800s. Nunokawa identifies this confident changelessness as being part of why we read P&P, which, despite readers’ approaching it with nostalgia, has very little actual nostalgia within its pages. Discusses, like Elfenbein below, Austen’s use of space-as-social dynamic. Also contextualizes and discusses silence within P&P, and how Darcy must learn to open up because it is through sociability and inclusion, not mere rank, that one succeeds in P&P. Reasons that in Austen one can only know themselves through social interaction, and so Darcy’s attempting to only speak when he has something perfect or great to say ironically reduces him. Finally, examines the certainty of tone often used by both Austen’s narrator and her characters.
At times syntax/language felt a bit overwrought, but it may be because it’s an excerpt and, its being the first article I read after finishing the novel, I was still reading with Austen’s rhythm.
Andrew Elfenbein, “Austen’s Minimalism,” from The Cambridge Companion to Pride and Prejudice (2013).
Examines how and why Austen leaves out descriptive details; identifies her as not being a realist (as has been argued) because of this selectivity. Contextualizes Austen with Johnson’s 18th-century advice to make writing timeless by avoiding too many details; shows how Austen nuances this by using detail to enhance beauty of characters/scenes, like the then popular picturesque school (which suffuses the book – see Knox-Shaw below). Identifies rooms and the outdoors not as physical places but as identifiers of distance and a context for the social interactions that make up the book. One of the best articles in the edition, both for historical context and argument flow.
Peter Knox-Shaw, “Pride and Prejudice, A Politics of the Picturesque,” from Jane Austen and the Enlightenment (2004).
Identifies the Picturesque as finding a medium between the Burkean-Romantic poles of pacifying Beauty and provoking Sublime. Follows the picturesque as a running metaphor through the book for Elizabeth and Darcy’s love, and thus, for Elizabeth’s breaking of gender stereotypes/politics. Argues that, like the picturesque, Elizabeth’s development depicts a nuancing of (if not campaign against) conventional beauty, while showing that beauty and attractiveness are not synonymous in the book (see Michie below). In conjunction with the other articles on the picturesque, Knox-Shaw’s was one of the more enlightening articles in the material.
Felicia Bonaparte, “Conjecturing Possibilities: Reading and Misreading Texts in Jane Austen’s Pride and Prejudice,” from Studies in the Novel 37.2 (2005).
Places P&P within the contemporary philosophical debate between the rationalists and the empiricists. Establishes how P&P identifies Jane Austen as an empiricist in the line of David Hume due to its consistent focus on skepticism regarding secondhand accounts, texts, and assumptions. Stresses how often characters’ epistemology is discovered to be faulty, and how the book encourages a general skepticism regarding first impressions. Argues that the Bennet sisters each, in their own way, undermines one’s ability to interpret reality with certainty, and that Elizabeth’s developing a “practical empiricism” is “the bildung of the novel.” Goes further to argue that Austen was even an early Nietzschean post-modernist in how she incorporates her characters’ mutual and self-reflective interpretations into their construction of, rather than deduction of, reality. Probably my favorite of the edition’s essays, for its historical context and depth of substance, as well as readability.
Vivien Jones, “Feminisms,” from A Companion to Jane Austen (2012).
Argues that, despite her focus on primarily women characters and their circumstances, Austen should not be classed as an early feminist because of her reaffirmation of marriage, which Jones interprets as an endorsement of the patriarchal structure she sees throughout the book. Identifies Austen, rather, as a postfeminist author, who (she thinks mistakenly) argues in her characters and scenarios that the inequalities facing early-19th-century women had largely been dealt with and that many problems experienced by women could be surmounted not by societal revolution and polemic but by individual reflection and reformation. Identifies Elizabeth as being in the vein of Mary Wollstonecraft, but Austen as aligning more with the conservative female writer Hannah More. Accuses Austen of contextualizing the benefits achieved by Wollstonecraft within a conservative/Tory context of twenty years later that reaffirms the social structure. Reads P&P as conservative reinterpretation of previous feminist ideals through the onus for individual, rather than broader social, reform. In my opinion, Jones’s view that Elizabeth’s marriage is a renegging on her previous independence (rather than a full expression of it) misses the point of the book, which his her growth out of her own pride and prejudice (an impetus and growth Austen notably gives to Darcy, too).
Janet Todd, “Jane Austen’s Hero,” from The Cambridge Companion to Pride and Prejudice (2013).
Argues that Darcy’s place in society allows him to begin the book as a boor, whereas Elizabeth’s requires her to adapt through the book. Sees Elizabeth as having no individuality in either Darcy or Collins’s eyes. Follows Alistair Duckworth’s 1971 Marxist reading of the book’s property entail (arguably refuted below by Macpherson), applying it to gender and property. Like Jones above, interprets Elizabeth’s growth out of her pride and prejudice as a negative, a product of her social standing and gender, and thus misses the point of the book.
Elsie B. Michie, “Social Distinction in Jane Austen,” from The Vulgar Question of Money: Heiresses, Materialism, and the Novel of Manners from Jane Austen to Henry James (2011).
Interprets P&P as Austen’s attempt to find the proper relation to wealth. Reads book as a response to Hume and Smith’s writings on the problematic effects of wealth on English society. Elizabeth as the opposite of Miss Bingley and Lady Catherine, both of whom present the negative effects of status via inherited wealth (shallow, arrogant, etc). Examines the growth of manners to replace the traditional virtues of the landed aristocracy (both shown in said characters). Points out how Elizabeth’s manners, as well as her disregard for inherited virtue or status, make her attractive despite her lack of apparent beauty (see Knox-Shaw above). Looks at what Darcy’s growing attraction to her says about him. A good essay for understanding and contextualizing the different dynamics in the Elizabeth-Lady Catherine interactions, as well as the changing social mores of the time.
Sandra Macpherson, “Rent to Own: or, What’s Entailed in Pride and Prejudice,” from Representations 82 (2003).
Lays out the laws of property entail—and, Macpherson points out, ironic humor surrounding the issue—that undergird the plotof P&P. Debunks Duckworth’s Marxist view that the book’s society is structured along class and gender lines (see Todd, above). Showing how entail cannot be blamed on any one person or group, explains the implicit joke in both Mrs. Bennet’s expecting something to be done about the entail and Collins’s continual apology for it (both of which Austen’s readers would have seen as ridiculous). Reads Austen as not being against entail, per se, because it is an image of social obligation, not one of exclusion. Examines Austen’s contrasting renting vs owning as makers of different personalities and virtues (vis, Bingley and Darcy). One of the more enlightening, historically based, and easy/fun to read of the back material; possibly my favorite, contending with Bonaparte.
Andrew Maunder, “Making Heritage and History: The 1894 Illustrated Pride and Prejudice,” from Nineteenth-Century Studies 20 (2006).
Examines the role illustrations play in forming (and revising) later perceptions of an artist and their work. Explores how, “Illustrations play a central role in how readers construe novels,” and “modify, challenge, and even dictate readers’ understandings,” of the novels. Argues in a footnote that later illustrations of P&P like , rather than the text itself, are to be attributed with the reading that Darcy becomes more emotionally responsive by the novel’s end; conversely sees the text as validating Darcy’s cold “legal and ethical formalism,” and pushing Mr. Bingley to emulate it. Explores the effect the 1894 edition had on how the novel was interpreted, despite it’s being merely a “gift book” among many similars flooding the market. Presents and critiques key illustrations by artist Hugh Thompson and describes others, unpictured; interprets Thompson’s stated desire to show Austen’s “sense of fun,” as going too far, into reinterpretation. Although Thompson and editor George Allen caused a revival of interest in Austen, implies the popularity had more to do with the reinterpretive lens than with Austen’s work, itself (see my own critique of the recent Persuasion adaptation, linked above).
Tiffany Potter, “Pride and Prejudice and Zombies,” from Women, Popular Culture, and the Eighteenth Century (2012).
Reads Seth Grahame-Smith’s book/reinterpretation, P&P&Zs, as more than a pulp piggyback off of Austen. Presents book as a concretization of the implicit, unspeakable aspects of P&P, with the zombies being “a literalization of the threat of a social death in spinsterhood…in opposition to the socially constructed life-and-death quality of the marriage plot.” Interprets several moments from Grahame-Smith’s book as helping readers better understand Austen, such as Lydia’s becoming an “unmentionable” zombie as an image of the unspeakability of her adultery in Austen, or the steady death to zombiehood of Charlotte as a picture of her intellectual death in marrying Collins. An interesting piece that treats P&P&Z seriously, though Potter ultimately interprets certain aspects of Austen (e.g. Jane and Elizabeth’s marriages) negatively, like others above.
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The Effigies of Crediton
William Peryam (1534–1604) of Little Fulford lies in the north side of the chancel. Adjacent to the west side of ‘Will’ is ‘Liz’, Elizabeth Tuckfield (1593–1630). Then John de Sully and his wife Isobel can be found at the end of the south choir aisle. John (1282–1388) was Lord of the Manor of nearby Iddesleigh, noted since for its public house, The Duke of York, recently frequented by Our King, where the author Michael Morpurgo of Warhorse fame says he talked to an old soldier with first-hand knowledge of the use of horses during the Great War.
The Church of the Holy Cross at Crediton in the county of Devon is often empty of live people, which helps. Once known by the Pythonesque name The Collegiate Church of the Holy Cross and the Mother of Him who Hung Thereon, the church today is an ancient and sacred space alive with dust and history and I heartily recommend a visit. The grand nave and chancel of the current building date from the fifteenth century. The existing structure is built on the site of what was the cathedral of the Bishop of Crediton until the mid-eleventh century when the see was transferred to nearby Exeter. Conveniently, it sits twixt Brampford Speke on whose riverbanks I flyfish the Exe, and Crediton Tandoori where I gorge on lamb saag most Saturday evenings (when fishless) during season.
I find my four friends to be patient listeners. They have now replaced the old monks – a housemaster, a headmaster and a teacher monk – who used to listen and advise on how best to conquer life’s rapids. All are now dead and gone, my monks, buried in Monks’ Wood cemetery at Ampleforth, a Benedictine school and monastery, in North Yorkshire.
The peace one can find in this fine church in Crediton, especially on the pew nearest to ‘John and Izzie’, elevates one’s thoughts. Problems solve themselves while dust dances in the light. Speaking to effigies is a practice I recommend to all my friends – they don’t talk back; they never sue and not once have they lost their tempers.
The effigies have helped me map out a business plan and decipher a pressing recruitment challenge. We came up with some inspired moves for the backs in my son’s rugby team and I felt reassured in their presence of numbers at the recent death of a beloved labrador. I have role-played a court case with my effigy pals, pondered a complex moral quandary and worked through innumerable challenges to the point of viable outcomes.
The process I employ with the four is less Ghostbusters and more mentor mind mapping. (Mind mapping is when you write, draw, or think up pictures of a goal that you would like to achieve and then you brainstorm everything you need to do to achieve that goal. One can add mentors for assistance and wisdom). Some people are clever enough to mind map without the need for effigies – I am fool enough to require their help. I use the layout of Crediton church and my imagining of the characteristics of the effigies to build mind-maps in my head. Not wishing to big up their egos, I suppose the effigies merely provide effective sounding boards and some geographical parameters while existing in a quiet and holy place where one can think, open to the universe.
I hand a problem to each of my stone counsellors. Financial decisions tend go to Will, who was once Lord Chief Baron of the Exchequer. Family issues and questions of morality go to the ladies. John tends to get lumbered with questions of strategy for no reason other than he looks like a cunning, card-playing chap. Then I work my way around the church in my mind’s eye, imagining an exchange of thoughts, often inspired by the coloured light that shines through the church windows, giving off Newtonian stimuli. You’d be amazed at how effective the whole process is. If we get stuck, then there is always that gigantic crucifix atop the main altar.
When I am disburdened, I light a candle, pray for their souls and for loved ones alive and dead, then put a few quid in the roof fund box. This is the most practical thanks I can give my counsellors for their guiding light as they would all erode without shelter from Devon rains – alas, some already suffer from worn noses.
Speaking to the dead was a capital offence punishable by stoning under Old Testament law. God in the Bible considers talking to the dead a detestable practice and He calls His people to be blameless. In mitigation, I do not believe I am really talking to the dead in Crediton church, but I confess that talking to my effigies is sometimes easier than talking to the living. I am reminded by them of Marcus Aurelius’ encouragement to, “Think of yourself as dead. You have lived your life. Now, take what’s left and live it properly. What doesn’t transmit light creates its own darkness.”
When we are honest with ourselves, we are all mere effigies. As long as light is transmitted, who cares what state of living one’s assistants take?
As one of my Benedictines taught me, death is but a thin veil and we are never far from the dead. He was with two boys at Medjugorje who had recently lost a sister in a tragic accident. They pleaded with him to ask her to give them a sign that she was well. As he prayed out loud before them, a rose seller walked close by, and they were all overcome with the sweet smell of roses.
It is thus at Crediton church. I enter burdened with problems and leave smelling roses.
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In Conversation with Curtis Yarvin (The Return of Don Quixote and Anglo-Meiji Restoration)
Curtis Yarvin, known by his pen name ‘Mencius Moldbug’, is one of the most prominent social critics and reactionary writers of the contemporary era. Yarvin’s blogs, ‘Gray Mirror’ and ‘Imperial Melodies’, can be found on Substack.
Yarvin’s words are in light.
There’s a little-known Chesterton work called The Return of Don Quixote. Don’t know it at all?
I don’t. I mean, I’m familiar with the original Don Quixote by Cervantes.
Yeah, yeah, yeah, The Return of Don Quixote, and it’s about the victory of a joyous reactionary movement, written as an Edwardian novel, set in the future. It’s very interesting and it sort of catches the sort of joyousness right, which is an absolutely essential part of, like, any kind of restoration of this type.
And yet, you know, kind of Russian Hide And Seek, which is of course a much later work, is more…black-pilled, you might say, and perhaps a little more convincing. And I would say, sort of read them both. You’ll get kind of some of both of these ideas, but just breaking out of this incredible, I mean, it’s like, when you look in the rear-view mirror at Brexit. It’s like 0.1% of a British Meiji, right? And it’s a completely failed venture, and a completely failed thing, you know, I was reading Richard North’s blog EU Referendum, back in the earlier ‘00s, you know, I think he was associated to some extent with, like, early UKIP, and, um you know, the idea of having a referendum on Britain leaving the EU in 2005, let alone that referendum winning, it seemed like such, what we call here, a stretch goal.
It seemed so unimaginable and it happens. This incredible revolution happens and of course it happens and it doesn’t amount to shit. It just has no momentum. As soon as it wins it begins to lose. And, actually, the main effect of Brexit was to destroy the Brexit movement.
Pretty much.
You can’t help but feel that when you do something and people put that much effort and that much hope into something, and in retrospect you can look at it and just say “Well duh, obviously that was gonna…there was no way that could have worked in any way, shape, or form and done anything useful or relevant, or whatever,” and, the, you know…the definition of insanity is making the same mistake twice, and, right, and here, is just the form of government that has been how England rose to greatness and has been governed for pretty much all of the last two millennia, you know, before the invitation to William, right? You know, I guess, you know, William, it’s hard to know to what extent William of Orange was really interested in British domestic affairs. I don’t know how great it was.
Queen Anne was certainly pretty feeble and um, you did know that the um, the king has the right to veto legislation in parliament, right?
Yes.
And do you know who the last person, the last king, who actually used that power was?
It’s not going to be James I is it? Someone distant. Charles I?
Here’s a hint. It wasn’t a king at all.
Really? OK, so was it Queen Anne then? Was it in fact Queen Anne?
It was in fact Queen Anne. Uh, she did it once, and I forget over what. Probably some completely symbolic bullshit.
I see. They went “No, no, this is no good, we’ll get this Dutch fellow”.
Yeah, yeah, it was sort of their ‘lordships die in the dark’ moment. I think, like you know, the People’s Budget of 1911 or whatever. Yeah, Queen Anne was like the legitimate daughter of James II, right? And there was some hope that – and she was basically a Jacobite heir – it’s sort of like this woman Georgia Meloni who gets elected in Italy spouting all this rhetoric and then she’s like “We must fight for the Ukraine, the cause of Ukraine is the cause of all of us”, right?
You know, when I was in Portugal, I was in a small town in this summer and, you know, all of the…you would swear the whole population of Setúbal, Portugal, had come out and, like, popular enthusiasm for the cause of the Ukraine was everywhere, spontaneous graffiti, right, you know, and it’s like, these expressions of popular enthusiasm, like ‘workers of the world, unite’ in Czechoslovakia in 1976. You know, the greengrocer does not really care about workers of the world and I’m pretty sure that if you’re a bus driver in Setúbal, Portugal, your interest in the Dnieper isn’t really – excuse me, Dnipro – is fairly limited, and the uh, just, I mean, it’s increasingly comical, and so, the idea of just like, this whole structure collapsing in one boom is so much more realistic than the idea of Brexit. It’s so much more realistic. People think it’s unrealistic, no, it may be unrealistic, but it is vastly more realistic than Brexit.
I read your piece about a Meiji Restoration. I was sat in the middle of a bunch of naval officers and I was thinking “You know what? Rishi Sunak’s not very popular, neither is Keir Starmer, nobody likes parliament, what would actually happen right now if King Charles did in fact just go ‘guys’…”
Martial law.
Yeah exactly. What would actually happen? And you know, there’s been this sort of endless slew of headline after headline after headline of “Oh, this thing isn’t working, we’ll get the army in to drive trucks” and “Oh, this isn’t working, we’ll get the navy in to sort out this hospital”, and you just sort of look at this thing and think “Why is it that the last sort of functional bit of our government is essentially military?” And “Why is it that…” what would actually happen if…would anyone stop it? Would anyone in the military?
Yeah, yeah, yeah.
I was in Dartmouth. I was at BRNC when the Queen died.
Oh wow.
It’s full of these young, early twenties cadets, who are going through…you know, I was there the day…so I think I was one of the last people to officially join the Queen’s navy and one of the first to join the King’s, and you know, everybody, the whole, the whole college just stopped. I went out onto the Parade Ground at about 5pm in the early evening and every church bell in Dartmouth was ringing across the valley. And yes, there’s a huge amount of symbolic nothingness to it –
But that symbolism can be converted back into reality.
Right!
And everyone would be stunned at how easy it was, and how obvious it was.
I don’t think anyone would say no.
Well, would Sir Arthur Scargill bring the unions into the street? Would like, you know, would the SpADs like set up barricades outside of Nelson’s Column? What?
Right, right. I don’t see it.
I don’t see it. And so you can have your New Jerusalem in England’s green and pleasant land. You just have to realise that the chains that are bonding you are made of paper.
But that’s the question. The new Prince of Wales hands out copies of the Big Issue –
[*Laughs*]
And I just don’t see the king going along with this, so what do we do? Do we have some kind of new Cromwellian parliamentary lie where oh no, no, the king is held captive by these malignants and bad ideas, what is it? What on Earth are we doing?
Yeah, yeah, well, you know, um, maybe we, you know, uh, I don’t know, if Prince William did enough acid, maybe?
