Embar and Kalessin, are shown as living openly with their names, which do not give anybody power over them. In A Wizard of Earthsea, however, Ged is shown to have power over Yevaud. Cadden writes that this is because Yevaud still has attachment to riches and material possessions, and is thus bound by the power of his name. Wizards exert their influence over the equilibrium through the use of names, thus linking this theme to Le Guin's depiction of a cosmic balance. According to Cummins, this is Le Guin's way of demonstrating the power of language in shaping reality. Since language is the tool we use for communicating about the environment, she argues that it also allows humans to affect the environment, and the wizards' power to use names symbolizes this. Cummins went on to draw an analogy between the wizards' use of names to change things with the creative use of words in fictional writing. Shippey wrote that Earthsea magic seems to work through what he called the "Rumpelstiltskin theory", in which names have power. He argued that this portrayal was part of Le Guin's effort to emphasize the power of words over objects, which, according to Shippey, was in contrast to the ideology of other writers, such as James Frazer in The Golden Bough. Esmonde argued that each of the first three Earthsea books hinged on an act of trust. In A Wizard of Earthsea, Vetch trusts Ged with his true name when the latter is at his lowest ebb emotionally, thus giving Ged complete power over him. Ged later offers Tenar the same gift in The Tombs of Atuan, thereby allowing her to learn trust. Style and structure Language and mood A Wizard of Earthsea and other novels of the Earthsea cycle differ notably from Le Guin's early Hainish cycle works, although they were written at a similar time. George Slusser described the Earthsea works as providing a counterweight to the "excessive pessimism" of the Hainish novels. He saw the former as depicting individual action in a favorable light, in contrast to works such as "Vaster than Empires and More Slow". The Encyclopedia of Science Fiction said the book was pervaded by a "grave joyfulness". In discussing the style of her fantasy works, Le Guin herself said that in fantasy it was necessary to be clear and direct with language, because there is no known framework for