I ham not a Burger!
Art Neuendorffer
Why does George Mason have his finger crammed in his book of CICERO?
http://www.clubforgrowth.org/blog/images/05-04-02_george_mason_statue.JPG
http://www.groundling.com/hlas/profiles/aneuendorffer.php
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Dwebb wrote:
<<That link doesn't work, Art; howeVER, I've seen the photo before,
so I'll hazard a guess: because some unfortunate (and importunate)
idiot is haranguing him with crackpot conspiracy theories
about Templars, Freemasons, Rosicrucians, and the like,
thereby interrupting his reading?>>
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. Well, after all....IT'S NOT A LIBRARY!!!
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. Hamlet, Prince of Denmark Act 4, Scene 5
.
Gentleman: She is *IMPORTUNATE*, indeed distract:
. Her mood will needs be pitied.
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. The Winter's Tale Act 4, Scene 2
.
POLIXENES: I pray thee, good Camillo, be no more *IMPORTUNATE*:
'tis a sickness denying thee any thing; a death to grant this.
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. Timon of Athens Act 2, Scene 1
.
Senator Get on your cloak, and haste you to Lord Timon;
*IMPORTUNE* him for my moneys; be not ceased
With slight denial, nor then silenced when--
'Commend me to your master'--and the cap
Plays in the right hand, thus: but tell him,
My uses cry to me, I must serve my turn
Out of mine own; his days and times are past
And my reliances on his fracted dates
Have smit my credit: I love and honour him,
But must not break my back to heal his finger;
Immediate are my needs, and my relief
Must not be toss'd and turn'd to me in words,
But find supply immediate. Get you gone:
Put on a most *IMPORTUNATE* aspect,
A visage of demand; for, I do fear,
When every feather sticks in his own wing,
Lord Timon will be left a naked gull,
Which flashes now a phoenix. Get you gone.
. Act 3, Scene 6
Second Lord: In like manner was I in debt to my *IMPORTUNATE*
business, but he would not hear my excuse. I am
sorry, when he sent to borrow of me, that my
provision was out.
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. King Richard III Act 2, Scene 2
.
Boy: Then, grandam, you conclude that he is dead.
The king my uncle is to blame for this:
God will revenge it; whom I will *IMPORTUNE*
With daily prayers all to that effect.
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. The Two Gentlemen of Verona Act 1, Scene 3
.
PANTHINO: He wonder'd that your lordship
Would suffer him to spend his youth at home,
While other men, of slender reputation,
Put forth their sons to seek preferment out:
Some to the wars, to try their fortune there;
Some to discover islands far away;
Some to the studious universities.
For any or for all these exercises,
He said that Proteus your son was meet,
And did request me to *IMPORTUNE* you
To let him spend his time no more at home,
Which would be great impeachment to his age,
In having known no travel in his youth.
.
ANTONIO: Nor need'st thou much *IMPORTUNE* me to that
Whereon this month I have been hammering.
I have consider'd well his loss of time
And how he cannot be a perfect man,
Not being tried and tutor'd in the world:
Experience is by industry achieved
And perfected by the swift course of time.
Then tell me, whither were I best to send him?
.
. Act 3, Scene 1
.
DUKE: How shall I fashion me to wear a cloak?
I pray thee, let me feel thy cloak upon me.
What letter is this same? What's HERE? 'To Silvia'!
And HERE an engine fit for my proceeding.
I'll be so bold to break the seal for once.
.
[Reads]
.
'My thoughts do harbour with my Silvia nightly,
And slaves they are to me that send them flying:
O, could their master come and go as lightly,
Himself would lodge where senseless they are lying!
My herald thoughts in thy pure bosom rest them:
While I, their king, that hither them *IMPORTUNE*,
Do curse the grace that with such grace hath bless'd them,
Because myself do want my servants' fortune:
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. The Taming of the Shrew Act 1, Scene 1
.
BAPTISTA: Gentlemen, *IMPORTUNE* me no farther,
For how I firmly am resolved you know;
That is, not bestow my youngest daughter
Before I have a husband for the elder:
If either of you both love Katharina,
Because I know you well and love you well,
Leave shall you have to court her at your pleasure.
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. Measure for Measure Act 1, Scene 1
.
DUKE VINCENTIO: No more evasion:
We have with a leaven'd and prepared choice
Proceeded to you; therefore take your honours.
Our haste from hence is of so quick condition
That it prefers itself and leaves unquestion'd
Matters of needful value. We shall write to you,
As time and our concernings shall *IMPORTUNE*,
How it goes with us, and do look to know
What doth befall you HERE. So, fare you well;
To the hopeful execution do I leave you
Of your commissions.
.
. Act 5, Scene 1
.
DUKE VINCENTIO Against all sense you do *IMPORTUNE* her:
Should she kneel down in mercy of this fact,
Her brother's ghost his paved bed would break,
And take her hence in horror.
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. Othello, The Moor of Venice Act 2, Scene 3
.
IAGO You or any man living may be drunk! at a time, man.
I'll tell you what you shall do. Our general's wife
is now the general: may say so in this respect, for
that he hath devoted and given up himself to the
contemplation, mark, and denotement of her parts and
graces: confess yourself freely to her; *IMPORTUNE*
her help to put you in your place again: she is of
so free, so kind, so apt, so blessed a disposition,
she holds it a vice in her goodness not to do more
than she is requested: this broken joint between
you and her husband entreat her to splinter; and,
my fortunes against any lay worth naming, this crack
of your love shall grow stronger than it was before.
.
. Act 3, Scene 4
.
IAGO There is no other way; 'tis she must do't:
And, lo, the happiness! go, and *IMPORTUNE* her.
.
. Act 4, Scene 1
.
IAGO What,
If I had said I had seen him do you wrong?
Or heard him say,--as knaves be such abroad,
Who having, by their own *IMPORTUNATE* suit,
Or voluntary dotage of some mistress,
Convinced or supplied them, cannot choose
*But they must blab*
--------------------------------------------------
. King Lear Act 3, Scene 4
.
KENT *IMPORTUNE* him once more to go, my lord;
. His wits begin to unsettle.
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. Antony and Cleopatra Act 4, Scene 15
.
MARK ANTONY I am dying, Egypt, dying; only
I HERE *IMPORTUNE* death awhile, until
Of many thousand kisses the poor last
I lay up thy lips.
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. Sonnet 142
.
Be it lawful I love thee, as thou lovest those
Whom thine eyes woo as mine *IMPORTUNE* thee:
Root pity in thy heart, that when it grows
Thy pity may deserve to pitied be.
If thou dost seek to have what thou dost hide,
By self-example mayst thou be denied!
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<<Nicholas Culpeper, 17th century astrologer/physician, wrote in his
famous herbal of 1652 that chickpeas are "under the dominion of Venus,
they are less windy than beans, but nourish more; they provoke urine,
and are thought to increase sperm.">>
.
<<The botanical name for chickpeas is Cicer arietinum having
been derived from Aries (the ram) and referring to the ram's head
shape of the seed. Cicer was the latin name for the crop and
it has often been assumed that CICERO was so named because
*he had a wart on his nose the size of a chickpea*
.
Whether or not this was the case, chickpeas are often connected with
warts; the Italian *CECI* (?) means both a WART & a CHICKPEA & the
French 'pois chiche' served as a figurative synonym for warts.
Touching a wart at new moon with a chickpea plant & then binding it
with a linen cloth was considered to be one remedy for the complaint.>>
http://www.icarda.cgiar.org/Publications/Cook/Chickpea/Chickpea.html
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*CECI* n'est pas une pipe
http://antwrp.gsfc.nasa.gov/apod/ap060623.html
http://en.wikipedia.org/wiki/Magritte
http://antwrp.gsfc.nasa.gov/apod/ap060624.html
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I ham not a Burger!
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René François Ghislain Magritte (Nov 21, 1898 ? Aug 15, 1967)
was a Belgian surrealist artist. He is well known
for a number of witty & amusing images.
.
Magritte was born in Lessines, Belgium in 1898. In 1912, his mother
committed suicide by drowning herself in the River Sambre (A river in
western Europe that rises in northern France & flows generally east into
Belgium where it joins the Neuse at Namur.) He studied at the Académie
Royale des Beaux-Arts in Brussels for two years until 1918. During this
time he met Georgette Berger, whom he married in 1922. Magritte worked
in a wallpaper factory, and was a poster and advertisement designer
until 1926 when a contract with Galerie la Centaure in Brussels made it
possible for him to paint full-time.
.
In 1926, Magritte produced his first surrealist painting, The Lost
Jockey (Le jockey perdu), and held his first exhibition in Brussels in
1927. Critics heaped abuse on the exhibition. Depressed by the failure,
he moved to Paris where he became friends with André Breton, and became
involved in the surrealist group.
.
When Galerie la Centaure closed and the contract income ended, he
returned to Brussels and worked in advertising. Then, with his brother,
he formed an agency, which earned him a living wage. During the German
occupation of Belgium in World War II he remained in Brussels, which led
to a break with Breton. At the time he renounced the violence and
pessimism of his earlier work, though he returned to the themes later.
.
His work showed in the United States in New York in 1936 and again in
that city in two retrospective exhibitions, one at the Museum of Modern
Art in 1965, and the other at the Metropolitan Museum of Art in 1992.
.
Magritte died of cancer on August 15, 1967
and was interred in Schaarbeek Cemetery, Brussels.
.
A consummate technician, his work frequently displays a juxtaposition of
ordinary objects, or an unusual context, giving new meanings to familiar
things. The representational use of objects as other than what they seem
is typified in his painting, The Treachery Of Images (La trahison des
images), which shows a pipe that looks as though it is a model for a
tobacco store advertisement. Magritte painted below the pipe, This is
not a pipe (Ceci n'est pas une pipe), which seems a contradiction, but
is actually true: the painting is not a pipe, it is an image of a pipe.
(In his book, This Is Not a Pipe, French critic Michel Foucault
discusses the painting and its paradox.)
.
Note that Magritte pulled the same "stunt" in a painting of an apple: he
painted the fruit realistically and then used an "internal" caption or
framing device to deny that the item was an apple. It might be true that
Magritte's point in these "Ceci n'est pas" works is that no matter how
closely, through realism-art, we come to depicting an item accurately,
we never do catch the item itself, per se, as a Kantian noumenon, but
capture only an image on the canvas. But that interpretation trivializes
Magritte's insight -- for it is true of any painting, and every artist
and child would admit it, that what the painting does is only present
an image of a thing, and the thing itself is not on or in the canvas.It
might be more plausible to interpret Magritte as commenting on Freudian
psychoanalysis -- a topic not very far removed from many of
his surrealistic works, anyway. Sigmund Freud, especially in his dream
analysis, continually asserted that what clearly and obviously seemed to
be an X in a dream was not really an X, that it was an X only patently,
on the surface, but not latently or deeply, that the X in the dream
represented or was a metaphor for some other thing, Y. The dream-image
train is really a penis, for example. So when Magritte says "This is not
a pipe," what he means is that it may be possible to think that it is
only an image that stands for something else, that the phenomenal
reality of the pipe obscures or hides the true reality lying underneath.
The difficult question, if we go this far, is whether Magritte intended
to provide support for or to illustrate sympathetically Freudian dream
analysis -- the treachery of dreams -- or, instead, was mocking it: "You
mean this image, which is obviously a pipe-image,
is not really a pipe-image? Tell me another!"
René Magritte described his paintings saying,
My painting is visible images which conceal nothing; they evoke mystery
and, indeed, when one sees one of my pictures, one asks oneself this
simple question, 'What does that mean?'. It does not mean anything,
because mystery means nothing either, it is unknowable.>>
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Art Neuendorffer