A Portrait of the Artist as a Young Man
gangleri
Man', 'Ulysses', and 'Finneganns Wake' - is rated a pretty
good writer.
Some have likened him to Shakespeare as a master of the written word.
Yet, it's fair surmise that if James Joyce were alive today and
posting to HLAS in his - to some - crazier-than-shithouse-rat or
crazy-ass mother-fucker fashion -
"The fall (bababadalgharaghtakamminarronnkonnbronntonner-
ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur- nuk!) of a once
wallstrait oldparr is retaled early in bed and later on life down
through all christian minstrelsy.
- Tom Reedy, Dave Kathman and assorted Olympian hlas sages would tell
him to stuff it.
Others might wonder whether James Joyce was on to something undreamt of
in the philosophy of assorted Olympians?
That, by serving up such nonsense stuff at the Olympians' table,
James Joyce might have been making a point?
As in 17089 + 4351 + 10805 + 7003 = 39248, on the one hand, and 3586 +
35662 = 39248, on the other hand.
Duh?
Go figure:
17089 = A Portrait of the Artist as a Young Man;
4351 = James Joyce;
10805 = Sweet Swan of Avon; and
7003 = Stephen Dedalus,
on the one hand, and
3586 = Murder*; and
35662 = The Stratfordian's Houre Vpon The Stage**,
on the other hand.
* As in "murder most foul" etc.
** As in Francis Bacon's Shakespeare Myth, 17252 + 2602 + 1564 +
10026 + 2502 + 1616 + 100 = 35662, where
17252 = Gulielmus filius Johannes Shakspere;
2602 = April 26;
1564 = 1564 [Baptism/Entry onto the Stage];
10026 = Will Shakspere gent;
2502 = April 25;
1616 = 1616 [Burial/Exit from the Stage]; and
100 = The End/Curtains.
***
Cipher Values may be checked through the Calculator posted at
http://www.light-of-truth.com/gunnartomasson/ciphers.htm
gangleri
Your turn.
Yours truly,
Crazier-than-a-shithouse-rat alias Crazy-ass-mother fucker.
P.S. Latest news from England:
Rosencrantz and Guildenstern are dead.
David L. Webb
"gangleri" <gunnar....@verizon.net> wrote:
> James Joyce - author of 'A Portrait of the Artist as a Young
> Man', 'Ulysses', and 'Finneganns Wake' - is rated a pretty
> good writer.
Absolutely! Here is one of his memorable lines:
"Shakespeare is the happy hunting ground of all minds that have lost
their balance."
> Some have likened him to Shakespeare as a master of the written word.
>
> Yet, it's fair surmise that if James Joyce were alive today and
> posting to HLAS in his - to some - crazier-than-shithouse-rat or
> crazy-ass mother-fucker fashion -
>
> "The fall (bababadalgharaghtakamminarronnkonnbronntonner-
> ronntuonnthunntrovarrhounawnskawntoohoohoordenenthur- nuk!) of a once
> wallstrait oldparr is retaled early in bed and later on life down
> through all christian minstrelsy.
>
> - Tom Reedy, Dave Kathman and assorted Olympian hlas sages would tell
> him to stuff it.
>
> Others might wonder whether James Joyce was on to something undreamt of
> in the philosophy of assorted Olympians?
>
> That, by serving up such nonsense stuff at the Olympians' table,
> James Joyce might have been making a point?
>
> As in 17089 + 4351 + 10805 + 7003 = 39248, on the one hand, and 3586 +
> 35662 = 39248, on the other hand.
Speaking of loss of balance...
Art Neuendorffer
>
>>James Joyce - author of 'A Portrait of the Artist as a Young
>>Man', 'Ulysses', and 'Finneganns Wake' - is rated a pretty
>>good writer.
David L. Webb wrote:
> Absolutely! Here is one of his memorable lines:
>
> "Shakespeare is the happy hunting ground of all minds
> that have lost their balance."
-------------------------------------------------
James Joyce Quotes From Esther Lombardi
-------------------------------------------------
"Shakespeare is the happy hunting ground
of all minds that have lost their balance."
"The artist, like the God of the creation, remains within
or behind or beyond or above his handiwork, invisible,
refined out of existence, indifferent, paring his fingernails."
"I've put in so many enigmas and puzzles that it will keep
the professors busy for centuries arguing over what I meant,
and that's the only way of insuring one's immortality."
"Mistakes are the portals of discovery."
"'History,' Stephen said,
'is a nightmare from which I am trying to awake."
"Christopher Columbus, as everyone knows, is honored
by posterity because he was the last to discover America."
"A man's errors are his portals of discovery."
"Better pass boldly into that other world, in the full glory
of some passion, than fade and wither dismally with age."
"I am today what I established yesterday or some previous day."
"Love (understood as the desire of good for another) is in fact
so unnatural a phenomenon that it can scarcely repeat itself, the
soul being unable to become virgin again and not having energy
enough o cast itself out again into the ocean of another's soul."
"Men are governed by lines of intellect - women: by curves of emotion."
"My words in her mind: cold polished stones sinking through a quagmire."
"Poetry, even when apparently most fantastic, is always a revolt
against artifice, a revolt, in a sense, against actuality."
"Saying that a great genius is mad, while at the same time
recognizing his artistic worth, is like saying that he had
rheumatism or suffered from diabetes. Madness, in fact,
is a medical term that can claim no more notice from
the objective critic than he grants the charge of heresy
raised by the theologian, or the charge of immorality
raised by the police."
"The demand that I make of my reader is that
he should devote his whole Life to reading my works."
"Welcome, O life! I go to encounter for the millionth time
the reality of experience and to forge in the smithy
of my soul the uncreated conscience of my race."
"When I die Dublin will be written in my heart."
"When the Irishman is found outside of Ireland in another environment,
he very often becomes a respected man. The economic & intellectual
conditions that prevail in his own country do not permit the
development of individuality. No one who has any self-respect
stays in Ireland, but flees afar as though from a country
that has undergone the visitation of an angered Jove."
"Writing in English is the most ingenious torture ever devised
for sins committed in previous lives. The English reading
public explains the reason why."
"Your battles inspired me - not the obvious material battles
but those that were fought and won behind your forehead."
-------------------------------------------------
Art Neuendorffer
gangleri
> In article <1143074066....@u72g2000cwu.googlegroups.com>,
> "gangleri" <gunnar....@verizon.net> wrote:
>
> > James Joyce - author of 'A Portrait of the Artist as a Young
> > Man', 'Ulysses', and 'Finneganns Wake' - is rated a pretty
> > good writer.
>
> Absolutely! Here is one of his memorable lines:
>
> "Shakespeare is the happy hunting ground of all minds that have lost
> their balance."
Indeed!
***
In the context of Shakespeare Myth, "Anna Whateley", 5939, of Temple
Grafton was all set and licenced on November 27, 1582, to join a "Wm
Shaxpere", 6763, in his houre vpon the stage - or so it seems based on
"a neat fair COPY written up later from notes or from files of loose
documents and not on the actual day when the licence was issued."
(Cited by S. Schoenbaum, 'William Shakespeare - A Compact Documentary
Life', footnote, p. 86)
For students of Saga-Shakespeare Myth, apparently including James
Joyce, two "facts" stand out as indicators of literary hanky-panky.
First. The Cipher Value of Wm Shaxpere's name, 6763, mirrors that of
Steinkross, 6763, (Stone Cross), which is the Eastern end point of a
432000 feet line which runs from East to West and at whose Center
Iceland's Parliament (Althing) was established in 930 A.D.
Second. The Cipher Value of Anna Whateley's home village, Temple
Grafton, 6764, mirrors that of Monad, 1, at Steinkross, 6763 as in 1 +
6763 = 6764. For students looking for possible mythical undertones in
the Anna Whateley angle, this would serve to signal that "Anna
Whateley" was Monad's Female counterpart to Monad's "Wm Shaxpere" Male
or Shake-Speare manifestation.
In Hebrew Myth, Monad's division into Male and Female parts at Seventh
Day's "dawn" in the East imparts "imbalance" to both parts, whose
rectification through "consummation" at Hunt's End/Sunset in the West
at Day's End restores "unity" to Monad's Holy Name, JHWH or 10-5-6-5 in
Hebrew Gematria.
In the present case, the "imbalance" is manifested by the marriage bond
between "Anne Hathwey", 5738, and "William Shagspere", 8897, on
November 28, 1582.
This sets the stage for the "hunt", as in 5939 + 2709 + 1582 + 6763 +
5738 + 2809 + 1582 + 8897 = 36019.
***
The other day, a leading Icelandic student of Saga Myth advised me in
the context of an unrelated issue that the counterpart in British Myth
to Steinkross of Saga Myth is known as The Devil's Bed and Bolster,
10338.
In light of the above Cipher Play on "Wm Shaxpere", "Steinkross", and
"Temple Grafton," it is fair surmise that the Stratfordian's bequest to
"Anne Hathwey" in his last will and testament -
Item I gyve vnto my wief my second best bed with the furniture. Cipher
Value 29219.
- served to identify his "second best bed with the furniture" with The
Devil's Bed and Bolster, which Will vacates for "consummation" at
Seventh Day's End/Sunset in the West.
A "consummation", which Hebrew Myth holds to be (a) MAN of Seventh
Day's mission, and (b) "THE PURPOSE OF OUR WORLD".
In the imagery of myth, the "consummation" is effected through
MAN/Tree/Penis/FIRE's, 1000, transformation into Flaming Sword, 4000,
become instrument of the restoraton of the Holy Name of JHWH, 10565.
As in 1000 + 4000 + 10565 + 29219 - 10338 = 34446.
***
All is well that ends well!
For, as James Joyce put it, "Shakespeare is the happy hunting ground of
all minds that have lost their balance." 34096.
As in 34096 + 36019 + 34446 = 104561.
***
Thus did James Joyce place on record his construction of three puzzles,
which continue to baffle Stratfordian scholars:
1. What to make of Anna Whateley?
2. What to make of "the second best bed with the furniture" bequest?
3. What to make of the vanishing act pulled by Christophero Sly in
"The Taming of the Shrew"?
***
Here is the First Folio text of the LAST we ever hear of the Sly one,
who lost the balance of his mind -
Oh monstrous beast, how like a swine he lyes.
Grim death, how foule and loathsome is thine image:
Sirs, I will practise on this drunken man.
- but continues to attract his fellow drunks as moths to fire:
The Presenters aboue speakes.
1. Man.:
My Lord you nod, you do not minde the play.
Beg.:
Yes by Saint Anne do I, a good matter surely:
Comes there any more of it?
Lady:
My Lord, 'tis but begun.
Beg.:
'Tis a verie excellent peece of worke, Madame Ladie:
would 'twere done.
They sit and marke.
Cipher Value 104561.
***
Why "happy hunting ground"?
"To morrow I intend to HUNT againe," says A Lord immediately before
coming upon the "monstrous beast" in Shakespeare's play.
Happy hunting, David!
Tom Veal
novel and deluded himself into imagining that it was written for a
proto-HLAS. He then decodes the text into proof of James Joyce's
adherence to the Mystical Cipher.
I realize that one ought to pity, rather than laugh at, men who make
fools of themselves in public, but I begin to understand why Bedlam was
such a popular attraction. Indeed, I'll confess that I have written
this post solely in the expectation of eliciting further amusing rants
from a Harvard alumnus' decaying mind.
David L. Webb
In article <4422D81A...@comcast.net>,
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
> > "gangleri" <gunnar....@verizon.net> wrote:
> >
> >>James Joyce - author of 'A Portrait of the Artist as a Young
> >>Man', 'Ulysses', and 'Finneganns Wake' - is rated a pretty
> >>good writer.
> David L. Webb wrote:
>
> > Absolutely! Here is one of his memorable lines:
> >
> > "Shakespeare is the happy hunting ground of all minds
> > that have lost their balance."
> -------------------------------------------------
> James Joyce Quotes From Esther Lombardi
But Art -- "Esther Lombardi" is an anagram of "Bolstered Hiram."
> -------------------------------------------------
> "Shakespeare is the happy hunting ground
> of all minds that have lost their balance."
[...]
> "Mistakes are the portals of discovery."
If so, Art, then you are another Newton! However, you show more
conspicuous signs of being another Neuman.
[...]
> "A man's errors are his portals of discovery."
What have you discoVERed from your Peter Gay blunder, Art? And how
about the one about the number nineteen?
[...]
> "The demand that I make of my reader is that
> he should devote his whole Life to reading my works."
Life is too short to read anything but a VERy small fraction of your
"works," Art, despite the comic entertainment with which they so richly
repay the reader.
> "Writing in English is the most ingenious torture ever devised
> for sins committed in previous lives..."
For you, I can see that it is, Art.
[...]
gangleri
> This is hilarious. The Great Gangleri has plucked a passage from a
> novel and deluded himself into imagining that it was written for a
> proto-HLAS. He then decodes the text into proof of James Joyce's
> adherence to the Mystical Cipher.
>
> I realize that one ought to pity, rather than laugh at, men who make
> fools of themselves in public, but I begin to understand why Bedlam was
> such a popular attraction. Indeed, I'll confess that I have written
> this post solely in the expectation of eliciting further amusing rants
> from a Harvard alumnus' decaying mind.
Always good to hear from you, Tom!
So you know your James Joyce - enigmas and puzzles included - as well
as you do everything else?
Thank goodness you're not a blockhead professor or a Christophero Sly,
9143, being taken for a ride in "The Taming of the Shrew", 11075 -
"I've put in so many enigmas and puzzles that it will keep the
professors busy for centuries arguing over what I meant, and that's the
only way of insuring one's immortality." Cipher Value 81118.
- ignorant of the Saga personification of "ONE man" alias Þórr, 3225
as in 9143 + 11075 + 81118 + 3225 = 104561.
For you know, of course, that Snorri Sturluson concluded the
Gylfaginning (cosmogonic) section of Edda by declaring that his purpose
in writing it was to ensure that, after long time had passed, folks
would "not doubt" that all the various gods of whom he wrote were
really ONE.
"Þar var þá Þórr kallaðr, ok er sá Ása-Þórr inn gamli,"
Snorri advises in the last sentence. This is Icelandic for "Þórr var
then named there, and he is Ása-Þórr the old.'
***
Here is the First Folio text of the LAST we ever hear of the Sly one,
who lost the balance of his mind -
Oh monstrous beast, how like a swine he lyes.
Grim death, how foule and loathsome is thine image:
Sirs, I will practise on this drunken man.
- but continues to attract his fellow drunks as moths to fire:
The Presenters aboue speakes.
1. Man.:
My Lord you nod, you do not minde the play.
Beg.:
Yes by Saint Anne do I, a good matter surely:
Comes there any more of it?
Lady:
My Lord, 'tis but begun.
Beg.:
'Tis a verie excellent peece of worke, Madame Ladie:
would 'twere done.
They sit and marke.
Cipher Value 104561.
***
Tom Veal
> Tom Veal wrote:
> > This is hilarious. The Great Gangleri has plucked a passage from a
> > novel and deluded himself into imagining that it was written for a
> > proto-HLAS. He then decodes the text into proof of James Joyce's
> > adherence to the Mystical Cipher.
> >
> > I realize that one ought to pity, rather than laugh at, men who make
> > fools of themselves in public, but I begin to understand why Bedlam was
> > such a popular attraction. Indeed, I'll confess that I have written
> > this post solely in the expectation of eliciting further amusing rants
> > from a Harvard alumnus' decaying mind.
>
> as you do everything else?
>
claim to special knowledge of James Joyce, or perhaps to special
knowledge of everything. How arrogant a man must be to doubt the Cipher
Master!
I do wonder how it is that Joyce communicated using a secret cipher
that the Great Gangleri recovered from an Icelandic manuscript after
Ulysses was written. Or was he part of a coterie that kept this secret
hidden from the rest of us, perhaps in the same way that MM's Sat Gurus
passed their esoteric lore from God-man to God-man?
gangleri
> gangleri wrote:
> > So you know your James Joyce - enigmas and puzzles included - as well
> > as you do everything else?
> >
> Of course skepticism about a Ganglerian fantasy is tantamount to a
> claim to special knowledge of James Joyce, or perhaps to special
> knowledge of everything. How arrogant a man must be to doubt the Cipher
> Master!
My goodness, Tom - can't you take high praise?
> I do wonder how it is that Joyce communicated using a secret cipher
> that the Great Gangleri recovered from an Icelandic manuscript after
> Ulysses was written. Or was he part of a coterie that kept this secret
> hidden from the rest of us, perhaps in the same way that MM's Sat Gurus
> passed their esoteric lore from God-man to God-man?
Wonder is a marvellous thing - some view it as the seed corn which
advances learning.
As for the point at issue, three things are clear:
1. The vanishing act pulled by Christophero Sly, A Lord, and the
lord's Servants in "The Taming of the Shrew" is an enigmatic puzzle
left us by "William Shakespeare".
2. The Cipher Value of the First Folio's version, calculated by the
no-longer secret Cipher which Snorri Sturluson placed on record in
embedded form in a single sentence in the oldest extant Icelandic skin
manuscript in the first half of the 13th century, is 104561.
3. The "plain" meaning and Cipher Values of the two James Joyce texts
are consistent with the hypothesis that the texts were tailored so as
to yield a Cipher Value of 104561 when construed as "hidden poetry"
Snorri Sturluson-style on CORE themes of ancient myth, as preserved in
the Augustan-Saga-Shakespeare tradition.
There are three ways of dealing with an enigmatic cipher/myth puzzle of
this kind.
(a) Never believe it!
(b) Reserve judgment.
(c) Check the odds that the Cipher Symmetries are accidental - and
judge accordingly.
Art Neuendorffer
>>>>James Joyce - author of 'A Portrait of the Artist
>>>> as a Young Man', 'Ulysses', and 'Finneganns Wake'
>>>> - is rated a pretty good writer.
>> David L. Webb wrote:
>>> Absolutely! Here is one of his memorable lines:
>>>
>>> "Shakespeare is the happy hunting ground
>>> of all mindsthat have lost their balance."
> Art Neuendorffer <aneuendor...@comcast.net>
>>-------------------------------------------------
>> James Joyce Quotes From Esther Lombardi
David L. Webb wrote:
> But Art -- "Esther Lombardi" is an anagram of "Bolstered Hiram."
INPNC = 5/14
> Art Neuendorffer <aneuendor...@comcast.net>
>>-------------------------------------------------
>> "Shakespeare is the happy hunting ground
>> of all minds that have lost their balance."
>>"Mistakes are the portals of discovery."
> If so, Art, then you are another Newton!
Well, what do you think Neuendorf means!
> However, you show more conspicuous signs of being another Neuman.
You mean Johnny von Neumann? Thanks!
(I've always thought of you as another Wiener.)
> Art Neuendorffer <aneuendor...@comcast.net>
>> "A man's errors are his portals of discovery."
David L. Webb wrote:
> What have you discoVERed from your Peter Gay blunder, Art?
> And how about the one about the number nineteen?
----------------------------------------------------------------
The first revelation to Mohammed came as 19 words.
Gematrical value of "ONE" in Aramaic & Arabic: 19.
The word `Koran' occurs in 38 different chapters, or 19 x 2.
Total number of times `the Koran' is mentioned: 19 x 3.
The letters of the first revelation: 19 x 4.
The number of chapters in the Koran: 19 x 6.
The number of 'Allah's in the Koran: 19 x 142.
The number of verses in the Koran: 19 x 334.
The last chapter revealed has 19 words.
---------------------------------------------------------------
http://www.answering-islam.org//Nehls/Ask/number19.html
http://www.therevival.co.uk/articles/miracle_of_Quran.htm
The total number of letters making up the 19 words
of the first Quran revelation is 76, 19 x 4.
---------------------------------------------------------------
_______ 76 year lunar cycle
A lunar cycle noted by Callippus in 325 BC
which included 4 19-year Metonic cycles. The 940 months
had 29 or 30 days each, for a total of 27,759 days,
27759 days/29.53059 (days/month) = 940.00831 months
---------------------------------------------------------
Sonnet 76 = (19 x 4)
[W]hy write I still all one, EUER the fame,
[A]nd keepe inuention in a noted weed,
[T]hat EUERy word doth almost fel my name,
.................................................
Sonnet 95 = (19 x 5)
[W]here beauties VAILE doth cOUER EUERy blot,
[A]nd all things turnes to faire, that eies can see!
[T]ake heed (deare heart) of this large priuiledge,
----------------------------------------------------------
"[E]dwardus [C]omes [O]xon{iensis}"
[ECO]: [HERE] (Venetian)
TOTHEO [N] l ___ I _ EBE G ____ ETTERO
FTHESE__ [I] n ___ S - UIN G ____ SONNET
SMrWha_- [L] L __ [H]a P <P> I__ [N] ESSEA
NDthat____[E] T __ [E]r _ N <I> T___[I] EPROM
ISEDB Y O u ___- [R]e V <E> R [L] IVING
POEtW I s h ____ [E]t _ H [T] H_- [E] WELLW
IShIN- G a _____ [d V e] N [T] u ______ ReRINS
EtTIN G fort___________ H [T] t
_________________ <= 19 =>
-------------------------------------------------------------------
"T" is the 19th letter of the Greek & Latin alphabets
and the 19th letter of the Elizabethan English alphabet.)
-------------------------------------------------------------------
<<The TAU cross, named after the Greek letter it resembles, is a very
old symbol. The TAU cross was a symbol of the Roman God Mithras &
the Greek ATTis, & their forerunner Tammuz, the Sumerian solar God.>>
http://altreligion.about.com/library/glossary/symbols/bldefstaucross.htm
-----------------------------------------------------
Count of Monte Cristo - Dumas
<<"The year 1829," It was fourteen years day four days
since Dantes' arrest. He was 19 when he entered
the Chateau d'If; he was 33 when he escaped.>>
-------------------------------------------------------------
NIL VERO-VERIU(S) S = 19th letter
OUR EVER-LIVIN(G) G = 33th letter (Masonic)
UNO VERE-VIR(G)IL G = 33th letter (Masonic)
---------------------------------------------------------------
<<In the name of Annah the Allmaziful, the *EVERLIVING* , the
Bringer of Plurabilities, haloed be her eve, her singtime
sung, her rill be run, unhemmed as it is uneven!>>
p.[74 + 30] Finnegans Wake
-----------------------------------------------------------------
[74:30] OVER it is nineteen.
[74:31] We appointed angels to be guardians of Hell, and
we assigned their number (19) to disturb the disbelievers,
Koran Sura - 74 The Hidden Secret (Al-Muddath-thir)
http://www.submission.org/suras/sura74.html
--------------------------------------------------------------
Metonic cycle: 19 year lunar cycle corresponding the 235 lunar months,
over which phases of the moon almost land on the same dates
of the year. This cycle was the basis for the GREEK calendar.
---------------------------------------------------------------
Words inscribed above the 19 foot statue of Abraham Lincoln:
"In this temple as in the hearts of the people
for whom he saved the Union, the memory
of Abraham Lincoln is enshrined forEVER."
---------------------------------------------------------------------
<<In 1941, Rudolph Evans was commissioned to sculpt the 19 foot
statue of Thomas Jefferson which looks out from the interior of
his Memorial toward the White House. It was intended to represent
the Age of Enlightenment & Jefferson as a philosopher & statesman.>>
-------------------------------------------------------------------
http://www.robotwisdom.com/jaj/ulysses/index.html
<<Chapter Ten [i.e., Wandering Rocks, Ulysses] was a late addition
to Joyce's plan, not based on any Homeric adventure. It offers 19
subsections showing 19 vignettes of Dubliners walking after lunch,
told from their 19 different points of view. Most of these subsections
contain one or more 'intrusions' from other sections,
showing how things are happening simultaneously.>>
0 * 0
* * * *
0 * * * 0
* * * *
0 * 0
-----------------------------------------------------------------
Joseph Campbell's _Creative Mythology_
<<The number 19 represents the White/Apollonian, the physical, the
essential, the boundary - i.e. "being," as I (following Einstein) call
it. Boundary is nothingness in contrast to Red/Dionysian reality, i.e.
in contrast to monads (which quanta Sartre referred to as "being"). By
his wife Hecabe ("100"; who nevertheless represents the triple-Goddess,
eg. Hecate) Troy's King Priam had precisely 19 sons, although he had 50
children total - including 12 daughters. Precisely 19 rectilinear
pieces comprise the border of the famous Tunc page of the Book of
Kells. In connection with Egyptian art we've noted that
White/Apollonian 19 involves a nevertheless superior, godly,
Red/Dionysian 18 . Likewise, perhaps, Mayan art is based on an 18 x 19
grid. More generally speaking, the 18:19 ratio (0.9474) is almost
exactly that of the length from the apex of a pentagon to its base
compared to the length from the pentagon's left upper point to its
right upper point. The proportions of a pentagon are strictly related
to Phi, the Golden Mean. For instance, a pentagon inscribed within a
circle of radius 1 measures exactly Phi/2 from the center to the base.
The 18:19 ratio is moreover almost precisely that of the 5th musical
chord, the semitone, which is the sound produced by a plucked string
being held at the point 243/256 = 0.9492 of its length. Curiously,
every 18th number - and only every 18th number - of the Fibonacci
series (the most obvious symmetries of which are 5-fold, 12-fold and
60-fold) has 19 as a factor. Moreover, the hexagonal numbers 1, 6, and
12 (a single hexagon can be surrounded by 6 others, which can then be
surrounded by yet 12 more) sum to 19. Indeed, the number 19 is akin to
the Fibonacci structure, to the Sign of Solomon (the Star of David), to
the number 9, and to the cube, all of which resonate with the Golden/
Legal tension between White/ Apollonian 12 & Red/ Dionysian 5 or 6.
Saint Brigit's shrine in Kildare, Ireland, was maintained by 19 nuns
in turn over the course of 19 days. On the 20th day the shrine was
supposedly attended by the saint herself. In 432 BCE the astronomer
Meton pointed up the "Grand Cycle of 19 Years": the new Moon (or
rather, dark Moon) coincides with the new Sun of the winter solstice
(i.e. the most southerly rising and setting of the Sun; the longest
night of the year) every 19 years, a coincidence which is called the
"Meeting of the Sun and Moon." Odysseus, the Moon, returns to meet
Penelope, the Sun. We recognized such coincidence in regard to the
courts of Sumer: The full Moon - and especially the orange, Harvest
Moon, the rising of which coincides temporally with yet is spatially
opposite to the setting of the Sun - represents the completed king,
i.e. the king upon his moment of sacrifice, of regicide, at which
moment he at last corresponds to the Sun, i.e. he at last becomes
dominantly Red/Dionysian and thus virtually female, all but identical
to his queen or queens. Perhaps this periodic coincidence is why the
Babylonians considered the 19th day of a month taboo and counted 19
as 20 minus 1. According to the Great Reversal, on the other hand,
the king (eg. Odysseus) is not sacrificed but rules unto wizened
senescence. The number 19 is likewise related to the phenomenon
called nutation (which word stems from the Latin nutare, "to nod").
Concomitant of planetary and lunar motion the chief precessional motion
of the Earth's axis is embellished, so to speak, with small elliptical
motions. These embellishments are the nutations. The primary nutation
periods are 13.66 days (half the period of the Moon's orbit around the
Earth), 1/2 year (i.e. half the period of the Earth's orbit around the
Sun), 9.3 years (rotation period of the Moon's perigee) and 18.6 years
(concomitant of the 18.6-year oscillation of the plane of the Moon's
orbit around the Earth relative to the plane of the Earth's orbit
around the Sun; i.e. the period of the Moon's "nodes," these being
the points where the orbit of the Moon intersects the plane of the
ecliptic, i.e. the plane of the Earth's orbit about the Sun). The
18.6-year nutation - marked by an amplitude of 9.2 seconds of arc - is
the most obvious. Yet nutation itself was not discovered until 1728,
by the English astronomer James Bradley; and it went unexplained for
another 20 years. Nevertheless many ancient astronomical observatories,
including Stonehenge, accurately record the 18.6-year cycle of the
Moon's nodes. That cycle can be considered to represent the important
resonance between the numbers 18 and 19. A more precise match to the
more godly of the pair, the number 18, is the fact that each eclipse of
the Sun by the Moon can be said to repeat itself (in terms of its
non-negligible qualities as observed by the naked eye on Earth:
completeness, location in the sky, apparent size of the disc) at a
different place on the Earth every 223 synodic months (a.k.a.
lunations), i.e. 223 x 29.5305882 = 6585.3211 days = 18.029 years
(on average, the synodic month varying from 29.2 days to 29.8 days),
this 18.029-year duration being a so-called "saros" period.>>
-------------------------------------------------------
http://www.gravity.org/mythology/myth_iframe2_5.html
<<The word pearl stems from the Latin perna, "upper leg." Mythical
heroes typically carry a wound in the upper leg or hip, which wound
adumbrates their their destined sacrifice, their inevitable reduction,
as it were, to godly status. Odysseus as a young man was wounded just
above the knee by a boar's tusk. When following the Trojan War and his
famous subsequent misadventures Odysseus returns home disguised as a
beggar, his old nurse (a she-wolf of sorts, and á la his dog Argos)
recognizes him by this scar. Scars are pearls of sorts. Likewise,
Odysseus's chief patron is the goddess Athena - whose famously grey
eyes are akin to pearls. The word pearl is furthermore related to the
Greek pterne, meaning "HEEL of a shoe," and ptelos, "wild boar."
Hunting dogs, of course, are trained to follow at their master's HEEL.
Odysseus returns home following 19 full years of absence and is
recognized by his dog, who has effectively remained at Odysseus's HEEL
all along. The ancient Egyptian system of proportion is based on a
column or row of 19 squares; but curiously the Egyptian gods tend to be
depicted only 18 squares tall yet standing upon a PEDestal (from the
Latin PES, "FOOT") which is 1 of these units tall and which is the
symbol of the fraction ½. That PEDestal and likewise that fraction -
which fraction represents the primordial instant of creation/sacrifice
(Kronos castrating Ouranos, for instance) - are HEELs of sorts.
Likewise what chiefly connects ACHILLEs to his father Peleus - i.e. to
death, to mortality, to Father Dis (god of the underworld) - is his
weak HEEL. Remember in this respect that the P-I-E prefix per- means
"to strike." We examined this prefix in relation to the Biblical and
Akkadian names for the Euphrates, i.e. the river of death: Perath or
Parat, and Purattu, respectively. Similarly the thunder god of the
Slavs is named Perun; the Lithuanian god of lightning and thunder is
Perkunas; and the Hawaiin volcano goddess is Pele. In Sanskrit, púr-
means "fortified stronghold made of earth."
Other cognates include the Greek perdix,/i> "partridge" (sacred to
Aphrodite; the male hobbles during his mating dance, á la Aphrodite's
husband Hephaistos), parthenos, "virgin" (as in the Parthenon, i.e.
the Doric temple of virign Athena); the Greek geranos, "crane";
the Germanic GER, meaning "SPEAR" and "TRUE," as in the
German gitriuwi, "faithful," and likewise as in names
of Hamlet's mother GERtude and Odysseus's wife Pe(r)nelope;
the Sanskrit grhá, "enclosure," the Lithuanian gardas, "pen" or
"fold," the Albanian garth, "hedge," the Avestan g?r??a-, "cave," and
the Russian górod, "city," all of which derive from the P-I-E ghordo;
and similarly the Norse Hel, goddess of the underworld, she being akin
to Persephone as well as to Helen and to Helen's essentially sacrificed
(in this case cuckolded) husband, the red-haired Menelaos.>>
-----------------------------------------------
> Art Neuendorffer <aneuendor...@comcast.net>
>> "The demand that I make of my reader is that
>> he should devote his whole Life to reading my works."
David L. Webb wrote:
> Life is too short to read anything but a VERy small fraction
> of your "works," Art, despite the comic entertainment
> with which they so richly repay the reader.
Tell it to the Grand Master.
>>"Writing in English is the most ingenious torture ever
>> devised for sins committed in previous lives..."
David L. Webb wrote:
> For you, I can see that it is, Art.
Yes, I was a Stratfordian in my previous life.
Art Neuendorffer
Tom Veal
> 3. The "plain" meaning and Cipher Values of the two James Joyce texts
> are consistent with the hypothesis that the texts were tailored so as
> to yield a Cipher Value of 104561 when construed as "hidden poetry"
> Snorri Sturluson-style on CORE themes of ancient myth, as preserved in
> the Augustan-Saga-Shakespeare tradition.
>
> There are three ways of dealing with an enigmatic cipher/myth puzzle of
> this kind.
>
> (a) Never believe it!
>
> (b) Reserve judgment.
>
> (c) Check the odds that the Cipher Symmetries are accidental - and
> judge accordingly.
(d) Laugh at the picture of James Joyce poring over ancient Icelandic
manuscripts in a Dublin pub, inferring the same cipher as the Great
Gangleri, then meticulously encoding passages in his novels that
revealed his secret thoughts about Shakespeare, Anne Whateley,
Christopher Sly et al., thoughts next to which Finnegan's Wake is a
model of lucidity.
gangleri
Tom.
You're putting us on!
Surely you get the point of the exchange between Stephen and Lynch in
Ch. 5 of "A Portrait of the Artist as a Young Man":
Lessing, said Stephen, should not have taken a group of statues to
write of. The art, being inferior, does not present the forms I spoke
of distinguished clearly one from another. Even in literature, the
highest and most spiritual art, the forms are often confused. The
lyrical form is in fact the simplest verbal vesture of an instant of
emotion a rhythmical cry such as ages ago cheered on the man who pulled
at the oar or dragged stones up a slope. He who utters it is more
conscious of the instant of emotion than of himself as feeling emotion.
The simplest epical form is seen emerging out of lyrical literature
when the artist prolongs and broods upon himself as the centre of an
epical event and this form progresses till the centre of emotional
gravity is equidistant from the artist himself and from others. The
narrative is no longer purely personal. The personality of the artist
passes into the narration itself, flowing round and round the persons
and the action like a vital sea. This progress you will see easily in
that old English ballad Turpin Hero which begins in the first person
and ends in the third person. The dramatic form is reached when the
vitality which has flowed and eddied round each person fills every
person with such vital force that he or she assumes a proper and
intangible esthetic life. The personality of the artist, at first a
cry or a cadence or a mood and then a fluid and lambent narrative,
finally refines itself out of existence, impersonalizes itself, so to
speak. The esthetic image in the dramatic form is life purified in and
reprojected from the human imagination. The mystery of esthetic, like
that of material creation, is accomplished. The artist, like the God
of creation, remains within or behind or beyond or above his handiwork,
invisible, refined out of existence, indifferent, paring his
fingernails.
-- Trying to refine them also out of existence, said Lynch.
Or are you REALLY clueless?
gangleri
> (d) Laugh at the picture of James Joyce poring over ancient Icelandic
> manuscripts in a Dublin pub, inferring the same cipher as the Great
> Gangleri, then meticulously encoding passages in his novels that
> revealed his secret thoughts about Shakespeare, Anne Whateley,
> Christopher Sly et al., thoughts next to which Finnegan's Wake is a
> model of lucidity.
Tom, that's Finneganns Wake.
David L. Webb
Art Neuendorffer <aneuendor...@comcast.net>
(aneuendor...@comicass.nut) wrote:
[...]
> >>"Mistakes are the portals of discovery."
> > If so, Art, then you are another Newton!
> Well, what do you think Neuendorf means!
Typo for Moron-daft?
> > However, you show more conspicuous signs of being another Neuman.
> You mean Johnny von Neumann? Thanks!
> (I've always thought of you as another Wiener.)
Excellent, Art! But your spelling is off, as usual; I had in mind,
of course, A. E. Neuman.
> > Art Neuendorffer <aneuendor...@comcast.net>
>
> >> "A man's errors are his portals of discovery."
> David L. Webb wrote:
>
> > What have you discoVERed from your Peter Gay blunder, Art?
Well? What *have* you discoVERed from your Peter Gay blunder, Art?
The fact that Mellon Foundation grant recipients don't travel in person
to the Mellon Bank in Manhattan to collect their grant checks?
> > And how about the one about the number nineteen?
[...]
> _______ 76 year lunar cycle
>
> A lunar cycle noted by Callippus in 325 BC
> which included 4 19-year Metonic cycles. The 940 months
> had 29 or 30 days each, for a total of 27,759 days,
>
> 27759 days/29.53059 (days/month) = 940.00831 months
> ---------------------------------------------------------
> Sonnet 76 = (19 x 4)
>
> [W]hy write I still all one, EUER the fame,
> [A]nd keepe inuention in a noted weed,
> [T]hat EUERy word doth almost fel my name,
[More lunatic logorrhea snipped]
You VERy obligingly prove my point about minds that have lost their
balance _ipso facto_, Art.
> "[E]dwardus [C]omes [O]xon{iensis}"
> [ECO]: [HERE] (Venetian)
>
> TOTHEO [N] l ___ I _ EBE G ____ ETTERO
> FTHESE__ [I] n ___ S - UIN G ____ SONNET
> SMrWha_- [L] L __ [H]a P <P> I__ [N] ESSEA
> NDthat____[E] T __ [E]r _ N <I> T___[I] EPROM
> ISEDB Y O u ___- [R]e V <E> R [L] IVING
> POEtW I s h ____ [E]t _ H [T] H_- [E] WELLW
> IShIN- G a _____ [d V e] N [T] u ______ ReRINS
> EtTIN G fort___________ H [T] t
"Pie"? Is that an allusion to the following, Art?
<http://www.hartfordadvocate.com/gbase/News/content.html?oid=oid:129515>
[Nutcase numerology snipped]
> >> "The demand that I make of my reader is that
> >> he should devote his whole Life to reading my works."
> David L. Webb wrote:
>
> > Life is too short to read anything but a VERy small fraction
> > of your "works," Art, despite the comic entertainment
> > with which they so richly repay the reader.
> Tell it to the Grand Master.
Is that a threat, Art? While it is true that the Nautonnier views
with disfavor those who shirk their assignments, I'm not worried that
you'll report me -- you haven't even figured out who he is, despite all
the generous hints that I've given you!
> >>"Writing in English is the most ingenious torture ever
> >> devised for sins committed in previous lives..."
> David L. Webb wrote:
>
> > For you, I can see that it is, Art.
Just out of curiosity, Art, what *is* your native tongue? COBOL?
> Yes, I was a Stratfordian in my previous life.
As in your present one -- I don't doubt that you were trolling then
too.
> Art Neuendorffer
Tom Veal
his text in a cipher that he did not consciously know - well, all I can
say is that this particular creative process was not just unconscious
but incoherent.
David L. Webb
"gangleri" <gunnar....@verizon.net> wrote:
> Tom, that's Finneganns [sic] Wake.
No, it's _Finnegans Wake_.
Tom Veal
Well, I'm not going to pretend that I ever read it. The closest that I
came was attending a lecture by Donald Davidson in which he made many
observations about the text that were too erudite for me. I'm lucky to
have come as close as I did to spelling the title right.
Art Neuendorffer
>> "[E]dwardus [C]omes [O]xon{iensis}"
>> [ECO]: [HERE] (Venetian)
>>
>>TOTHEO [N] l ___ I _ EBE G ____ ETTERO
>>FTHESE__ [I] n ___ S - UIN G ____ SONNET
>>SMrWha_- [L] L __ [H]a P <P> I__ [N] ESSEA
>>NDthat____[E] T __ [E]r _ N <I> T___[I] EPROM
>>ISEDB Y O u ___- [R]e V <E> R [L] IVING
>>POEtW I s h ____ [E]t _ H [T] H_- [E] WELLW
>>IShIN- G a _____ [d V e] N [T] u ______ ReRINS
>>EtTIN G fort___________ H [T] t
David L. Webb wrote:
> "Pie"? Is that an allusion to the following, Art?
>
> <http://www.hartfordadvocate.com/gbase/News/content.html?oid=oid:129515>
I was thinking more on the lines of:
-------------------------------------------------------
After his library FIRE of 1623 Ben Jonson
wrote of his LOSS in "An Execration upon Vulcan"
........................................................
"Singe CAPons, or *POOR PIGS , dropping their eyes* ;
Condemn'd me to the OVENs with the *PIES*;
-----------------------------------------------------------------------
_ T O T__ __H E O N L ___ i __ *E* B ___ E G E T T E R O
_ F T H__ __E S E I n ______ s __ U *I* __ N G S O N N E T
_ S M__ (R) _W h a L L ___- h _ A P *P* _ I N E S____ S E A
_ N D__ (T) __h a t E__ T___- [e] - R N *I* __ T I E *P* R O M
___ I S__ (E) __D B Y O U _ [r] _E V *E* R L *I*__V I N G
_ *P* O_ (E) __t W I S_ H __ [e] _T H [T] H *E* W E L L W
__ *I* S__ (H) __I N G A _- [d V e] - N [T] U _____R E R I N S
__ *E* t__ (T) __I N G F O _ *R* T H [T] T
----------------------------------------------------------------------
Probability of 4 oven PIE's ~ 1/4,300
22 P**'s => 4 PIE's
(22*21*20*19)/(4*3*2*1)
14 I's: (14/145)*(13/144)*(12/143)*(11/142)
23 E's: (23/141)*(22/140)*(21/139)*(20/138)
---------------------------------------------------------
>>>> "The demand that I make of my reader is that
>>>>he should devote his whole Life to reading my works."
>>David L. Webb wrote:
>>> Life is too short to read anything but a VERy small fraction
>>> of your "works," Art, despite the comic entertainment
>>> with which they so richly repay the reader.
> Art Neuendorffer <aneuendor...@comcast.net>
>> Tell it to the Grand Master.
David L. Webb wrote:
> Is that a threat, Art? While it is true that the Nautonnier views
> with disfavor those who shirk their assignments, I'm not worried
> that you'll report me -- you haven't even figured out who he is,
> despite all the generous hints that I've given you!
It's not high on my PRIORitY list.
>>>>"Writing in English is the most ingenious torture ever
>>>> devised for sins committed in previous lives..."
>>>
>>David L. Webb wrote:
>>
>>> For you, I can see that it is, Art.
> Art Neuendorffer <aneuendor...@comcast.net>
>> Yes, I was a Stratfordian in my previous life.
David L. Webb wrote:
> As in your present one --
Now THAT would be torture!
Art Neuendorffer
gangleri
Want to bet a cigar on that?
Tom Veal
I doubt that a politically correct campus like Dartmouth allows its
faculty to smoke, but it would be an easy way to win a cigar. See, e.
g.,
http://www.amazon.com/gp/product/0141181265/qid=1143214146/sr=1-4/ref=sr_1_4/002-2388702-8407244?s=books&v=glance&n=283155
gangleri
The "Finneganns Wake" spelling is also found on the Internet - a
website which I came across some time ago declared that it, and not
"Finnegans Wake", was the correct one.
In any case, I gave up cigar-smoking thirty years ago!
David L. Webb
"Tom Veal" <Tom...@ix.netcom.com> wrote:
Indeed, you were closer than the illustrious anti-Stratfordian crank
cryptographer who endeavored to correct you.
David L. Webb
"Tom Veal" <Tom...@ix.netcom.com> wrote:
> gangleri wrote:
> > David L. Webb wrote:
> > > In article <1143168276....@u72g2000cwu.googlegroups.com>,
> > > "gangleri" <gunnar....@verizon.net> wrote:
> > >
> > > > Tom Veal wrote:
> > > >
> > > > > (d) Laugh at the picture of James Joyce poring over ancient Icelandic
> > > > > manuscripts in a Dublin pub, inferring the same cipher as the Great
> > > > > Gangleri, then meticulously encoding passages in his novels that
> > > > > revealed his secret thoughts about Shakespeare, Anne Whateley,
> > > > > Christopher Sly et al., thoughts next to which Finnegan's Wake is a
> > > > > model of lucidity.
> > > > Tom, that's Finneganns [sic] Wake.
> > > No, it's _Finnegans Wake_.
> > Want to bet a cigar on that?
> I doubt that a politically correct campus like Dartmouth
Politically correct? Dartmouth?!
> allows its
> faculty to smoke, but it would be an easy way to win a cigar. See, e.
> g.,
> http://www.amazon.com/gp/product/0141181265/qid=1143214146/sr=1-4/ref=sr_1_4/0
> 02-2388702-8407244?s=books&v=glance&n=283155
Indeed it would be; but even were I not a heavy nonsmoker, I would
not be tempted -- it would be like taking candy from a baby. Besides,
my experiences with Art, both our bet concerning whether the Shakespeare
manuscripts reside in Combe's tomb and Art's promise to send me his
copies of Landau and Lifshitz, convince me that one cannot necessarily
rely upon anti-Stratfordians to pay debts or fulfill obligations.
gangleri
> > Well, I'm not going to pretend that I ever read it. The closest that I
> > came was attending a lecture by Donald Davidson in which he made many
> > observations about the text that were too erudite for me. I'm lucky to
> > have come as close as I did to spelling the title right.
>
> Indeed, you were closer than the illustrious anti-Stratfordian crank
> cryptographer who endeavored to correct you.
My hat (if I had any) off to you David - you're probably the only
fellow/gal on this forum to have actually read the book.
(Or did Uncle Google help with the spelling?)
gangleri
> If you mean that an unconscious creative process led Joyce to encipher
> his text in a cipher that he did not consciously know - well, all I can
> say is that this particular creative process was not just unconscious
> but incoherent.
Tom.
There is NO "coherent" mode of communication - period.
ALL modes of communication are "coherent" by convention.
As I understand it, THAT was James Joyce's POINT.
For someone not versed in the Morse Code, the blankety-blank-blanks
which a Morse Code operator may send out are just so much noise.
Ditto for strangers to the imagery of Masonic Myth.
Dittor for strangers to the imagery of Shakespeare Myth.
For such strangers to declare the Masonic/Shakespeare/Joyce modes of
communication "incoherent" is TOMFOOLERY.
Tom Veal
think that James Joyce shared the "conventions" that you have invented
for your form of self-communication. It's true that Dublin was founded
by Vikings, but I doubt that Joyce ran across many speakers of medieval
Icelandic during his pub crawls or imbibed the spirit of Snorri
Sturlesson with his whiskey.
gangleri
> Granting a vast amount arguendo, there isn't a whiff of a reason to
> think that James Joyce shared the "conventions" that you have invented
> for your form of self-communication. It's true that Dublin was founded
> by Vikings, but I doubt that Joyce ran across many speakers of medieval
> Icelandic during his pub crawls or imbibed the spirit of Snorri
> Sturlesson with his whiskey.
Three points.
1. I take it that, on second thought, you agree it's tomfoolery for
"strangers [thereto] to declare the Masonic/Shakespeare/Joyce modes of
communication "incoherent"."
2. Also, I take it that the common roots of Saga and Irish Myth are
unknown to you.
Here's an extract from a 1939 review of Finnegans Wake by
Irish-American author Padriac Colum (1881-1972), which expressly
links the work to Snorri Sturluson's Edda:
The book ends: My leaves have drifted from me. All. But one clings
still. I'll bear it on me. To remind me of. Lff. So soft this morning
ours. Yes. Carry me along, taddy, like you done through the toy fair.
If I seen him bearing down on me under whitespread wings like he'd come
from Arkangels, I sink I'd die down over his feet, humbly, dumbly, only
to washup. Yes, tid. That's where. First. We pass through grass behush
and bush to. Wish! A gull. Gulls. Far calls. Coming, far! End here. Us
then. Finn, again! Take bussofthee, mememoree! Till thousandsthee. Lps.
The keys to. Given! A way a lone a loved a long the.
"Lff," I take it, is Lif out of Eddas who survives Ragnarok and begins
again the cycle of history. The keys suggest St. Peter. "Me" and
"memories" are contained in the idea of the resurrection of the body.
But why, it will be asked, has Joyce to manufacture words of this sort,
and who, in the name of Finnegan, are the people in his book?
3. In the following passage, Padric Colum invokes the "ravens of Odin"
(named Huginn and Muninn from the roots of Mind and Memory in
Icelandic) from Snorri Sturluson's Edda and identifies the setting of
Joyce's work with "the myth of river-civilizations" - more
specifically, the Nile in Egypt, which Einar Pálsson identified as the
original source of the imagery of Saga Myth:
It is about the Liffey, Dublin's river, Anna Livia. Anna Livia is also
a woman; the women washing clothes on the banks are talking about her
as a woman. It may entertain the reader who begins here casually to
pick out the names of the world's rivers that are used in this
narrative of Anna's bedding. "O, passmore that and oxus another!" Her
ravisher is the man from overseas, the Viking founder of Dublin. "In a
gabbard he barqued it, the boat of life, from the harbourless Ivernikan
Okean, till he spied the loom of her landfall and loosed two croakers
from under the titilt, the gran Phenician rover." The croakers are the
ravens of Odin; the Phenician suggests the hero Finn (who appears as
Finnegan) as well as these first voyagers along the Atlantic, the
Phoenicians. The story told in this episode is not local: it is the
myth of river-civilizations. As the water flows night descends, death
takes the place of life, the gossiping washerwomen are metamorphosed
into a stone* and a tree**.
* The Stone = Steinkross (Stone Cross) in Iceland = The Devil's Bed
and Bolster in Britain, as detailed in a recent message.
** The Tree = Askr Yggdrasils (Askr = Sword; Yggdrasill = Óðinn =
Edward de Vere's nom de guerre - see Mark Anderson, "Shakespeare" By
Another Name, p. 170.
Bianca Steele
> Granting a vast amount arguendo, there isn't a whiff of a reason to
> think that James Joyce shared the "conventions" that you have invented
> for your form of self-communication. It's true that Dublin was founded
> by Vikings, but I doubt that Joyce ran across many speakers of medieval
> Icelandic during his pub crawls or imbibed the spirit of Snorri
> Sturlesson with his whiskey.
Even more, the idea fails to recognize that most people are not Ivy
League graduates. Even most Ivy League graduates, not to mention more
or less everyone else, would find this excessively complex; most Ivy
League graduates will have learned that if they cannot make sense of
something, it's best to leave it alone and do something else. It is
the rare few who, in the absence of external "motivation," will spend
time learning the "mode of communication." With the exception of
literary analysts, those who "understand" will be those born to it and
not sufficiently curious to wonder whether what they believe makes
sense and is compatible with what others believe. (Of course I include
such excellent universities in the rest of the country, such as
Stanford and Chicago.)
As for the rest of what gangleri wrote, reading literary theory out of
context and with no background in philosophy or psychoanalytic
literature creates problems IMHO. The "political" implications are
never what these people seem to think they are. And others encourage
them to believe that so-and-so "really" had whatever political position
is convenient.
The acceptable inference from gangleri's points or argument is that
modes of communication are coherent within social groupings and
heterogeneous between social groupings. If you don't like that
conclusion, you should find a problem with the argument. You are, of
course, free to believe that one day a universal social grouping will
be achieved, all the members of which understand one another fully --
and to hope your own beliefs will survive to be part of that.
In the absence of that belief, you have communitarianism, though it's
been objected to on the grounds that it leads to things like small-town
vigilantism, always unacceptable to Americans, as can be seen from the
long tradition of American fiction.
----
Bianca S.
gangleri
I just looked up the entry for "askr" in "Lexicon Poeticum" (an Old
Icelandic reference work) and found the following noteworthy:
1. The (supposedly) original reference to it in the cosmogonic poem
Völuspá (Sybil's Prophecy) reads: Ask veitk standa heitir
Yggdrasill. (I know where stands an Askr named Yggdrasill).
2. As in Edward de Vere's "nom de guerre", Yggdrasill.
3. Also, the (supposedly) original meaning of the noun Askr was *not*
Sword but "spydskaft" - Danish for the Shaft of a *Speare*.
Tom Veal
> Tom Veal wrote:
> > Granting a vast amount arguendo, there isn't a whiff of a reason to
> > think that James Joyce shared the "conventions" that you have invented
> > for your form of self-communication. It's true that Dublin was founded
> > by Vikings, but I doubt that Joyce ran across many speakers of medieval
> > Icelandic during his pub crawls or imbibed the spirit of Snorri
> > Sturlesson with his whiskey.
>
> Three points.
>
> 1. I take it that, on second thought, you agree it's tomfoolery for
> "strangers [thereto] to declare the Masonic/Shakespeare/Joyce modes of
> communication "incoherent"."
>
but let me state my position more bluntly and precisely: I do not
believe that *you* are acquainted with the "modes of communication" of
Shakespeare or Joyce, because your attempts to render them into English
are incoherent claptrap.
As for the rest of your latest screed, that Joyce was acquainted with
the Eddas isn't surprising. That is not remotely the same as his
knowing the Ganglerian gematrical code.
BTW, if Mark Anderson thinks that Edward de Vere used "Ygdrasill" as an
assumed name, he is even sillier than I imagined (and I imagined quite
a lot).
gangleri
> Granting something "arguendo" isn't quite the same as agreeing with it,
> but let me state my position more bluntly and precisely: I do not
> believe that *you* are acquainted with the "modes of communication" of
> Shakespeare or Joyce, because your attempts to render them into English
> are incoherent claptrap.
Your *belief* carries no evidentiary weight with respect to the mode of
communication in question. Nor does the following Question-Answer
sequence from Ulysses: Episode 9 - Scylla And Charybdis accord with
your assertion that "there isn't a whiff of a reason to think that
James Joyce shared the "conventions" that you have invented for your
form of self-communication," as you put it with gentle modesty:
Why is the underplot of King Lear in which Edmund figures lifted out of
Sidney's Arcadia and spatchcocked on to a Celtic legend older than
history?
-- That was Will's way, John Eglinton defended. We should not now
combine a Norse saga with an excerpt from a novel by George Meredith.
***
Arcadia?
Celtic legend older than history?
Norse saga?
Why, this accords with some of the stuff I've suggested with respect to
James Joyce!
***
Might Will's Way have something to do with Cipher Communication in the
context of such Celtic legend/Norse saga?
Let's do a preliminary check:
IF Will, 3331, John Eglinton, 6233, and George Meredith, 6355, are
Names of Tri-Unite Monad, 1, then Will's Way construed as communicating
via Cipher Language would associate the concept with the Cipher Sum 1 +
3331 + 6233 + 6355 = 15920.
As mirrored through "Pythagorean" [in fact, pre-historic] creation myth
in the Cipher Sum 11359 + 345 + 216 + 4000 = 15920, where
11359 = Snorri Sturluson;
345 = Triangle 3:4:5 ['foundation' of Man's Psyche];
216 = 345 raised to third power, 27+64+125=216 [the Psyche's
"resurrection"]; and
4000 = [The "resurrected" Psyche become Michael's World-ending] Flaming
Sword.
***
The Cipher Sum of the Question-Answer sequence is 62077 + 59650 =
121727.
***
The ONLY extant reference to Snorri Sturluson's authorship of Edda is
found at the outset of a highly curious version thereof known as
Uppsala-Edda and reads as follows:
Bók þessi heitir Edda. Hana hevir saman setta Snorri Sturlo son
eptir þeim hætti, sem hér er skipat. Er fyrst frá ásum ok Ymi
þar næst skalldskap ok heiti margra hluta. Síþaz Hatta tal er
Snorri hevir ort um Hak Konung ok Skula hertug.
[This book is named Edda. It has been put together by Snorri Sturloson
in the following manner. First of aesir and Ymir next poetry and the
names of many things. Last Hattatal [a collection of poems - insert]
which Snorri has composed on King Hak[on] and Duke Skuli.]
The text's Cipher Value is 104431 as in 11931 + 1000 + 365 + 4000 +
104431 = 121727, where
11931 = The Saga-Shakespeare Cipher Key [the sum of the 21 individual
Letter/Number values which comprise the Key];
1000 = Light of the World [manifested as numerology through the
Saga-Shakespeare Cipher Key];
365 = One Year; [Seventh Day of Creation alias "The Wonderfull Yeare"
of Shakespeare Myth]; and
4000 = [Light of the World's metamorphosis at Year's End into] Flaming
Sword.
***
In the Augustan-Saga-Shakespeare tradition, Eight historical poets are
viewed as having embodied Light of the World manifested as numerology -
they are Quintus Horatius Flaccus, 14209; Publius Virgilius Maro,
12337; Sextus Propertius, 11999; Publius Ovidius Naso, 11249; Snorri
Sturluson, 11359; Sturla Þórðarson, 9814; Francis Bacon, 5385; and
Edward Oxenford, 7936 as in 14209 + 12337 + 11999 + 11249 + 11359 +
9814 + 5385 + 7936 = 84288.
As in 84288 + 1 + 37438 = 121727, where the Augustan-Saga-Shakespeare
Authors are collectively identified with "Mr William Shakespeare", to
whom Ben Jonson dedicated his First Folio Commendatory Ode -
To the memory of my beloved, The AVTHOR MR. WILLIAM SHAKESPEARE AND
what he hath left us.
- Cipher Value 37438, with
1 = Monad being the legacy "left" by the Eight Authors for Ben Jonson,
become the "pen" and "shadowe" of "Mr. William Shakespeare".
***
In Saga Myth, the Promethean Creative Power personified as "Mr William
Shakespeare" appears as the title character - Egill Skalla-Grímsson -
of Egilssaga, whose anonymous author is generally held to have been
Snorri Sturluson.
IF Joyce intended the name of John EGLInton to be evocative of Egill
Skalla-Grímsson, 9619, as Cosmic Creative Power at the level of
[Little] John, as in the name of Snorri Sturluson's son Jón murtr
[murtr = small], personified as [Pythagorean] young boy Þórðr, 3450,
grandson of Burnt Njáll, who died (lying under an ox hide) with his
grandparents at the "burning of Njáll", THEN "a Norse saga" would be
combined with "an excerpt" from Shakespeeare Myth as in 9619 + 3450 +
114285 - 5627 = 121727,
The minus sign before the Cipher Value of Stratford, 5627, signals the
demise of Old Coward World at The Coming of Christ, as foretold by
Francis Bacon at the end of his essay "Of Truth":
Surely the Wickednesse of Falshood, and Breach of Faith, cannot
possibly be so highly expressed, as in that it shall be the last Peale,
to call the Iudgements of God, vpon the Generations of Men, It being
foretold, that when Christ commeth, He shall not finde faith vpon the
earth.
Cipher Value 114285.
***
As here construed, all that was Will's way (59650) according to James
Joyce, become - as Ben Jonson before him - "pen" and "shadowe" of "Mr.
William Shakespeare".
As in 4951 + 4000 - 5627 + 56326 = 59650, where the imagery is
GENERALIZED to concern not only the Eight Augustan-Saga-Shakespeare
Authors and Ben Jonson, but EVERY MAN alias
4951 = Shake-Speare; whose metamorphosis into
4000 = [World-ending] Flaming Sword; reduces "the rotten state of"
- 5627 = Stratford to ashes; with
56326 being the Cipher Value of Egill Skalla-Grímsson's prophecy on
the occasion of his nephew Snorri Sturluson's move from the family
estate at Borg to Reykjaholt, where Snorri lived, worked, and was
murdered on the night of autumnal equinox, September 23, 1241:
Seggr sparir sverði at höggva.
Snjóhvítt es blóð líta.
Skæruöld getum skýra.
Skarpr brandr fekk mér landa,
skarpr brandr fekk mér landa. *
Cipher Value 56326.
* The man hesitates to wield his sword.
The blood is seen to be white. [I.e., men are cowards]
An age of great strife is in prospect.
With a sharp sword I conquered lands,
with a sharp sword I conquered lands.
The 10th century historical/mythical character Egill Skalla-Grímsson
was the most famous member of the Mýramenn family before Snorri
Sturluson (1179-1241).
Ch. 16 of the Saga of Icelanders by Snorri's nephew and literary
collaborator Sturla Þórðarson (d. 1284) tells of Egill appearing in
a dream to a member of Snorri's household. Egill expressed anger at
the thought of Snorri's move from Borg to Reykjaholt, concluding with
his prophecy. And then the dreamer - also named Egill - awoke.