Q4 - Quaternion Correlations

Welcome to the BLOG post for the inaugural issue of Quaternion Correlations, a quarterly publication of thinkers and authorship. Curation is deterministic and populated using the P.A.S.F. planksip® filter.

5 years ago

Latest Post The True Visionary by Jonathan Swift public

Welcome to the inaugural issue of Quaternion Correlations, a quarterly publication of thinkers and authorship. The nuance and style of the pros contained throughout this collection is romantic of yester-year's experience. Projecting our thoughts towards the future, this is the gift of the present; Logos. This publication is rich in reference and academic nuggets, so, if you are unsure of a term, I encourage you to look it up and explore the material for your own edification. This process of self-directed learning, if directed to the Newtonian Giants of our past, will, I promise, change you! The rise of the Technocrat, as we shall soon realize, is upon us. Will the next steps be full of fear or optimistically cautious? Is there a difference? How will your ego survive? As a species, how will our psychology change over time? The delta of the delta is accelerating towards an entropic mean. Regression, in this case, is deterministic in nature. Will the "West" remain the Hellenic hegemony we have come to love and cherish or will the sensibilities of the plurality eradicate our foundations of thought? Games of chances are random but probabilistic like the astragali. Randomness rules the world with the 80-20 rule representing four bone-dice (astragali). A Venus throw is the opposite of a Yahtzee, does this matter? Kinda. Pre-dating the pre-Socratic, mathematics was the harmony of Pythagorus. Now mathematics and philosophy represent the closest modes of thought we have of the material world. From the land of the Vergina Sun to the fiction at 221B Baker Street, narratives can manifest as pseudo-realities in a material world. Just as archetypes of Madonna is both Christian and Pop, we are a species of living contradiction, from which, Art emerges.

Curation for Quaternion Correlations is deterministic and partially populated using the P.A.S.F. planksip® filter.

The Negation of The Gordian Knot is Not a Negation, it's a Quaternion Correlation

Starting with Christopher Hitchens is a statement in itself and indelibly Orwellian. Using dates of death, the following twenty-five thinkers died sometime between October 1st and December 31st of any year. On its own, the significance is a NULL statement, however, the framework provides an interesting function, perennially the reoccurrence repeats itself like a möbius. Every quarter and subsequent release of Quaternion Correlations will build on the original group of thinkers, in their respective three month category of death (with dates of birth added in after the fact) much the same way narratives of our past were created, making the collaboration a living testimonial to the Newtonian Giants, a neural node worthy of myelination. Reinforcement jargon aside, the approach is pedagogical, the content is designed in such a way as to be collaborative yet with enough structure to promote a fractal-like love for the Logos of learning.

Historical recapitulation is a statement of ethics, and according to this philosopher, synonymous with the illusion of free will. Rest assured, whether your approach to free will is purely epiphenomenal, deterministic, dualistic or some self-similar shade of compatibility, the articles and opinions contained within this publication includes something for everyone. My own personal position is epiphenomenal in nature, a bundle theory of consciousness that positions the constellation of neurons above our shoulders for only one particular reason and that would be Darwinian. These axiomatic claims are repeatedly axiomatic to this sentence, yet intentionally reinforced for emphasis and to give you, the reader, a framework for the philosophical underpinning of my perspectives. Being a quarterly publication, the goal of Quaternion Correlations is not to restrict the writing to my perspectives alone. Guest writers, philosophers and thought leaders from within our global community are welcome to contribute. The following is a video introducing the concept as well as submission guidelines.

Throughout the balance of this publication you will see videos featuring yours truly in animated form, reading the contents of the articles with a backdrop of alternative thought concepts, the value of this visualization is to showcase the technology of the mnemonic Gadfly app and to further encourage conversation around it's efficacy and continued support. A print version of this publication is available with a custom donation and would be authentic to the supporter. The power is in the "doing", so give it a try. Your suggestions and better yet involvement, will further formulate the functional aspect of a philosophy that I call the p.(x). ...  Enjoy.

Original Artwork Created by Daniel Sanderson - planksip® Founder and Fellow Philosopher

The selection of the intellectual Giants contained throughout this publication has one final qualifying criteria and that is whether or not the "Google oracle" has populated the search results for their name with a knowledge panel listing a group of other thinkers associated with their names, "People also search for". This first issue has twenty-five Giants, ranging from Carl Sagan to Edgar Allan Poe, from Omar Khayyam to Jack Kerouac and of course the namesake incipit to the planksip® brand; Max Planck.

Christopher Hitchens on Free Will, the Contradiction of Choice and Why Hitchens Matters?

"I believe in Free Will, I don't have a choice" - Christopher Hitchens

Socially spread epitaphs fuse to memories deemed worthy of remembering. Posthumously, the Rembrancers of our culture feel a sense of responsibility to immortalize this wisdom. Embodied though the narratives we re-create, the lines and lies we rehearse exist within and throughout culture. Incipit to chaos, some narratives span generations, while others never make it past the probability calculator between our ears. This stage of life was once lived and performed from the perspective of Christopher Hitchens and George Orwell. Why Orwell Matters (2002) was written by Christopher Hitchens and it is this Orwellian möbius of tribute that I want to open up say, Hitch mattered and this is why!

Retroactively retractable to the opening quote by Christopher Hitchens, the summation made by Christopher Hitchens on and about Free Will was, I think, based on the following quotation from Isaac Bashevis Singer, "We have to believe in free-will. We've got no choice." Isaac Bashevis Singer was an American-Polish writer who died in 1991 and will be featured in the Q3-2019 edition of Quaternion Correlations. In the mean time, Orwell and Hitchens and the questionable meaning of why they both matter is the topic at hand. Let us begin in Latin, magna est veritas by Coventry Patmore (1823-1896).

For me, Orwell continues to teach us that an ethics untethered to virtue is no ethics at all. Hitchens hammers this home with dialectical delicacy, the softness from which Christopher writes is a subtle, yet a powerful defence to the edifice of truth that is George Orwell. As for Christopher Hitchens, language does matter and to you my friend, history says thank you.

Stay tuned.

Carl Sagan on Science and Religion

The quote that inspired this section on Carl Sagan was the following...

How is it that hardly any major religion has looked at science and concluded, "This is better than we thought! The Universe is much bigger than our prophets said, grander, more subtle, more elegant'?

The inner dialog with the self manifests into either a speech act or written forme. Aggregates of humanist-pluralism surface with the awareness of the Logos, a priori annunciates sans religious re-formation. Utilizing the wisdom of Sofia to encircle, but never enclose the act of understanding, my ethical claim would be that religious leaders should speak from a place of ethical congruency, not a subjective belief. This is too much of a binary display of forced compliance. How can we teach proof through abstraction? Let's ask a Rabbi and for good contrast a Scientist.

Synonymous with Carl Sagan is his cultural franchise; Cosmos. The original series from 1980 spanned generations and is now the inspiration for the redux courtesy of Carl's disciple; Neil deGrass Tyson. The word, "disciple" has a Christian overtone, so I should clarify my word choice. In this case, disciple is only, "as a student of", making Neil's life long learning journey on the shoulders of Carl, a continuation of the life's work and a masterful story-teller of our Universe. Cosmos is a wildly successful cultural franchise and essential reading material for the wondrous Philosophy of Wonder. This is not circular, this description of wondrous wonder. Ill-defined perhaps, so let us see if we can forme a definable and then replicable forme. Wondrous wonder is simply transubstantiation through intellect and wonder alone, with the transubstantiation portion of the information transfer as optional, as is the case with Christianity. Rituals become mandatory under ritual and in-group homogeneity, but the information itself isn't dependent on the rituals. As it may very well turn out, the levers of learning had best utilize the utility of the market and the mechanics of economic theory to further transmute, transmit and propagate these discrete packets of information chunks (see essay on transmittable versus transmutable information structures). Together we stand on the shoulders of giants, however, some of us can see further than others! Showing the aesthetic of wonder is my Kantian extrapolation of judgmental expression, linked, arm-and-arm if you like, with individuation on a pathway of replication. Making wonder wondrous, we are awe junkies!

Awful Wonder is Best Experienced Patiently

Saying, "awful" slowly releases the full awe. Is patience a virtue? Irony is awful when it is full of awe. Elsewhere I have elaborated on gratitude and the precondition for gratitude being patience of the mind. Without introspection, or patience, the highest of virtues (according to Cicero) is without wellspring. This approach, as I know it and articulate around and through it, screams language philosophy. With language philosophy comes the standard criticisms from thinkers like Steven Pinker and Noam Chomsky et al. Mentalese, as theorized by Steven Pinker is not in any forme or function incompatible with the language theory I am espousing. The union is biological and possible genetic. I am still working on that. Let me get back to you.

forme firmly grounded under (subservient to) function is the basis of the planksip® p.(x) philosophy

Philosophy of Wonder

Marketing is the first term to define. For simplicity sake you can take everything you know about and associate with marketing and subtract the flim-flamery, the bait-and-switch tactics and Charlatanism of any "forme". This is not a polemic or a rage-filled protest against "the establishment", for-me, marketing is an instrument of Reason. Philosophically, marketing is definable. Marketing activities deemed successful cascade a fractal-like meaning and would be better utilized in a truth-telling format, empowering the individual with the information for deliberation. As Immanuel Kant proposed aesthetic judgment as being sui generis with our theoretical understanding of nature, and that aesthetic judgment has a deep similarity to moral judgment. Big Data modules of correlation aside, let's leave the teleology discussion for another day, besides the goal-based activity of any algorithm results in deterministic outcome and are therefore isolatable, o sepi to poli (for the most part). Kantian moral judgement and conversations over right and wrong need not apply to this philosophy of wonder, with one exception and that would be logical failures or incongruences of mimesis. If the attribution is simply in error this is a fallacy worth exploiting and thus no longer remains a question of beauty, except in Praxis. Wonder is sans moral judgement, but the ethical claims of aesthetics, particularly as it pertains to marketing as an instrument of reason, pivots on individual subjective experience. This alone is infantile and naive, further shoulder standing is not only necessary, but a prerequisite for living a life worth living. Examine why, and structure your wonder and maze of wonderment in a pedagogy of expression and mnemonic harmony, the cadence for which is orientated towards the stars.

The Vergina Sun, as depicted on the Golden Larnax's top.

The symbol of sun and star has a cockney-like resemblance or incongruent mimesis to the rising (rebirth) redemption narrative that is Christianity. The embodiment of the sun (son) as Christ figure was fabricated after-the-fact, this is. What fact would that be? No one is really sure, so... The Faith has Spoken (thus spake). Zarathustra is sometimes considered a, "Golden Camel" and pre-dates the pre-Socratic, by at least 300 years.

Camel Knows and Toes! Another planksip® Möbius

The influence of Zoroaster in the following pre-Socratic thinkers is the topic that I would like to focus on.

Thales of Miletus (c. 624 - 546 B.C.), Anaximander (c. 610 - 546 B.C.), Anaximenes (c. 585 - 525 B.C.), Pythagoras (c. 570 - 490 B.C.), Heraclitus (c. 535 - 475 B.C.), Parmenides of Elea (c. 515 - 450 B.C.), Anaxagoras (c. 500 - 428 B.C.), Empedocles (c. 490 - 430 B.C.), Zeno of Elea (c. 490 - 430 B.C.), Protagoras (c. 490 - 420 B.C.), Gorgias (c. 487 - 376 B.C.), Democritus (c. 460 - 370 B.C.).

Bolded and hyperlinked, the information takes you to tagged blog posts, whereas bolded and italicized takes you to an authors profile. What is the qualification criteria for this status of representation? For no other reason than Google's knowledge panel lists the thought leader with corresponding quotes. If there are no quotes listed in the knowledge panel or schema as often referred to, then the thought leader doesn't get an authorship page. This prevents me from using my personal bias to select philosophers and other intellectual giants in any other means that what is being served up to me from the Google "oracle". You should correctly point out that philosophy, or science for that matter, works better from the outside looking and observing by way of systematic observation, and a combination of inductive and deductive reasoning. Peer support and historical pressure justify everything except believe and this is no exception. My approach is deterministic in nature and driven by the data that moves us.

For example, Thales of Miletus has a series of posts that have been tagged in his name, whereas Pythagoras, Heraclitus and Protagoras have individual author pages. It gives me great pleasure to stand (virtually) shoulder to shoulder in the expression of shared authorship, the section, "ENT-SPRECHEN", is German for, "une réponse à", which is French for, an answer/response to". Re-sponsion is a theme throughout the planksip® philosophy. What about the overarching narrative, the story outside the story? And how does a responsion relate? Contemporary apologist Jordan Peterson often refers to the overarching narrative and complicated structure of the Bible in relation to normative and ritualistic Christian ethics. Pivoting around the pre-Socratic philosophers in a dynamic model, such that I have created and offered for free under simple attribution to the planksip® brand or p.(x) philosophy is one of many humble contributions that I continue to develop and expand.

Deterministic Swirls of Grue

So how does this all relate back to Carl Saga's philosophy of wonder? I am here to empirically state, Science has surpassed Religion in ALL formes of wonder. This is self-evident to the world around us, however, for those of you  looking for a P.A.S.F. analysis of the thinkers and the deterministic data used in ongoing models of learning, the data is freely available for all.

Thales of Miletus is the first node of my neural network thought experiment.

{insert video of the twelve disciples of Greece or sages as they are more often referred to}

The disjunctive definition of "grue" is either green or blue but not cyan. Observation matters! Describing what we observe is the aesthetic of our time, in this case, and in the case of Cosmos and Sagan's theory of Wonder, the Universe as we know it provides all the wonder necessary to whatever shade of grue you experience.

Experiencing Grue and Cyan are NOT Self-Similar - Another planksip® Möbius

If you want to make intelligent predictions based on data, I recommend NeuralTools by Palisade. In fact, I give a full tutorial of the Excel base spreadsheet tool for philosophers and related thought leaders. Neural networks, or nets, is a relationship tool for regression. Towards the mean or average works well for our regressive, best fit interpretation of data-driven philosophy, especially when the teleological goal is objective data, (ie. the relationships are not limited to my subjective perspectives and bias)[1]. The dependent or target variable is the Newtonian Giant. Starting with Thales of Miletus, the independent (explanitory) variable is text (Thales of Miletus) and the relationship other 'people also search for' gives us upto twenty-five other giants. What overall relationship will we see in this dataset of presocratic philosophers? Will it be linear or nonlinear? For larger data sets I partition the data into three subsets:

However, for this example the dataset is rather small with ony twelve disciples, or sages (take your pick) multiplied by a maximum of twenty-four can give us no more than 288 variables. As it turns out, the total number is actually 278, which is a 96.5% fill rate (not that it matters). Next, I will step you through the process of training, testing and predicting all in one step. The concepts that you learn will help you with any neural or net analysis.

That's enough of a data dump for now, rest assured there is real data behind this publication and planksip® philosophy. For-me[2], is a watchword for abstract formulation. Watch for it, watch for it.

  1. This approach doesn't eliminate subjectivity but it does isolate the subjectivity and makes reproducability of analysis possible. ↩︎

  2. For-me or forme is an abstract subjective "formulation" of a concept, articulated in the form of a speech act or written expression and axiomatic to the function/forme philosophy within planksip® and throughout the p.(x). ↩︎

gray stone mountain at nighttime
Is that an Archaea, Bacterial or Eukaryote Comet? Another planksip® Möbius Meme

Back to Archaea, Bacteria and Eukaryote. At the end who will be the host with the most? Resources that is! "Domination" says the selfish gene. Over time that is! Diminishing returns nothing but the salvation of the void. In the meantime we wonder. Thanks to Carl, Neil and the entire Cosmos franchise. Hats off to you.

F. SCOTT FITZGERALD - Memes and Responsions

backward a few inches a day - World War I (6)
See that little stream - we could walk to it in two minutes. It to the British a moth to walk it - a whole empire walking very slowly, dying in front and pushing forward behind. And another empire walked very slowly backward a few inches a day leaving the dead like a million bloody rugs.

- F. Scott Fitzgerald 1896-1940: Tender in the Night (1934)

different from you and me - wealth (8)
Let me tell you about the very rich. They are different from you and me.

- F. Scott Fitzgerald 1896-1940: All the Sad Young Men (1926); to which Ernest Hemingway replied, 'Yes, they have more money', in Esquire August 1936

hold two opposed ideas - intelligence (5)
The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retail the ability to function.

- F. Scott Fitzgerald 1896-1940: in Esquire February 1936, 'The Crack-Up'

I will write you a tragedy - heroes (9)
Show me a hero and I will write you a tragedy.

- F. Scott Fitzgerald 1896-1940: Edmund Wilson (ed.) The Crack-Up (1945) 'Note-Books E'

No grand idea was ever born - committees (3)
No grand idea was ever born in a conference, but a lot of foolish ideas have died there.

- F. Scott Fitzgerald 1896-1940: Edmund Wilson (ed.) The Crack-Up (1945) 'Note-Books E'

our convictions are hills - middle age (8)
At eighteen our convictions are hills from which we look; at forty-five they are caves in which we hide.

- F. Scott Fitzgerald 1896-1940: 'Bernice Bobs her Hair' (1920)

three o'clock in the morning - despair (5)
In a real dark night of the soul it is always three o'clock in the morning.

- F. Scott Fitzgerald 1896-1940: 'Handle with Care' in Esquire March 1936

youth of his own generation - writing (13)
My theory of writing I can sum up in one sentence. An author ought to write for the youth of his own generation, the critics of the next, and the schoolmasters of ever after.

- F. Scott Fitzgerald 1896-1940: letter to the Booksellers' Convention, April 1920

John Steinbeck on Everything from Famine to Futures, from Theatre to Insults, and Weddings to Pollution

Starting with future and ending with famine, John's perspective on the future was dismal, a nihilistic attempt to circumvent the bliss from his poetic genius. A genius at odds with what he knew to be better. An inner battle that surfaced in several instances including the persistence and maybe pestilence of mankind. Starved as it were, famine is discussed so matter-of-factly when viewed through the eyes of the average first-world citizen. Yah, I said first-world, you get my point know let's move on, the only race is survival.

"How can you frighten a man whose hunger is not only in his own cramped stomach but in the wretched bellies of his children? You can't scare him - he has known a fear beyond every other"
- John Steinbeck 1902-68: The Grapes of Wrath (1939)

Steinbeck talks about the ultimate fear of a father. How do you scare a father who fears for the starvation of his children?

"All the world's great have been little boys who wanted the moon."
- John Steinbeck 1902-68: Cup of Gold (1953)

Greatness is reaching for the moon according to Steinbeck, history also seams to agree but should it?

"I do wonder whether there will come a time when we can no longer afford our wastefulness - chemical wastes in the rivers, metal wastes everywhere, and atomic wastes buried deep in the earth or sunk in the sea. When an Indian village became too deep in its own filth, the inhabitants moved. And we have no place to which to move."  
- John Steinbeck 1902-68: Travels With Charley (1962)

In his Travels with Charlie, John Steinbeck's voice contains multitudes. No where to move on this Earth once we live in our own filth!

"The theatre is the only institution in the world which has been dying for four thousand years and has never succumbed."  
- John Steinbeck 1902-68: Once There Was a War (1958)

In Once there was a War, John Steinbeck somewhat marvels at the fact that the theatre is still alive after four thousand years, dying I think was the adjective he used.

"Man, unlike any other thing organic or inorganic in the universe, grows beyond his work, walks up the stairs of his concepts, emerges ahead of his accomplishments."
- John Steinbeck 1902-68: The Grapes of Wrath (1939)

Beyond our work, beyond our usefulness I always ask? Inspired and partially in responsion to the observation from John Steinbeck of humanity growing out of work through technology. This transference of utility beyond our biology may be been the beginning of artificial intelligence, setting the foundations for it for sure.

"I know this - a man got to do what he got to do."
- John Steinbeck 1902-68: The Grapes of Wrath (1939)

The knowledge claim, "A man got to do what he got to do", spoken in the Grapes of Wrath is grounded in a virtue based ethical system, or is it?

"Okie use' ta mean you was from Oklahoma. Now it means you're a dirty son-of-a-bitch. Okie means you're scum. Don't mean nothing itself, it's the way they say it."
- John Steinbeck 1902-68: The Grapes of Wrath (1939)

Okie, as in Oklahoma is a literary device used by George Steinbeck to transfer responsibility, essentially the purest psychological example that I know of for an us versus them statement.

Think  of the cultural studies examining the sexual relationships, I am thinking of the...

"You can't imagine how many clothes you have to put on a girl when the sole purpose is to get them off."
- John Steinbeck 1902-68: The Grapes of Wrath (1939)

Amusingly, John Steinbeck wrote in a letter to Graham Watson, "You can't imagine how many clothes you have to put on a women when the sole purpose of them is to get them off." Do I even want to comment or should we leave it at wedding dresses.

It's what might happen that keeps us alive. Do algorithms take that into account when considering the outcomes for which the are programmed. Philosophy is needed more now than ever.

"I guess - what may happen is what keeps us alive. We want to see tomorrow."
- John Steinbeck 1902-68: Letter to Carlton Sheffield, 16 October 1952

George Eliot on Friendship, the Other Side of Silence, Gratitude, the Happiest Women and More...

Friendship from a female's perspective is unique to George Eliot. A women in the pains of labour, a man deranged from the furry of battle, both sides have their biological and historical differences. The passions are what unite us. Defining our passions, on the other hand, is a virtuous act with education as an edifice for edification, the only arch constructed with the keystone of random correlation.

"Friendship begins with liking or gratitude - roots that can be pulled up"
- George Eliot 1819-80: Daniel Deronda (1876)

The ontology of friendship begins with liking or gratitude according the George Eliot. Alexander and childhood friend, Hephaestion were in an ethically intimate relationship, making "proof" through abstraction materialize in the embodiment of they own bodies, as Aristotle had taught Alexander. A virtue based on a future narrative.

"A maggot must be born i' the rotten cheese to like it."
- George Eliot 1819-80: Adam Bede (1859)

Do you ever feel like rotten cheese, when there are no takers for your ideas? George Eliot wrote, "A maggot must be born i' the rotten cheese". Sometimes I feel like asking, are you my maggot?

"A man is seldom ashamed of feeling that he cannot love a women so well when he sees a certain greatness in her: nature having intended greatness for men."
- George Eliot 1819-80: Middlemarch (1871-72)

Women are viewed in a possessive tense, this is deeply engrained as is the giving of one's self in response. I think of George Eliot when he wrote, "A man is seldom ashamed of feeling that he cannot love a women so well when he sees a certain greatness in her: nature having intended greatness for men." This is an obvious acknowledgement of obtaining greatness through the possession of a mate, perhaps even biological. Would that give a women a deep biological driver to be possessed? Possessed in the material sense and not the heretical sense.

"The mother's yearning, that completest type of the life in another life which is the essence of real human love, feels the presence of the cherished child even in the debased, degraded man."
- George Eliot 1819-80: Adam Bede (1859)

So say the purest human love is maternal. The quote from George Eliot didn't come from a man. If the gender reversal was not a surprise then how about placing maternal love as the essence of real human love? Do you agree?

"Having once embraced upon your marital voyage, it is impossible not to be aware that you make no way and that the sea is not within sight - that in fact, you are exploring a closed basin."
- George Eliot 1819-80: Middlemarch (1871-72)

George Elliot compares marriage to a closed basin that is impossible to see. How is this different than an "Anecdote of the Jar"  in Harmonium? Both define consciousness, yet a basis is pretty dark. Just say'in.

"An election is coming. Universal peace is declared, and the foxes have a sincere interest in prolonging the lives of the poultry."
- George Eliot 1819-80: Felix the Holt (1876)

Every time I hear a politician say they put the people's interest first, I think of Elliot's fox, Fox news and how they change while on the campaign trail of their prey.

"Gossip is a sort of smoke that comes from the dirty tobacco - pipes of those who diffuse it: it proves nothing but the bad taste of the smoker."
- George Eliot 1819-80: Daniel Deronda (1876)

George Elliot described gossip like the foul odour of tobacco smoke.

I would love to know empathize with the world of a women's regret, I would tell her to wash them away with the words of George Elliot...

"Half the sorrows of women would be averted if they could repress the speech they know to be useless; nay, the speech they have resolved not to make.
- George Elliot 1819-80: Felix Holt (1866)

... And then we would talk about the speech they resolved not to make.

"The happiest women, like the happiest nations, have no history."
- George Eliot 1819-80: The Mill on the Floss (1860)

According to George Elliot, "The happiest women, like the happiest nations, have no history." I wonder what Hagel would have to say about the misery that emerges out of his History?

"He said he should prefer not to know the sources of the Nile, and that these should be some unknown regions preserved as hunting-grounds for the poetic imagination."
- George Eliot 1819-80: Middlemarch (1871-72)

Some things are best left to the imagination. I want to move the Nile to the cloud and increase George Elliot's, "hunting ground for the poetic imagination".

"Cruelty, like every other vice, requires no motive outside itself - it only requires opportunity."
- George Eliot 1819-80: Scenes of Clerical Life (1858)

When I think of animal cruelty, I can imagine cruelty sans motive thanks to George Elliot. The philosophical advantage is deterministic and the solution is virtue based and begins with a conversation and lots of data.

"There is no despair so absolute as that which comes with the first moments of our first great sorrow, when we have not yet known what it is to have suffered and be healed, to have despaired and to have recovered hope."
- George Eliot 1819-80: Adam Bede (1859)

No despair so absolute as the one that leads to hope. I have an aversion to hope. Information trumps hope. George Eliot didn't see it that way, she was more hopeful.

"If we had a keen vision and feeling of all ordinary human life, it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence."
- George Eliot 1819-80: Middlemarch (1871-72)

Silence interrupted is music to my ears yet to George Eliot she could only hear the roar that brought us to our senses.

Is there a better state of learnedness? For those of you who feel lost, timid or afraid with the knowledge of your knowledge the following quote is from George Eliot.

"It is an uneasy lot at best, to be what we call highly taught and yet not to enjoy: to be present at the great spectacle of life and never to be liberated from a small hungry shivering self."
- George Eliot 1819-80: Middlemarch (1871-2)

Existential Intellectual Crisis - A planksip® Courtesy of a George Eliot 

Are you ready for a mind journey about a bird-god illusion? Hold on to something comfortable, this quote from George Elliot...

"Speech is often barren; but silence also does not necessarily brook over a full nest. Your still fowl, blinking at you without remark, may all the while be sitting on the addled egg; and when it takes to crackling will have nothing to announce but that it addled delusion."
- George Elliot 1819-80: Felix Holt (1866)

If birds had Gods I bet they would be eggs. Ask a physicist and she will tell you that abstract forme a physicist is spherical, including cows. More than likely, the word "addled" is the something we both had to look up, so now you get the reference to The God Delusion, convenient for those in control, not so good for the unborn lucky ones.  

The calm before the storm and the appeasing nature of the observant observer is how I view this experiment from George Eliot...

"A difference of taste in jokes is a great strain on the affections."
- George Elliot 1819-80: Daniel Deronda (1876)

She should have been a psychologist. How does she onion skin against Freud, Googol, and say Diogenes? This is relatively easy to do with the planksip® praxis.

"A women can hardly ever choose... she is dependent on what happens to her. She must take meaner things, because only meaner things are within her reach".
- George Elliot 1819-80: Felix Holt (1866)

And like George, stand on the shoulders of giants.

Samuel Beckett on Statistics, Waiting for goDot and How Nothing Comes From Boredom

What do I say about Samuel Beckett that he doesn't say better for himself? In multiple languages! A polyglot artist I would have to submit.

"The air is full of our cries. (He listens) But habit is a great deadener."  
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

Order awakens the great deadener. The power of the habit is habitual. When used for social good it's humanitarian, when used for consumerism, habit is the an earth deadener.

"There is a man all over you blaming on his boots the faults of his feet."
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

Don't Blame it on the Boots!

"He can't think without his hat."
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

He can't think without his hat" makes me think of waiting for my oldest son and Godat and not wearing a hat! In that particular order. Odd.

"We could have saved sixpense. We have save fivepense. (Pause) But at what cost?"
- Samuel Beckett 1906-89: All That Fall (1957).

Something in trade always has a cost. Pure value, unlike a perpetual motion machine, does exist. It's called education, built for it's own edification.

"Ever tried. Ever failed. No matter. Try again. Fail again. Fail better."
- Samuel Beckett 1906-89: Worstward Ho (1983).

Trying increasing your probability of success. Try, try again. Failure is inevitable, just ask Samuel Becket.

"I would like my love to die
and the rain to be falling on the
and on me walking the streets
mourning she who sought to love me."
- Samuel Beckett 1906-89: attributed

Death is anything but peaceful in mourning, no longer conscious, no longer there. Samuel Becket confesses, "... i would like my love to die".  An odd emotional predicament he finds himself in. His love sought his love, meaning he can't fully give his love, out of a twisted sense of fairness he wants her dead so he can take all the pain. A masochistic fatalist is deviant indeed!

"One of the thieves was saved. (Pause) It's a reasonable percentage."
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

Either/Or is the order of the day and a book by Søren Kierkegaard

Consider the following quote from Samuel Beckett.

"There is no use indicating words, they are no shoddier than what they peddle."
- Samuel Beckett 1906-89: Malone Dies (1958).

As a language philosopher integrating with data, I beg to differ, the time for language is much shoddier than what the peddle, echo chambers of ego, soon to be defeated by big data determinism and the p.(x).

"Nothing happens, nobody comes, nobody goes, it's awful!
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

The taxi reference is about eight Jesuses showing up to a party and saying, "We ate already, and what's with all the crosses?" What a phenomenal fiction in the Kingdom of Boredom! In philosophy we call this a thought experiment. If we stop thinking, whatever it is ceases to exist in our minds. That's why there is no new, confirmed miracles. Religion is only a partial orientation towards harmony. The opposite of fear is order, Religion is the middle man.

"Nothing to be done."
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

"Nothing to be done", but wait on Godot.

"The rain fell in a uniform untroubled manner. It fell upon the bay, the littoral, the mountains and the plains, and notably upon the Central Bog it fell with a rather desolate uniformity."
- Samuel Beckett 1906-89: 'A Wet Night' (1934).

From A Wet Night, "rather desolate uniformity" left a lasting impression on the planksip® blog. Stormy Weathers and Tobe Determined, Pensées on Big Data Determinism is another möbius moment worthy of mentioning. #Googleplanksip

"Even death is unreliable: instead of zero it may be some ghastly hallucination, such as the square root of minus one."
- Samuel Beckett 1906-89: attributed

Samuel Beckett though death might be the square root of negative one instead of zero. But chances are zero is the surest hallucination.

Kettle Conversations...

VLADIMIR: That passed the time.
ESTRAGON: It would have passed in any case.
VLADIMIR: Yes but not so rapidly
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

If you have everything you need, what are you waiting for?

ESTRAGON: Charming spot. Inspiring projects. Let's go.
VLADIMIR: We can't.
ESTRAGON: Why not?
VLADIMIR: We're waiting for GoDot.
- Samuel Beckett 1906-89: Waiting for GoDot (1955).

Samuel Beckett attributing a muffin to a croissant in an Irish stew.

INTERVIEWER: You are English, Mr. Beckett
BECKETT: Au contraire
- Samuel Beckett 1906-89: attributed

Omar Khayyam translated and Adored for More Than a Millennium

Omar is a King of thought and rhythm, a cultural icon throughout the world. I can not summarize this man without sounding like a Wikipedia article. I have the utmost admiration for Wikipedia and the information it serves, however, if you wanted to read a Wikipedia article you would go directly to Wikipedia and not planksip®. Let me instead pose a series of questions and areas of thought worthy of further exploration.

How does the Khayyam's proof and conic connection to Euclid's 5th postulate change with the introduction of dimensionality (duality in two dimensions) to the point? Can you visualize and describe this proof in a coordinate space?

How does Lebensraum correlate to the romanticizing thought and Art movement of Orientalism in the fin de siècle?

How was Omar Khayyam influenced by Avicenna, also a polymath? Better yet, use Aristotle as the baseline and let the analysis begin, pedagogically speaking of course.

Bringing back the data-driven structure of the preSocratic thinkers, how does Pythagoras influence the slow moving "ephemorality" of traditions past and Universals revealed? As a Persian mathematician, poet and cultural icon, Omar Khayyam was a Giant, let's have a look through the lens of an ancient Greek hegemony.

The planksip® p(x) philosophy is pluralistic yet deterministic. Objective, yet structured. Reflections of current understanding are valuable from the mean and protection of the bell curve. I say this only to give you perspective into the brand and Praxis that is planksip®. Quaternion Correlations is medium for the message. Oh, and yes we have published a complete version on Medium.

Thomas Hobbes on Making the Last Words of Your Life Humorous? (3)

From a Hobbesian Leviathan to the life of an artist, if, "words are the money of fools", my life would be, "nasty, brutish and short", for I can not survive without the humour, humility and cathartic nature of the written (and spoken) word. That's not entirely true, but I don't want to explore that particular pathway to prosperity. My "action" potential is axiomatic to every conscious thought, as it is yours.

Describing the Leviathan's lair and the depths of despair within the human mind is beyond the scope of this life, mine that is. I am a miner, a product of consumerism and in some twisted way have Thomas Hobbes to partially thank.

I believe materialism, in the consumer sense, functions like an economic exaggerator, spreading an ephemeral version of wealth. No class is immune to the temptations of the market economies, not even the offspring of our cherished liberal democracies. Remember consumerism means one dollar equals one vote. So where are all these dollars?

Some thinkers, like Darick J. Biondi, view the Hobbes' Leviathan as a, "vague" economic theory and as such an economic theory in support of a free market economy. For Hobbes, according to Biondi, value is in maintaining the status quo of power embodied in a Leviathan. Sound familiar? This is not an appeal to a higher power, but is an appeal to a value claim and therefore makes the Leviathan claim philosophically ethical. Hobbes on Ethics is a prose influenced essay that I wrote to counterpoint this introduction. The point in which the argument pivots into the realm of ethical is when Hobbes explains a working value theory: "the value of all things contracted for, is measured by the Appetite of the Contractors: and therefore the just value, that would support man's pursuit of power. This is the only evidence for an economic system throughout all of Leviathan.  

The Hobbesian Leviathan increase social awareness around the potential of a communal authority figure. Literature expands these possibilities, expanding our cultural consciousness. Implied in this claim is the limit to literature, when in fact, it is really information theory. Power of the commonwealth is a pluralism in need of some further practice, subsequent iterations are more or less efficient. Politics moved from the rule of the monarch to the rule of the commonwealth, this differentiation, or expansion of social consciousness, may or may not be genetic. Gene-based cultural transmission is very much a contemporary conversation.

(A). Thomas Hobbes is reported to have said on his death-bed, “Now am I about to take my last voyage- a great leap in the dark.” Rabelais, in his last moments, said, “I am going to the Great Perhaps.” Lord Derby, in 1868, applied the words, “We are about to take a leap in the dark,” to the Reform Bill. "I am about to take my last voyage, a great leap into the dark."
- Thomas Hobbes 1588-1679: John Watkins Anecdotes of Men of Learning (1808)

Last word before death's voyage aboard the SS Hobbes...

"Jung voyage sans anima and animus", I can do better.

"Your ship of Theseus will sail no more, politically speaking of course.".

"No arts; no letters; no society; and which is worst of all, continual fear and danger of violent death; and the life of man, solitary, poor, nasty, brutish, and short."
- Thomas Hobbes 1588-1679: Leviathan (1651)

Thinking about the Hobbesian view on life being nasty, brutish and short. For the lucky few of the lucky few, few will survive and prove you wrong. That's life, that's history! But there is always room for improvement, sounds like an ethical claim. If not it should be!

Cicero on the Silence of Laws and the Self Interest of Unlimited Money Warfare (6)

For-me, my magnum opus is the p.(x). For others, it is a Leviathan, an authority embodied in the ego, your ultimate authority on your self. The regulating factor, be it Hobbesian, Darwinian, Machiavellian, Malthusian, should also be also Orwellian. You see, I also contain contradiction and multitudes of Walt Witman! Romulus was the eponymous founder of Rome and an infringement without attribution. History associates Romulus as the namesake for Rome, and a swastika with Hiz Strəgəl. Shoah(s) the way out of Darkness is a singularity in history says George Steiner, lead us away from ourselves, turn-away my dear canary, fly far from this miner. Mine, mine, mine we all Sing-Sing the Song of Self, like a blade of grass blowing in the breeze, I fall to my knees and beg, not prey, I survive better in this captivity of the self! Others not so much and this should not disturb you. Indifference, according to Dante is the opposite of hate, not love. Evil exists in the world, indifference to evil is god-like and there is a problem with that. From the time of Leibniz, Rationalists and Empiricists alike battle over functional fixedness and their applied definitions thereof. So what does surviving better have to do with indifference and is not the contradiction obvious? The answer persists, poking through our natural tendency to move towards betterment, noticing others on the same pathway to prosperity is not indifference, it is a counterpoint in social harmony. The Praxis should be pedagogical, thought-provoking and always educational. Going back to Hobbes, his Leviathan Theory is one of armed authority and as Cognitive Scientist and Harvard Linguist, Steven Pinker points out in the Better Angels of our Nature (pg.52), this particular paradigm was a process of pacification. Pacification Process is a term that Pinker coined to represent two dimes or a paradigm as it were, the shift towards a more peaceful peace. In a January 4th, 2019 email to Steven Pinker, I defined the Pacification Process as Darwinian and asked Steven whether or not he agreed with my reasoning. The response was interesting... I am still waiting for Steve to share it with me. In the meantime, Consider the following quote from Cicero;  

"Laws are silent in time of war." - Cicero 106-43 BC: Pro Milone

Disregarding the laws of the land is an act of war. Enemies of the state are justified in belief, but not in action or Logos. Today, if Big Brother is watching, are you listening to the silence? What does it mean to be silently silenced, is information overload our new overlord? The political theory of Leviathan, as it applies to Big Data is only testable and therefore falsifiable if there is some form of dominance hierarchy. Who is the authority of the word? There is a regulating body of selection pressures and it is natural, it is Darwinian, not purely academic. Social selection pressures press the point home in Aristotelean fashion and reveal pockets of dominance, revealed by positions of power and the influencers that influence.

Later, I briefly came to realize that the difference isn't in the descriptive nature of the concept or the origins of the behaviour but the first time at which Leviathan was theorized about. This explanation is also on shaky terra firma, because the pacification effects that order has on society would have been well understood by, for example, ancient Rome. Any armed presence would have theorized about pacification. Hobbes just happened to be the first that theorized about the process in what we would now call Political Science. Since I am making the claim that written law is the defining marker for a theory of pacification, it logically follows that the first laws would signify the first examples of a Pacification Process, making the label [un]necessarily redundant!

"Salus populi suprema est lex."
The good of the people is the law is the chief law.
- Cicero 106-43 BC: De Legibus

If the good of the people is the highest priority, how would Cicero reconcile the Liberal from the Democrat without knocking down lady liberty and still maintain a functioning, pluralistic bipartisanship? He may need a little help from the two pillars and ethics and a keystone to join the two.

Laws are silent in time of war.
- Cicero 106-43 BC: Pro Milone

Disregarding the laws of the land is an act of war. Enemies of the state are justified in belief, action and Logos. If Big Brother is watching, are you listening to the silence?

"O tempora, O mores!"
Oh, the times! Oh, the manners!
- Cicero 106-43 BC: In Catilinam

Mind your manners for Cicero said two thousand years ago, o temora, o mores.

There is nothing so absurd but some philosopher said it.
- Cicero 106-43 BC: De Divinatione

Philosophers imagine the unimaginable, so what value, what utility, what function can emerge from the absurd? Let the philosophizing begin from the absurd and move into the heard. Who's heard of a herd of turtles?

"Cui bono?"
To whose profit?
- Cicero 106-43 BC: Pro Roscio Amerinor, the quoting I. Cassius Longinus Ravilla

Follow the money and ask, to who's prophet; Cui bono?

The sinews of war, unlimited money.
- Cicero 106-43 BC: Fifth Philippic

Is Cicero in "sinew" u8-ing a möbius ex nihilo? Cannon fodder is the canon of the expendables as passed down through the ranks to the front lines of conflict. The derogatory term, "cannon fodder" is fascinating in its etymology, meaning that I am reenforcing the importance of the meaning of meaning, essentially the ends justify the means. As a last resort, using combatants as target practice and is inexcusable. Considered necessary for a unilateral way of survival, the hierarchical Aristotelian knowledge structures should be reduced in times of war and viewed through the John Rawls's Veil of Ignorance. "Ethical claims aside", is itself a non sequitur, a premise with a different conscious conclusion that I do not support and defend in greater detail on my Free Will argument. Based in ethics, the edifice of consciousness is as Daniel Dennett asserts, rooted in morality (at least for now). In fact, the consensus is rather similar amongst contemporaries, philosophers and thought leaders. "As if" is a power qualifier. Consider the following Twitter poll that I posted for Jordan Peterson.

Grizzly Bear - William James Park - A planksip® Reflection on b'ing

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Gottfried Leibniz on Mathematics and the Infinite Divide (1)

I can not think of Leibniz without thinking of Newton, calculus, the denounced Dutch philosopher; Baruch Spinoza and a mnemonic variation of The Odyssey (Theodicy).  Homer's variant is still a classic, Leibniz is fading into the obscurity of our collective historical adolescence, reconciling the problem of good and evil, if there is a god, is easily solved thanks to Friedrich Nietzsche's exclamation; God is Dead! Beginnings run counterpoint to all things contemporary, we may choice to hear the rhythm or have no ability to respond (responsibility). The lack of choice sounds like the free will position at the open of this publication as articulated by, and through, Christopher Hitchens and Isaac Bashevis Singer, "We have to believe in free-will. We've got no choice.".

Free Will is an If-Then statement. If you mind your p's and q's, logic quickly follows. When p and q are one and the same there is no question. Difference dictates the degree of determinism. In a world where statistic models are becoming more reliably predictive, we are becoming a more deterministic in our abilities to respond. Liberty is looking in the wrong direction. What does my data tell you when the sample size is increased by an order of magnitude? I already realize that I contain multitudes, but the multitudes I contain pale in comparison to the multitudes of the masses. Walt Witman was the inspiration for the word choice of multitudes and the complexity of the self. One of my projects for 2019 is going to take his poem, A Song of Myself and go through each of the 52 sections one week at a time for an entire year. I will record the journey of exploration and artistic discovery through a shared lens of an American icon and humble student.

I realize that I have to say more about Leibniz so let's leave the trivialness of the DoGmatic goD delusion out of the conversation and focus on the mathematics. What actually makes mathematics pure?

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Marcel Proust on the Horror of a Sunset, the Paradise We Have Lost and the Directness of the Muse and the Greatness Potential of Neurotics (6)


This article deals with the committment of Proust to Ruskin as the moral authority of his time and, consequently, as a main influence on his own original work through the apprenticeship of translation. It examines these renderings (La Bible d’Amiens and Sesame et les lys) as transformations of allegory into symbol, foreshadowing his early Du côté de chez Swann and his final Le temps retrouvé) with the conclusion that Proust managed to realize the unity of abstract and concrete. Allegory, a Proustian “rhetorical trope” on the Cathedral of Amiens (according to De Man) and the Victorian public building, is such an abstraction opposite the concreteness and privacy of symbolism, the reality behind the trope as realized behind the styles of both Ruskin and Proust.


vector, remembrance, reality, allegory, symbol

Proust as Translator of Ruskin: preparations#

André Maurois (1949) dates Proust’s “entrance into literature” 1 in 1900, just when
he was most absorbed in becoming a French disciple of John Ruskin, a preacher of
“Beauty and Truth” from the pulpit of the Slade Professorship of the Arts at Oxford
University (133). At the time, he read everything with relevance to Ruskin’s main
subjects, medieval architecture and painting, especially the Pre-Raphaelite Movement
and including the craftsmanlike ethos of the past in comparison to the present:
Milsand’s study of L’esthetique anglaise (1864), Taine’s Notes sur l’Angleterre (1890) and, at the forefront, the turn of the century Ruskin et la religion de la beauté by Robert de la Suzeranne. He even dreamed of outdoing de la Suzeranne by becoming the “canonized” translator and expert on Ruskin and he at first disparaged a potential translator’s aide, Marie Nordlinger, for writing a wooden French and not possessing a complete knowledge of the master’s works. Nevertheless, he later found, on a joint trip to Venice, that she was fully versed in Ruskin’s ideas, perhaps as much as he was, and together they studied the Stones of Venice, which, more than a guidebook, was a comprehensive and hands-on discussion of architectural detail. Ruskin was his eyes, both morally and physically: this, the main thrust of the following article, compels the conclusion that his translation activity, his immersion in Ruskin’s expressive world, was to strongly influence his own works, starting from Du coté de chez Swann (1913) and ending with Le temps retrouvé (1927).
Superficially, Proust’s mastery of English was very weak. However, in depth, he
mastered his subject (though not the tool) completely, even gaining trust for expertise in such specialized matters as recent biography. Moreover, he knew much more than his friends (or himself) credited and Reynaldo Hahn, perhaps his lover and a cousin of Marie Nordlinger, was surprised by the learned osmosis and called it “supernatural divination” (Prestwich 1999: 122). But it was no miracle, as proved by Cynthia Gamble in her Proust as Interpreter: the Seven Lamps of Translation (2002). After turning up a partial draft translation of Ruskin by the authoritative Suzeranne, he rushed to the British lady companion, to his friend, the Marquise de Brantes, and this Mrs. Higginson, his “devoted amanuensis” nicknamed “Maman,” furnished him with abridged French versions of The Bible of Amiens (1885) and Sesame and Lilies (1865) – his own versions came out in 1904 and 1906, respectively – and he “either retained or amended (these), seldom abandoning them completely” (Baldwin 2005:420-421). In other words, linguistic support came from three sources: his mother
Jeanne Weil Proust, “Maman,” and the more thorough and acknowledged aid of
Marie Nordlinger. Of course, it was necessary to “Gallicize” Marie Nordlinger’s French; his task was to render communication with the translation’s audience more natural. His chief identification, then, was culturally substantive rather than merely formal and he confessed, rather surprisingly, to Georges de Lauris: “English and American literature (is) closer to my heart than even the French” (de Billy 1927: 32). We know about hisadmiration for Emerson from Jean-Yves Tadié, making the “Oversoul” and “Self-Reliance” as almost as much a part of him as Ruskin’s blue gentian, embodied in religion and nature. Moreover, we know about Proust’s symbiosis with George Eliot, particularly Adam Bede and Middlemarch, works that coincided with his “mercilessly moralistic” side (Edmund Wilson’s insight from Axel’s Castle 1969: 162). But evenmore relevant was his feeling for Thomas Hardy’s Jude the Obscure (1895), the story of a doomed cathedral builder.

Cathedral Realities#

In fact, cathedral building, the work of a bygone day, was doomed; after all, Proust’s
was an age when even Baudelaire’s Parisian Arcades, the scene of his “spiritual
flânerie,” were marked for demolition. In their stead was the erector set miracle of
the Eiffel Tower plus the “hypocrite lecteur” of late 19th century Paris and the “gradgrind”
of late Victorian London. The personality of the Gothic builder, vulnerable
in his pious belonging to the world of the medieval spire, was almost irretrievable in
what Ruskin called “the Storm-Cloud of the 19th century” (Wedderburn 1908: xix)
whose architecture was petty and ridiculous. The London Army and Navy Club, for
example, “(had) upon it an enormous quantity of sculpture representing the gentlemen
of the Navy as little boys riding upon dolphins, and the gentlemen of the Army

– I couldn’t see as what – nor can anybody” (Ruskin 1959: 262). But the dashes were
serious despite the joking; they were free-wheeling outbursts as if staggered and
discomposed by the loss of catholic and feudal solidity. Gone was the world of
François le Champi by George Sand (1843) as read to him by his mother and restored
through the semi-mystical technique of “remembrance of things past.” Left only were
Verlaine’s nostalgic words of the 1870s about the Middle Ages – “Il fut gallican, ce
siècle, et janséniste” (Hartley 1958: 223) – and the future novelist sank into memories of “grandeur.”

These could be revived by pilgrimages to the shrines of Amiens, Rheims, Notre
Dame and Chartres and, subsequently, the translation of their meaning for modern
life and art. This is what Pre-Raphaelitism, the return to medieval spirituality as
envisioned by Dante Gabriel Rossetti with Ruskin’s sponsorship, meant. Its artistic
current was like the reflection in the water of a cathedral (a “Tintern Abbey”) and
its reflex action as this gazed down onto a Lake Country river – Brantwood, Ruskin’s
final estate, was in this region – made one think of the “correspondances of vivants
piliers.” The natural imagery mirrored both the flow of time and the “stains” of
human contact on the buildings (Ruskin 1918: 188).

Man and nature, thus, were in constant communication – not “pathetically,” in
an undisciplined or “fallacious” manner – and the “gentian’s sensory blue” when
pierced by the artist-sightseer-visionary could bestow a permanent blueness akin to
the objectivity (pensée) of a Platonic idea (Ruskin 1918: 115). In the enlightened,
empowered and objectified subjectivity of a Proust, the flower could reach the transcendence of liberated self.

That cathedrals built this transcendence became clear in each detail. Amiens,
for one, dominated its city without however cancelling the steps toward it. On the
way, according to Ruskin, was a railroad station and “these little patisser shops”
(Wedderburn 1908: 128) where Marcel could have bought himself a “Petite Madeleine”
and afford himself the pleasure and insight of a cake melted in tea, of a self loosed
from its conventional moorings. As he approached, Proust gave a very faithful
account of the cathedral’s body in the preface to his translation. There were “saints,prophets, kings, sinners, judges and angels” all presiding over salvation, and in a 14 line, emotion-driven and un-Baedeker-like description, he further specified that these… were looking down from their placement on the heights of their niches…(and) higher
still, removed from anything beneath the blurred and dazed glances of men at the
front…, elevated to a position close to the echoes and emanations of the bells, (so
that) you will doubtless feel the rising warmth of your emotions (at) this giant…
ascendance.”(Proust 1947: 33, my emphases and additions as well as translation)
Proust reproduces the skyward direction of a “giant ascendance” (ascendance
géante) for all men, not just an “ascension” for believers only (as in “Ascension Day”), giving rise to a sentential semantic vector “mounting toward the heavens” (monter vers le ciel) in which every lexical item, prepositions as well as nominal, participates. Thus, the chaleur de vos emotions is an inwardly rising warmth and the effluves, the pealing echoes and emanations, make up an outward victory. And the “passion” is simultaneously Christian and generally human, transforming everyone into what Ruskin termed as an “iron glow, white perhaps, but still strong” (Ruskin 1918: 120). Through the agency of divine sincerity – faithful intentions – the communion is made flesh.

Such was the basis of Proust’s first novelistic communion in which Marcel’s
grandmother appears. Though “ignorant of architecture,” “she would absorb herself
so utterly in the effusion of the spire [overlooking Combray] that her gaze seemed to
leap upward to it [s’élancer avec elle, Proust has in Chez Swann (Proust 1965: 78)].”
The English (Proust 1981: 69) continues in the staggered rising of a cadence mineure
(Crawshaw/Tusting 2000: 55): “…the topmost pinnacle…seemed to have mounted suddenly far higher [from montées bien plus hauts (Proust 1965: 78)], to have become ruly remote, like a song taken up again in a head voice, an octave above.” It should be underscored that the minor cadence, rising, is one with the ascending scale of the
sentence’s nigh mystical experience, even though the cadence majeure at the climax
is falling (Crawshaw/Tusting 2000: 56) 2. It was therefore natural and important that
his work be read as intended, intonation and rhythm as well as pronunciation. It
came from “the center of his being” (Cocteau 1927: 76-79) and there formed a “magic
scrawl” or code (Proust 1981b: 993).

This writing in the sky constituted a doctrinal grace-note or “note of Grace.”
Thus, Ruskin’s Bible of Amiens constituted a “History of Christendom for Boys and
Girls Who Have Been Held at its Fonts,” (Ruskin 1908: title page) for people like
Proust whose mother, though born a Jewess, baptized and raised him as a Catholic
with the promise of salvation. The book, then, was part of a projected description of
Christian heroism to be entitled “Our Fathers Have Told Us” but complete in itself,
especially when Proust presents notes commenting on the rough and ready heroes
with “Patristic Models” like Saint Augustine or citations from the New Testament.
It is likewise expected that Ruskin should choose for his frontispiece the iconic
and expressionless Madonna of Cimabue (1250?-1302), the famous Vièrge dorée (Wihl
1985: 130). However, Ruskin understands with his non-allegorical side that the gold
is a trinket as well as a ritual bullion in that she presides over the cathedral as…
no more than a French Madonna…whose nimbus [is] switched aside…, like a becoming
bonnet [Proust has the highly fashion-conscious un chapeau seyant, Proust 1947:
260]…A Madonna in decadence [de decadence, stressing the decline, La Bible 1947:
260] with her gay soubrette’s smile. (Ruskin 1908: 128)

Proust notes the seriousness of this “new look”:
This Madonna, with the statues surrounding her [as if to pay court to redemption],
represents the culminating high point of Gothic Art in the thirteenth century. In fact, architectural sculpture has progressed steadily in the interim, becoming more sincere, tender and suggestive. (Proust 1947: 261).
She became more real, more human; for this reason, Ruskin called a much despised
“Mariolatry” “one of Catholicism’s noblest and most vital graces” (my emphasis,
Wedderburn 1908: lxiii).

From Public to Private: Allegory and Symbol#

But this Grace (and grace) was available only if one proved oneself by honing one’s
artistic, moral and religious craft to create a sum of goodness and self-discipline
through a general Christian work ethic. It was the result of a widely accepted truth
in which the public descends – gracefully – to the private. As Ruskin had it in the
1871 Preface to Sesame and Lilies:

If there is any one point which, in six thousand years of thinking about right and
wrong, wise and good men have agreed upon, or successively by experience discovered,
it is that God dislikes idle and cruel people more than any others:--that His first order is, ‘work while you have light’; and His second, ‘Be merciful while you have mercy.’ (Ruskin 2002: 13).

In a letter to Georges de Lauris, Proust promised to live by these “grands commandements de Dieu, une chose sublime” (Maurois 1949: 115).

Along with such public Christian rules to live by, Proust could fall back on his
own Classical and Neo-Classical tradition, a formalistic stranglehold for many of his
generation because of the strict Jansenist morality behind their backs, one which
featured a “hidden God” whose intentions had to be guessed (see Goldmann 1955). However, Classicism could also offer balance and harmony through aesthetic restraint and there emerged a school of “Parnassians” led by Leconte de Lisle (1818-1894), a translator of Greek tragedy in the original – not merely the Neo-Classical Phèdre Marcel admired. Leconte de Lisle was also a poet in his own right and was followed by Henri de Régnier (1864-1936), poet, society novelist and a relative of the Parnassian poet José-Maria de Hérédia who died in 1905 in the thick of Proust’s translation activity. In fact, he had paid Régnier the compliment of a Pastiche full of adhesive coordinators like telle… que and plus… que (Proust 1971: 21-22). For that matter, he
had also praised Flaubert’s Neo-Classical side, his “grammatical genius” (Proust 1971:520) shown not only in the expressive use of literary tenses but in the mobilization of cohesive devices to rein in the impetuousness of remembrance. Such need for control must have been what motivated Jean Moréas (1865-1910) to defect from the Symboliste ranks of a Verlaine to join a Classically pellucid Ecole romane. Likewise, it was behind Proust’s diary notation that he regretted that Lamartine et Hugo were there “et n’aient pas été Boileau et Racine” (Proust 2002: 82). Their 18th century matrix would have guided his hand more surely.

At the same time but in the opposite direction, specific memory and experience
served Proust as a springboard to general and public relevance, much as Wordsworth
(1770-1850) jumped from the individualized contemplation of nature to the “still,
sad heart of humanity” in the towns. This is the causation of the “contemplative,”
Ruskin’s categorization of Wordsworth in contrast to the vatic, “emotionally imperialistic” Shakespeare (Ruskin 1918: 117/note) – and it could also be conceived of as Ruskin’s posthumous characterization of Proust. Reynaldo Hahn describes this
private search become public: During our stroll in the garden, Marcel lingered before a rosebush to sniff it…He was silent and lost in thought and then broke free from his trance to join me…How many times had I observed Marcel in these mysterious moments of communion with nature! (Hahn 1927: 33-34) Each inhalation of the rose – simultaneously allegorical and public while symbolical and private – signified the full dimensions of courtly and intimate love, as “overflowing” as the “rose-window of a cathedral” (Macksey 1962: 119). He was expressing what Mouton calls “a total submission to the seen viewed as understood” (1975: 203).

Such submission signified a steady interiority like that of a Stendhal who saw
sincerity as the most important trait of the novelist – or even of a Rousseau who related
all exterior events to his ego (see Mouton 1975: 90, 76-79). It meant an importation
of all public objects into the realistic territory of the inner self in order to tease immanence
and transcendence out of often refractory and transitory objects – just like the
internalization of Ruskin’s gentian. Accordingly, Proust recommended “a greater
closeness between the artist and the object to be expressed. As long as the closeness
of the one to the other is not complete, the task is unfinished” (Peyre 1962: 41).
This linkage was further analyzed in Time Regained:
…what we call reality is a certain connection between immediate sensation and the
memories which envelop us simultaneously with them – a unique connection which the
writer has to rediscover in order to link forever in his phrase the two sets of phenomena
which reality joins together. (Proust 1981b: 924, my emphases)
In order to work, the stabs of salience released in a sentence by function as well as
content words, semantic high points accompanied by connectors, cannot be merely
synapses and conjunctive joints (to repeat the neurolinguistic insights of Bartsch
(2005: 13, 93). They constitute moments in a plot of self expressing a relationship to
one’s identity and to that of others, all to be packed into one long, expressive, allinclusive
and seemingly idiosyncratic sentence (so that Reynaldo Hahn scolded his
friend for being inconsiderate to the average reader). Difficulty was in fact the price
to pay for wanting to combine the public and the private, the voluntary and the
Voluntary memory could mean anything from the willed craftsmanship of placing
the pastry shops before the cathedral to the fictional location of the Prince de
Guermantes library just before the aristocratic party in Time Regained (Proust 1981b:
919, 924). Involuntary memory, on the other hand, was the melting of this pastry in
the mouth and the consequent recall of Combray with its stream, church spire and
Monet-like water lilies in Proust’s first novel – or the solitary experience of examining
George Sand’s François le Champi in his last.
These fictional experiences can be traced to the preceding discussion of reading
in the preface to Sésame et les lys originally delivered as a series of public lectures
devoted to “King’s Treasuries” (on reading, Dec. 8, 1864) and “Queen’s Gardens” (on
the education of girls, Dec. 14, 1864) at the Rusholme Town Hall near Manchester
– serendipitously, Marie Nordlinger’s British postal zone.
Elevated “rhetorical tropes” (De Man’s expression 1979: 6) had to be unquestioned
and unquestionable in their imposition of meaning from on high (“topdown”).
This is the brunt of Proust’s criticism in an extended note on “sesame.” He
writes that Ruskin both confuses and seems to ignore the two meanings of “sesame”
as the “open Sesame” of Ali Baba’s cave and its public meaning of “grain,” thus
“superimposing allegory upon allegory” (Proust 1987: 101). Moreover, at the end he
further makes the counterpoint unclear by returning to one side of the “tonality of
the beginning” (Proust 1987: 102).
In other words, Ruskin had the tendency of over-rating the allegorical side of
things, their widely accepted and somewhat simplistic resonance. As such he seemed
to prefer the voluntary and fabricated white hawthorn or aubépine over the real one,
Proust’s private gentian (also beloved by D. H. Lawrence in his poem “Bavarian
Gentians”). It was one with “the freshness of the morning,” a natural symbol rather
than an allegory which, as he worded it, “humilie la beauté devant le devoir” (Proust
1971: 240 and Wihl 1985: 111).
proust as translator of ruskin 27
28 Meta, LIV, 1, 2009
What was needed was some discursive public way to satisfy the need for allegory,
for emblematic and plain explanation, while presenting private significance through
symbol: he found it in the conclusive commentaries of Anatole France (1844-1924)
in which discourse was coordinated with plot and character. As Proust records in his
Notebook, France (Bergotte in two novels, Swann’s Way and Within a Budding Grove
[1919] ) was a master of “extricating events and emotions from chaos,” thereby saving
them from the exaggerated privacy of symbol. Even more important, this “raisonnement”
added the charm of attraction to a narrative or “l’inimitable sourire d’un
visage qu’on voit pour la première fois” (Proust 2002: 129).
In this mixture of the public and the private, there is a non-hermetic but nonetheless
intimate “private Sesame” such as is enjoyed by Jupien, the male madam of a
homosexual whorehouse visited by Baron de Charlus in Time. The latter gives this
manager of private pleasure the very public gift of Sésame et les lys in Proust’s version
(see Temps 1954: 833). Meanwhile, the bombs of WWI fall outside, not disturbing
the customers in their private quest and giving rise to a light-hearted pseudo-proverbial
encapsulation in the spirit of La Rochefoucauld and Aesop: “A man may be
afraid of not sleeping and not in the least afraid of a serious duel, afraid of a rat and
not of a lion” (Proust 1981b: 862-863; Proust 1954: 834). In fact, the bombs constitute
a “fortunate Fall” in which they “permit us to enter without impediment into a region
of caress into which we normally gain access only after a certain delay” (my emphases
on the generalizing pronouns, Time 1981: 862). De Man concludes (1979: 60) that
such a typically Proustian contextualization produces an extremely convincing sense
of relevance, the line that the good translator should always follow, so that the road
travelled from Sésame et les lys to Le temps retrouvé is in fact like that of the inspired
experience of reading, the ultimate “region of caress.” Involved in the very personal
act of intimacy (more spiritual than physical), it is surrounded both by the idiosyncratic
portrait of Prince Eugene of Savoy and the “chapel-like sunlight” streaming
through the private window (Proust 1987: 45-49). Unlike the dry “functionalism” of
Pre-Raphaelites like William Morris, it contains books like François le Champi which
trigger remembrance and propel a return to personal contexts: On est poussé sur ses
propres voies, as Proust concluded in Sésame (Proust 1987: 66). The author of the book
then addresses him from the outside, from the sunlight, and awakens his inner being
to receive a confirmation and response to the invitation to “loaf and be at ease with
him” (as Walt Whitman would say).
Authorial “companionship” is willed and initiated from within. The author is the
equal of the self, itself an author. This is the secular reality of equality, not the relationship
of greater and lesser in a divine hierarchy. Of course, the Manchester tradesmen
in the audience of “Queen’s Gardens” maintained the illusion of “a Christian lily,
a figure of the ‘incorruptible’ moral authority of the pure woman,:but this image stood
against “Manchester negligence and greed,” writes a realistic Elisabeth Helsinger
(2002: 133). Ruskin, however, was disillusioned while holding firmly to a “lovely and
cherished” (as well as undeniably secular) flower of nature named Lucy, to be educated
in the spirit of Rousseau and breathing the wilds of Wordsworth. And Proust, overcome
by her folk poetry and the appeal of her untamed reality, translates her prosaically
and soberly, as if afraid to “try out his own wings” in her precious presence.
Nevertheless, with exertion, he manages to capture the immanence of the “overseeing
power” –or Oversoul? – standing beside her and urging her to “kindle or restrain”
(Ruskin 2002: 79), to become both enthused and obedient, tantôt excitateur et tantôt
reprimant, Proust writes with rather flatfooted correctness (Proust 1987: 275). The
point is that restraint, unlike liberty, is pedestrian, and Proust, for all of his dislike
of convention, recognized the value of boundaries.
In the 19th century terms of Ruskin, this made Wordsworth into a moralist (as
was Proust’s beloved George Eliot, for that matter), and an existentialist and modern
Proust in De Man’s view (1979: 125-126) saw the great Romantic as “a poet of the
self-reflective consciousness” who “urged others to look at the whole steadily and
comprehensively” as he did himself. Moreover, he was unflinching. When Ruskin
interpreted a heraldic figure on the body of Amiens as “giving a mantle to a naked
beggar” (Ruskin 1908: 155), Proust saw through the moralism: “The figure on the west
porch… does nothing more altruistic than clothe a beggar with fabric of local manufacture.”
(Proust 1947: 260). He was, likewise, unmoved by Ruskin’s Fundamentalist
denunciation of man as “too egotistical” before the moral muddle of a Manchester
audience which blew everything up into congratulatory and “enlightened self-interest
2002: 111). In sum, the smoke of Ruskin’s indignation clouded and blurred the
mixed colors of secular man while insisting on unrealistic blacks and whites. In fact,
Ruskin never completely overcame the simplistic colors of his Fundamentalist background
and his disciple never completely forgave him.
But respect for the secular self and condensation of this respect (Dicht-ung) into
symbol was never so expressive as in the fictional presentation of the kitchen maid
“Caritas” in Swann’s Way. She was, for one, a non-altruistic “Charity” (or “Compassion”
without an object) compared to the redemptive figure represented by Giotto in the
Arena Chapel of Padua as described in Ruskin’s Stones of Venice. Proust, in a note to
his translation of The Bible of Amiens, presents her as a pious model, nevertheless to
be integrated into life: “She is distinguished from all other virtues by a crown of glory
and a cross of fire” (Proust 1947: 302-303). However, the novelized Caritas is only a
slatternly maid who, set beside Françoise the Proust family cook, humorously equals
Error opposite Truth (see De Man 1979: 73 and Proust 1965: 100). Proust may be
allowed this spoof of allegory because he had so internalized its suggestiveness that
its descent from moral abstraction became an integral part of his view of character.
He had committed to his notebook, for example, that allegorical “Vice” (also lowercase)
was a “seal of reality,” imposing its stamp on the real.
Thus, she is on the one hand a comic embodiment of the trait of “Servitude”
carrying the “humble basket of pregnancy” rather than elevated virtue. On the other,
she is a whiff of the scent of allegory, “transcending the singularity of…particular
incarnations” (De Man 1979: 73-74). Proust expressed such an incarnation in the
following style (with connectors marked):
De même que l’image de cette fille était accrue par le symbole ajouté qu’elle portait devant
son ventre, sans avoir l’air d’en comprendre le sens, sans que rien dans son visage en
traduisit la beauté et l’esprit, comme un simple et pesant fardeau, de même c’est sans
paraître s’en douter que la puissant ménagerie qui est représentée à l’Aréna au-dessous
du nom ‘Caritas’ et dont la reproduction au mur de ma salle d’études, à Combray,
incarne cette vertu (not capitalized), c’est sans que aucune pensée de charité (once again, not capitalized) semble pu avoir été exprimée par son visage énergique et vulgaire. (Proust 1965: 98)
proust as translator of ruskin 29
30 Meta, LIV, 1, 2009
Of primary importance is the upward vector of the sentence despite its final tug
downwards –énergique rises at the very moment that vulgaire pulls Caritas into the
mud. The et (and the en, for one) bind the soaring to the staying, the dynamic to the
static, thus literally completing the picture.
This climactic vitality (akin to the vitalité of Wordsworth’s Lucy) is, in fact, the
best definition of everyday energy. Caritas is lively largely because of the solid burden
in her belly, symbolizing the fraught uncertainty of the future and a stolid, impassive
reaction to it. Moreover, she is too humanly recognizable to stand above mankind as
an icon or to radiate the blurred rays of Verlaine’s “chanson grise,” the title of Hahn’s
musical medley of the Symboliste. But she does correspond to a line in its chief poem
(or Lied) – Le bleu fouillis des claires étoiles (I emphasize the yoking of “blue disorder”
in Hartley’s 1958 translation: 224). The blue gentian, lovely and real though still
mildly ambiguous, is doing its actualizing work and Caritas herself becomes a vessel
of diffracted sunlight – not by any “pathetic fallacy” though fallible. She remains in
Proust’s words (1965: 99) “comme réel…donnant à la signification…quelque chose de
plus littéral et plus précis.” This reality produces the aura of symbol, a defining unity
of simultaneously public and private awareness.


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Waldinger, A. (2009). Proust as Translator of Ruskin. Meta, 54 (1), 22–31.

Everything we think of as great has come to us from neurotics. It is they and they alone who found religions and create great works of art. The world will never realize how much it owes to them and what they have suffered in order to bestow their gifts on it.
- Marcel Proust 1871-1922: Guermantes Way (1921)  

According to Hippocrates, the neurosis was a created from within the person, to much black bile to be exact, without it we can not process fat. Proust viewed Religion as a neurosis, claiming that all great Art has come out of eschewing this fat. My neurosis is better that your neurosis! Notice the absurdity of this statement?  Science has plenty to offer in terms of aesthetics, beauty and art, if not you ought to start! Play your part.

An artist has no need to express his thought directly in his work for the latter to reflect its quality; it has even been said that the highest praise of God consists in the denial of Him by the atheist who finds creation so perfect that it can dispense with a creator.
- Marcel Proust 1871-1922: Guermantes Way (1921)

Compare this to Spinoza's doG.

I have a horror of sunsets, they're so romantic, so operatic.
- Marcel Proust 1871-1922: Cities of the Plain (1922)

Proust had an intense fear of the romantic, the theatric and the over dramatic. This is how he rationalized his fear of sunsets, embodied through the son of darkness on the set of life and death. Bent earthward we are heliocentric shifting to the rhythm of the paradigm and beating to the sounds of Homer and the beat of an Ancient Greek hegemony. Dominant culture and a deterministic paradigm play the part of narrator in this narrative. Now act as if it were so!

And suddenly the memory revealed itself. The taste was that of the little piece of madeleine which on Sunday mornings at Combray... my aunt Léonie used to give me, dipping it first in her own cup of tea or tisane.
- Marcel Proust 1871-1922: Swann's Way (1913, Volume I of Rembrance of Things Past)

Discuss how memories surface. Refer to Sapolski, Pinker and Robinson.

John Milton's 1667 poem, Paradise Lost may have been alluded to by Marcel Proust 256 years later in fond remembrance...

The true paradises are the paradises that we have lost
- Marcel Proust 1871-1922: Time Regained (1926)

Paradise on earth, once forgotten, found too late.

The mind/body split is obvious in the ethics of Proust.

For if unhappiness develops the forces of the mind, happiness alone is salutary to the body.
- Marcel Proust 1871-1922: Time Regained (1926)

George Bernard Shaw on Love and Poverty and Everything Towards the Mean

Biochemically, the creative person lies just outside the protection of the bell curve. Teleb's Trampoline attempts to make societies more resilient through relativism. Backwards never felt so wrong. Validation is in the air!

"The reasonable man adapts himself to the world: the unreasontexable one persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable man."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Researchers are now saying that the young brain doesn't fully mature until 25 or 30. George Bernard Shaw capped affection off at six years. This is a societal question. What do you think? How do we transition our youth into adulthood?

"The natural term of the affection of the human animal for its offspring is six years."
- George Bernard Shaw 1856-1950: Heartbreak House (1903)

Survival sustains. George Bernard Shaw refers to an old soldier carrying, "grub" in his holster and how this is a mark of experience. Nothing of tremendous value here. Stating the obvious is sometime an art, in Shaw's case a fad or trend.

"You can always tell and old soldier by the inside of his holsters and cartridge boxes. The young ones carry pistols and cartridges; the old ones, grub."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Getting on with the job is the order of the day for a soldier, seaman or citizen of the Republic. We live on the stage of life and the show must go on despite the fright of the stage and the faces staring back at you. Killing the other is the death of consciousness itself. The Shoah showed us this! Sea sickness and cowardice matter, not so much in the experience itself, George Bernard Shaw pointed out this sailing ship, but in the causes of the coward itself. Oppressive and effective.

"As an old soldier I can admit the cowardice: it's as universal as sea sickness, and matters just as little."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

George Bernard Shaw offers a rather cheeky view of Martyrdom[^N], eminence in any other form is an exercise in ego.

"Martyrdom... the only way in which man can become famous without ability."
- George Bernard Shaw 1856-1950: The Devil's Disciple (1901)

There seams to be an overdoes of virtue signalling and overzealous religiosity with the exorcism of foul language from the lexicon of the layman.

"If I utter an oath again may my soul be blasted to eternal damnation!"
- George Bernard Shaw 1856-1950: Saint Joan (1924)

Music means different things to different people, to some it's, "the brandy of the damned", trading one drug for another, "religion... is the opiate of the masses.". This sidestep maneuver away from music is virtue signalling of religious variety.

"Hell is full of musical amateurs: music is the brandy of the damned."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Is that what you want? Do you want to be part of the useless class? Corruption is part of politics. The key would be to mitigate the incompetencies with skill acquisition and life-long learning. Liberal democracies must adapt to improve on its own inefficiencies or fade into history.

"Democracy substitutes election by the incompetent many for appointment by the corrupt few."
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Democracy'

The hypocrisy over what to consume is teetotal, when it comes to alcohol.  

"I am only a beer teetotaller, not a champagne teetotaller."
- George Bernard Shaw 1856-1950: Candida (1898)

... let it perish without torment. Imagination is the salvation without the embodiment. Says whom? {pause} Says me!

"Must then a Christ perish in torment in every age to save those that have no imagination?"
- George Bernard Shaw 1856-1950: Saint Joan (1924)

Much Ado About Noting is a more accurate title, if by, "nothing", you are not referring to the female body part from Virginia. Live is filled with laity, professions, business and randomness and cruelty. That's life!

"All professions are conspiracies against the laity."
- George Bernard Shaw 1856-1950: The Doctor's Dilemma (1911)

One nation imposing its will on another nation is tribal and barbaric.

"He [the Briton] is a barbarian, and thinks that the customs of his tribe and island are the laws of nature."
- George Bernard Shaw 1856-1950: Caesar and Cleopatra (1901)

Without descending into the obvious Shakespearian rabbit hole, George Bernard Shaw pair-bonds the eminence of Shakespeare, and to some degree Sir Walter Scott, into a statement of intellectual virtue signalling. Three parts ego, one-part self deprecation, this ratio is arbitrary with the dominant quality being self eminence. Declarations of eminence are post humorous if not made posthumously. Eminence is a limitation. Imitation or mimesis is flattering. Don't despise Homer and Shakespeare, celebrate the legacy of the Logos they left behind. Pardon the polemic, if you like I can repeat myself.

"With a single exception of Homer, there is no eminent writer, not even Sir Walter Scott, whom I can despise so entire as I despise Shakespeare when I measure my mind against his."
- George Bernard Shaw 1856-1950: In Sunday Review 26 September (1896)

Identity politics are categorically imperative within authoritarian social structures. Originated by Immanuel Kant and later revised under Rawls' Veil of Ignorance, categorical thinking is useful when tempered with critical thought and corrective inductive action (correlative feedback mechanisms).

"Titles distinguish the mediocre, embarrass the superior, and are disgraced by the inferior."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Our group unites us in our plurality of thought.

"England and America are two countries divided by a common language."
- George Bernard Shaw 1856-1950: attributed in this and other forms, but not found in Shaw's published writings

I like the ethical elucidation here

"Do not do unto others as you would that they do unto you. Their tastes may not be the same."
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims for Revolutionists: The Golden Rule'

"Beware of the man who does not return your blow: he neither forgives you nor allows you to forgive yourself."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

One of my favorite books is Grammars of Creation by George Steiner. I wrote a book review on this book and called it, Deterministic Swirls of Go and a Book Review (2018).  In this review you will see a structured way to review a book based on the most popular relational intellectual giants. Regarding the theme of the title being grammars, I shake my head with a frowned grin when George Bernard Shaw dismissed a opportunity to discuss grammar and insinuates his opposite sex is a "grammar-less" creation. The movement of my grin dissipates to thoughts of a chuckle and then I move on. Grammars with an "s" is a plurality. Thank you George for making it so. Both of you. Steiner and Shaw is an interesting pair. To my knowledge I don't think George Bernard Shaw mentions George Steiner in any of his publicly available work. Steiner, on the other hand is a critic and as such mentions or refers to two different "Shaw" three times in After Babel, Aspects of Language and Translation (1975). One Shaw is Lawrence of Arabia; Thomas Edward Lawrence so this wouldn't count towards the GBS pair yet a little digging we find that George Steiner recognizes the oratory talents of Thomas Edward Lawrence (of Arabia) and philosopher John Cowper Powys as ideal and part of the final chapter on the 6 Topologies of Culture (pg.482-3). George Bernard Shaw is mentioned but only in AFTERWORD of After Babel, Aspects of Language and Translation (1975). This first instance (pg.483-3) was counterpoint to Powys mention earlier and the reason for the rather complex arrangement of ideas. Trust me I will tie it all together. It is odd to me that I have such respect and admiration for George Steiner that cultural mudslinging the "state" of culture is a impossible position for me to agree with. I refuse. This is one of my few criticisms of an intellectual mentor, George Steiner's love for literature is ideal, in the Platonic sense. You don't talk grammar you co-create! Whether you want to talk to a lady (G.B. Shaw) or were born in America, the cultural potential is alive and thriving. What we do with it is a different narrative.

"I don't want to talk grammar, I want to talk like a lady."
- George Bernard Shaw 1856-1950: Pygmalion (1916)

"The worst sin towards our fellow creatures is not to hate them, but to be indifferent to them: that's the essence of inhumanity."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Considering many, including Robert Sapolsky's attribution to Elie Wiesel, the indifference equivalence to evil, or in this case hate, originated with Dante?  

Wellspring well taken, I would like to say. Cherish when we perish. Life after death is experienced by others.  I am drawn to the poetics of Dante, and this ideal of this guy (the Empyrean). I can't say for sure but I suspect an extinction event requires mandatory attendance, try and remain indifferent. It's only possible after-the-fact.

"Every man over forty is a scoundrel"
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Stray Sayings'

I guess I am a scoundrel (according to GBS).

"Assassination is the extreme form of censorship."
- George Bernard Shaw 1856-1950: The Showing-up of Blanco Posnet (1911)

Sometimes it back fires and mortar fire makes the martyr; an extreme form of reverse-censorship.

Joseph Levine would say that our youth have a problem with their explanatory gap or that it's in flux.

"Youth, which is forgiven everything, forgives itself nothing: age, which forgives itself everything, is forgiven nothing."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Ammunition for the ill-intention feminist.

"The one point on which all women are in furious secret rebellion against the existing law is the saddling of the right to a child with the obligation to become the servant of a man."
- George Bernard Shaw 1856-1950: Getting Married (1911)

The broader possibilities of biology are infiltrating social consciousness. The brain is incredible! For better or worse, like or dislike. What it's like to be something is an effective technique for T.O.M (Theory of Mind).  

"Take care to get what you like or you will be forced to like what you get."
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Stray Sayings'

Beyond the cliché of yacht ownership, think about the pursuit of desire and the ratios of biochemical payoff to the reward centers of the brain.

"There are two tragedies in life. One is not to get your heart's desire. The other is to get it."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Dr Shashi Tharoor in 2015 versus 2017.

"Englishmen will never be slaves; they are free to do whatever the Government and public opinion allow them to do."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Do not obscure the word of hope with empty meanings, give me data or death of liberty. Hope is a consolation price, an act of empty futurity with a bow on it.

"Make me a beautiful word for doing things tomorrow; for sure that is a great and blessed invention"
- George Bernard Shaw 1856-1950: Back to Methuselah (1921)

I have an aversion to social inversions that are pedagogical in nature.

"He who can, does. He who can not, teaches."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

We live in despair or should according to Søren Kierkegaard. This is the pias bias.

"He who has never hoped can never despair."
- George Bernard Shaw 1856-1950: Caesar and Cleopatra (1903)

Forced servitude at home is forced servitude according to early 20th Century thinkers like George Bernard Shaw.

"Home is the girl's prison and the women's workhouse"
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Women in the Home'

One possible opening to Will Freeman was also a place for men to hang your hat. Then the vulgarity of this comment crept in like a kickstand. I still like it, so I am going to use it.

"[Dancing is] a perpendicular expression of a horizontal desire"
- George Bernard Shaw 1856-1950: in New Statesman 23 March 1962

When you are sick, convalescence requires someone to tend-and-befriend.

"I enjoy convalescence. It is the part that makes illness worth while."
- George Bernard Shaw 1856-1950: Back to Methuselah (1921)

A "doing" philosopher asks why but ends on negation? Doing is implied, axiomatic to living a life worthy of being lived! The future is less tense if your verbalize it so.

"You see things; and you say, 'Why?' But I dream things that never were and I say, 'Why not?"
- George Bernard Shaw 1856-1950: Back to Methuselah (1921)

Spartan children were 'toughened up'. 2,500 hears has given us the unforgivable, abuse to animals can and should move in the direction of 'domestic' abuse.

"If you strike a child take care that you strike in anger, even at the risk of maiming it for life. A blow in cold blood neither can nor should be forgiven"
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: How to Beat Children'

Fine company is like fresh fish; after a few days it starts to stink! Sorry I couldn't be bothered to search for an attribution to this horrible joke. This is close enough.

"Beauty is all very well at first sight; but who ever looks at it when it has been in the house for three day?"
- George Bernard Shaw 1856-1950: Man and Superman (1903)

On patriotism I am still undecided. Ask me why.

"You will never have a quiet world until you knock the patriotism out of the human race."
- George Bernard Shaw 1856-1950: O'Flaherty V.C. (1919)

Who's steering the authorship? I am determined to find out for myself.

"You don't expect me to know what to say about a play when I don't know who the author is, do you?"
- George Bernard Shaw 1856-1950: Fanny's First Play (1914)

Caliph Art and the Veil of Ignorance creates Smells of Indignation

Offence to a large majority I am sure, the pay on words is the beginning of an article, so leave me alone and let me articulate around and through the a priori...

"The true artist will let his wife starve, his children go barefoot, his mother drudge for his living at seventy, sooner than work at anything but is art."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Your ability to respond is a restriction in liberty, some restrictions are clearly under social contract, other existential threats, like big data determinism can manifest into friend or foe. The embodiment makes it more relatable, just ask Ellen DeGeneres.

"Liberty mean responsibility. That is why most men dread it"
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Liberty and Equality'

Tiger sports are prolific in Texas. How do we even the odds?

"When a man wants to murder a tiger he calls it sport; when a tiger wants to murder him, he calls it ferocity."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Structured originality should be virtuous, defining the virtues is complex, subjective and shrouded in chaotic attractors. Let's do it!

"A man of great common sense and good taste, meaning thereby a man without originality or moral courage."
- George Bernard Shaw 1856-1950: Notes to Caesar and Cleopatra (1901) 'Julius Caesar'

Everything in moderation, don't get married maybe?

"Marriage is popular because it combines the maximum of temptation with the maximum of opportunity"
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Marriage'

Cowboy conversations with Blanco Posnet to determine his Nationality.

"The nations morals are like its teeth: the more decayed they are the more it hurts to touch them."
- George Bernard Shaw 1856-1950: The Shewing-up of Blanco Posnet (1911)

This is why I promote passive, yet educated pluralism and efficiency through information thereby avoiding shaking shoulders. There is a time for revolution but that time is not today.

"Revolutions have never lightened the burden of tyranny: they have only shifted to another shoulder."
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'The Revolutionist's Handbook' foreword

Biochemically, Bertrand Russell and George Bernard Shaw are diametrically self-similar. However, even a light read of The Conquest of Happiness negates the cultural traps of the ego. "No man alive could bear it".

"But a lifetime of happiness! No man alive could bear it: it would be hell on earth."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

I am just not making the connection but let me try... The embodiment of an ideal forme is miracle and a fraud. I fail to see the difference if elevating the ego is the outcome. Reality just doesn't work that way. Defenders of faith see it differently.

"A miracle, my friend, is an event which creates faith. That is the purpose of nature of miracles... Frauds deceive. An event which creates faith does not deceive; therefore it is not a fraud, but a miracle."
- George Bernard Shaw 1856-1950: Saint Jone (1924)

Word welds like artist-man and mother-woman exist as archetypal examples of alternative lifestyles, today money makes this possible. Tomorrow could be different. A value system based on the biochemistry of learning should be the currency of tomorrow.

"Of all human struggles there is none so treacherous and remorseless as the struggle between the artist man and the mother woman"
- George Bernard Shaw 1856-1950: Man and Superman (1903)

Mind you... Ten men with minds beating on each other is circular.

"One man that has a mind and knows it can always beat ten men who haven't and don't"
- George Bernard Shaw 1856-1950: The Apple Cart (1930)

It's our obsessions with truth seeking that Eastern cultures can't quite grasp.

"Do you think that the things people make fools of themselves are about are any less real and true than the things they behave sensibly about? They are more true: They are the only things that are true."
- George Bernard Shaw 1856-1950: Candida (1898)

The dichotomies are deathening.

"In the arts of life man invents nothing; but in the arts of death he outdoes Nature herself, and produces by chemistry and machinery all the slaughter of plague, pestilence and famine"
- George Bernard Shaw 1856-1950: Man and Superman (1903)


"Silence is the most perfect expression of scorn."
- George Bernard Shaw 1856-1950: Back to Methuselah (1921)

Let's increase the chances of you being seen. Social media should be this medium.

"The photographer is like the cod which produces a million eggs in order that one may reach maturity"
- George Bernard Shaw 1856-1950: introduction to the catalogue for an exhibition at the royal Photographic Society, 1906

"We have no right to consume happiness without producing it than to consume wealth without producing it"
- George Bernard Shaw 1856-1950: Candida (1898)

The trap is considering happiness as something to be consumed. Consumption of this sort is a blanket term for sometime malignant, like consumptive happiness spreads quickly with the taste of wealth, one of the most addictive forms of happiness we know.

The redistribution of wealth has a functioning mechanism, it's called consumerism. We need to consume a more efficient for of self and social monopolization. The art and act of learning is the pathway to prosperity and doesn't create an 'us versus them' situation.  

"A government which robs Peter to pay Paul can always depend on the support of Paul"
- George Bernard Shaw 1856-1950: Political What's What (1944)

"I did it and so should you", is a fallacy of the ego. Many factors are at play. They are complex and chaotic.

"Self-sacrifice enables us to sacrifice other people without blushing"
- George Bernard Shaw 1856-1950: Man and Superman (1903) 'Maxims: Self:Sacrifice'

Here is a unique definition of ambition. I am paraphrasing George Bernard Shaw when the make this equivocation. Although typically associated with discontent, the irony is subtle. For some reason, the sentiment of the conversation changes when we define want with a goal directed activity (teleology) or sustainable consumption. What do you want? It will define you.

"As long as I have want, I have a reason for living. Satisfaction is death."
- George Bernard Shaw 1856-1950: Overruled (1916)

At our worst (and best), behavior is about a biochemical reaction and nothing more.

"It is easy - terribly easy - to shake a man's faith in himself. To take advantage of that to bret a man's spirit in devil's work."
- George Bernard Shaw 1856-1950: Candida (1898)

Duty is something that you do before you flush the toilet. Not washing your hands is something to be ashamed of.

"When a stupid man is doing something he is ashamed of, he always declares that it is his duty."
- George Bernard Shaw 1856-1950: Caesar and Cleopatra (1901)

Are we the virus, consider the Doctor's Dilemma from 1911.

"There is a bottom only one genuinely scientific treatment for all diseases, and that is to stimulate the phagocytes"
- George Bernard Shaw 1856-1950: The Doctor's Dilemma (1911)

For the right politician, humility need not apply. Hubris is her definition of ambition and his habitat is the cherished liberal democracy of the West. Representative complacency is latent and non-linear.

"He knows nothing: and he thinks knows everything. That points very clearly to a political career"
- George Bernard Shaw 1856-1950: Major Barbara (1907)

We don't want to compartmentalize human beings in bureaucracy and civil servitude.

"When domestic servants are treated as human beings it is not worth while to keep them"
- George Bernard Shaw 1856-1950: Man and Superman (1903)

The examined life is worth living. As a parent, would you receive a passing grade?

"Parentage is a very important profession, but no test of fitness for it is ever imposed in the interest of the children"
- George Bernard Shaw 1856-1950: Everybody's What's What? (1944)

I can say for certainty that certain phrases would not be comprehended by the Ancient Greeks.

"Walk! Not bloody likely I am going to take a taxi."
- George Bernard Shaw 1856-1950: Pygmalion (1916)

Christmas is only once per year for a reason.

"A perpetual holiday is a good working definition of hell"
- George Bernard Shaw 1856-1950: Parents and Children (1914)

Indifference to poverty is worse than poverty itself.

"The greatest of all evils and the worst of all crimes is poverty."
- George Bernard Shaw 1856-1950: Major Barbara (1907)

The mark of the prototypical femalist without the pejorative. Men compete for female attention.

"You think that you are Anne's suitor; that you are the pursuer and she the pursued... Fool: it is you who are the pursued, the marked down quarry, the destined prey."
- George Bernard Shaw 1856-1950: Man and Superman (1903)

André Malraux on the Neither Nor of War and the Art of Revolt...

Oscar Wilde on Everything - Os epi to poly...

"I can resist everything, butt temptation on the other, I can not turn the other cheek." - Shit for brains  

An End in Itself - Another planksip® Möbius

"I can resist everything except temptation."
- Oscar Wilde 1854-1900: Lady Windermere's Fan (1892)

"We all know that Art is not truth. Art is a lie that makes us realize the truth."
- Pablo Picasso 1881-1973: Dore Ashton 'Picasso on Art' (1972)

Oscar Wilde on a starry night...

"We are all in the gutter, but some of us are looking at the stars." - Oscar Wilde 1854-1900: Intentions (1891)

Now One (Wonder) - Another planksip® Möbius

"There is no such thing as a moral or immoral book. Books are well written, or badly written."
- Oscar Wilde 1854-1900: The Picture of Dorian Gray (1891)

Now if I were to make the claim that Das Capital by Karl Marx was an immoral book, for reason that I will not get into, could I collectively refer to the above quote from Oscar Wilde and say that Marxism was badly written? The obvious answer is no, as the two are related in contrast only and not in meaning. A theory of mind like the morality free will that Daniel Dennett promotes (as do I), is one of ethics. Where am I going with this? I am setting up a deontological if then statement.

Hope is an If Then Statement - Another planksip® Möbius

If you mind your p's and q's, then your ethics will be deontological - A planksip® Maxim

If I make an if statement, then the conditional would be conditional on the algorithm I write and not the if statement alone. We are the feedback loop, the authors of our own creation. The arch of Ethics is foundational to the p.(x) philosophy.

Keystone Ethics Courtesy of planksip® and the Value Chain

Apocryphal meaning he probably didn't say this but he was attributed as saying this. Sound familiar? Was the Jesus myth apocryphal or pseudepigraphal? False in history, false in fact, this narrative is Apocrypha, with deuterocanonical texts being no more than disputable footnotes. Pseudepigraphal make Jesus a false prophet, non-existent in fact. One of us must go.

Beibehang Modern Background Large Painting Coco Beach Island Dolphin Pared 3d Wallpaper Hotel Bad room Mural for Living Room

of the wallpaper in the room where he was dying."One of us must go."

- Oscar Wilde 1854-1900: attributed, probably apocryphal

"I hope you have not been leading a double life, pretending to be wicked and being really good all the time. That would be a hypocrisy."
- Oscar Wilde 1854-1900: Intentions (1891)

Identify the social contradictions or hypocrisies. Internal contradictions, or multitudes, are manifest courtesy of Walt Wittman, social contradictions are hypothetical hypocrisy made manifest. Behaviour aside, the self would remain but the self can not exist without the social and so the möbius continues. Limiting or "governing" the metaphysics is the moral thing to do and the transmittance of cultural norms to our future generations. What do we want to say? A complicated self is the norm, magical thinkings is creative as long as you are conscious of the illusion, the illusion that is the self and performance life. The stage is existential. Jaggi Vasudev, also known as Sadhguru, is right but only partially so. Information structures based on falsifiable truths is structured pluralism. Not all ideas matter, some matter a little, others are axiomatic to human consciousness, anything else would be a hypocrisy.

There is a difference between anything else and everything else. The latter is fascist, while the former sets the a standard. That's the law, it's up to us to set the precedent and socially enforce the former state of being. So where do we begin? We have 2,000 years of Greek Hegemony and religious hetronomepigraphal to contend with. A pluralistic perspective under evaluation is hierarchical in nature and so goes the dissent of man. Objectify meaning is the answer-key to the test, the narration will tell the rest. Of us, that is the question of shared existence and what it means to exist is Being. Shakespeare asked the question, Martin made Dasein. Philosophy must "do", anything else would be a hypocrisy.

Contradictions in terms span paragraphs and epitaphs. A trope and Figure of Speech, the giants of our past are Newtonian, Einsteinian and planksipian. Can this information be viewed in the same direction as humility? Anything but dull, the piercing perspective is nothing other than functional fixedness. To the rescue comes silence and contemplation. The rational self, for no other reason than Reason, itself a rather recent invention. Instrumental and sui generis with technology. Technocrats advance!

"The nineteenth century of dislike of Realism is the rage of Caliban seeing his own face in the glass." - Oscar Wilde 1854-1900: The Picture of Dorian Gray (1891)

Auditory Cheesecake Courtesy of planksip® and Steven Pinker

The Caliban lives within the wellspring of the Mentalese, implying more than movement, the Logos of creativity, the poetry of thought, the Quaternion Correlations.

Dylan Thomas on Death, Aging, Starless Nights and the Fuse of Youth

Carl Gustav Hempel on Deductive-Nomological Models and His Very Own Raven Paradox

Philip Sidney on Charity, Silence and Faithfulness

James Anthony Froude on Living, Dying and Defining Through Dualities

Paul Dirac on the Eros of Math and the Son of Chaos

It's more important to have beauty in one's equations that to have them fit experiment... The discrepancy may be due to minor features... that will get cleared up with further developments.

- Paul Dirac 1902-84: in Scientific American May 1963

I would like to change this to "beauty in ones equation".

Jack Kerouac on Buddhism, Poetry and Illustrations

John Locke on Errors of Truth and the Battle of Ideas

Max Planck on the Death of Your Opponent (1)

Max Planck is only partially the incipit inspiration of planksip®, Science is the full truth, for future generations to tell. Veritas will tell it well, as Harvard proclaims!

Let's create a planksip®...

The only true pseudo-truth is partially true today, and all true tomorrow. Consider Max Planck and the future currents of tomorrow's truth.

"A new scientific truth does not triumph by convincing its opponents and making them see the light, but rather because it's opponents eventually die, and a new generation grows up that is familiar with it." - Max Planck 1858-1947: A Scientific Autobiography (1949)

Alfred Tennyson - Memes and Responsions

... on Statistics, Determination, Knowledge, Universities and Suicide

as sunlight drinketh dew - kissing (12)
O Love, O fire! once he drew
With one long kiss my whole sole through
My lips, as sunlight drinketh dew.

- Alfred, Lord Tennyson 1809-92: 'Fatima' (1832)

as the strength of ten - goodness (16)
My strength is as the strength of ten,
Because my heart is pure.

- Alfred, Lord Tennyson 1809-92: 'Sir Galahad' (1842)

better to have loved and lost - love (54)
'Tis better to have loved and lost
Than never to have loved at all.

- Alfred, Lord Tennyson 1809-92: In Memoriam A. H. H. (1850)

Break, break, break - sea (14)
Break, break, break,
On thy could grey stones, O Sea!
And I would that my tongue could utter
The thoughts that arise in me.

- Alfred, Lord Tennyson 1809-92: 'Break, Break, Break' (1842)

Cannon to right of them - weapons (11)
Cannon to the right of them,
Cannon to the left of them,
Cannon in front of them
Volleyed and thundered.

- Alfred, Lord Tennyson 1809-92: 'The Charge of the Light Brigade' (1854)

curse is come upon me - supernatural (15)
Out flew that web and floated wide;
The mirror cracked from side to side;
'The curse is come upon me,' cried
The Lady of Shalott.

- Alfred, Lord Tennyson 1809-92: 'The Lady of Shalott' (1832, revised 1942)

dropping-wells of fire - trees (14)
Laburnums, dropping-wells of fire.

- Alfred, Lord Tennyson 1809-92: In Memoriam of A. H. H. (1842)

Every moment one is born - statistic (11)
Every moment dies a man,
Every moment one is born.

- Alfred, Lord Tennyson 1809-92: 'The Vision of Sin' (1842); cf. 2 above

Faultily faultless, icily regular - perfection (7)
Faultily faultless, icily regular, splendidly null,
Dead perfection, no more.

- Alfred, Lord Tennyson 1809-92: Maud (1833)

find, and not to yield - determination (11)
That which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

- Alfred, Lord Tennyson 1809-92: 'Ulysses' (1842)

forward let us range - change (23)
Forward, forward let us range,
Let the great world spin for ever down the ringing grooves of change.

- Alfred, Lord Tennyson 1809-92: 'Locksley Hall' (1842)

haunts of coot and hern - rivers (10)
I come from the haunts of coot and hern,
I made a sullen sally
And sparkle out among the fern,
To bicker down a valley.

- Alfred, Lord Tennyson 1809-92: 'The Brook' (1855)

honour rooted in dishonour - faithfulness (15)
His honour rooted in dishonour stood,
And faith unfaithful kept him falsely true.

- Alfred, Lord Tennyson 1809-92: Idylls of the King 'Lancelot and Elaine' (1859)

How dull it is to pause - idleness (11)
How dull it is to pause, to make an end
To rush unburnished, not to shine in use!
As though to breathe were life.

- Alfred, Lord Tennyson 1809-92: 'Ulysses' (1842)

jingling of the guinea - corruption (9)
But the jingling of the guinea helps the hurt the Honour feels.

- Alfred, Lord Tennyson 1809-92: 'Locksley Hall' (1842)

kiss again with tears - forgiveness (12)
And blessings on the falling out
That all the more endears,
When we fall out with those we love
And kiss again with tears!

- Alfred, Lord Tennyson 1809-92: The Princess (1947), song (added 1850)

know well I am not great - greatness (8)
In me there dwells
No greatness, save it be for some far-off touch
Of greatness to know well I am not great.

- Alfred, Lord Tennyson 1809-92: Idylls of the King 'Lancelot and Elaine' (1859)

lecture, rich in sentiment - universities (15)

makes no friend - enemies (13)

Man is the hunter - men/women (23)

man's fancy lightly turns - love (53)

may not quit the post - suicide (9)

more faith in honest doubt - doubt (8)

more than coronets - aristocracy (11)

Nature, red in tooth and claw - nature (10)

not at all or all in all - trust (11)

old order changeth - change (24)

Ring out the old - celebrations (7)

roaming with a hungry heart - exploration (9)

see my pilot face to face - death (37)

So many worlds, so much to do - future (18)

Some one had blundered - mistakes (9)

Tears, idle tears - sorrow (18)

Theirs not to reason why - army (21)

warming his five wits - birds (10)

Willow whiten, aspens quiver - trees (13)

wisdom lingers - knowledge (21)

woman is so hard - women (36)

Edgar Allan Poe's Carbon Footprint and the Places No Person Should Have to Go

Jacques Derrida on Keeping Your Critique Inside the Text

Leonard Cohen on Vessels of Pessimism...

Geoffrey Chaucer (English Poet) - Memes...

Go, litel bok - writing (8)
Go, litel bok, go, litel myn tragedye,
Ther God thi makere yet, er that he dye,
So sende myght to make in som comedye!

Geoffrey Chaucer c.1343-1400 Troilus and Criseyde

make his Englissh sweete - speech (4)
Somewhat he lipsed, for his wantownesse,
To make his English sweete upon his tonge.

Geoffrey Chaucer c.1343-1400 The Canterbury Tales 'The General Prologue'

Mordre wol out - murder (2)
Mordre wol out; that se we day by day.

Geoffrey Chaucer c.1343-1400 The Canterbury Tales 'The Nun's Priest's Tale'

rose in May - beauty (4)
And she was fayr as is the rose in May.

Geoffrey Chaucer c.1343-1400 The Legend of Good Women 'Cleopatra'

See Y'all Round Town!!

Daniel Sanderson

Published 5 years ago