Post by randolphcarter841 on Jul 13, 2017 19:21:36 GMT
NOTE to Part 1: From The Ninth Arch (re-issue, p. 314): “The verse-number [510] is that of ChZH, 'to see, as seers, by abnormal vision', which well describes the Skryer's ability to scan the leaves of the grimoire held against the light.” Footnote 28 appends to this: “James Joyce seems to have glimpsed in his dream-scape, Finnegans Wake, a passing image of this myth which he records thus: 'Yet on holding the verse against a lit rush this new book of Moses responded most remarkably to the silent query of our world's oldest light...'” (FW 123). Cf. mention made in a previous post re the origins of the title Against the Light. The portion left unquoted by Grant precedes this: “The unmistaken identity of the persons in the Tiberiast duplex came to light in the most devious of ways. The original document was in what is known as Hanno O'Nonhanno's unbrookable script, that is to say, it showed no signs of punctuation of any sort.” Follows the quoted portion above, then:
...and its recto let out the piquant fact that it was but pierced butnot punctured (in the university sense of the term) by numerous stabs and foliated gashes made by a pronged instrument. These paper wounds, four in type, were gradually and correctly understood to mean stop, please stop, do please stop, and O do please stop respectively, and following up their one true clue, the circumflexuous wall of a singleminded men's asylum, accentuated by bi tso f b rok engl a ssan dspl itch ina, -- Yard inquiries pointed out --> that they ad bîn “provoked” ay Λ fork, of à grave Brofèsor; àth é's Brèak – fast – table; ; acùtely profèššionally piquéd, to = introdùce a notion of time [ùpon à plane (?) sù ' ' fàç'e'] by pùnct! ingh oles (sic) in iSpace?! Deeply religious by nature and position... (FW 123-24).
“What meaneth this...?” (AL II.76) “The stops as thou wilt; the letters? change them not in style or value!” (AL II.54) “Hanno o non hanno” is Italian for “they have or have not.” Cf. AL I.34: “But she said: the ordeals I write not: the rituals shall be half known and half concealed: the Law is for all.”
The context of the quote given refers to the “hen-pecked letter” that is lost/found/lost again – this is not only the Mason's Word, but also the sperm of Shaun, his genetic material; FW 404-5: “(and may his hundred thousand welcome stewed letters, relayed wand postchased, multiply, ay faith, and plultiply!) Shaun himself.” We may read in this an echo (cf. “O h.c.e.! O h.c.e.!” FW 291, fn. 1 – this is the formula of Narcissus) of AL's “Divide, add, multiply, and understand” (I.25).
Time and space have become a jumble; since the world and all that is in it are a memory – a “dream-scape” as Grant has it – then rendings of the fabric of spacetime will result in synesthesia as represented by the “disintegration” of text. Sounds and sights are inextricable; the modalities of sensory experience are food being digested in the belly of a great Beast... In this case, “the Book that thou readest”! Each “grave” and “acute” accent is placed quite specifically; the presence of “ Λ” not only refers to symbolic logic (“and” conjunctions – which links this with Euclid's First Proposition, given in the classic form of a “Venn” diagram at the heart of FW) but also has specific value as the eleventh letter of the Greek alphabet...and the original title of Liber AL.
Finnegans Wake is the book of which AL is the announcement. It is the sadhana, the “half-known and half-concealed” rituals; and its study is a binding agreement between the intelligence that communicated it and the “centre of pestilence” mutated thereby.
The very center of FW – which we might consider the “crux” or point at which the serpent's tail is eaten (“the manifestation...at an end”) -- consists of a feast. This is the conclusion of a school lesson, with marginalia by the brothers Shem the Penman and Shaun the Postman, and footnotes by their younger sister Issy. (We will analyze the appearance of Euclid's First Proposition at a later time.) The very last section is titled “NIGHTLETTER.” There are two hand-drawn images at the base of the left-hand margin – presumably one for each of two footnotes.
[Image 1] is accompanied by the footnote, “Kish is for anticheirst, and the free of my hand to him!” The image may be “read” in many ways, as with all aspects of FW, but two come to mind immediately: a hen pecking at a mound and an outspread hand with the thumb touching either the tip of a nose or an elbow. At 253.28, we read “reechoable mirthpeals and general thumbtonosery,” recalling a major theme of the Wake (echoes of thunder, and HCE as the ECHo in “reverse time”; the final “o” is “omega,” and is “empty” because it functions as a black hole, consuming everything – vide infra) as well as the “appeal against the light” mentioned in a previous post. [Image 2] associates with the footnote: “And gags for skool and crossbuns and whopes he'll enjoy imsolff over our drawings on the line!” The pictograph resembles an “X” shape made by two sticks (presumably bones) with bulbous ends; the uppermost ends are jagged, as if torn or chewed off, the lower ends are “clean” and circular. These are also feeding tools, and may refer to the “dining etiquette” of crossing utensils on the plate when finished with a meal. We mustn't forget that X “marks the spot” of a treasure – when the spiritus loci of a place are satisfied with a sacrifice, the material remains (in alchemy, this is the “excrement” of the Paracelsian gnomes: gold) are left temporarily “unguarded,” and may be removed by the wary.
The “ordeal X” occurs at this point of the text. This is where the serpent eats its tail; this is where Kether and Malkuth meet in a point of infinitesimal size: the meeting of two cones, where “nought remains” (AL III.72). Indeed, this “nought” is one of three in the text of AL: three “noughts” are three “eyes” or ayins, totaling 210 – the number of dissolution and of NOTz (= N.O.X., night). If “Tzaddi is not the star,” then this is the black hole, the mouth of the serpent, the point of the cone, and the exit (without return) into Universe “B.”
Another interesting observation: there are presumably “winners of the ordeal X.” Note that in Old English, “wynne” is the word for “joy” -- my assumption is that “joy” references all obliquely (or otherwise) point to James Joyce as an avatar of Thoth-Hermes. (Cf. in this regard Richard Ellman's biography of Joyce, Chapter VII, in which Joyce's late-night meeting with George Russell has as its focus “an avatar being born in Ireland.” The implication is that this avatar is Joyce himself; see also Frances Boldereff, Hermes to His Son Thoth: Joyce's Use of Giordano Bruno in Finnegans Wake.)
There are many “crossings” at this point of the text; it is useful to quote Anthony Burgess on this point as well (Re Joyce, 229): “ 'Anticheirst' combines 'Antichrist' and 'anti-cheiros' – 'counter-hand', 'back of my hand': both Shem and Shaun oppose the Christ element, as manifested in each other.” Burgess continues: “ 'Their feed begins', says the text. They eat the substance of their father. [With the NIGHTLETTER, the] day of the brothers has arrived; the day of their father...is finished” (ibid.).
The conclusion of The Ninth Arch (32.27-29) reads: “and an aeon of darkness; the Darkness that is undying wherein the nosferatu eat the shades. On the table-cloth with knife-crisp folds [the "X" again] is spread the feast [cf. FW 7.9: "...grinny sprids the boord."]... Fall to!”
(To be continued.)
...and its recto let out the piquant fact that it was but pierced butnot punctured (in the university sense of the term) by numerous stabs and foliated gashes made by a pronged instrument. These paper wounds, four in type, were gradually and correctly understood to mean stop, please stop, do please stop, and O do please stop respectively, and following up their one true clue, the circumflexuous wall of a singleminded men's asylum, accentuated by bi tso f b rok engl a ssan dspl itch ina, -- Yard inquiries pointed out --> that they ad bîn “provoked” ay Λ fork, of à grave Brofèsor; àth é's Brèak – fast – table; ; acùtely profèššionally piquéd, to = introdùce a notion of time [ùpon à plane (?) sù ' ' fàç'e'] by pùnct! ingh oles (sic) in iSpace?! Deeply religious by nature and position... (FW 123-24).
“What meaneth this...?” (AL II.76) “The stops as thou wilt; the letters? change them not in style or value!” (AL II.54) “Hanno o non hanno” is Italian for “they have or have not.” Cf. AL I.34: “But she said: the ordeals I write not: the rituals shall be half known and half concealed: the Law is for all.”
The context of the quote given refers to the “hen-pecked letter” that is lost/found/lost again – this is not only the Mason's Word, but also the sperm of Shaun, his genetic material; FW 404-5: “(and may his hundred thousand welcome stewed letters, relayed wand postchased, multiply, ay faith, and plultiply!) Shaun himself.” We may read in this an echo (cf. “O h.c.e.! O h.c.e.!” FW 291, fn. 1 – this is the formula of Narcissus) of AL's “Divide, add, multiply, and understand” (I.25).
Time and space have become a jumble; since the world and all that is in it are a memory – a “dream-scape” as Grant has it – then rendings of the fabric of spacetime will result in synesthesia as represented by the “disintegration” of text. Sounds and sights are inextricable; the modalities of sensory experience are food being digested in the belly of a great Beast... In this case, “the Book that thou readest”! Each “grave” and “acute” accent is placed quite specifically; the presence of “ Λ” not only refers to symbolic logic (“and” conjunctions – which links this with Euclid's First Proposition, given in the classic form of a “Venn” diagram at the heart of FW) but also has specific value as the eleventh letter of the Greek alphabet...and the original title of Liber AL.
Finnegans Wake is the book of which AL is the announcement. It is the sadhana, the “half-known and half-concealed” rituals; and its study is a binding agreement between the intelligence that communicated it and the “centre of pestilence” mutated thereby.
The very center of FW – which we might consider the “crux” or point at which the serpent's tail is eaten (“the manifestation...at an end”) -- consists of a feast. This is the conclusion of a school lesson, with marginalia by the brothers Shem the Penman and Shaun the Postman, and footnotes by their younger sister Issy. (We will analyze the appearance of Euclid's First Proposition at a later time.) The very last section is titled “NIGHTLETTER.” There are two hand-drawn images at the base of the left-hand margin – presumably one for each of two footnotes.
[Image 1] is accompanied by the footnote, “Kish is for anticheirst, and the free of my hand to him!” The image may be “read” in many ways, as with all aspects of FW, but two come to mind immediately: a hen pecking at a mound and an outspread hand with the thumb touching either the tip of a nose or an elbow. At 253.28, we read “reechoable mirthpeals and general thumbtonosery,” recalling a major theme of the Wake (echoes of thunder, and HCE as the ECHo in “reverse time”; the final “o” is “omega,” and is “empty” because it functions as a black hole, consuming everything – vide infra) as well as the “appeal against the light” mentioned in a previous post. [Image 2] associates with the footnote: “And gags for skool and crossbuns and whopes he'll enjoy imsolff over our drawings on the line!” The pictograph resembles an “X” shape made by two sticks (presumably bones) with bulbous ends; the uppermost ends are jagged, as if torn or chewed off, the lower ends are “clean” and circular. These are also feeding tools, and may refer to the “dining etiquette” of crossing utensils on the plate when finished with a meal. We mustn't forget that X “marks the spot” of a treasure – when the spiritus loci of a place are satisfied with a sacrifice, the material remains (in alchemy, this is the “excrement” of the Paracelsian gnomes: gold) are left temporarily “unguarded,” and may be removed by the wary.
The “ordeal X” occurs at this point of the text. This is where the serpent eats its tail; this is where Kether and Malkuth meet in a point of infinitesimal size: the meeting of two cones, where “nought remains” (AL III.72). Indeed, this “nought” is one of three in the text of AL: three “noughts” are three “eyes” or ayins, totaling 210 – the number of dissolution and of NOTz (= N.O.X., night). If “Tzaddi is not the star,” then this is the black hole, the mouth of the serpent, the point of the cone, and the exit (without return) into Universe “B.”
Another interesting observation: there are presumably “winners of the ordeal X.” Note that in Old English, “wynne” is the word for “joy” -- my assumption is that “joy” references all obliquely (or otherwise) point to James Joyce as an avatar of Thoth-Hermes. (Cf. in this regard Richard Ellman's biography of Joyce, Chapter VII, in which Joyce's late-night meeting with George Russell has as its focus “an avatar being born in Ireland.” The implication is that this avatar is Joyce himself; see also Frances Boldereff, Hermes to His Son Thoth: Joyce's Use of Giordano Bruno in Finnegans Wake.)
There are many “crossings” at this point of the text; it is useful to quote Anthony Burgess on this point as well (Re Joyce, 229): “ 'Anticheirst' combines 'Antichrist' and 'anti-cheiros' – 'counter-hand', 'back of my hand': both Shem and Shaun oppose the Christ element, as manifested in each other.” Burgess continues: “ 'Their feed begins', says the text. They eat the substance of their father. [With the NIGHTLETTER, the] day of the brothers has arrived; the day of their father...is finished” (ibid.).
The conclusion of The Ninth Arch (32.27-29) reads: “and an aeon of darkness; the Darkness that is undying wherein the nosferatu eat the shades. On the table-cloth with knife-crisp folds [the "X" again] is spread the feast [cf. FW 7.9: "...grinny sprids the boord."]... Fall to!”
(To be continued.)