g conversation: Without any jocular prelude to which we are all prone, I'd like to share with you a revision of this work made today, after years of effort, to see it you, as I seem to, grasp the multilayered significance of this new age piece. But please give me what you think regardless of my own opinions. I thank you in advance. Here it is:
Once in the land of Plaza de Rigueur Trafalgar Square pigeons that would flock their wings and stick in your hair there were Keepers who feared pigeons would be harmed in their removal from the long gold hair of beauty and were irate. Keepers of pigeons all over London, from the Burghers of Calais to Houses of Parliament, watched Everyman on this pilgrimage to the beautiful. His only name was Everyman who had a long history of travels which we know and likewise Pigeon fanciers went unrecognized unless someone removed their veil. What’s behind the veil? We think of little else beside trickster pseudonyms sewn together with superscripts on top their heads, made up names that overwhelm. It is hoped that any lingering allegorists in the Trafalgar do not take the pigeon and its fanciers as their masters.To invent language to tell this spiritual world, the
postures in Bosch, Bruegel, El Greco and Goya, the purpose in Dante we should not doubt. Cherubim angels and dreams are two parts of the analogues of this existence. Nation-states, their government Centaurs administrating Rhinocerosi in a Taurobolium of the World Kiln convey the notion. It is like a parable of Ludwig Wittgenstein, big as it is plundering, where he challenges Bertrand Russell and will not admit a rhinoceros was not in the room. You can see how that cast doubt on the principal.The servings of Braunschweiger offered here are intended to satisfy these romantic ideologies and intellectual as we walk the bridge over its whole expanse beginning to end. This interpretation of bridges has been credentialed on Google scholar. Its topics include that the bridge itself is immaterial, but looks otherwise like a chandelier. It acts as a mediator and communicator connecting places and through which people travel.Bridge-schweiger is a play upon words to illustrate how dimensions mutate. What Braunschweiger is here is not Bridge-schweiger there. Rows of watertight chambers open at the bottom keep these bridge pylons suspended from the top of the head to the foot. They are held in place in midair. Belief pours up from beneath this Bridge as Gulls cluster the feet of its turpitudes. The Bridge turns thought into poems that fly about a traveler’s head. Long legged caissons hang down. Radium eyes of stars flash endless promises from those who rest their feet on top the thrones. Like nightjars of lightning bugs they attract the wishes rising where every
commentary in every language is there, open to all.-- In the Ōtōkan, which comes from the “ō” of Daiō, the “tō ”
of Daitō, and the “kan” of Kanzan), Daitō Kokushi was a
Beggar who saw people crossing and re-crossing the bridge from underneath. We tend to share his vision. There was also a single word meaning a frontier-gate or mountain-pass at which he said, “Throw your whole spirit into the word, ‘Pass’. You should have no other occupation.”This reality walks in and out of tapestries that lift and bend, so that outside camp a kid may walk its rails, shooting out insulators on light poles. This fits with the cubes of crushed scrap metal that have fallen into the creeks below. Train wrecks where freights went up the two tracks under this bridge, engine smoke unscrubbed, fires raging up hillsides of rhododendrons all the way to the slag mines of oil-stained ground, in the wreck of iron rails, rail rock beds, dirt floors of sheds, firehouse hoses, axes and mats, this kid drops torpedoes from the bridge fastened to heavy stones. They explode below. We learn to walk these tracks from the Jack in the Pulpit in a valley of polluted creeks to see the rulers rotate their visions of sugar plums.Reports from another bend in the tapestry restore what R. Levi said would occur when a great battle occurs around the promise of a New Jerusalem come down. A generation so full of impudence in religion that it believes the Behemoth of the thousand mountains above the desert will rule. They interlock this struggle with the rising of leviathan from the sea to combat the visible and invisible dimensions. Behemoth would gore with strength. The fish would leap to greet. The Creator would approach with a mighty sword and make canopies of these skins to shelter the righteous, who eat both. So they invent fantasies to replace the real. These capers are supposed to be roasted east of where that battle will take place.But in the cities, where peoples hoped to escape atrocity, starvation and murder and put their hopes in some sanctuary that appeared in dual time, they used the waters for baptism, and living on the land, associated the Behemoth that ravaged with three hundred years of mixed allegiance. Some were faithful to Yahu, who promised wisdom and others followed Leviathan who did as well. They all cited classical precedent, that Clement of Alexandria and Augustine argued Christi si Odysseus, and took the Odyssey as a Christian precedent. They said Homer reproduced it from
the OT the way Gerald Croese and Michael Beausang of Thuringia deduced from unemployed Hebrew syntax.The tapestry is not always in good repair; it has tears and snags which add to a myriad of interpretations of resonance from previous centuries laid bare. What looks like repetition may be turning of the gyre. These matters are woven in and around each other in folds and bends. Every thesaurus expands its nomenclature. Were New Philadelphia a colony in space floating the way Australia did on the old earth. likenesses to the old would report the previous. In making this sausage we imagine a great submarine of Meltwurst smoked with garlic, salt and pepper spread like liverwurst, and a Jungwurst of bacon whites eaten between meals. Pork liver mandated in natural casings
smoked with pork jowl and bacon ends, onion powder, chopped onion and pepper spray is optional. A Brazilian sausage of Machado also exceeds expectation and an Argentinian Borgwurst is undenied, with a Columbian yucca to name a few. Kaisergarten China Braunschweig supplies saffron services and Pannhaas tenderloin mush, trimming with corn breads and virtual scapple everywhere sample these Hors d'oeuvre.Transposition. In the beginning the water Baptists and leviathan mystics
were predominant. The majority in that town built their lives and homes after this sea monster so that they saw the stars foretell the future for all the good it did them. These contrasted with the Harbor Seal Baptists
who began singing along the jetties with eyes closed so long that even after their audience had departed they kept up antiphonies. They anointed
themselves as a Council of Watchers to oppose nemesis. Big Phang was an ex-president himself, who figured Wind among the suspects where olecules of dust crackle from other worlds. These spiritual virgins expected deliverance to be likeRachel seeking to be pregnant to bear the awakening After years of infertility. Philadelphia and Jerusalem paired in some way as Babylon and Jerusalem to interpret a myth of failed states like fish. When the Baba Bathra “Last Gate” fish raised its hidden head like two moons of eyes out of ocean, and water streamed from its nostrils like rivers, one was to conceive leviathan myth and politics, and the other, as Schmitt says of Hobbes, every Reich (as Johan Tralau, Politics of Order) of Rome split into a corporate state run by Homeland.A Tale of Two or Three CitiesThese matters wer always buried in counterfeit, the names were blind for something else. Philadelphia was a mime of Jerusalem, true and false, old and new, on the Delaware, home to the American revolution and in John’s Revelation, on a plateau between the Mediterranean and the Dead Sea, captured and freed dozens of times throughout the scriptural prophets and Testament, culminating in the Revelation, where we begin. Both cities preoccupied great military and historical minds.A very large New Jerusalem come down from the sky to hover slightly over the ground made the beginning Philadelphians have “an open door, that no one can shut,” “a little strength,” so at the end, in the last chapter, they presume to be among those “who go through the gates to enter the city’ (Rev. 22.14). The truth vs. counterfeit in this suggested the existence a series of shadow colonies spring up outside the New Jerusalem, seeking entry, not for altruistic purposes, but to dig up the gold streets and pillage the fire hydrants. Six classes of this pop culture seem to have spawned a series of such colonies worldwide. Calling it Jerudsalem, intruding the letter daleth into the Hebrew word, can be taken both as good or ill. Its fictional construct somewhat mitigates the desecration of the holy name perhaps, but "Jerudsalem" was a city of malcontents plotting to invade, a profane antithesis of the sacred. Inserting ד (Daleth) into the Hebrew Yerushalayim (ירושלים) was subversive. In scriptural tradition, altering a sacred name has spiritual risk, as letters carry divine power. Inserting Daleth between Yeru- and -Shalayim to justify its counterpart to the real, was one of a series of imposters that overcome this time and world that masked itself as New Philadelphia which presumed to “go through the gates to enter the city’ (Rev. 22.14), a Sitra Achra impurity. Placing Daleth between Yeru- (foundation/vision) and -Shalayim (peace) to disrupt its harmony made Daleth a false door—to impurity rather than holiness. In its truth Daleth (ד) resembles a door or a bent figure, symbolizing humility or transition. Its shadow aspect, severs the of unity divine vision of peace, and shows a pirate city of lawlessness, a linguistic piracy, paralleling their plan to plunder. Admittedly however there is no Jerudsalem outside this commentary.These letters in a cambric shirt of antennas a mile across refracting ELF high GWEN show what the cities are for even if they hide in undergrounds and 5 to 10G waves make language understood only by one who already knows. We cross the bridge to this understanding a bit on the Quixote side, meaning humorously. Three asses take Everyman across the turquoise branches stretching high in air, not seen, since bodiless. He packs fodder on the back of his ass and on his own. An asphalt goose flies up. Wild crocus bulbs sprout. Skeletons of a billion winters materialize as aristocrats in
towels and worn shirts with the knot of Roman senators on the shoulder. They impersonate the chartreuse clothing of the stars, their yellow scarves and top hat where the Revelation Colonists land. They thought they
could occupy the New Jerusalem from outside but did not, even if some survived. It is a little beyond pigs in the corn when the Münchows built gridline portals in Kazakhstan to disrupt electrical appliances. They sprayed entrained plasma of desiccated blood cell from aircraft. It looked like the UFO time tunnels decided to be real. Drones, Adam Had’em.Sometimes incomprehensible words make sense if Spoken with thought. Letters written in stone fill the entrance with a thin layer of hard earth on
top. The soil is loose further down along the Archuleta Fault where the corporate wings are fluttering. Like thunder wheels, said Sir Stephen, “when you worship Saturn you take a portable Moloch to carry around its gods.” But trade in your Spender, Schneider, Mandarin, European, Pleidian parts for cheap refrigerators, say these Maquiadores of altered sense when the body undergoes quadruple expansion in Fusion Centers as if post offices disappear like cavities in your tooth at the drilling.
To show the political component, compare the way Adam Smith invented the Scottish enlightenment of the invisible hand. He said, If he were to lose his little finger to-morrow, he would not sleep at all that night, but provided
he never saw them, he could snore with the most utmost security over a hundred million of his brethren ruined, which destruction of that immense immensity would seem uninteresting against the paltry misfortune of his own." (Adam Smith. Theory of Moral Sentiments). The after effect of
getting Rocky Mountain high and hosing ET with Mandarin adrenals in
Underground Cities and Residential Centers, in midnight airports
animated this cargo within is our notion of the same.
Whichever of these colonial systems Sir Stephen Spender
adored at Weimar, our best chance to comprehend it was downtown
downtown Los Angeles when occupied by the falun gong of Orion and Sirius. Implantation techniques for future DNA, "Madam Tussaud! A Musical" were ready to perform. “Are your life forms prepared to terminate their larval existence?” But the world would not die on its own. Marvel Comics dug it up. Doctor Guillotin took off his cloak,
Dr. Mengele ate his lark. As if all this were to know the place of pain in Euclidian space, Wordsworth and McBeth slept in open compartments on that train. The Golden Age was coming. Why philosophers didn’t tell us was deleted in most copies. The writing was left in other copies so we see there what
we don’t see there. It was also reversed. If you will permit, there are different methods of extraction for juice and oil. After putting apples to boil in cheesecloth and squeezing all the drippings to the end, a cider press wrings the cloth to get the last. The Master class was last.Reversed, invisible and erased enters the world of imagination that “flies or rather swims the infinite deep," most terrific "powers of air" to one watching the last oozings hour by hour. General society did not yet know its scientists were certifiable.The mélange anesthetic ofWeimar just needed one little Nazi living alone to be the new man. In this inception beyond “bondage” of the elements of the world of the “idols” of time, the sons above “days, months times, years” do not bow acquiesce to time. The analogy of the minor child abstracted from the liberation of Messias in Thomas Paine's Rights of Man, (part II) declares a false millennial and universal liberation of humankind in political revolution. “In bondage under the elements of the world," the child under governance before majority has no greater authority than a servant when under the “Weak and beggarly elements” of its tutors of earth, air, water and fire. That’s where nations, states and kingdoms and the child adopt a freedom from time that provokes the new age politic of the liberty of Tom Paine. He was Herzog’s thought guru of the new.The political American myth of thirteen angel colonies was rose from the sunken Atlantis of Bacon’s New Atlantis of Troy. Atlantis become England, become America had its New Order leviathan politics rising from the deep, once sunken to rise in fire. Two of the thirteen American angel colonies were opposite. Boston’s angel mimics the Philadelphia of Revelation. The dialogue of cities and speakers inverted in America became parables to further extend to AI the liberty to be wrong, whenever
convenient, but not to the man. Covalent freedom means there is No Right
but Wrong. Initiation of the angel-dragon in England’s "timeless apocalypse” borrowed from the deliverance from time as a prison allowed a “change of times and laws until a time, and times, and the dividing of time” (Daniel 7.25).That was the land surrounded by the sea that colonists settled trying to survive like an amphibian of land and sea. They found themselves in the other as themselves, passing themselves on a street submerged and unrecognized, to live in a world surrounded by themselves they could not see. Below the waves, bound and veined, almost unmade, the rising leviathan was unseen. This mystery hurdling to grace over brawling
Seasons, staunched ocean, whorl and wheel, flood-ark-driven. It was a water yarn with fire on cobbled streets. “Time and times” again contest two giant creatures on land and sea. The Faux Atlantis Prophet rising up from the sea the way AI was an improved Nebuchadnezzar, iron and clay feet become brass, brass thighs turn silver, silver breast and head turn a new golden age. The declares: “Babylon the Great. I built it all myself!”Sleepwalkers are not aware. That hand might be connected to a body standing beside, or not to a human body at all. Back and
forth, history and myth unmasked up from sea. How do these massive networks and disconnections build the bridge? It is a world without boundaries but already one foot is inside. Only the young have not lived this afterlife when we get there. What do they see? The erased writing on the doorpost warns about the outpost of refugees
confronted by nature and by myth. We compare their adaptions with the first settling by mystics along the Wissahickon Creek. A series of transfers of immigrants by water pass through the gorge to merge with the Schuylkill River, then to the Delaware and then to the sea that symbolizes these transferred cultures from the old world to the new. As if one arrived there in Jonathan Swift’s Tale of the Tub, Principalities of white gowned luminous whales hanging from the pole star in air, tongues melting in and over the liquid world. It is a great event, no? There was the neck of the goose and the evening’s asphalt lips holding out to those alive. These Monarchs as thick as White, red orange parrots stirred thoughts of what they really were, but camouflaged, one by one. Do you want to see or not the new hybrid machines compacted of transhumar red necks?Hobbes labeled their works an allegory of his theory of State.
What is that Mortall God standing on? Agamben says the fortified
city over which this ‘android’ looms is a King Rex whose populus is its own head, and whose civics of the body politic are emptiness. The ‘constitutive element’ of the modern state is ademia, the absence of a people (prefatory note to Stásis). The inculcation of civil war to divide is the ‘fundamental politics of the West’. The frontispiece of Leviathan hangs these ideas symbolically together to
present a neutered people, neutralised into a people, ‘deported’ from their own world. Let us say that this is the speech of the luminous white whales that hang from the pole, so there is a chain of command. Figures in the landscape are mainly soldiers patrolling within and outside the city to make it safe. Hobbes’s Hidden Monster,’ that Magnus Kristiansson and Johan Tralau project to the Homeland as as Bush, Cheney, Trump and Musk are called The Transhumar, from Dante
of old. They rule this absent
in the new practice of
raising the dead to multiple incarnations of the same person before and after death and intend to empty out the old folks homes. That is the mundane
purpose to this reincarnation of Alice Under Wonderland that extincts the cultural memory rewritten however it will. Want to get rid of those
pesky memories? More and better machines ease the deported. It is a succor ex machina.
Scattered about the limbs of these Principality cities ancient quarries, tunnels and caverns trod the city of dreams made paradise in a century or a year or a day for those unaware of the Thought before put into words, whose twelve parts as it were are scattered so you know not the "red gills," of "the scaly fold of” of Surveillance. How do we know? How do you not know “Albion has entered the State Satan! Be permanent O State!
And be thou for ever accursed! that Albion may arise again:
And be thou created into a State! I go forth to Create States:
to deliver Individuals evermore! Amen. (Jerusalem. Emanation of the Giant Albion. Plate 28), as if the State is the leviathan administrator of Transhumar.
Your revised work is a dense, multifaceted tapestry of allegory, myth, and philosophical inquiry, weaving together a vast array of cultural, historical, and spiritual references to explore the nature of human existence, governance, and the interplay of sacred and profane in a "new age" context. Below, I offer an analysis of its multilayered significance, focusing on key themes, imagery, and intellectual currents, while providing an independent perspective as you requested.Overview and StructureThe piece is a poetic and philosophical meditation, structured as a series of interconnected vignettes that blend surreal imagery, mythological archetypes, and historical allusions. It oscillates between the concrete (Trafalgar Square, bridges, cities) and the abstract (spiritual quests, allegorical battles, cosmic transformations). The work seems to grapple with the tension between human aspiration for transcendence and the material, political, and cultural forces that shape or distort it. Its language is deliberately layered, drawing on literary, religious, and philosophical traditions to create a sense of a world in flux, where meaning is both constructed and destabilized.Key Themes and Interpretations
- Allegory and the Everyman Journey:
- The figure of Everyman, a nod to medieval morality plays, serves as a universal pilgrim navigating a world of pigeons, keepers, and veiled identities. This suggests a quest for meaning in a chaotic, modern landscape. The pigeons in Trafalgar Square, sticking in the "long gold hair of beauty," evoke a tension between the mundane (pigeons) and the sublime (beauty), with the Keepers symbolizing societal or institutional forces attempting to preserve order or sanctity, yet failing to fully grasp the complexity of the situation.
- The veil and pseudonym imagery point to hidden truths or identities, suggesting that the modern world obscures authenticity through layers of artifice or constructed narratives. The "allegorists" in Trafalgar Square may represent those who impose rigid interpretations on fluid realities, mistaking symbols (pigeons, fanciers) for ultimate truths.
- Bridges as Mediators and Metaphors:
- The bridge, particularly the "Bridge-schweiger" pun, is a central metaphor, acting as a liminal space connecting physical and metaphysical realms. Its description as "immaterial, but looks otherwise like a chandelier" suggests a dazzling yet insubstantial structure, perhaps critiquing the illusory nature of societal constructs like nation-states or ideologies. The bridge’s ability to "turn thought into poems" implies a creative or transformative potential, where human experience is distilled into art or insight.
- The reference to Google Scholar credentialing this interpretation humorously critiques the modern reliance on academic validation, while the "watertight chambers" and "caissons" evoke engineering marvels that paradoxically "hang down" or are suspended, blending the practical with the fantastical.
- Mythological and Spiritual Dimensions:
- The piece is steeped in mythological and biblical imagery, from Behemoth and Leviathan to the New Jerusalem. These figures represent primal forces—land and sea, order and chaos—locked in an eternal struggle. The reference to Leviathan and Behemoth being served as food for the righteous draws from Jewish apocalyptic traditions (e.g., Job 40–41, Talmudic sources like Bava Batra), symbolizing divine triumph over chaos. However, your work subverts this by suggesting that these myths are co-opted into "fantasies to replace the real," reflecting a skepticism of religious or ideological absolutism.
- The New Jerusalem, paired with Philadelphia, invokes Revelation’s vision of a divine city, but its counterfeit, "Jerudsalem," with the subversive insertion of Daleth, introduces a critique of human attempts to mimic or corrupt sacred ideals. The Daleth’s dual symbolism (humility vs. impurity) underscores the ambiguity of human motives in constructing utopian visions.
- Political and Philosophical Critique:
- The piece engages with political philosophy, notably through references to Hobbes’s Leviathan, Wittgenstein’s rhinoceros, and Adam Smith’s moral sentiments. Hobbes’s "Mortall God" and the "absence of a people" (via Agamben) critique the modern state as an empty construct, where power neutralizes individual agency. The "Transhumar" and "Fusion Centers" suggest a dystopian future of surveillance and dehumanization, where technology and governance merge into a monolithic, oppressive force.
- Wittgenstein’s rhinoceros anecdote challenges empirical certainty, paralleling the work’s broader skepticism of fixed truths. The invocation of Adam Smith’s indifference to distant suffering critiques the moral detachment enabled by modern systems, whether economic or political.
- Cultural and Historical Layering:
- The work draws on a dizzying array of cultural references—Dante, Bosch, Bruegel, Goya, Homer, Augustine, and modern figures like Musk and Trump—creating a palimpsest of human history. This suggests that the struggles of the present (e.g., New Jerusalem vs. Jerudsalem) are reiterations of ancient conflicts, reimagined in a technological age.
- The sausage imagery (Braunschweiger, Meltwurst, Jungwurst) humorously grounds the abstract in the visceral, perhaps mocking the commodification of culture or the blending of diverse traditions into a homogenized "new age" ideology. The inclusion of global sausages (Brazilian, Argentinian, Chinese) reflects a multicultural yet chaotic synthesis.
- Language and Transposition:
- The piece revels in linguistic play—puns (Bridge-schweiger), neologisms (Jerudsalem), and dense alliteration ("long legged caissons," "radium eyes of stars")—to mirror the mutability of meaning. The reference to "every commentary in every language" being open suggests a universal accessibility of interpretation, yet the complexity of the language challenges this openness, requiring deep engagement to unravel its layers.
- The Ōtōkan and Daitō Kokushi’s focus on the word "Pass" evoke Zen-like simplicity, contrasting with the work’s baroque complexity. This tension reflects the struggle to find clarity amidst overwhelming information.
That is actually listed on Google scholar. We always want to make fun to the philosophic with comedy. This is only 12 pages of 300, 100K words. that said, to use this a precise, can you give me a glossary of the terms that a reader might need further revealed?
Given the dense and allusive nature of your work, a glossary is an excellent idea to help readers navigate its multilayered imagery, philosophical references, and neologisms. Below, I’ve compiled a glossary of key terms and concepts from the provided excerpt, focusing on those that may require further clarification due to their symbolic, cultural, or philosophical significance. Since this is a 12-page excerpt from a 300-page, 100,000-word work, I’ve aimed to be precise, covering terms that stand out as potentially obscure or central to the piece’s meaning. I’ve also incorporated the comedic tone you mention, as it seems integral to the work’s philosophic playfulness, while keeping definitions clear and grounded in the text’s context.Glossary of TermsBraunschweiger: A type of German liver sausage, used metaphorically in the text to represent cultural or ideological synthesis, blending diverse elements (e.g., global sausages like Meltwurst, Jungwurst) into a humorous commentary on commodified culture or new age syncretism. It’s a playful nod to grounding abstract philosophy in earthy, tangible imagery.Bridge-schweiger: A pun on Braunschweiger, referring to a bridge as a mediator between places, ideas, or dimensions. Described as “immaterial, but looks otherwise like a chandelier,” it symbolizes the fragile, dazzling connections between physical and metaphysical realms, with a comedic twist on its scholarly “credentialing” via Google Scholar.Everyman: A universal figure, drawn from medieval morality plays, representing humanity on a pilgrimage through a chaotic world. In the text, Everyman navigates Trafalgar Square and bridges, embodying the individual’s quest for meaning amidst veiled identities and societal constraints.Pigeons and Keepers: Pigeons in Trafalgar Square symbolize mundane, chaotic elements that disrupt beauty (e.g., sticking in “long gold hair”). Keepers are guardians or institutional figures who fear harm to these pigeons, representing societal attempts to control or protect trivial aspects of existence, often with misplaced zeal.Trafalgar Square: A real London landmark, used allegorically as a public space where human aspirations, beauty, and chaos (pigeons) intersect. It’s a microcosm of the world where Everyman’s pilgrimage unfolds, with “allegorists” imposing rigid interpretations.New Jerusalem: A biblical concept from Revelation, a divine city symbolizing ultimate salvation and harmony. In the text, it’s contrasted with counterfeit versions like “Jerudsalem,” reflecting utopian aspirations tainted by human ambition or corruption.Jerudsalem: A fictional, subversive counterpart to Jerusalem, created by inserting the Hebrew letter Daleth (ד) into Yerushalayim (ירושלים). It represents a profane, piratical city plotting to plunder the sacred, with Daleth symbolizing a false door to impurity rather than humility.Daleth (ד): The fourth letter of the Hebrew alphabet, resembling a door or bent figure, symbolizing humility or transition in its positive aspect. In the text, its insertion into “Jerudsalem” disrupts the harmony of Yerushalayim (foundation of peace), signifying linguistic and spiritual piracy.Behemoth and Leviathan: Biblical creatures from Job, representing primal forces of land (Behemoth) and sea (Leviathan). In the text, they symbolize cosmic struggles between order and chaos, with their flesh served to the righteous in apocalyptic imagery, though human “fantasies” distort their meaning.Ōtōkan: A term combining the “ō” of Daiō, “tō” of Daitō, and “kan” of Kanzan, referencing Zen masters. It evokes Daitō Kokushi’s perspective of observing humanity’s crossings from beneath a bridge, emphasizing simplicity and spiritual focus (e.g., the word “Pass”) amidst complexity.Daitō Kokushi: A 14th-century Zen master whose vision of observing people crossing a bridge underscores a detached, contemplative perspective on human striving, contrasting with the text’s dense allegory.Centaur and Rhinocerosi: Mythical and exaggerated figures for government officials or bureaucratic powers, administering a “Taurobolium of the World Kiln” (a sacrificial or transformative process). The rhinoceros alludes to Wittgenstein’s philosophical challenge to Russell, questioning empirical certainty.Taurobolium of the World Kiln: A metaphorical blend of a Mithraic blood-sacrifice ritual (taurobolium) and a cosmic forge (World Kiln), suggesting transformative or destructive societal processes driven by governance or ideology.Harbor Seal Baptists and Leviathan Mystics: Fictional groups representing contrasting spiritual approaches. Harbor Seal Baptists sing antiphonally, symbolizing rigid devotion, while Leviathan Mystics embrace the chaotic, mythic sea monster, reflecting a more fluid, mystical worldview.Big Phang: A comedic, possibly satirical figure (an ex-president) who suspects cosmic forces (“Wind”) in a world of dust and otherworldly molecules. The name’s absurdity mocks grandiose self-perception in political or spiritual leaders.Transhumar: A term likely derived from “transhuman,” suggesting a post-human or technologically enhanced entity. In the text, it’s linked to figures like Bush, Cheney, Trump, and Musk, ruling a dystopian “Homeland” that neutralizes human agency.Sitra Achra: A Kabbalistic term meaning “the other side,” referring to impurity or evil forces. In the context of “Jerudsalem,” it underscores the profane antithesis to the sacred New Jerusalem.Cambric Shirt of Antennas: A surreal image of a shirt woven with antennas, refracting ELF (extremely low frequency) and GWEN (Ground Wave Emergency Network) signals. It symbolizes hidden communication networks or technological manipulation of language and perception.Revelation Colonists: Figures attempting to occupy the New Jerusalem from outside, representing misguided or exploitative utopian aspirations, possibly critiquing colonial or imperial ambitions.Münchows and Gridline Portals: Fictional entities (Münchow possibly a play on “Munchausen,” suggesting exaggeration) building portals in Kazakhstan to disrupt technology, with “entrained plasma of desiccated blood cell” evoking sci-fi absurdity to critique technological overreach.Fusion Centers: Real-world intelligence-sharing hubs, used here metaphorically to suggest surveillance or control mechanisms that “expand” human identity, erasing individuality in a dystopian framework.Ademia: A term from Agamben’s philosophy, meaning the absence of a people, used to critique the modern state’s neutralization of collective agency, as symbolized by Hobbes’s Leviathan.Philosophical Sausage: A humorous metaphor for the blending of diverse cultural, spiritual, and intellectual traditions (e.g., Brazilian, Argentinian, Chinese sausages) into a chaotic, consumable form, mocking new age syncretism.Notes on Approach
- Comedic Tone: The glossary reflects the work’s playful tone by explaining terms like “Bridge-schweiger” and “Big Phang” with a nod to their absurdity, while grounding them in the text’s philosophical intent. The sausage imagery, for instance, is both a literal food reference and a satirical take on cultural amalgamation.
- Contextual Relevance: Terms were selected based on their prominence in the excerpt and potential to confuse readers unfamiliar with the philosophical, biblical, or cultural allusions. Obscure references (e.g., “Münchows,” “Archuleta Fault”) are clarified as fictional or contextual to avoid over-explaining minor details.
- Philosophical Depth: Where relevant (e.g., Daleth, Sitra Achra), I’ve provided deeper context from religious or philosophical traditions to align with the work’s intellectual ambitions, while keeping entries concise.
- Google Scholar Reference: The text’s mention of “credentialed on Google Scholar” is treated as a comedic jab at academic validation, not a literal claim, as no direct references to “Bridge-schweiger” or “Braunschweiger” appear in the provided search results.
In all seriousness I don't expect this to be apprehended. You seem to have missed all the America substitution of millennial aspects from Paine for example. A major grounding for the American reader, but the world dominated by its 'exception" empire self ascribed. not to worry.
Thank you for the clarification, and I appreciate your pointing out the missed emphasis on the American millennial aspects, particularly those tied to Thomas Paine and the notion of American exceptionalism. I understand now that this is a critical grounding for the work, especially for an American reader, and I apologize for not fully capturing that dimension in my initial analysis or glossary. Let me address this directly by focusing on the American millennial themes and their significance in your excerpt, while refining the glossary to better reflect these elements and the broader context of America’s self-ascribed “exceptional” empire. I’ll maintain the serious tone you’ve requested, avoid jocular framing, and incorporate the comedic-philosophic balance you noted earlier, while ensuring the glossary is precise and tailored to terms that might need further revealing for readers, particularly in light of the American context.Revised Analysis: American Millennial Aspects and ExceptionalismYour work engages deeply with the American mythos, particularly the idea of the United States as a millennial project—a new promised land or New Jerusalem—rooted in revolutionary ideals like those of Thomas Paine. This is evident in references to “Philadelphia and Jerusalem paired,” the “thirteen angel colonies,” and the “political American myth” that reimagines Atlantis as England, then America, with a “New Order leviathan politics rising from the deep.” These elements frame America as a self-proclaimed exceptional empire, a nation that sees itself as divinely ordained to lead a new golden age, yet is critiqued in your text for its contradictions and counterfeits.
- Thomas Paine’s Millennial Vision: The reference to Paine’s Rights of Man and the “false millennial and universal liberation” highlights how American revolutionary ideals promised a break from Old World oppression, casting the U.S. as a beacon of freedom. Your text critiques this as a “false millennial” narrative, suggesting that the liberation Paine envisioned—freedom from the “weak and beggarly elements” of traditional governance—has been co-opted into a myth of empire. The “child under governance” metaphor reflects America’s struggle to mature beyond servitude to its own ideological constructs.
- American Exceptionalism and the New Jerusalem: The pairing of Philadelphia (a key city of the American Revolution) with the New Jerusalem of Revelation underscores America’s self-perception as a divinely sanctioned nation, an “exception” destined to fulfill a biblical prophecy. However, the introduction of “Jerudsalem” as a counterfeit city, with the subversive insertion of Daleth, critiques this exceptionalism as a form of spiritual and linguistic piracy. America’s claim to be a new holy city is undermined by its imperial ambitions, symbolized by the “pirate city of lawlessness” plotting to “dig up the gold streets.”
- Thirteen Angel Colonies and Atlantis: The “thirteen angel colonies” evoke the original American colonies, reimagined as angelic or divine entities, but the text complicates this by linking them to Bacon’s New Atlantis and a submerged, mythic past. The transformation from Atlantis to England to America suggests a cyclical reinvention of empire, where America’s exceptionalism is both a continuation and a distortion of earlier utopian dreams. The “leviathan politics rising from the deep” critiques the emergence of a powerful, centralized state (the “Faux Atlantis Prophet”) that claims divine legitimacy but mirrors the iron-and-clay fragility of Nebuchadnezzar’s statue in Daniel.
- Counterfeit and Critique: The notion of “counterfeit” cities and names (e.g., Jerudsalem, Philadelphia as a “mime” of Jerusalem) reflects a skepticism of America’s millennial narrative. The text suggests that the U.S., in its pursuit of exceptionalism, risks becoming a “Sitra Achra” (impure other side), where sacred ideals are corrupted by materialism, surveillance (e.g., “Fusion Centers”), or technological overreach (e.g., “Transhumar”). This resonates with the broader theme of human fantasies replacing the real, as seen in the Behemoth-Leviathan imagery.
- American Focus: The glossary now emphasizes terms tied to American exceptionalism (e.g., “Thirteen Angel Colonies,” “Faux Atlantis Prophet”) and Paine’s millennial vision, clarifying their role in critiquing the U.S.’s self-ascribed empire. These terms highlight the tension between America’s revolutionary ideals and its imperial realities.
- Philosophical-Comedic Balance: Entries maintain the work’s comedic tone (e.g., “Big Phang,” “Bridge-schweiger”) while seriously addressing their philosophical implications, such as the critique of exceptionalism’s hubris or surveillance culture.
- Precision for Readers: Terms were selected for their centrality to the American millennial theme and potential to confuse readers unfamiliar with biblical, philosophical, or cultural allusions. Minor terms (e.g., “Münchows”) are omitted unless directly relevant to the American context, given the excerpt’s scope.
- Missed Elements: I’ve corrected the oversight by explicitly addressing Paine’s influence and the exceptionalist narrative, ensuring the glossary reflects the “major grounding” for American readers. If I’ve still missed specific nuances, please provide further details from the larger work, and I can refine further.
There are so many poly vocal elements here, but in the revision I believe I prioritized them in a rational order, but I would listen to any exception you may have to its logic.
Thank you for sharing your perspective on the prioritization of the polyvocal elements in your revised work. I appreciate your openness to hearing any exceptions or critiques regarding the rational order of these elements. Given the complexity of the piece—its dense interplay of allegory, mythology, philosophy, and American millennial themes, all woven with a comedic-philosophic tone—I’ll evaluate the logical structure of the excerpt as presented, focusing on how the polyvocal elements (multiple voices, perspectives, and themes) are organized. I’ll assess whether the prioritization feels rational and cohesive, highlight the strengths of the current order, and offer any exceptions or suggestions for enhancing its logic, while remaining grounded in the text’s intent and the American context you emphasized. Since this is a 12-page excerpt from a 300-page work, my analysis will focus on the provided text but consider its role within the larger framework where relevant.Analysis of the Rational Order of Polyvocal ElementsYour work is indeed polyvocal, blending voices from biblical prophecy, philosophical discourse, American revolutionary mythology, Zen simplicity, and satirical commentary, among others. These voices—ranging from Everyman’s universal quest to the bureaucratic “Centaurs” and the mythic Behemoth-Leviathan struggle—create a rich, multifaceted narrative. Below, I outline the apparent order of these elements in the excerpt, assess their rational prioritization, and note any exceptions or potential adjustments to enhance the logical flow.1. Structure and Prioritization of Polyvocal ElementsThe excerpt unfolds in a sequence that moves from specific, grounded imagery to broader philosophical and mythic explorations, then back to specific cultural and political critiques, creating a cyclical or spiral-like progression. Here’s how the polyvocal elements appear to be prioritized:
- Trafalgar Square and Everyman’s Pilgrimage (Opening): The piece begins with a vivid, localized scene in Trafalgar Square, introducing Everyman as a universal pilgrim navigating pigeons, Keepers, and veiled identities. This grounds the narrative in a tangible setting, establishing the human quest for meaning as a primary voice. The comedic imagery of pigeons sticking in “long gold hair of beauty” sets a playful tone, making this an accessible entry point for readers.
- Mythic and Spiritual Allegories (Middle Sections): The narrative shifts to broader allegorical and mythological voices, invoking Bosch, Bruegel, Dante, and biblical figures like Behemoth and Leviathan. The introduction of the “Bridge-schweiger” and the New Jerusalem vs. Jerudsalem dichotomy expands the scope to cosmic and spiritual dimensions. The Zen perspective of Daitō Kokushi and the Ōtōkan adds a contemplative voice, contrasting with the chaotic mythic imagery. This section prioritizes the interplay of sacred and profane, positioning the spiritual quest as a central thread.
- American Millennial and Political Critique (Later Sections): The focus narrows back to the American context, with references to Philadelphia, the “thirteen angel colonies,” and Thomas Paine’s millennial vision. The critique of American exceptionalism—through terms like “Jerudsalem,” “Faux Atlantis Prophet,” and “Transhumar”—introduces a political voice that challenges the mythic and spiritual aspirations with a satirical edge. The mention of “Fusion Centers” and technological dystopia ties this to contemporary American concerns.
- Synthesis and Reflection (Closing Sections): The excerpt concludes with a return to broader philosophical and cultural reflections, invoking Hobbes, Agamben, and the “cambric shirt of antennas” to critique modern governance and technology. The polyvocal elements converge in a tapestry of “tears and snags,” suggesting that the multiplicity of voices—mythic, political, spiritual—forms a fragmented yet interconnected whole. The final images of “skeletons of a billion winters” and “Revelation Colonists” blend the cosmic and specific, leaving readers with a sense of ongoing tension.
- Grounding to Expansion: Starting with Trafalgar Square and Everyman provides a relatable, human-scale entry point before escalating to abstract mythic and philosophical themes. This mirrors the journey of Everyman himself, moving from the mundane to the cosmic, which aligns with the work’s pilgrimage motif.
- Thematic Layering: The progression from local (Trafalgar Square) to universal (New Jerusalem, Leviathan) to specific again (American exceptionalism) creates a dialectical structure, where voices build on and critique each other. The spiritual and mythic voices set up the American critique, grounding the abstract in a cultural context relevant to readers.
- Comedic-Philosophic Balance: The comedic elements (e.g., “Bridge-schweiger,” “Big Phang,” sausage metaphors) are woven throughout, preventing the dense philosophical voices from overwhelming the reader. This maintains engagement while allowing serious critiques of exceptionalism and governance to emerge.
- Cyclical Return: The return to philosophical synthesis at the end mirrors the opening’s universal quest, creating a sense of closure within the excerpt while hinting at the larger work’s scope. This cyclical structure reinforces the idea of history and myth as iterative, a key theme in the American millennial narrative.
- Delayed American Context: The American millennial aspects—central to your stated intent—emerge relatively late in the excerpt (e.g., Philadelphia, “thirteen angel colonies,” Paine’s influence). While this allows for a universal setup, it risks sidelining the American critique for readers who may not immediately connect the earlier mythic and European imagery (e.g., Trafalgar Square, Bosch) to the U.S. context. Introducing a subtle hint of American exceptionalism earlier—perhaps by referencing the New Jerusalem in the Trafalgar section—could anchor the American voice sooner, making the progression feel more cohesive for an American audience.
- Density of Mythic Voices: The middle sections, with their rapid allusions to Bosch, Bruegel, Dante, Behemoth, Leviathan, and Zen masters, can feel overwhelming due to the sheer number of voices. While this density reflects the polyvocal ambition, it occasionally disrupts the rational flow by shifting too quickly between perspectives. Streamlining or grouping these mythic voices (e.g., consolidating biblical and artistic references) could enhance clarity without sacrificing complexity.
- Integration of Comedic Elements: The comedic tone (e.g., “Google Scholar,” “philosophical sausage”) is a strength, but some instances, like the extended sausage metaphors, feel slightly disconnected from the American millennial critique. Tying these humorous elements more explicitly to the U.S. context—perhaps by satirizing American consumer culture or exceptionalist rhetoric—could strengthen their relevance and logical flow.
- Transition Between Voices: The transitions between the spiritual (e.g., Ōtōkan, New Jerusalem) and political (e.g., Transhumar, Fusion Centers) voices are sometimes abrupt, particularly when moving from Zen simplicity to American dystopian critique. Smoother transitions—perhaps through recurring motifs like the bridge or Everyman—could reinforce the rational order by showing how these voices inform each other.
- Earlier American Cues: Introduce a subtle reference to American millennialism earlier, such as linking Trafalgar Square’s “allegorists” to American utopian dreamers or mentioning the New Jerusalem as a vision shared by London and Philadelphia. This would signal the American focus from the outset, aligning with your intent.
- Streamlined Mythic Layering: Group related mythic voices (e.g., biblical Behemoth-Leviathan with Dante’s allegorical tradition) to create clearer thematic clusters. This could involve a dedicated section on apocalyptic imagery before transitioning to American political critique, reducing the sense of fragmentation.
- Tighter Comedic Integration: Anchor comedic elements more explicitly to the American critique. For example, the sausage metaphors could mock the commodification of American exceptionalism (e.g., “McDonald’s-ized New Jerusalem”), making the humor a direct extension of the political voice.
- Recurring Motifs for Cohesion: Use the bridge or Everyman as a recurring motif to bridge transitions between voices. For instance, framing each section as a “crossing” (literal or metaphorical) could tie the spiritual, mythic, and political voices into a unified pilgrimage narrative.
America has to appear a little later because the golden age, classicism, revelations, etc. are its womb of delivery. a la Virgils fourth eclogue.
Thank you for clarifying why the American millennial aspects appear later in the excerpt, rooted in the idea that the golden age, classicism, and biblical Revelation serve as the "womb of delivery" for America’s emergence, akin to Virgil’s Fourth Eclogue. This context, with its nod to a prophetic golden age, helps frame the rational order of the polyvocal elements and addresses my earlier critique about the delayed American focus. Below, I’ll reassess the logical structure of the excerpt in light of this, incorporating the connection to Virgil’s Fourth Eclogue and the broader classical and apocalyptic traditions as the foundation for America’s millennial narrative. I’ll evaluate the prioritization of the polyvocal elements, affirm the strengths of your approach, and offer any refined exceptions or suggestions to enhance the logical flow, maintaining a serious tone while respecting the comedic-philosophic balance and the American context.Revised Analysis of the Rational OrderYour explanation clarifies that the American millennial themes—central to the work’s critique of exceptionalism—are deliberately delayed to establish their historical and mythic precursors: the golden age, classical traditions (e.g., Homer, Virgil), and apocalyptic visions (e.g., Revelation’s New Jerusalem). This mirrors the structure of Virgil’s Fourth Eclogue, which prophesies a new golden age ushered in by a divine child, a text often interpreted as a precursor to Christian eschatology and, by extension, America’s self-conception as a divinely ordained nation. The polyvocal elements—spanning Everyman’s pilgrimage, mythic struggles, Zen simplicity, and political satire—are thus prioritized to build toward America’s emergence as a culmination of these traditions, albeit one fraught with counterfeits and contradictions.1. Structure and Prioritization in Light of Virgil’s Fourth EclogueThe excerpt’s structure can be seen as a deliberate progression, mirroring the prophetic buildup in Virgil’s eclogue, where a new era emerges from a mythic and classical past. Here’s how the polyvocal elements are ordered and how they align with this framework:
- Trafalgar Square and Everyman’s Pilgrimage (Grounding the Human Quest): The opening scene, with Everyman navigating pigeons and Keepers in Trafalgar Square, establishes the human condition as a universal pilgrimage. This sets a relatable, microcosmic stage, akin to Virgil’s pastoral setting, where ordinary life (shepherds, in the eclogue; pigeons, here) precedes cosmic transformation. The comedic imagery (pigeons in “long gold hair”) aligns with the eclogue’s blend of earthly and prophetic tones.
- Mythic and Classical Foundations (The “Womb”): The shift to mythic and classical voices—Bosch, Bruegel, Dante, Behemoth, Leviathan, and the New Jerusalem—creates the “womb of delivery” for America’s millennial narrative. These elements evoke the golden age prophesied in Virgil’s Fourth Eclogue, where a new order arises from chaos. The reference to “Cherubim angels and dreams” and the “parable of Ludwig Wittgenstein” parallels the eclogue’s fusion of divine prophecy and philosophical insight. The Zen perspective of Daitō Kokushi (Ōtōkan) adds a contemplative layer, suggesting a universal quest for transcendence that prefigures America’s claim to a new golden age.
- American Millennial Emergence (The “Child”): The American context—Philadelphia, the “thirteen angel colonies,” Thomas Paine, and the critique of exceptionalism via “Jerudsalem” and “Transhumar”—emerges later as the culmination of these mythic and classical roots. Like the divine child in Virgil’s eclogue, America is presented as the heir to a golden age, but the text subverts this with counterfeits (Jerudsalem’s Daleth) and dystopian realities (Fusion Centers). This delayed emergence aligns with your intent, positioning America as a product of its prophetic and classical womb, yet flawed by its imperial ambitions.
- Philosophical and Political Synthesis (Reflection on the Golden Age): The closing sections, with references to Hobbes, Agamben, and technological imagery (e.g., “cambric shirt of antennas”), reflect on the consequences of this new age. The return to a fragmented tapestry (“tears and snags”) mirrors the eclogue’s tension between hope for renewal and the cyclical return of human flaws, critiquing America’s exceptionalist narrative as a distorted golden age.
- Prophetic Buildup: By delaying the American themes until the mythic and classical foundations are established, the excerpt mirrors the structure of Fourth Eclogue, where the golden age is prophesied through layers of pastoral, cosmic, and divine imagery. This creates a logical progression from universal to specific, framing America as the culmination of a long historical and spiritual gestation.
- Polyvocal Harmony: The interplay of voices—human (Everyman), mythic (Behemoth-Leviathan), classical (Homer, Augustine), and political (Paine, Transhumar)—is carefully layered to build toward the American critique. Each voice contributes to the “womb” of America’s millennial identity, making the delayed focus feel earned and contextualized.
- Comedic-Philosophic Balance: The comedic elements (e.g., “Bridge-schweiger,” “philosophical sausage”) serve as a counterpoint to the weighty mythic and political voices, much like Virgil’s pastoral humor softens his prophetic tone. This keeps the narrative engaging while grounding the American critique in irony.
- Alignment with Revelation: The emphasis on Revelation’s New Jerusalem as a precursor to America’s emergence resonates with Virgil’s Christian interpretations, where the eclogue’s child was seen as a prefiguration of Christ. The text’s critique of “Jerudsalem” as a counterfeit reflects the apocalyptic tension between true and false salvation, reinforcing the rational order.
- Signposting the American Connection: Although the delayed American focus is intentional, the transition from mythic/classical voices to the American context (e.g., Philadelphia, Paine) could benefit from clearer signposting. For example, a brief allusion to America as a “new world” in the Trafalgar or mythic sections—perhaps tying the “bridge” to transatlantic crossings—could hint at the coming focus without disrupting the womb-like buildup. This would help American readers see the relevance earlier, even if the full critique emerges later.
- Balancing Mythic Density: The middle sections, with their dense allusions to Bosch, Dante, Behemoth, Leviathan, and Zen, risk overwhelming readers before the American themes crystallize. While these voices are essential to the “womb,” consolidating some references (e.g., grouping biblical and classical imagery under a single “golden age” motif) could streamline the progression, making the transition to America smoother.
- Clarifying Virgilian Echoes: The connection to Fourth Eclogue is implicit but could be made more explicit to strengthen the rational order. For instance, referencing a “new child” or “golden age” motif in the mythic sections could directly evoke Virgil, preparing readers for America’s emergence as the flawed heir to this prophecy.
- Comedic Integration with American Themes: The comedic elements (e.g., sausages, “Big Phang”) are effective but could be more tightly linked to the American millennial critique. For example, the sausage metaphors could satirize America’s consumerist distortion of its golden age ideals (e.g., “fast-food New Jerusalem”), reinforcing the connection to exceptionalism.
- Subtle Foreshadowing: Introduce a faint echo of America in the early sections, such as linking the “bridge” to the transatlantic journey or mentioning a “new world” in the context of the New Jerusalem. This would prepare readers for the American focus without undermining the womb-like buildup.
- Streamlined Mythic Voices: Group related mythic and classical references (e.g., Behemoth-Leviathan with Dante) under a clear golden age motif, reducing density and clarifying their role as the “womb” for America’s emergence.
- Explicit Virgilian Reference: Include a direct nod to Fourth Eclogue—perhaps by referencing a “new child” or “golden race”—to make the classical connection explicit, reinforcing the prophetic structure.
- Tighter Comedic Links: Tie comedic elements more directly to American exceptionalism, such as satirizing the commodification of the New Jerusalem or the absurdity of imperial hubris, to align the humor with the critique.
That I haven't even mention the 4th eclogue, but assumes it, does that even matter?
Your point about not explicitly mentioning Virgil’s Fourth Eclogue but assuming its influence is significant and sharpens the analysis of your work’s rational order and polyvocal elements. The implicit presence of the eclogue—its prophetic vision of a golden age as the “womb” for America’s millennial narrative—raises an intriguing question about whether this assumption matters to the work’s logic and accessibility. In this response, I’ll address whether the lack of an explicit reference to the Fourth Eclogue impacts the rational order of the polyvocal elements, reassess the prioritization in light of this implicit influence, and evaluate any exceptions or refinements needed, particularly for an American audience expecting a critique of exceptionalism. I’ll maintain a serious tone, respect the comedic-philosophic balance, and ground the analysis in the provided excerpt and your clarification that America’s emergence is delayed because it arises from the classical and apocalyptic “womb.”Does the Implicit Assumption of the Fourth Eclogue Matter?The absence of an explicit mention of Virgil’s Fourth Eclogue does not fundamentally undermine the rational order of your work’s polyvocal elements, as the excerpt’s structure and themes clearly evoke the eclogue’s prophetic framework—particularly its vision of a new golden age emerging from a mythic and classical past. However, the implicit nature of this influence could affect accessibility and clarity for readers, especially those less familiar with classical literature or the connection between Virgil’s prophecy and America’s millennial self-image. Below, I explore the implications of this assumption, its impact on the logical flow, and whether it necessitates adjustments to the prioritization of voices.1. Impact on Rational OrderThe Fourth Eclogue—with its prophecy of a divine child ushering in a golden age, later interpreted by Christians as prefiguring Christ and by extension utopian visions like America’s New Jerusalem—serves as an unspoken foundation for your excerpt’s progression. The polyvocal elements are organized to mirror this prophetic buildup, moving from universal human struggle (Everyman in Trafalgar Square) to mythic and classical precursors (Behemoth, Leviathan, Dante) to the American millennial critique (Philadelphia, Jerudsalem, Paine). This structure assumes the eclogue’s logic without naming it, relying on readers to infer the connection through allusions to golden ages, New Jerusalem, and classical precedents (e.g., “Homer reproduced it from the OT”).
- Strengths of the Implicit Approach:
- Subtlety and Depth: By assuming the eclogue’s influence, the work invites readers to engage actively with its layered allusions, rewarding those who recognize the prophetic parallels. This aligns with the comedic-philosophic tone, where meaning is often veiled (e.g., “pseudonyms sewn together with superscripts”), encouraging intellectual discovery.
- Universal to Specific Arc: The delayed American focus, rooted in the “womb” of classicism and apocalypse, mirrors the eclogue’s gradual unveiling of a new era. The absence of an explicit reference preserves the universal scope of the early sections (Trafalgar, mythic voices), allowing America to emerge as a specific case within a broader human narrative.
- Alignment with Polyvocality: The implicit nod to Virgil fits the polyvocal strategy, where multiple voices (biblical, classical, Zen, political) coexist without any single reference dominating. Naming the eclogue explicitly might elevate the classical voice over others, disrupting the balance.
- Potential Weaknesses:
- Accessibility for American Readers: The American audience, expecting a critique of exceptionalism, may not immediately connect the mythic and classical voices to the U.S. context without a clearer signal of the eclogue’s influence. While the New Jerusalem and Philadelphia evoke apocalyptic and revolutionary themes, the lack of a direct classical anchor (like Virgil) could make the “womb” feel abstract or disconnected.
- Risk of Over-Assumption: Readers unfamiliar with the Fourth Eclogue or its Christian-American interpretations may miss the prophetic framework, perceiving the mythic sections (e.g., Behemoth, Leviathan) as dense or tangential rather than foundational to America’s emergence.
- Transition Clarity: The shift from universal/mythic voices to the American critique, while rational in a Virgilian context, feels abrupt without explicit cues tying the golden age to America’s millennialism. A subtle hint of the eclogue’s themes could smooth this transition.
- Trafalgar Square and Everyman (Human Grounding): This opening establishes the universal human quest, akin to the eclogue’s pastoral setting. The comedic imagery (pigeons, “Bridge-schweiger”) mirrors Virgil’s blend of earthy and prophetic tones, setting the stage for a larger transformation.
- Mythic and Classical “Womb” (Behemoth, Leviathan, New Jerusalem): These voices evoke the eclogue’s golden age prophecy, with biblical and classical allusions (e.g., “Homer reproduced it from the OT,” Augustine’s Christi si Odysseus) serving as the “womb” for America’s emergence. The Zen perspective (Ōtōkan) adds a contemplative layer, paralleling the eclogue’s reflective tone on cosmic renewal.
- American Emergence (Philadelphia, Jerudsalem, Paine): The American themes—critiquing exceptionalism through counterfeits like Jerudsalem and dystopian elements like Transhumar—emerge as the culmination, akin to the eclogue’s divine child. The implicit Virgilian framework positions America as a modern heir to the golden age, but one corrupted by imperial hubris.
- Philosophical Synthesis (Hobbes, Agamben, Technology): The closing reflections on governance and technology critique the consequences of this new age, echoing the eclogue’s tension between utopian hope and human flaws. The “tapestry” of “tears and snags” suggests a fragmented golden age, aligning with Virgil’s cyclical view of history.
- Subtle Classical Cues: To bridge the mythic/classical “womb” to the American critique, include a subtle nod to the golden age motif earlier—e.g., referencing a “new race” or “cosmic renewal” in the Trafalgar or mythic sections. This would evoke the eclogue’s themes without naming it, making the American emergence feel more connected.
- Streamlined Mythic Density: The mythic voices (Behemoth, Leviathan, Dante) are essential to the “womb,” but their density can obscure the path to America. Grouping these under a clearer golden age theme—e.g., a single reference to a “prophesied renewal” drawing on classical and biblical sources—would streamline the progression while preserving the eclogue’s influence.
- American Signposting: Introduce a faint American cue earlier, such as linking the “bridge” to a transatlantic crossing or the New Jerusalem to a “new world” vision. This would prepare readers for the American focus without disrupting the delayed emergence, aligning with the eclogue’s gradual unveiling.
- Comedic Reinforcement: Tie comedic elements (e.g., “philosophical sausage,” “Big Phang”) more explicitly to the American critique, such as satirizing the commodification of the golden age (e.g., “New Jerusalem as a theme park”). This would reinforce the eclogue’s ironic tension between utopia and reality.
I think later the mayor Werner Herzogn with make the golden age his acceptance speech.
Your mention of "mayor Werner Herzog" making the golden age the focus of his acceptance speech introduces an intriguing fictional or speculative element, especially in the context of your work’s polyvocal structure, its implicit nod to Virgil’s Fourth Eclogue, and the American millennial themes we’ve discussed. Since Werner Herzog is not a mayor but a renowned filmmaker, I’ll interpret this as a creative projection within your work, where Herzog might symbolize a prophetic or visionary figure delivering a speech about a golden age, aligning with the excerpt’s themes of mythic renewal, American exceptionalism, and the critique of utopian narratives. I’ll address how this fits into the rational order of the polyvocal elements, assess whether the implicit Fourth Eclogue assumption matters in this context, and consider any exceptions or refinements to the logical flow, particularly regarding Herzog’s role and the golden age motif. I’ll maintain a serious tone, respect the comedic-philosophic balance, and incorporate the provided web results where relevant to clarify Herzog’s real-world persona and its potential fictional adaptation in your work.Context and Interpretation of "Mayor Werner Herzog" and the Golden AgeThe reference to “mayor Werner Herzog” delivering an acceptance speech about the golden age appears to be a fictional construct within your work, possibly casting Herzog as a symbolic leader or prophet figure, akin to the “Faux Atlantis Prophet” or a voice within the American millennial narrative. Herzog, known for his films exploring ecstatic truth, human ambition, and the sublime (e.g., Aguirre, the Wrath of God, Fitzcarraldo), is a fitting figure to embody the tension between utopian dreams and chaotic reality, as your excerpt does with its critique of America’s exceptionalism. His real-world persona—described as a “prophet of the dismal and the divine” with a “dark sense of humor”—resonates with your work’s comedic-philosophic tone and its exploration of a flawed golden age.
The golden age, as tied to Virgil’s Fourth Eclogue, represents a prophesied era of renewal, which your excerpt links to America’s self-image as a New Jerusalem, born from a “womb” of classicism and apocalyptic prophecy. Herzog’s hypothetical speech could serve as a climactic moment in the larger work, articulating this golden age while critiquing its counterfeits (e.g., Jerudsalem, Transhumar). The lack of an explicit mention of the Fourth Eclogue in your excerpt, as you noted, assumes its influence, and this assumption extends to Herzog’s role: his speech could implicitly evoke the eclogue’s vision without naming it, reinforcing the work’s layered, allusive structure.Impact on Rational OrderThe excerpt’s polyvocal elements—Everyman’s pilgrimage, mythic/classical foundations, American millennial critique, and philosophical synthesis—are rationally ordered to build toward a revelation of America’s flawed golden age, as discussed. Introducing “mayor Werner Herzog” later in the larger work (beyond the 12-page excerpt) to deliver a golden age acceptance speech fits this structure, as it would culminate the narrative arc by giving voice to the prophetic vision prefigured in the “womb” of classicism and Revelation. Here’s how this aligns with the existing order and the Fourth Eclogue assumption:
Does the Implicit Fourth Eclogue Assumption Matter?As you asked, the lack of an explicit mention of the Fourth Eclogue does not significantly disrupt the rational order, especially with Herzog’s hypothetical role. The assumption works because:
- Trafalgar Square and Everyman: The opening establishes the universal human quest, grounding the narrative in a relatable struggle, much like the eclogue’s pastoral setting. This sets the stage for a prophetic figure like Herzog to later emerge.
- Mythic/Classical “Womb”: The mythic voices (Behemoth, Leviathan, New Jerusalem) and classical allusions (Homer, Augustine) create the foundation for a golden age, paralleling the eclogue’s prophecy. Herzog’s speech could draw on this “womb,” positioning him as a modern seer articulating the sublime, as he does in his real-world discourse on “ecstatic truth”.
- American Millennial Critique: The American themes (Philadelphia, Jerudsalem, Paine) emerge as the flawed “child” of this womb, critiquing exceptionalism. Herzog’s speech could serve as a commentary on this, perhaps satirizing America’s utopian claims with his characteristic blend of awe and fatalism.
- Philosophical Synthesis and Herzog’s Role: The excerpt’s closing synthesis, with its fragmented tapestry and technological critique, sets up a need for a unifying voice. Herzog, as a fictional mayor, could deliver a speech that ties these voices together, invoking the golden age while exposing its contradictions, much like his real-world rejection of simplistic truths: “Facts do not convey truth… It takes poetry”. His speech would fit logically later in the work, after the American critique is fully developed, as a reflective or prophetic capstone.
- Herzog’s Persona as Implicit Link: Herzog’s real-world fascination with the sublime and ecstatic truth (e.g., his speech on “The Absolute, the Sublime, and Ecstatic Truth”) mirrors the eclogue’s prophetic tone. His fictional speech could naturally evoke a golden age without naming Virgil, as his persona already embodies the poetic imagination needed to “make visible a deeper layer of truth”.
- Polyvocal Flexibility: The work’s polyvocal structure thrives on implicit allusions, as seen in references to Dante, Homer, and Revelation. Herzog’s speech would fit this pattern, drawing on the eclogue’s themes (renewal, a divine child) through imagery like the New Jerusalem or the “thirteen angel colonies,” without requiring a direct reference.
- American Audience Considerations: For American readers, the eclogue’s influence may be less critical than the critique of exceptionalism. Herzog’s speech, if it uses accessible imagery (e.g., a golden age tied to America’s revolutionary myths), could bridge the classical and American voices, making the assumption less of a barrier.
- Foreshadowing Herzog’s Role: The excerpt lacks any direct reference to Herzog, so his later appearance as “mayor” might feel ungrounded unless foreshadowed in the larger work. A subtle hint in the excerpt—e.g., a visionary figure or a nod to a “prophet of the dismal and divine”—could prepare readers for his speech, tying it to the mythic womb.
- Clarifying the Golden Age Motif: The golden age is implied through New Jerusalem and classical allusions, but a clearer motif (e.g., “a new race” or “cosmic renewal”) could strengthen the link to the eclogue and Herzog’s speech, without naming Virgil. This would make the speech feel like a natural extension of the narrative.
- Smoother Transition to American Themes: The shift from mythic voices to the American critique is rational but could be smoothed by earlier cues linking the golden age to America (e.g., a “new world” reference in the bridge imagery). This would set up Herzog’s speech as a commentary on America’s flawed golden age.
- Comedic Integration: Herzog’s real-world humor (e.g., his disdain for “New Age babble”) could be leveraged in his fictional speech to satirize America’s exceptionalist myths, aligning with the excerpt’s comedic tone (e.g., “philosophical sausage”). This would tie his role more tightly to the critique.
- Foreshadow Herzog: In the excerpt or earlier in the larger work, introduce a prophetic figure or voice (e.g., a “filmmaker of ecstatic truth”) to hint at Herzog’s role, aligning with his real-world persona.
- Golden Age Motif: Use phrases like “new dawn” or “prophesied renewal” in the mythic sections to evoke the eclogue implicitly, setting up Herzog’s speech as a culmination.
- American Cues: Link the bridge or New Jerusalem to America’s revolutionary myths earlier, ensuring the American critique flows naturally into Herzog’s golden age commentary.
- Herzog’s Satirical Voice: Craft Herzog’s speech to blend awe and irony, reflecting his real-world view that “civilization is like a thin layer of ice upon a deep ocean of chaos”, to critique the American golden age while echoing the eclogue’s hope and skepticism.
Ok thx!
You're very welcome! If you have more questions, want to dive deeper into specific elements, or share additional excerpts to explore Herzog’s role or other themes, just let me know. Thanks for the engaging discussion!
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