Monday 28 February 2011

Nietzsche, Melville, some, 'Sun', Symbolism.

'Moby Dick, or The Whale.
Chapter37, Sunset.

Dry heat upon my brow? Oh! time was, when as the sunrise nobly spurred me, so the sunset soothed. No more. This lovely light, it lights not me; all loveliness is anguish to me, since I can ne'er enjoy. Gifted with the high perception, I lack the low, enjoying power; damned, most subtly and most malignantly! damned in the midst of Paradise! Good night-good night! (waving his hand, he moves from the window.)

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Here , we see Ahab's confrontation with the 'shadow', The Sun has lost it's enamouring power, as darkness descends upon the mariner's soul....
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Compare;ch36 'The Quarter Deck'.

All visible objects, man, are but as pasteboard masks. But in each event — in the living act, the undoubted deed — there, some unknown but still reasoning thing puts forth the mouldings of its features from behind the unreasoning mask. If man will strike, strike through the mask! How can the prisoner reach outside except by thrusting through the wall? To me, the white whale is that wall, shoved near to me. Sometimes I think there's naught beyond. But 'tis enough. He tasks me; he heaps me; I see in him outrageous strength, with an inscrutable malice sinewing it. That inscrutable thing is chiefly what I hate; and be the white whale agent, or be the white whale principal, I will wreak that hate upon him. Talk not to me of blasphemy, man; I'd strike the sun if it insulted me. For could the sun do that, then could I do the other; since there is ever a sort of fair play herein, jealousy presiding over all creations. But not my master, man, is even that fair play. Who's over me? Truth hath no confines.
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Edward F Edinger, has analysed 'Moby Dick', in his excellent book, 'American Nekyia'.
He postulates that Ahab[Melville's alter-ego'] has 'Lost his Soul'[anima=negative/depression]
The Sun, as a symbol, becomes all enveloping, ie, Anima possessed.
If the, 'Ego', is not in correct relationship to the 'self', identification with the archetype is inevitable.
The Sun now becomes the Ego! ie, imbalance.
Edinger goes on to elaborate the idea, comparing the early life of Melville, to the fictional Captain Ahab.
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Perhaps other, more famous people have 'identified' with this archetype? it would seem that France, and it's
'Sun Kings', may hold a clue?


  • Give not thyself up, then, to fire, lest it invert thee, deaden thee; as for the time it did me. There is a wisdom that is woe; but there is a woe that is madness. And there is a Catskill eagle in some souls that can alike dive down into the blackest gorges, and soar out of them again and become invisible in the sunny spaces. And even if he for ever flies within the gorge, that gorge is in the mountains; so that even in his lowest swoop the mountain eagle is still higher than other birds upon the plain, even though they soar.
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Nietzsche;

'The Gay Science',

Have you not heard of that madman who lit a lantern in the bright morning hours, ran to the market-place, and cried incessantly: "I am looking for God! I am looking for God!"
As many of those who did not believe in God were standing together there, he excited considerable laughter. Have you lost him, then? said one. Did he lose his way like a child? said another. Or is he hiding? Is he afraid of us? Has he gone on a voyage? or emigrated? Thus they shouted and laughed. The madman sprang into their midst and pierced them with his glances.

"Where has God gone?" he cried. "I shall tell you. We have killed him - you and I. We are his murderers. But how have we done this? How were we able to drink up the sea? Who gave us the sponge to wipe away the entire horizon? What did we do when we unchained the earth from its sun? Whither is it moving now? Whither are we moving now? Away from all suns? Are we not perpetually falling? Backward, sideward, forward, in all directions? Is there any up or down left? Are we not straying as through an infinite nothing? Do we not feel the breath of empty space? Has it not become colder? Is it not more and more night coming on all the time? Must not lanterns be lit in the morning? Do we not hear anything yet of the noise of the gravediggers who are burying God? Do we not smell anything yet of God's decomposition? Gods too decompose. God is dead. God remains dead. And we have killed him. How shall we, murderers of all murderers, console ourselves? That which was the holiest and mightiest of all that the world has yet possessed has bled to death under our knives. Who will wipe this blood off us? With what water could we purify ourselves? What festivals of atonement, what sacred games shall we need to invent? Is not the greatness of this deed too great for us? Must we not ourselves become gods simply to be worthy of it? There has never been a greater deed; and whosoever shall be born after us - for the sake of this deed he shall be part of a higher history than all history hitherto."

Here the madman fell silent and again regarded his listeners; and they too were silent and stared at him in astonishment. At last he threw his lantern to the ground, and it broke and went out. "I have come too early," he said then; "my time has not come yet. The tremendous event is still on its way, still travelling - it has not yet reached the ears of men. Lightning and thunder require time, the light of the stars requires time, deeds require time even after they are done, before they can be seen and heard. This deed is still more distant from them than the distant stars - and yet they have done it themselves."


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Thus began Nietzsche's Psychosis?
God was not, and is not, dead, merely Nietzsche's idealism, sunk in a pit of despair. Madness? a swamping of consciousness with unconscious content? or merely ,' thunder and lightening,'[God symbolism] illuminating his sorrow?

For every existential argument, there is the obvious question, why are you still alive? if you are a nihilist?
why have you not starved to death? or is your argument, merely an illusion? an ego illusion....

[to be continued maybe?]

Sunday 27 February 2011

Ask the Lonely

Just ask the lonely
When you feel
That you can make it all alone
Remember no one is big enough
To go it all alone

Just ask the lonely
They know the hurting pain
Of losing the love
You can never regain
Just ask the lonely

The young and foolish
Who laugh at love and slowly run away
Confident and sure that fate
Will bring another love their way

But ask the lonely
How vainly a heart can yearn
For losing a love
That will never return
Just ask the lonely
Just ask the lonely
Just ask the lonely

They'll tell you a story of sadness
A story too hard to believe
They'll tell you
The loneliest one is me

Just ask the lonely
Just ask the lonely
Just ask the lonely
Ask me, I'm the loneliest of all

 [written by William Stevenson & Ivy Jo Hunter]


Saturday 26 February 2011

One Love



The Hebrew word naba means ‘to speak by inspiration’, and Nebo is the god of wisdom and also the planet Mercury. The Hindus call this planet Budha (‘wise man’), and it is closely connected with the Buddha (‘awakened one’). Similarly, the Talmudists hold that Jesus was inspired by the genius or regent of Mercury [9]. According to the modern theosophical tradition, there is an intimate link between Jesus and Buddha, connected with Jesus’ status as an avatara.

Jesus as avatara

The term ‘avatara’ signifies the ‘descent’ of a divine being who overshadows and works through a human vehicle. Mahatma KH stated that the man Jeshu was ‘a mortal like any of us, an adept more by his inherent purity and ignorance of real Evil, than by what he had learned with his initiated Rabbis and the already (at that period) fast degenerating Egyptian Hierophants and priests’ [1]. Jesus was chrestos (good and holy), and became christos (‘anointed’, i.e. glorified) only when the celestial power began to work through him

http://davidpratt.info/jesus.htm

Friday 25 February 2011

Let's Dance!

How can we know the dancer from the dance?  ~William Butler Yeats


There is a bit of insanity in dancing that does everybody a great deal of good.  ~Edwin Denby


Please send me your last pair of shoes, worn out with dancing as you mentioned in your letter, so that I might have something to press against my heart.  ~Johann Wolfgang von Goethe


I would believe only in a God that knows how to dance.  ~Friedrich Nietzsche


Never trust spiritual leader who cannot dance.  ~Mr. Miyagi, The Next Karate Kid, 1994


We're fools whether we dance or not, so we might as well dance.  ~Japanese Proverb


On with the dance! let joy be unconfined;
No sleep till morn, when Youth and Pleasure meet
To chase the glowing hours with flying feet.
~George Gordon, Lord Byron, Childe Harold's Pilgrimage


Nobody cares if you can't dance well.  Just get up and dance.  ~Dave Barry


http://www.quotegarden.com/dancing.html 

Thursday 24 February 2011

Red Macaws, Mythology and Personal Experience?

http://gaiaguard.blogspot.com/

Continuing, one day my path took me up atop the sand dunes.
Peering out towards the ocean for quite awhile, I turned and looked
towards the land. Being at the farthest southwestern corner of the
United States, I realized that my gaze towards the northeast led
forth straight across the entire country. While standing on the dunes,
I suddenly felt that someone was standing beside me.

Turning slightly, I realized it was my Indian spirit guide. We stood
together in silence, for ever so long it seemed. Dressed in a multi-
colored garb, with feathers of the Scarlet Macaw, he finally spoke.
Very quietly he said "Guard well our precious home." With this, in
my mind's eye, he lifted his arms out towards the land--and arc after
arc of rainbows curved over the entire continent.

After my Indian spirit guide disappeared, I felt very strongly that this
encounter was like a "finale." Somehow I knew that it was my very
final vision. Sad, in a sense of a farewell, I had to admit that this last
vision of mine was nonetheless an absolutely glorious vision!

[ with thanks to Beatrix Murrell ]

"In America the Great Work of the First Peoples was to occupy this
continent and establish an intimate rapport with the powers that
brought this continent into existence in all its magnificence. They
did this through their ceremonies such as the Great Thanksgiving
ritual of the Iroquois, the sweat lodge and the vision quest of the
Plains Indians, through the Chantways of the Navaho, and the
Katsina rituals of the Hopi. Through these and a multitude of other
aspects of the indigenous cultures of this continent, certain models
were established of how humans become integral with the larger
context of our existence here on the planet Earth."
[Thomas Berry, THE GREAT WORK: OUR WAY INTO THE
FUTURE, Well Tower, 1999, p. 2.]

And it would seem that once again American Indian spiritual
scholars are attending to their old ways and applying them in
contemporary ways when it comes to the human relationship
with Mother Earth.









In Search of the Magic Lake
(Ecuador / Inca)


     FIVE HUNDRED YEARS AGO near Cuzco, capital of the Incas, there lived a girl named Ampata with her parents and two older brothers. Her family was poor and farmed the land as best they could to serve their emperor, the Sun King. 

                    Alarmed, they learned that the health of the prince, who had been not well since birth, had worsened. The Sun King feared for the very life of his only son. 

                    "Our only hope, sire," said the court magician, "is for your son to drink the water from the Magic Lake at the end of the earth. That is where the sky dips so low that it touches the lake's water and charges it with a magical healing power."

                    The Sun King announced that whoever could bring him water from the Magic Lake at the end of the earth would be richly rewarded. To the Incan people, gold and jewels were so abundant they had no more value than a barrel of corn; it was land, and the honor of joining the royal Inca family, that was a far greater treasure. 

                    But to Ampata's two older brothers, it was the opportunity to serve their Sun King that inspired them to beg their parents to allow them to go. "We know we can find the Magic Lake," they insisted.

                    "The end of the earth is too far," said the father, crossing his arms. The mother agreed, adding, "Panthers, boa constrictors, falls from rocky ledges - who knows the dangers that could befall you!" 

                    "But our prince will die without the water from the Magic Lake!" they cried. "We must try!"

                    Eventually the parents relented, and Ampata's brothers embarked on the journey. They traveled for months, trekking through endless mountain ranges, each time thinking the mountain they were climbing on must be the very last one on earth and beyond it they would reach the Magic Lake. But this did not happen.

                    One day, after climbing yet another mountain they had hoped was the last one on earth, only to discover at its summit dozens more peaks in the distance, one of the brothers said, discouraged, "We're not going to find the Magic Lake."

                    "I know," said the other, panting with exhaustion. "This is hopeless."

                    "What should we do?"

                    "Look, the harvest is coming and our parents need us back at the farm. Let's take some water from this mountain lake back to the prince. Who knows? We're far from Cuzco. Maybe the water will help cure him."

                    They had their doubts, but scooped the jar full of the mountain lake water, sealed it, and presented it to the Sun King at the castle.

                    But when the court magician poured their water into his flask, it sizzled and evaporated in a flash. The court magician frowned.

                    "My magic flask holds only water from the Magic Lake," said he. "This water is fake. The men are imposters!"

                    "How dare you try to trick the royal family!" bellowed the Sun King. "Throw them in prison!"

                    News of the young men's fate spread throughout the land. Though her brothers languished in jail, Ampata held out hope since at least they were still alive.

                    "Absolutely not!" said Ampata's parents, when she pleaded with them to allow her to go in search of the Magic Lake, too. "We'll have no children left at home," they said.

                    But Ampata implored them, saying it was the only way to win her brother's release from prison. Besides, the Sun King's poor son was worse than ever and had slipped into a coma. His situation was desperate.

                    At last her mother gave her a bag of toasted corn and nuts, and a llama to keep her company. Sighing, her parents bid their youngest child farewell.

                    On Ampata's first night, she snuggled into the warmth of her llama. But on the second night her sleep was shattered by the cry of a panther. She couldn't endanger her llama, and so she pointed the way back home for her pet and urged her to go, and quickly. That night, Ampata climbed the trees to spend the night safely out of harm's way.

                    The crook of a tree trunk is hardly a comfortable bed, but sleeping in the trees can bring unexpected benefits.


The next morning Ampata watched, bemused, a pair of scarlet macaws circling overhead, those noisy, gorgeous deep red parrots with white patches on their faces and splotches of blue and yellow on their wings.

While she watched, she chewed some toasted corn and nuts, and when the macaws alighted on the next branch, she spread some treats for them, too.

                    "Kwahh! Kwahh!" The macaws helped themselves to the treats. "What is a human girl doing in the trees?" Said the other bird, "Kwahh!"

                    These bright and engaging birds, more intelligent than most people realize, enjoy talking and interacting with others. Ampata told them her story - of the prince's mysterious sickness, her brothers' failed attempt to save him, and her determination to find the Magic Lake.

                    "You will never get there on your own!" said one of the macaws.


"Kwahh!" The two birds bobbed their beaks and flew to the edge of the limb.

                    After a few moments one of them turned to her and said, "We enjoyed your tasty treats! And we know how to help you."

                    The macaws rubbed their backs against one another in a kind of dance. After three feathers fell, they picked them up and flew to Ampata. 

                    Said one macaw, setting the feathers in her lap, "These three feathers have magic. Hold them together as a fan. They will take you wherever you want to go, and they will protect you from danger."

                    She spread the three feathers and tied the bottom of the fan with a ribbon of wool from her hair. "I can never thank you enough," she said to the two macaws. Holding the fan before her, she said, "If you please, will you take me to the Magic Lake at the end of the earth?"

                    As if she were a feather herself, Ampata was lifted far above the trees and whisked to the mountains. Thousands of feet below her, the snow-topped peaks of the Andes Mountains - the world's longest mountain range - raced by and Ampata nervously clutched her fan. At last, she was lowered ever so gently onto the very last peak, and her feet alighted. There before her sparkled the Magic Lake. Indeed, where the sky touched the water, the water in the Magic Lake fizzed and sparkled. Ampata knew she had reached the end of the earth. She tucked the fan into her braided waistband.

                    Suddenly from the woods slithered a giant rattlesnake, many times larger than she! Shaking its rattle and flicking its long red tongue, it seemed to fly toward her. Horrified, Ampata snatched the fan up before her face and closed her eyes, knowing that if it did not protect her, she was doomed. A loud clump. She lowered the fan to just above her nose and was amazed to see the giant rattlesnake had collapsed on the ground. The rattle at the end of its tail, teetering, pitched over.

                    The next moment a huge red scorpion, snapping its sharp front claws, surprised her from behind. It scampered toward her on its many legs so quickly that she barely had time to raise the fan. Though as soon as she did, the sound of its rushing along the ground toward her stopped. The scorpion lay on its back as if asleep; its many legs waved in the air and then settled down to rest.

                    Carefully stepping around the scorpion and the rattlesnake, Ampata headed to the shore of the Magic Lake. Suddenly a low humming started behind her. Spinning around, she saw what looked like a low, dark cloud. Soon the humming became louder and the dark cloud became bigger and darker. She realized with horror that a swarm of ferocious army ants was about to surround her. Quickly she shot the fan in front of her face, not knowing if the feathers would protect her from so many ants coming from so many different directions. Yet in the next few seconds no ants bit her feet and climbed her legs. Trembling, she peaked through the feathers. The swarm of deadly army ants silently lay around her, dead.

                    Ampata kept the fan in front of her face while she hurried to the Magic Lake and, with her other hand, dipped the jar into the magic waters. As soon as the jar was filled and sealed shut, she gripped the fan and said, "Right away please, take me to the castle of the Sun King."

                    The next moment, she was facing the Sun King's castle and its walls of huge interlocking cut stone. 

                    When she announced she had brought water from the Magic Lake, the girl was ushered upstairs to the sick prince's room. Ampata gave her jar to the court magician, a looming man who regarded her suspiciously. But when he poured the water from her jar into his magic flask and it did not sizzle or disappear, he smiled and glanced at her with excitement. He dipped his finger into the flask and let a few droplets fall onto the lips of the pale-faced young prince. The sick man's lips parted, his tongue flicked out for a moment to taste the water, and then his eyes opened. Everyone in the royal bedroom cheered, and the prince smiled.

                    "Drink this, Your Highness," said the court magician, handing him the flask with Ampata's water from the Magic Lake. The prince took one long gulp and sat up. "I feel better," he said, and color rushed back to his cheeks.

                    The Sun King was overjoyed. "You did it!" he exclaimed to Ampata. "You brought back water from the Magic Lake." She relayed her adventures and the Sun King was impressed. "You may live here and join the royal family," said he.

                    "If you please, sir," said Ampata, "may I ask three favors instead?"

                    "Of course - whatever you want."

                    "First, would you release my two brothers from prison? I'm sure they are sorry for their mistake and would like nothing better than a second chance to serve you again."

                    "Consider it done," said the Sun King. "What else?"

                    "I'd like to return these three magic feathers to my friends, the scarlet macaws." Instantly, the fan pried itself free of her waistband, shot upward in the air, quickly spun around and flew out an empty window.

                    "It looks like that's taken care of, too," smiled the Sun King. "What is your third wish?"

                    "Would you grant my parents large flocks of llama, alpacas and vicunas, and enough land to herd them so they will not be poor in their old age, and so my brothers and I can take care of them?"

                    "My dear girl, I'll gladly grant this on one condition - that you promise to visit us often at the castle as our treasured friend, since you choose not to join the Incan royal family at this time."

                    As it turns out, years later Ampata joined the royal family after all; from many visits with the prince a close friendship deepened to love. And none were prouder and happier at their royal wedding than Ampata's parents and two older brothers.

 





The Incan empire swept to prominence in a little over a hundred years and controlled 2500 miles of land along the Andes Mountains from Ecuador to Chile. Their wealthy and complex civilization ruled between 5 million and 11 million people. As rapid and widespread as was their rise, the empire collapsed nearly as quickly when Spanish conquistador Francisco Pizarro swept through their capital city in 1532, kidnapping and killing their leader, sparking a civil war, and introducing smallpox, a killer that decimated much of the population. Though the Incas had no written language and hadn't developed the concept of the wheel, they are known for their remarkable accomplishments in architecture, suspension bridges, an extensive and largely peaceful administration over a vast empire, and a sometimes mysterious coded system of record keeping using complex patterns of knots. 

The story describes three siblings of mixed gender - two male and one female. This composition of siblings is rare indeed and worthy of note. In folk literature worldwide and throughout the ages, a story featuring three siblings almost invariably describes three brothers or three sisters.
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Have you Heard? about the Bird........

















In the Tibetan Buddhist pantheon of enlightened beings, Chenrezig is renowned as the embodiment of the compassion of all the Buddhas, the Bodhisattva of Compassion.

Avalokiteshvara is the earthly manifestation of the self born, eternal Buddha, Amitabha. He guards this world in the interval between the historical Sakyamuni Buddha, and the next Buddha of the Future Maitreya.

According to legend, Chenrezig made a a vow that he would not rest until he had liberated all the beings in all the realms of suffering. After working diligently at this task for a very long time, he looked out and realized the immense number of miserable beings yet to be saved. Seeing this, he became despondent and his head split into thousands of pieces. Amitabha Buddha put the pieces back together as a body with very many arms and many heads, so that Chenrezig could work with myriad beings all at the same time. Sometimes Chenrezig is visualized with eleven heads, and a thousand arms fanned out around him.

Chenrezig may be the most popular of all Buddhist deities, except for Buddha himself -- he is beloved throughout the Buddhist world. He is known by different names in different lands: as Avalokiteshvara in the ancient Sanskrit language of India, as Kuan-yin in China, as Kannon in Japan.

Also known as, 'Garuda' .



File:Garuda Wishnu Bali.JPG  Vishnu riding 'Garuda' [from Wikipedia]

Wednesday 23 February 2011

After The Gold Rush, A Cursory Analysis.

Written by Neil Young
© 1970 Cotillion Music / Broken Arrow Music (BMI)

Well I dreamed I saw the knights in armor coming
Sayin' something about a queen
There were peasants singing and drummers drumming
And the archer split the tree

There was a fanfare blowing to the sun
There was floating on the breeze
Look at Mother Nature on the run
In the Twentieth Century
Look at Mother Nature on the run
In the Twentieth Century

I was lying in a burned out basement
With the full moon in my eyes
I was hoping for replacement
When the sun burst through the sky

There was a band playing in my head
And I felt like I could cry
I was thinking about what a friend had said
I was hoping it was a lie

Thinking about what a friend had said
I was hoping it was a lie

I dreamed I saw the silver spaceships flying
In the yellow haze of the sun
There were children crying and colors flying
All around the chosen ones

All in a dream, all in a dream
The loading had begun
Flying Mother Nature's silver seed
To a new home in the sun
Flying Mother Nature's silver seed
To a new home






First Observations;
A beautiful, poetic song, from a deep level of consciousness.

Lachrymose[crying] predominant=Depression/Resolution

Mother nature's, 'Silver Seed', 'New home in the Sun'= coniunctio symbolism

Extra Terrestrial, 'New Home', ie[ higher than 'earth']] consciousness achieved, realisation of solitude=Sorrow

'Archer, 'splits the tree', Cupid?Eros? Tree [tree of life, Yggdrasil, etc] , ie, dissociation begins[schism]

'Breeze', ie, 'Pneuma', or 'God imago' lending power to process.

'Knights'[in white satin?] Personal ego consciousness, instincts, etc , saying, 'something about a Queen', [Anima symbol='Self'', although archaic, ie mediaeval? to be replaced with new imago, ie, 'Silver Spaceships',
new, 'self imago' = Technos]

Primary conclusion? resolution of mental 'breakdown'. Contents of collective unconscious made manifest,
ie, Song is a healing symbol! [to repair the,'Burned Out Basement'], 'The Chosen Ones? perhaps they are part of a grand 'Mandala', or a plethora of alternatives, Saints, etc, all will aid the healing process, 'Mother Earth', needs our help!  Colours Flying!

David Bowie, 'crack in the sky,a hand reaching down', 'The strange ones in the Dome', repeat the themata, of this song, in many of his productions. Beautiful symbolism, but still, only symbols...

and ITAYA FOUSSA...SHOWS SIMILAR SYMBOLISM...[SEE OTHER POSTING]



Tuesday 22 February 2011

I'm A Changing Man!



Liverpool Art Prize winner David Jacques is launching two major projects today. He talks to Laura Davis
THE year was 1979. Margaret Thatcher was just entering 10 Downing Street and David Jacques was leaving school.
His ambitions were realistic – he did not expect to get a job.
Instead, like many young people facing unemployment in post-industrial Liverpool, he found a way of expressing his frustration.
“I was like anyone of my generation who was leaving a comprehensive school with really nothing in the way of expectations. It was a political awakening,” he says, now ensconced in a city centre studio perfumed with solvent.
“I was the same as any kid who picked up a guitar or started writing.

“Initially you do it quite privately and work up to find your voice, then you communicate what you’ve developed – you’d join a band and gig, you’d write and try to publish.
“I painted and exhibited.”
Inspired by the work of Mexican mural artist Diego Rivera – whose creations were “essentially a people’s history” – he enrolled on an HND in mural design at the Chelsea School of Art where he studied from 1984-86.
It was there that he discovered Robert Tressell’s book The Ragged Trousered Philanthropists, the basis for his new work, The Great Money Trick 2011 – a 23m-long piece that will be unveiled on the side of a city centre building today as part of Liverpool’s City of Radicals season.
Born in Dublin in 1870, Tressell was a housepainter and sign writer who intended to make a brief stay in Liverpool on his way to catch a ship to Canada in 1911. Instead, he died here in the Royal Infirmary Workhouse and was buried in a paupers’ grave.
The City of Radicals programme includes a re-creation of his funeral at lunchtime tomorrow, with around 100 guests – presumably many more than attended the original event: “If you’re interested in Socialist politics, it is almost regulation that you pick it up,” says Jacques of The Ragged Trousered Philanthropists.



Monday 21 February 2011

The Confidence Man, by Herman Melville.

Chapter 43
VERY CHARMING.
"So you are a philanthropist, sir," added the barber with an illuminated look; "that accounts, then, for all. Very odd sort of man the philanthropist. You are the second one, sir, I have seen. Very odd sort of man, indeed, the philanthropist.

Ah, sir," again meditatively stirring in the shaving-cup, "I sadly fear, lest you philanthropists know better what goodness is, than what men are." Then, eying him as if he were some strange creature behind cage-bars, "So you are a philanthropist, sir."

"I am Philanthropos, and love mankind. And, what is more than you do, barber, I trust them."

Here the barber, casually recalled to his business, would have replenished his shaving-cup, but finding now that on his last visit to the water-vessel he had not replaced it over the lamp, he did so now; and, while waiting for it to heat again, became almost as sociable as if the heating water were meant for whisky-punch; and almost as pleasantly garrulous as the pleasant barbers in romances.

"Sir," said he, taking a throne beside his customer (for in a row there were three thrones on the dais, as for the three kings of Cologne, those patron saints of the barber), "sir, you say you trust men. Well, I suppose I might share some of your trust, were it not for this trade, that I follow, too much letting me in behind the scenes."

"I think I understand," with a saddened look; "and much the same thing I have heard from persons in pursuits different from yours--from the lawyer, from the congressman, from the editor, not to mention others, each, with a strange kind of melancholy vanity, claiming for his vocation the distinction of affording the surest inlets to the conviction that man is no better than he should be. All of which testimony, if reliable, would, by mutual corroboration, justify some disturbance in a good man's mind. But no, no; it is a mistake--all a mistake."

"True, sir, very true," assented the barber.

"Glad to hear that," brightening up.

"Not so fast, sir," said the barber; "I agree with you in thinking that the lawyer, and the congressman, and the editor, are in error, but only in so far as each claims peculiar facilities for the sort of knowledge in question; because, you see, sir, the truth is, that every trade or pursuit which brings one into contact with the facts, sir, such trade or pursuit is equally an avenue to those facts."

"How exactly is that?"

"Why, sir, in my opinion--and for the last twenty years I have, at odd times, turned the matter over some in my mind--he who comes to know man, will not remain in ignorance of man. I think I am not rash in saying that; am I, sir?"

"Barber, you talk like an oracle--obscurely, barber, obscurely."

"Well, sir," with some self-complacency, "the barber has always been held an oracle, but as for the obscurity, that I don't admit."

"But pray, now, by your account, what precisely may be this mysterious knowledge gained in your trade? I grant you, indeed, as before hinted, that your trade, imposing on you the necessity of functionally tweaking the noses of mankind, is, in that respect, unfortunate, very much so; nevertheless, a well-regulated imagination should be proof even to such a provocation to improper conceits.
But what I want to learn from you, barber, is, how does the mere handling of the outside of men's heads lead you to distrust the inside of their hearts?

"What, sir, to say nothing more, can one be forever dealing in macassar oil, hair dyes, cosmetics, false moustaches, wigs, and toupees, and still believe that men are wholly what they look to be? What think you, sir, are a thoughtful barber's reflections, when, behind a careful curtain, he shaves the thin, dead stubble off a head, and then dismisses it to the world, radiant in curling auburn? To contrast the shamefaced air behind the curtain, the fearful looking forward to being possibly discovered there by a prying acquaintance, with the cheerful assurance and challenging pride with which the same man steps forth again, a gay deception, into the street, while some honest, shock-headed fellow humbly gives him the wall!

Ah, sir, they may talk of the courage of truth, but my trade teaches me that truth sometimes is sheepish. Lies, lies, sir, brave lies are the lions!"

"You twist the moral, barber; you sadly twist it. Look, now; take it this way: A modest man thrust out naked into the street, would he not be abashed?

Take him in and clothe him; would not his confidence be restored? And in either case, is any reproach involved?

Now, what is true of the whole, holds proportionably true of the part.

The bald head is a nakedness which the wig is a coat to.

To feel uneasy at the possibility of the exposure of one's nakedness at top, and to feel comforted by the consciousness of having it clothed--these feelings, instead of being dishonorable to a bold man, do, in fact, but attest a proper respect for himself and his fellows.

And as for the deception, you may as well call the fine roof of a fine chateau a deception, since, like a fine wig, it also is an artificial cover to the head, and equally, in the common eye, decorates the wearer.--I have confuted you, my dear barber; I have confounded you."

"Pardon," said the barber, "but I do not see that you have. His coat and his roof no man pretends to palm off as a part of himself, but the bald man palms off hair, not his, for his own."

"Not his, barber? If he have fairly purchased his hair, the law will protect him in its ownership, even against the claims of the head on which it grew. But it cannot be that you believe what you say, barber; you talk merely for the humor. I could not think so of you as to suppose that you would contentedly deal in the impostures you condemn."

"Ah, sir, I must live."

"And can't you do that without sinning against your conscience, as you believe? Take up some other calling."
"Wouldn't mend the matter much, sir."

"Do you think, then, barber, that, in a certain point, all the trades and callings of men are much on a par? Fatal, indeed," raising his hand, "inexpressibly dreadful, the trade of the barber, if to such conclusions it necessarily leads.

Barber," eying him not without emotion, "you appear to me not so much a misbeliever, as a man misled. Now, let me set you on the right track; let me restore you to trust in human nature, and by no other means than the very trade that has brought you to suspect it."

"You mean, sir, you would have me try the experiment of taking down that notification," again pointing to it with his brush; "but, dear me, while I sit chatting here, the water boils over."

With which words, and such a well-pleased, sly, snug, expression, as they say some men have when they think their little stratagem has succeeded, he hurried to the copper vessel, and soon had his cup foaming up with white bubbles, as if it were a mug of new ale.

Meantime, the other would have fain gone on with the discourse; but the cunning barber lathered him with so generous a brush, so piled up the foam on him, that his face looked like the yeasty crest of a billow, and vain to think of talking under it, as for a drowning priest in the sea to exhort his fellow-sinners on a raft.

Nothing would do, but he must keep his mouth shut. Doubtless, the interval was not, in a meditative way, unimproved; for, upon the traces of the operation being at last removed, the cosmopolitan rose, and, for added refreshment, washed his face and hands; and having generally readjusted himself, began, at last, addressing the barber in a manner different, singularly so, from his previous one.

Hard to say exactly what the manner was, any more than to hint it was a sort of magical; in a benign way, not wholly unlike the manner, fabled or otherwise, of certain creatures in nature, which have the power of persuasive fascination--the power of holding another creature by the button of the eye, as it were, despite the serious disinclination, and, indeed, earnest protest, of the victim.

With this manner the conclusion of the matter was not out of keeping; for, in the end, all argument and expostulation proved vain, the barber being irresistibly persuaded to agree to try, for the remainder of the present trip, the experiment of trusting men, as both phrased it.

True, to save his credit as a free agent, he was loud in averring that it was only for the novelty of the thing that he so agreed, and he required the other, as before volunteered, to go security to him against any loss that might ensue; but still the fact remained, that he engaged to trust men, a thing he had before said he would not do, at least not unreservedly.

Still the more to save his credit, he now insisted upon it, as a last point, that the agreement should be put in black and white, especially the security part. The other made no demur; pen, ink, and paper were provided, and grave as any notary the cosmopolitan sat down, but, ere taking the pen, glanced up at the notification, and said: "First down with that sign, barber--Timon's sign, there; down with it."

This, being in the agreement, was done--though a little reluctantly--with an eye to the future, the sign being carefully put away in a drawer.

"Now, then, for the writing," said the cosmopolitan, squaring himself.

"Ah," with a sigh, "I shall make a poor lawyer, I fear. Ain't used, you see, barber, to a business which, ignoring the principle of honor, holds no nail fast till clinched. Strange, barber,"
taking up the blank paper, "that such flimsy stuff as this should make such strong hawsers; vile hawsers, too
.
Barber," starting up, "I won't put it in black and white. It were a reflection upon our joint honor. I will take your word, and you shall take mine."

"But your memory may be none of the best, sir. Well for you, on your side, to have it in black and white, just for a memorandum like, you know."

"That, indeed! Yes, and it would help your memory, too, wouldn't it, barber? Yours, on your side, being a little weak, too, I dare say. Ah, barber! how ingenious we human beings are; and how kindly we reciprocate each other's little delicacies, don't we? What better proof, now, that we are kind, considerate fellows, with responsive fellow-feelings--eh, barber? But to business. Let me see. What's your name, barber?"

"William Cream, sir."

Pondering a moment, he began to write; and, after some corrections, leaned back, and read aloud the following:

"AGREEMENT Between FRANK GOODMAN, Philanthropist, and Citizen of the World, and WILLIAM CREAM, Barber of the Mississippi steamer, Fidèle. "The first hereby agrees to make good to the last any loss that may come from his trusting mankind, in the way of his vocation, for the residue of the present trip; PROVIDED that William Cream keep out of sight, for the given term, his notification of NO TRUST, and by no other mode convey any, the least hint or intimation, tending to discourage men from soliciting trust from him, in the way of his vocation, for the time above specified; but, on the contrary, he do, by all proper and reasonable words, gestures, manners, and looks, evince a perfect confidence in all men, especially strangers; otherwise, this agreement to be void.
"Done, in good faith, this 1st day of April 18--, at a quarter to twelve o'clock, P. M., in the shop of said William Cream, on board the said boat, Fidèle."
"There, barber; will that do?"

"That will do," said the barber, "only now put down your name."

Both signatures being affixed, the question was started by the barber, who should have custody of the instrument; which point, however, he settled for himself, by proposing that both should go together to the captain, and give the document into his hands--the barber hinting that this would be a safe proceeding, because the captain was necessarily a party disinterested, and, what was more, could not, from the nature of the present case, make anything by a breach of trust. All of which was listened to with some surprise and concern.

"Why, barber," said the cosmopolitan, "this don't show the right spirit; for me, I have confidence in the captain purely because he is a man; but he shall have nothing to do with our affair; for if you have no confidence in me, barber, I have in you. There, keep the paper yourself," handing it magnanimously.

"Very good," said the barber, "and now nothing remains but for me to receive the cash."

Though the mention of that word, or any of its singularly numerous equivalents, in serious neighborhood to a requisition upon one's purse, is attended with a more or less noteworthy effect upon the human countenance, producing in many an abrupt fall of it--in others, a writhing and screwing up of the features to a point not undistressing to behold, in some, attended with a blank pallor and fatal consternation--yet no trace of any of these symptoms was visible upon the countenance of the cosmopolitan, notwithstanding nothing could be more sudden and unexpected than the barber's demand.

"You speak of cash, barber; pray in what connection?"

"In a nearer one, sir," answered the barber, less blandly, "than I thought the man with the sweet voice stood, who wanted me to trust him once for a shave, on the score of being a sort of thirteenth cousin."

"Indeed, and what did you say to him?"

"I said, 'Thank you, sir, but I don't see the connection,'"

"How could you so unsweetly answer one with a sweet voice?"

"Because, I recalled what the son of Sirach says in the True Book: 'An enemy speaketh sweetly with his lips;' and so I did what the son of Sirach advises in such cases: 'I believed not his many words.'"

"What, barber, do you say that such cynical sort of things are in the True Book, by which, of course, you mean the Bible?"

"Yes, and plenty more to the same effect. Read the Book of Proverbs."

"That's strange, now, barber; for I never happen to have met with those passages you cite. Before I go to bed this night, I'll inspect the Bible I saw on the cabin-table, to-day. But mind, you mustn't quote the True Book that way to people coming in here; it would be impliedly a violation of the contract. But you don't know how glad I feel that you have for one while signed off all that sort of thing."

"No, sir; not unless you down with the cash."

"Cash again! What do you mean?"

"Why, in this paper here, you engage, sir, to insure me against a certain loss, and----"

"Certain? Is it so certain you are going to lose?"

"Why, that way of taking the word may not be amiss, but I didn't mean it so. I meant a certain loss; you understand, a CERTAIN loss; that is to say, a certain loss. Now then, sir, what use your mere writing and saying you will insure me, unless beforehand you place in my hands a money-pledge, sufficient to that end?"

"I see; the material pledge."

"Yes, and I will put it low; say fifty dollars."

"Now what sort of a beginning is this? You, barber, for a given time engage to trust man, to put confidence in men, and, for your first step, make a demand implying no confidence in the very man you engage with. But fifty dollars is nothing, and I would let you have it cheerfully, only I unfortunately happen to have but little change with me just now."

"But you have money in your trunk, though?"

"To be sure. But you see--in fact, barber, you must be consistent. No, I won't let you have the money now; I won't let you violate the inmost spirit of our contract, that way. So good-night, and I will see you again."

"Stay, sir"--humming and hawing--"you have forgotten something."

"Handkerchief?--gloves? No, forgotten nothing. Good-night."

"Stay, sir--the--the shaving."

"Ah, I did forget that. But now that it strikes me, I shan't pay you at present. Look at your agreement; you must trust. Tut! against loss you hold the guarantee. Good-night, my dear barber."

With which words he sauntered off, leaving the barber in a maze, staring after.

But it holding true in fascination as in natural philosophy, that nothing can act where it is not, so the barber was not long now in being restored to his self-possession and senses; the first evidence of which perhaps was, that, drawing forth his notification from the drawer, he put it back where it belonged; while, as for the agreement, that he tore up; which he felt the more free to do from the impression that in all human probability he would never again see the person who had drawn it.

Whether that impression proved well-founded or not, does not appear. But in after days, telling the night's adventure to his friends, the worthy barber always spoke of his queer customer as the man-charmer--as certain East Indians are called snake-charmers--and all his friends united in thinking him QUITE AN ORIGINAL.

Thursday 17 February 2011

Nietzsche, Tolkien,Some Observations, On, Their, Literary, Symbolism




Nietzsche's, 'Pied Cow'.[the town ]


Nietzsche’s Recurring Dream Zarathustra’s Prophecies are designed on several Human, Animal and Geographical Metaphors that form a Cyclical Dreamscape.

This continuum represents infinite movements that heighten the tensions between the human realm, the animal world, and the physical environment.

There is also a superimposition of human identities onto the animals re-creating the camel, lion, dragon, and the pied cow as anthropomorphic identities.

A politics arises out of the appearance and disappearance of these anthropomorphic forms in Nietzsche’s recurring dream because of the differences in talents between a beast of burden, a predator, the consortium with the dragon and the freedom that is attained with the image of the child.

This accounts for Zarathustra’s recurring dream, images of the past, present and the future that reoccur in sequence on the plane of immanence.

The Oriental desert geography in the dream represents the backdrop of modernity within which desolation and isolated geography entertains the possibilities of the nihilistic experience of life.

The surreal landscape is seen in the importance of falling asleep through the vestibule of the dreamscape seen in Zarathustra’s warning to the youth that surround him:

Honor sleep and be bashful before it-that first of all. And avoid all who sleep badly and stay awake at night.

Even the thief is bashful before sleep: he always steals silently through the night. Shameless, however, is the watchman of the night; shamelessly he carries his horn … Sleeping is no mean art: for its sake one must stay awake all day. (Zarathustra, Part I: The Teachers of Virtue, 28).

Nietzsche’s recurring dream is therefore presented as an ironic dogma of conformity and non-conformity. 

'The Pied Cow', is a symbol, for the imaginative state.
'Pied', or Black and White, shows up in other symbols, 'Pied Piper', etc,


As a young man growing up near Basel, Jung was fascinated and disturbed by tales of Nietzsche's brilliance, eccentricity, and eventual decline into permanent psychosis.


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J R R Tolkien.   THE HOBBIT.  and Notes, from, 'The Lord of The Rings'.
[wikipedia]


The Prancing Pony (also known as the Inn of the Prancing Pony) was an inn where Frodo Baggins first met the Ranger Strider.

The Inn of the Prancing Pony was built along the old Great East Road, and was the chief building within the village of Bree, near where the Greenway went north to Fornost.

Only one other hostelry outside the Shire is ever named in Middle-earth

, The Forsaken Inn, which lay a days ride east of Bree, but this may have been in ruins by the time of the War of the Ring , making the Prancing Pony,
especially unique. 



By the time of the War of the Ring, it was owned and managed by Barliman Butterbur, a Man who was somewhat absent-minded at times.


NIETZSCHE AND TOLKIEN? WHAT WAS IN THEIR MINDS EYE? TOLKIEN WAS A DEVOUT CATHOLIC, NIETZSCHE?....

STRANGE HOW, THE, 'ANIMAL SYMBOLISM' ,CROPS UP WITH THESE DIVERSE ACADEMICS?





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The Hobbit  [Tolkien]



Chapter I: AN UNEXPECTED PARTY

In a hole in the ground there lived a hobbit.

Not a nasty, dirty, wet hole, filled with the ends of worms and an oozy smell, nor yet a dry, bare, sandy hole with nothing in it to sit down on or to eat: it was a hobbit-hole, and that means comfort.

It had a perfectly round door like a porthole, painted green, with a shiny yellow brass knob in the exact middle. 

The door opened on to a tube-shaped hall like a tunnel: a very comfortable tunnel without smoke, with panelled walls, and floors tiled and carpeted, provided with polished chairs, and lots and lots of pegs for hats and coats—the hobbit was fond of visitors.

The tunnel wound on and on, going fairly but not quite straight into the side of the hill—The Hill, as all the people for many miles round called it—and many little round doors opened out of it, first on one side and then on another.

No going upstairs for the hobbit: bedrooms, bathrooms, cellars, pantries (lots of these), wardrobes (he had whole rooms devoted to clothes), kitchens, dining-rooms, all were on the same floor, and indeed on the same passage.

The best rooms were all on the left-hand side (going in), for these were the only ones to have windows, deep-set round windows looking over his garden, and meadows beyond, sloping down to the river.


This hobbit was a very well-to-do hobbit, and his name was Baggins.

The Bagginses had lived in the neighbourhood of The Hill for time out of mind, and people considered them very respectable, not only because most of them were rich, but also because they never had any adventures or did anything unexpected: you could tell what a Baggins would say on any question without the bother of asking him.

This is a story of how a Baggins had an adventure, and found himself doing and saying things altogether unexpected.

He may have lost the neighbours’ respect, but he gained—well, you will see whether he gained anything in the end.
 -------------------------------------------------------------------------------------------------

Now, I have highlighted in yellow, the 'mandala symbolism', that opens the story.

The significance of the 'round door, with central point', is echoed, in many famous works, of literature.

 THE CIRCLE WITH A CENTRAL POINT!


Sun symbol
The circled dot, circumpunct, or circle with a point at its centre is an ancient symbol. It can symbolize:
The sun: See also Solar symbol
The circled dot, circumpunct, or circle with a point at its centre is an ancient symbol. It can symbolize:
the circumpunct can also be interpreted as the singularity point before the big bang. One of the earliest evidence of this symbol is found in the image of the priest found at Mohenjodaro, one of the most important cities of what is now called Indus Saraswati civilization. A gold circumpunct with stealite bead forming the centre has also been unearthed. (source: www.harappa.com)

 



It is of interest, that this symbolism shows up right at the start of Tolkien's authorship, the 'left hand side of the hill', can be seen to represent, 'left side brain' functioning, ie imaginative thinking function.

Colour symbolism, [green and yellow/brass] is very relevant, as is, the actual, 'Hill',

The 'hole in the ground', is repeated in many artworks, a connection to the 'Great Mother',[earth] archetype.

Compare Nietzsche, coming 'down from the mountain', in opening pages, of, 'Zarathustra'.

1891
                             THUS SPAKE ZARATHUSTRA
                             by Friedrich Nietzsche
                          translated by Thomas Common
PROLOGUE
                  Zarathustra's Prologue

                            1.

  WHEN Zarathustra was thirty years old, he left his home and the lake
of his home, and went into the mountains.
 
There he enjoyed his
spirit and his solitude, and for ten years did not weary of it.
 
But at
last his heart changed,- and rising one morning with the rosy dawn, he
went before the sun, and spake thus unto it:
Thou great star! What would be thy happiness if thou hadst not those
for whom thou shinest!
For ten years hast thou climbed hither unto my cave: thou wouldst
have wearied of thy light and of the journey, had it not been for
me, mine eagle, and my serpent.
But we awaited thee every morning, took from thee thine overflow,
and blessed thee for it.
Lo! I am weary of my wisdom, like the bee that hath gathered too
much honey; I need hands outstretched to take it.
I would fain bestow and distribute, until the wise have once more
become joyous in their folly, and the poor happy in their riches.
  Therefore must I descend into the deep: as thou doest in the
evening, when thou goest behind the sea, and givest light also to
the nether-world, thou exuberant star!
Like thee must I go down, as men say, to whom I shall descend.
  Bless me, then, thou tranquil eye, that canst behold even the
greatest happiness without envy!
Bless the cup that is about to overflow, that the water may flow
golden out of it, and carry everywhere the reflection of thy bliss!
  Lo! This cup is again going to empty itself, and Zarathustra is
again going to be a man.

  Thus began Zarathustra's down-going.

                            2.

  Zarathustra went down the mountain alone, no one meeting him.

So, as we can see, 'Sun' symbolism, appears in the mind of both authors.
However, Nietzsche, descibes, a, 'Star', Tolkien, Describes, a, 'Door'.
Subjectively, the symbol remains the same, but one [Tolkien] is infused with colour, the other[Nietzsche]is plainly 'completely full ,and undifferentiated'.
Sol, is generally supposed to be a male symbol. This is not always the case.
The 'Master Workman', may actually be female!

How the symbol is relevent to the story making process, I shall attempt to explain,but, plainly, it's early appearance, in the mind of both authors, points to a connection with , 'imaginative power', and 'archetyal imagery development,.........
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 back to Tolkien.......

As I was saying, the mother of this hobbit—of Bilbo Baggins, that is—was the famous Belladonna Took, one of the three remarkable daughters of the Old Took, head of the hobbits who lived across The Water, the small river that ran at the foot of The Hill.

It was often said (in other families) that long ago one of the Took ancestors must have taken a fairy wife.

That was, of course, absurd, but certainly there was still something not entirely hobbitlike about them, and once in a while members of the Took-clan would go and have adventures.
They discreetly disappeared, and the family hushed it up; but the fact remained that the Tooks were not as respectable as the Bagginses, though they were undoubtedly richer.

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Here, we perhaps may see, the beginnings, of differentiation, of Archetype.

Three appears, indicating ego-identification, on the part of Tolkien, who is[ unconsciously] including, his personal experience/family background.

'The family hushed it up', what, I wonder?

some, 'Moral' Transgression?

A little later, in the chapter, a wagon-driving 'wizard', Gandalf, appears on the scene.

The wheels of the wagon [two] indicate, the start of movement, in the 'Pleroma', as personally experienced, by Tolkien.

Wheel symbolism, and 'Syzegies', are well known, in all cultures.

Nietzsche says Zarathustra went down the mountain alone, conveniently excluding his , Avian and Reptilean, animal companions! but three of them , there were![first incomplete quaternio]
[this symbolism is the subject of much debate, as is DNA structurism generally]

[to be continued  ....]

Was, 'Barliman Butterbar';, really, Tolkien's alter-ego? just, as, 'David Copperfield'[DC]
Was, really, Charles Dickens[CD]? ..........I, will, take, a closer, look ,at, this, a little, later , maybe...

OK. I'M ,BACK.[6 April 2013] I ,have, 'Tracking', on, this, Blog, and, this, particular, 'Investigation', has , had,
a, lot, of, 'Hits',....So, if, You ,are, Curious.....

'BellaDonna', is, a,'Nickname', for? CANNABIS.

and, Old Nietzsche, was, a known User, of?, 'Chloryl Hydrate', or, COCAINE.

ENTHEOGENS.

OK,THREE, MORE ,YEARS,GONE ,BY...UPDATE MARCH 23 2016.

NIETZSCHE'S, FATHER,WAS, A CHRISTIAN MINISTER.

THE 'HOLE IN THE GROUND', AS,DESCRIBED,BY,TOLKIEN,IS, A WELL KNOWN,
'MOTHER', OR, 'EARTH-MOTHER',ARCHETYPE,IN,JUNGIAN THOUGHT.

[HOLE IN THE FLOOOR, DOOR TO UNDERWORLD, ETC].....

JUST, WHY ,TOLKIEN, PRODUCED, A 'BUTTERBAR', ?...MAYBE, HE, WOULD, HAVE, BEEN,
AMUSED, BY, THE MOVIE,'LAST TANGO IN PARIS?'...

AND,'GANDALF?'...MAYBE, HECAME FROM, ROME...

The Papal Palace of Castel Gandolfo, or the Apostolic Palace of Castel Gandolfo from its Italian name Palazzo Apostolico di Castel Gandolfo, is a 17th-century papal palace in the city of Castel Gandolfo, Italy. It has served for centuries as a summer residence and vacation retreat for the pope, the leader of the Catholic Church.

'ACADEMICS', OF,THE, LATE ,VICTORIAN/EDWARDIAN, ERA, LIVED, IN, A RESTRICTIVE,
AND,SUFFOCATING,ATMOSPHERE, OF, 'MORALITY'.

NIETZSCHE,USED,COCAINE, AS,DID, SIGMUND FREUD.......

BOTH,WERE,HIGHLY INTELLIGENT, BUT,UNWORDLY-WISE.

WRITING,FOR,NIETZSCHE, WAS, HIS, WAY, OF, DEALING, WITH, HIS, FEARS, AND,SEXUAL,INADEQUACY...JUNG,CITES, 'ZARATHUSTRA', AS, AN, EXAMPLE, OF, A DESCENT,INTO,PSYCHOSIS.
WRITING, FOR,TOLKIEN, MUST, HAVE, BEEN, AN, ESCAPE, FROM, THE STIFLING WORLD, OF,ACADEMIC,PHILOLOGY[WORD ORIGINS]..HE, WAS, AFTER ALL, AN, EMERITUS PROFESSOR, AND,IN,COMPETITION, WITH,FELLOW,ACADEMICS, SUCH, AS,
C.S LEWIS, IN, THE, 'INKLINGS',CLUB...
LEWIS,LIKE, TOLKIEN, USED, MYTHOLOGY,BUT,HIS,INCLUSION, OF,
'THE ICE QUEEN', IN, 'THE LION,THE WITCH,AND, THE WARDROBE', PERHAPS,
INDICATES, A PROBLEM, WITH, HIS,RELATIONSHIP, TO, HIS,MOTHER?...
THEN,AGAIN, 'ICE', IS, NOT,NECESSARILY,FROZEN, WATER..

THAT 'HIDEOUS STRENGTH',WRITTEN, BY,LEWIS,HAS,ECHOES, IN, MODERNITY..
'DR JEKYLL AND MR HIDE', FOR EXAMPLE..OR,ACTOR, JOHN MALKOVITCH,
DANCING IN A GRAVEYARD, WITH,SIGMUND FREUD'S GRANDDAUGHTER?..
IN, AN, EXPERIMENTAL MOVIE, CALLED, 'HIDEOUS?'...

COULD JUST BE COINCIDENCE...

BUT,I,REMEMBER, ASKING, A [CATHOLIC] TEACHER, AT SCHOOL, ABOUT,
DARWINIAN EVOLUTION, AND,'ACCIDENTAL',MUTATIONS, ETC, PRODUCING,US,
HUMAN BEINGS..

HE REPLIED, 'SMASH, A WATCH, UP,INTO,A MILLION PIECES, ON, A PIECE, OF, CARD,
THROW,IT, INTO, THE AIR, AND,WHEN,IT ACCIDENTALLY, REFORMS, INTO, A WATCH,
THEN,THAT,THEORY, WILL, BE VALIDATED.

WRITERS,LIKE,ACTORS, ARE, ONLY, PLAYING...



[P.S.THIS POST GETS, LOADS, OF,'HITS', THANKS...]





Tuesday 15 February 2011

The Surprising Truth About How the Great Pyramids Were Built

http://www.livescience.com/1554-surprising-truth-great-pyramids-built.html

'The widely accepted theory—that the pyramids were crafted of carved-out giant limestone blocks that workers carried up ramps—had not only not been embraced by everyone, but as important had quite a number of holes.'

“What started as a two-hour project turned into a five-year odyssey that I undertook with one of my graduate students, Adrish Ganguly, and a colleague in France, Gilles Hug,” Barsoum says.

A year and a half later, after extensive scanning electron microscope (SEM) observations and other testing, Barsoum and his research group finally began to draw some conclusions about the pyramids. They found that the tiniest structures within the inner and outer casing stones were indeed consistent with a reconstituted limestone. The cement binding the limestone aggregate was either silicon dioxide (the building block of quartz) or a calcium and magnesium-rich silicate mineral.

The stones also had a high water content—unusual for the normally dry, natural limestone found on the Giza plateau—and the cementing phases, in both the inner and outer casing stones, were amorphous, in other words, their atoms were not arranged in a regular and periodic array. Sedimentary rocks such as limestone are seldom, if ever, amorphous.

The sample chemistries the researchers found do not exist anywhere in nature. “Therefore,” says Barsoum, “it’s very improbable that the outer and inner casing stones that we examined were chiseled from a natural limestone block.”

More startlingly, Barsoum and another of his graduate students, Aaron Sakulich, recently discovered the presence of silicon dioxide nanoscale spheres (with diameters only billionths of a meter across) in one of the samples. This discovery further confirms that these blocks are not natural limestone.



As if the scientific evidence isn’t enough, Barsoum has pointed out a number of common sense reasons why the pyramids were not likely constructed entirely of chiseled limestone blocks.

Egyptologists are consistently confronted by unanswered questions: How is it possible that some of the blocks are so perfectly matched that not even a human hair can be inserted between them? Why, despite the existence of millions of tons of stone, carved presumably with copper chisels, has not one copper chisel ever been found on the Giza Plateau?

Although Barsoum’s research has not answered all of these questions, his work provides insight into some of the key questions. For example, it is now more likely than not that the tops of the pyramids are cast, as it would have been increasingly difficult to drag the stones to the summit.

Also, casting would explain why some of the stones fit so closely together. Still, as with all great mysteries, not every aspect of the pyramids can be explained. How the Egyptians hoisted 70-ton granite slabs halfway up the great pyramid remains as mysterious as ever.
 

Makes sense to me! CONCRETE! HAHA!




Monday 14 February 2011

Eratw, or, Erato, [Musing about Muses]

ERATW, eR WhAT? ,maybe it's WATER?


Greek Name Transliteration Latin Spelling
Eratw Eratô Erato


ERATO was one of the nine Mousai (Muses), the goddesses of music, song and dance. Her name means "the lovely" or "beloved" from the Greek word eratos.

In Classical times--when the Muses were assigned specific artistic spheres--she was named Muse of erotic poetry and mimic imitation and represented holding a lyre.

ERATW,  [GREEK] TRANSLATES TO 'LOVELY', BEAUTIFUL.







For My beautiful Wife, Claire, on Valentines day......



[from;'A Horse Called Music']

Sunday 13 February 2011

Oxyrhynchus Logia

Second Logion: "Jesus saith, Except you fast to the world, you shall in no wise find the kingdom of God."

Third Logion: "Jesus saith, I stood in the midst of the world, and in the flesh was I seen of them, and I found all men drunken, and none found I athirst among them, and my soul grieved over the sons of men, because they are blind in their heart, and see not."

Fifth Logion: "Jesus saith, Wherever there are two, they are not without God; and wherever there is one alone, I say I am with him. Raise the stone and there thou shalt find me; cleave the wood, and there am I."

Sixth Logion: "Jesus saith, A prophet is not acceptable in his own country, neither doth a physician work cures upon them that know him."

Seventh Logion: "Jesus saith, A city built upon the top of a hill and stablished can neither fall nor be hid."

Eighth Logion: "Jesus saith, Thou hearest with one ear . . ."

[wikipedia]


Clement of Alexandria, Stromata, V, 10, 64: "For not grudgingly, he saith, did the Lord declare in a certain gospel: My mystery is for me and for the sons of my house."



The Union of Instinct and Ego

In the symbolism of the serpent ascending the staff, the two most essential polarities of the human psyche are united: the feminine or earth-related instinct for survival, as symbolized by the horizontally slithering serpent; and the vertical and therefore masculine or heaven-related standard upon which the serpent is raised. In this image the instinctual or lower level is elevated to consciousness. 

The result is a power-infused symbol incorporating and uniting the two tension-creating but potentially balancing principles of psychological wholeness--instinct and ego. 
 
Through this symbol the Israelites were restored to health of body and, at the same time, put back in touch with a higher order of meaning and purpose for their lives. They could now view their Wilderness ordeal against an historical backdrop. Hope had returned; their vision had been regained. With their renewed determination to press on they were, once again, the people of the Promise. 
 
For us, also, the constant need is to turn from looking down to looking up.
"Look up" the Voice told Abraham.
. . . Look to the heavens and to the eternal.
"Look up", the Israelites also were told.
. . . Look up and be healed. 



Friday 11 February 2011

When I See An Elephant Fly!

            

(Did you ever see an elephant fly?)
(Well, I seen a horsefly)
(And I seen a dragonfly)
(Yeah, I seen a housefly)
(Ha-ha-ha-ha)

Yeah, I seen all that too...

I seen a peanut stand, heard a rubber band
I seen a needle that winked its eye
But I be done seen 'bout ev'rything
When I see a elephant fly

(What d'you say, boy?)
I said when I see a elephant fly

I seen a front porch swing, heard a diamond ring
I seen a polka-dot railroad tie
But I be done seen 'bout ev'rything
When I see a elephant fly

(I saw a clothes horse, he r'ar up and buck)
(And they tell me that a man made a vegetable truck)
(I didn't see that, I only heard)
(But just to be sociable, I'll take your word)

(I heard a fireside chat, I saw a baseball bat)
(And I just laughed till I thought I'd die)
But I be done seen 'bout ev'rything
When I see a elephant fly

Well I be done seen 'bout ev'rything
When I see a elephant fly
(With the wings)
When I see an elephant fly!































Elephants!

                                                                [Hokkusai]


Flying Elephants
It is said that once elephants had wings.  One day one was flying over a very large old banyan tree somewhere to the north of the Himalayas.  Wishing to rest for awhile, it settled upon one of the uppermost branches.   But the branch could not support the weight of the animal and it cracked and fell upon a meditating hermit sitting below.  This yogi, whose name was Dirghatapas, lost his temper and cursed away the wings of the poor beast.  From that day to this, elephants have had to walk.
The elephant's movements are considered the epitome of gracefulness.  However, the elephant also represents the earth and its tremors.  Once, in India, the ground used top actually tremble as the herds passed.  A regional myth holds that the world rests on the head of a great elephant, Mahapadma, and when it moves its head to get more comfortable, an earthquake is produced.

Occasionally in the tantric yoga system, an elephant is represented at the muladhara or foundation chakra.  According to Rawson, it represents the input of all the senses which can be transformed by the activity of the higher chakras.  In Mahayana Buddhism, where the focus is on bodhicitta rather than on kundalini, we can see how the taming of Nalagiri may represent a transformation of ordinary awareness into bodhisattva nature.
  • Taming the wild elephant of our mind by means of Mahamudra.  The instrument of control is called in Sanskrit, ankhusha.  In English, it is an ankh. 
http://www.khandro.net/animal_elephant.htm 


When, Hindu mythology recounts, at the beginning of Time the Goddess Durga did battle with the embodiment of Evil, that demon took the form of a buffalo but each time She struck it, it transformed.  At one point, it assumed the form of a great elephant.
In a version of the myth, Lord Shiva induced this beast, Gajashura, to dance with him until it could endure no longer and finally, it fell down dead.  Then Shiva flayed the monster and donned the dripping skin as his mantle.  In this bloody garment, he performed his terrifying Tandava victory dance that shook the foundations of the three worlds.  Therefore, as a garment it stands for the removal of arrogance, pride or vanity.

Jungians, may have a different Perspective! about White Elephants!

Hence we concur with many other depth psychologists and folklorists, who view stories as expressions of the purposeful workings of the human mind.

We regard the hero/heroine as representative of the ego function and all other characters as representative of various other elements in the individual's psychological makeup.

Folktales give expression to problems both in attachment systems and in submission strategies, and to their potential resolution. To illustrate this thesis, we will analyse one story from a paleolithic culture and one from European folk culture.

Story Background
We are very fortunate to have a story, Mantis and the Elephants, directly from a pre-colonial paleolithic culture, the !Xam, in South Africa (D.Bleek 1923)--particularly so, since the bushpeople of Southern Africa are the closest one can get to our common ancestors in Africa.

They have been found to have the highest level of mt DNA-sequence divergence yet found, indicating that the Bush people are the oldest people on earth (Kingdon 1993 pg. 258). It is perhaps worth mentioning that there has been, until recent times , a continuous tradition of Palaeolithic rock art in Southern Africa stretching back over 20,000 years (Lewis-Williams1990). The stories from the Bleek collection have been a major key in deciphering this rock art, which suggests a continuity of mythological tradition over that time period. Close similarities have been noticed between the mythological/symbolic traditions of the !Xam and the surviving !Kung in Botswana today (Guenther, Hewitt). This gives us some confidence in suggesting that the story we propose to use has its origins in our environment of evolutionary adaptedness (EEA).

The story deals with Mantis, the trickster god of the Bush people and the problems that arise from his preoccupation with honey.

MANTIS AND THE ELEPHANT 1

The story begins with Mantis digging out wild bee's honey from a hole. As he eats he throws up honey to little Springbok, who is sitting in the edge of the hole, with the statement "are you eating as I am eating?" An elephant comes along and carries Springbok away on her back. Mantis, unaware of what has happened, continues to eat and throw up the honey. Finally, getting no reply from Springbok, he emerges from the hole only to discover a calf elephant in its place. Realizing what has happened and outraged by his loss, Mantis kills the calf elephant.

He returns to Springbok's mother (his sister). She admonishes him for his neglect and demands that he recover Springbok. When she has packed a bag of dried meat, he sets out on his journey. Before departing, Mantis tells his sister that the wind blowing from a certain direction will foretell his return. He follows the spoor and, from a hill spots Springbok playing with the young elephants. Mother elephant sees Mantis and immediately swallows Springbok.

Mantis demands it's return but Mother elephant denies any knowledge of Springbok's whereabouts. Mantis insists he has seen her swallow Springbok.

After a fierce argument Mantis enters her navel and, on finding Springbok there inside, he proceeds to cut her insides to pieces. While the other elephant angrily await his reappearance at her navel, Mantis, with Springbok on his back, escapes through her trunk. Mother elephant dies.

Mantis confidently claims his victory and flies away "on the wind", escaping the wrath of the other encircling elephant. At home his sister notices the change in the wind and on return from his journey, Mantis is met with jubilation by all. (D. Bleek 1925 pg.41-44).

Analysis 

The story begins with Mantis in the hole apparently sharing honey with Springbok. For the bush people, honey epitomizes the essence of the sweetness of life and has transformative qualities. It is of interest to note that honey was regarded as food of the gods in ancient Sumer, Greece and in many other cultures (Cooper 1984:84). Honey was always shared by the Bushpeople and the location of each hive was closely guarded, watched over and utilized only when ready.

The sharing of this precious resource of sweetness, which was invariably met with great jubilation, consolidated the strict rules of reciprocity within the group. However, Mantis becomes so absorbed in the sweetness, that he seemingly forgets about the existence of Springbok and his responsibility in this regard. This forgetfulness and absorption in the sweetness allows Mother elephant the opportunity to steal away with Springbok unnoticed.
The bush people always refer to Springbok in intensely respectful, even sacred phrases, like "beloved Springbok". The Springbok was, after all, the main source of food, something to be shared. The sharing of Springbok meat was done according to strict rules of reciprocity, which reaffirmed the cohesion of the group. Their attitude of perceiving the Springbok as a gift from life also connected them to the wider cosmological world.

Their gratitude to it, was an affirmation of their sense of a reciprocal relationship with the natural world.
Mantis's absorption with the sweetness and the subsequent loss of Springbok reflects a core narcissistic position.

In this position he has lost his capacity both to connect to his fellow human beings and to the world at large. Absorbed in the sweetness he becomes a slave to his greed which blinds him. There is a fundamental lack of capacity to reflect to the other.

The fact that it is mother elephant who carries Springbok away suggests that it is a negative aspect of the mother complex which deprives Mantis (ego) of his capacity to relate.
Despite his absorption in narcissistic pleasure, something inside him calls his attention to the lack of an appropriate response from Springbok.

Here we can see the workings of the archetype of the Self, that which attempts to redress the destructive imbalances within the individual. Just as in the classic narcissistic position he is engulfed with primitive rage when he discovers his loss.

Children with insecure/ambivalent attachment patterns are seen to exhibit similar reactions to loss (Mains 1991; Grossman and Grossman 1991). They are easily engulfed with rage and show a distinct inability to reflect on their feelings of loss and simply act out their distress. 

Their failure on a metacognitive level to reflect on their feelings, can leave them trapped in a position where no learning occurs. They are prone to repetition of their reaction again and again.
This however is not how our story unfolds.

Mantis does indeed initially rush off in his rage to track the elephant but his memory of his relationship to his sister, draws him back to a different response to the situation. In this more personal relationship to the feminine, Mantis is held accountable in a way which allows him to undertake a more differentiated, considered response to the loss.

She not only admonishes him for his self absorption and demands that he recover Springbok, but also provides him with food for the journey.

The initial rage response to the primitive abandoning, devouring mother (elephant) is now very different. In this interaction, higher metacognitive functions can operate. 

Springbok's mother can engage Mantis in a reasoned dialogue in which Mantis can submit to certain restraints without rage. From a Piagetian perspective this can be seen as both a capacity for positive constraint and reciprocity working within the individual. 

Springbok's mother embodied a very powerful feminine function for the bushpeople, which mediated constraint and reciprocity within the community. As she is also Mantis' sister this suggests her position is relatively equal to Mantis, the trickster-creator god.

While achieving many heroic feats in Bushman mythology, Mantis is not all powerful.

He frequently has to submit to a feminine function that mediates constraint and reciprocity amongst relationships. Hence the urge for mastery epitomised by Mantis had to operate within a field which imposes firm limits, co-operation and negotiation.

This suggests that in our Environment of Evolutionary Adaptedness, constraint and reciprocity were essential features of the human condition . The centrality of constraint and reciprocity in the E.E.A., meant that negotiation and compromise were central features of decision making within the community.

As a consequence individuals were relatively equally empowered and the capacity to embrace another's position and be understood oneself, was intrinsic to our E.E.A. Embedment within such a social group is the best protection there is against depression (Nesse and Williams 1995 :215-221)!!!

Springbok's mother is perhaps a precursor of the many old feminine deities that mediate similar functions of constraint and reciprocity world wide (Cooper 1984:108-9). Athena, who is credited with introducing the legal justice system to Athens, can be viewed as a more sophisticated urbanized version of Springbok's mother.

In our story mantis makes use of a reference to the change in wind direction as foretelling his return.

Mantis is beginning his journey with the knowledge that he will return, but knows not when.

Wind, as a natural element beyond his control, is a suitable metaphor for his destiny- "that adventure of unknown proportions, that even if we meet with self confidence and the best of faith, will inevitably prove to be something very different, very much more complicated, dangerous and difficult than we expect " (Zimmer 1971). Mantis submits to a living process beyond ego control.

Hence the story also indicates the importance of holding the correct attitude to one's fate. Whilst voluntarily submitting to the journey Mantis is not submissive and moves forward with a buoyant, heroic attitude.

He tracks the spore of the elephant to a hill from where he has a good vantage point. Is not his capacity to accurately track the elephant spore itself a metaphor for the ability to consciously trace the source of our emotional suffering? 

Reaching the vantage point he is able to perceive the wider emotional picture. He can now reflect on his internal emotional scenery in relation to the loss, before acting.

His ability to contain what were initially overwhelming feelings creates the freedom for a higher order of focused and considered attitude and response.

For the bushpeople, elephants were regarded as destructive, intrusive creatures. This is compatible with the idea that mother elephant represents the destructive aspect of the mother complex.

In leaving behind her own calf, unattuned to its needs, she shows a fundamental lack of differentiation as well as neglect.
From his vantage point, Mantis is confronted with a somewhat unexpected scene. Springbok plays happily with the young elephants, apparently showing no sign of missing his connection to Mantis or his mother.

Is this not a regression of the capacity for reciprocal relationships to an earlier phase of development? A stage where reciprocity is still in a primitive form?

From a Piagian view, this would perhaps correspond to the role of unilateral constraint, in which is seen the predominance of egocentricism, animism, the magical world of the young child absorbed in its own imagination.

Our story illustrates the necessity of regression to an earlier , positive narcissistic phase before development can proceed again (Jung 1913. CW vol 4, 404-406; Kohut, H and Wolf, E.S.,1978).

However, re-emergence from such a regression is never easy.

In the true heroic tradition the treasure cannot be recovered without a great struggle. The hero's journey, we suggest, is a metaphor for the ego's struggle to claim potentials from within the unconscious that are necessary for the onward movement of the individual's life (Steinberg 1989:341).

Mantis' initial effort to claim Springbok is met with denial and the threat of destruction.

Once again Mantis demonstrates courage and a positive attitude when faced with these threats. The capacity to withstand threats of inner annihilation is crucial to the healing process.

Mother elephant's swallowing of Springbok, and the subsequent threats against Mantis, are indicative of the enormous power and negative pull of inner regressive tendencies. Every phase of development, from birth to death, involves an encounter with such inner demons.

In the next phase, our story intimates extraordinary psychological accuracy when Mantis enters through the navel of mother elephant to find Springbok within.

Mantis consciously returns to the core of the regression through the umbilicus - the original connection to the great mother.

This fearless descent into the heart of darkness, is repeated in hero myths world-wide.

In order to resolve serious psychological conflicts, such as addictions and depressive states, one must face the core terrors that generate them.

Therapeutically, this implies exploring and containing the early attachment experiences with the mother. This is never an easy process and one can see the value of stories which point toward successful resolution of suffering and the possibility of transformation of early damage.

Another crucial element demonstrated in our story is the need for focused aggression in order to extricate the treasure from the negative mother complex. Neither a diffuse, destructive, impulsive, narcissistic anger, nor the suppression of anger would be helpful at this point (Cochrane,N., and Neilson,M. 1977; Fava,G.A., Kellner,R., Lisansky,J., et.al. 1986). 

We see Mantis cutting mother elephant's inside to pieces with his spear, and escaping through her trunk. He dissects her inner core into small pieces. The spear is an image of an archetypally evolved capacity for assertiveness in the service of individuation.

It symbolises a capacity which enables the individual to interact with his/her instincts in a more conscious way.
Mother elephant dies.

Death of the regressive side of the mother complex is essential if the individual is to move out of an infantile position of dependency.

Marduk, the heroic god of ancient Babylon, kills the goddess Tiamat who represents primitive chaos, while Perseus, one of the classic heroes of Greece, slays the Medusa, the petrifying aspect of the mother, the look that kills.
While all the regressive energy is focused around the navel, Mantis makes his escape through the head, thereby demonstrating a relative freedom of action.

His aggression, coupled with his incisive analytic skills, gives him this freedom.

His success fills him with confidence and allows him, metaphorically, to fly home with springbok "on the wind". The return of Springbok to the community, we see as a metaphor for the establishment of constraint and reciprocity.

His renewed self esteem allows him to return home where he is met with great jubilation. The successful resolution of a psychological loss is invariably followed by a sense of exhilaration which allows, once more, a feeling of being connected to life.

In terms of submission strategy Mantis initially lacks constraint in his consumption of the prized honey and reacts with unrestrained rage to loss.

Such a lack of capacity for submission, could potentially have disastrous consequences. But fortunately, a positive form of constraint and reciprocity is mediated by another internal element, his sister, to whom he can willingly submit, helps him to transform rage into more effective psychological action.


We have attempted to explore the meaning of the different elements of the story as understood by the Bushmen themselves. Our analysis, we hope, has shown that the story fulfils the definition of a Darwinian algorithm as defined previously. 

The story offers a metaphor for psychological growth but of itself is no guarantee that such growth will occur. Each individual retains the freedom to choose whether to undertake such a journey or not.

We all have our own honeypots that can absorb us completely, to the detriment of relatedness to others. We all know what it means to be filled with rage and we all know the struggle to contain that rage and convert it into effective action at an interpersonal level.

There is, after all, a moral choice in each individual's journey. 
http://www.cgjungpage.org/index.php?option=com_content&task=view&id=833&Itemid=40 

(I seen a peanut stand, heard a rubber band)
(I seen a needle that winked it's eye)

ELEPHANTS:
Now I be done seen about ev'rything
When I see an elephant fly
(Oh my!)

CROWS:
When I see
When I see
When I see an elephant fly
(Look at him go)
When I see an elephant fly
(Happy landings, son)
(Yippee!)
When I see an elephant fly
I sure wish I'd a-got his autograph

(Oh man, I got his autograph)

Well, so long glamour boy!
 
 

Dobie Gray - Out On The Floor