There be dragons!

Tuesday, February 2, 2010

Scribble Bibble Coming Down

I'm tired of all this and will be taking down any significant posts. Possibly for publication, I don't know, but I'm generally tired of maintaining this blog. After I finish taking down the articles and transferring them to a word processor I'm going to delete this blog.

Monday, January 11, 2010

Macbeth Act V.3

The full speech reads thusly:

Seyton!—I am sick at heart,
When I behold—Seyton, I say!—This push
Will cheer me ever, or disseat me now.
I have lived long enough: my way of life
Is fall’n into the sear, the yellow leaf;
And that which should accompany old age,
As honour, love, obedience, troops of friends,
I must not look to have; but, in their stead,
Curses, not loud but deep, mouth-honour, breath,
Which the poor heart would fain deny, and dare not.
Seyton!


The last bit particularly intrigues me.
Note the structural points: honour, love, obedience, troops = 4 things.
curses, mouth-honour, breath = 3 things
Seyton is called three times
The structural pattern of three resembles the tertiary list of the door warden (the hellgate keeper of Act II.3); nose-painting (blood, violence, curses), sleep (honour given as though sleepwalking), urine (breath being just another filthy vapor exuded by the human machine).
Also one leads to the other; muttered curses are covered up with mouth-honour, both of which are no more than breath; all of which are part of that tale told by an idiot.
The iambic pentameter structure runs throughout in fairly consistent pattern until the last "not" which overburdens the line and lingers as a final tone; nothingness, negation is the last syllable of recorded time.
Throughout the play Macbeth and his lady have equated violence with manliness or courage; "Is the courage drunk wherein thou dressed thyself?" or "When thou durst do it then thou wert a man" or "my thought...shakes so my single state of man" or "thou lily-livered boy...those linen cheeks of thine / are councillors to fear." So to do violence, in Macbeth's mind, is to be manly.

In this speech to the doctor (whose job it is to make people healthy) Macbeth is lamenting the fact that he is prematurely old, but without the things that are supposed to come with old age like honour, love, obedience, friends. Instead he feels prematurely old and endures the deepfelt curses of others muttered under their breath b/c they are too afraid of him to curse him to his face. Any honour he has is done only through coersion and not really heartfelt; it is "mouth-honour".

But the last bit about breath is an odd statement. It can be parsed as "I have curses, mouth-honour & breath all of which would be denied by weak hearted people who are too cowardly to deny that they do this." But that reading does not accord with the fact that those around him are afraid of him. Why would anyone admit they give him only superficial honor? Wouldn't they flat out deny it and say their honor was deeply felt? Moreover, why does Macbeth tag "breath" into this list of three?

It seems that the second of those two lines actually fits only to the "breath" and not to "curses and mouth-honour". Thus the line reads as "I still have breath (damnit) which the poor heart would fain deny and dare not." Whose poor heart? impoverished heart? This must be his own, self-loathing, self-pitying heart which would, if it could, deny itself breath (commit suicide) but lacks the courage to do violence to itself;
he "dare not" V.7
similar to other "daring" phrases;

Lady Macbeth:
Letting 'I dare not' wait upon 'I would,'
Like the poor cat i' the adage?
I.7

Macbeth:
Prithee, peace:
I dare do all that may become a man
Who dares do more is none.
I.7

Lady Macbeth:
Who dares receive it other,
As we shall make our griefs and clamour roar
Upon his death?
I.7

Macbeth:
I'll go no more:
I am afraid to think what I have done;
Look on't again I dare not.
II.2

Macbeth:
'tis much he (Banquo) dares;
And, to that dauntless temper of his mind,
He hath a wisdom that doth guide his valour
To act in safety.
III.1

Macbeth:
Ay, and a bold one, that dare look on that
Which might appal the devil.
III.4

Macbeth:
What man dare, I dare:
III.4

Macbeth:
And dare me to the desert with thy sword;
If trembling I inhabit then, protest me
The baby of a girl.
III.4

Hecate:
How did you dare
To trade and traffic with Macbeth
In riddles and affairs of death;
III.5

Ross:
I dare not speak
much further;
But cruel are the times, when we are traitors
And do not know ourselves,
IV.2

Messenger:
Heaven preserve you!
I dare abide no longer.
IV.2

MacDuff:
Bleed, bleed, poor country!
Great tyranny! lay thou thy basis sure,
For goodness dare not cheque thee: wear thou
thy wrongs;
IV.3

Doctor:
My mind she has mated, and amazed my sight.
I think, but dare not speak.
V.1

Macbeth:
in their stead,
Curses, not loud but deep, mouth-honour, breath,
Which the poor heart would fain deny, and dare not. Seyton!
V.3

Macbeth:
Were they not forced with those that should be ours,
We might have met them dareful, beard to beard,
And beat them backward home.
V.5

That's a great deal of daring do. Why? Perhaps to emphasize the daring nature of what is attempted with the eventual drabness of Macbeth's life? The humdrum of tomorrow and tomorrow and tomorrow...? the ineffectual strength of his rotted courage?

In other words, here Macbeth, hating his life, desires to kill himself but cannot do so b/c he lacks the courage. The use of two "d" words (deny and dare not) recalls that earlier famous "d" phrase "the deep damnation of his taking off" - if Macbeth kills himself he is truly damned. But he already is damned and thus cries out for someone else to help save him from the mire and flood into which he has already fallen ; "Seyton!" - a name very redolent of the fiend himself "Satan"!

Macbeth in full at MIT university; http://shakespeare.mit.edu/macbeth/full.html

FYI; Macbeth is playing at the Guthrie.

Tuesday, January 5, 2010

Again with the geometric esoteria

Premise = mathematics, art, music, literature are all languages for expressing the same reality. Forms used in one correspond to forms used in another.


Tragedy = movement from high to low

Comedy = movement from low to high

Comedy and Tragedy are not mutually exclusive but only find their fulness when united together as one; the best comics are those who also see the tragedy of the world; the best tragedians and tragedies are those that also recognize the existence of comedy.

Conclusion; comedy and tragedy are two sides of the same coin, united together to achieve a harmonious union; Like the god Janus: from experience we gain suffering, from suffering understanding. thus the truly wise are not just tragically morbid, nor comically flighty but a combination of the two, bitter & sweet, sorrowful & joyful, wine & water.

This combination is the alchemical exchange represented by two interlocking triangles (the Star of David) in which lead (tragedy, earthly, base) is transformed into gold (comic, heavenly, sublime). But the exchange is the harmonic good, not just the gold.
Early mathematicians expressing this idea through the use of stones or pearls to represent numerical combination. In Matthew 14.31 the army of 10,000 facing the army of 20,000;

Or suppose a king is about to go to war against another king. Will he not first sit down and consider whether he is able with ten thousand men to oppose the one coming against him with twenty thousand? If he is not able, he will send a delegation while the other is still a long way off and will ask for terms of peace. In the same way, any of you who does not give up everything he has cannot be my disciple.

...a 1 to 2 ratio expressed through the use of pearls (one pearl = 1,000 soldiers); thus a tetrahedron of 1,3,6 pearls (10) facing a tetrahedron of 1,3,6,10 (20) pearls. The tetrahedron representing the image of Mars (Ares) god of war, carnage, violence and death - also the pyramids - also the movement of the Monad (oneness) to the indefinite Dyad (3+). When joined they become the crystal = image of Hermes, god of wisdom & understanding & harmony (Hermes Trismagistos).








The image of combined tetrahedrons is similar to the combined triangles of the alchemical exchange. Also similar to the combination of the square & the rectangle = golden proportion; a:b::b:c = representation of true harmonic proportion and the basic blueprint of all created life. Represented by the movement out of the cave and movement back into the cave which is the earmark of the true philosopher.