the anticipation of modern *STENOGRAPHY*
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Arthur Neuendorffer
2018-03-17 20:06:52 UTC
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A Portrait of the Artist as a Young Man
by James Joyce
The personality of the artist, at first a cry or a cadence or a
mood and then a fluid an[D] lambent narrative, finally refines
itself o[U]t of existence, impers[O]nalizes itself, so to s[P]eak.
The esthetic *IMAG[E]* in the dramatic form is life purified in
and reprojected from the human *IMAGINATION*.
[E.POUND] -19

<<Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic. His contribution to poetry began with his development of *IMAGISM*, a movement derived from classical Chinese and Japanese poetry. *IMAGISM* was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. A characteristic feature of Imagism is its attempt to isolate a single image to reveal its essence. This feature mirrors contemporary developments in avant-garde art, especially Cubism. Although Imagism isolates objects through the use of what Ezra Pound called "luminous details", Pound's Ideogrammic Method of juxtaposing concrete instances to express an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry, in contrast to their contemporaries, the Georgian poets, who were generally content to work within that tradition. Imagism called for a return to what were seen as more Classical values, such as directness of presentation and economy of language, as well as a willingness to experiment with non-traditional verse forms. Imagists use free verse.>>

A Portrait of the Artist as a Young Man [END]
by James Joyce

“Et ignotas animum dimittit in artes.”
Ovid, Metamorphoses, VIII., 18.

April 15. Met her today point blank in Grafton Street. The crowd brought us together. We both stopped. She asked me why I never came, said she had heard all sorts of stories about me. This was only to gain time. Asked me was I writing poems? About whom? I asked her. This confused her more and I felt sorry and mean. Turned off that valve at once and opened the spiritual-heroic refrigerating apparatus, invented and patented in all countries by Dante Alighieri. Talked rapidly of myself and my plans. In the midst of it unluckily I made a sudden g{E}sture of a revolutionary natu{R}e. I must have looked like a fell{O}w throwing a handful of peas in{T}o the air. People began to look a{T} us. She shook hands a moment aft{E}r and, in going away, said she hoped I would do what I said.

Now I call that friendly, don’t you?

Yes, I liked her today. A little or much? Don’t know. I l{I}ked her and it seems a new feeling {T}o me. Then, in that case, all the rest, {A}ll that I thought I thought and al{L} that I felt I felt, all the rest bef{O}re now, in fact... O, give it up, old chap! {S}leep it off!
. <= 27 =>
. I n t h e m i d s t o f i t u n l u c k i l y I m a d
. e a s u d d e n g{E}s t u r e o f a r e v o l u t i o
. n a r y n a t u{R}e.I m u s t h a v e l o o k e d l i
. k e a f e l l{O}w t h r o w i n g a h a n d f u l o f
. p e a s i n{T}o t h e a i r.P e o p l e b e g a n t o
. l o o k a{T}u s.S h e s h o o k h a n d s a m o m e n
. t a f t{E}r a n d,i n g o i n g a w a y,s a i d s h e
. h o p e d I w o u l d d o w h a t I s a i d.N o w I c
. a l l t h a t f r i e n d l y,d o n’t y o u?Y e s,I l
. i k e d h e r t o d a y.A l i t t l e o r m u c h?D o
. n’t k n o w.I l{I}k e d h e r a n d i t s e e m s a n
. e w f e e l i n g{T}o m e.T h e n,i n t h a t c a s e,
. a l l t h e r e s t{A}l l t h a t I t h o u g h t I t
. h o u g h t a n d a l{L}t h a t I f e l t I f e l t,a
. l l t h e r e s t b e f{O}r e n o w,i n f a c t O,g i
. v e i t u p,o l d c h a p{S}l e e p i t o f f!
{ETTORE} -26 : Prob. at end ~ 1 in 40
{ITALO S.} 28 : Prob. at end ~ 1 in 300
April 16. Away! Away!

The spell of arms and voices: the white arms of roads, their promise of close embraces and the black arms of tall ships that stand against the moon, their tale of distant nations. They are held out to say: We are alone—come. And the voices say with them: We are your kinsmen. And the air is thick with their company as they call to me, their kinsman, making ready to go, shaking the wings of their exultant and terrible youth.

April 26. Mother is putting my new secondhand clothes in order. She prays now, she says, that I may learn in my own life and away from home and friends what the heart is and what it feels. Amen. So be it. Welcome, O life! I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race.

April 27. Old father, old artificer, stand me now and ever in good stead.
Dublin, 1904.
[TRIESTE], 1914.

<<On 7 January 1904 Joyce attempted to publish A Portrait of the Artist, an essay-story dealing with aesthetics, only to have it rejected by the free-thinking magazine Dana. He decided, on his 22nd birthday, to revise the story into a novel he called Stephen Hero. It was never published in this form, but years later, in [TRIESTE], Joyce completely rewrote it as A Portrait of the Artist as a Young Man. The unfinished Stephen Hero was published after his death.>>

_A Portrait of the Artist as a Young Man_ by James Joyce
Then at the door of the castle the rector had shaken hands with his father and mother,
his soutane flu[T]tering in the breeze, and the car had driven off with his fathe[R]
and mother on it. They had cried to him from the car, waving the[I]r hands:

—Goodbye, Stephen, goodbye!

—Goodbye, Stephen, goodbye!

H[E] was caught in the whirl of a scrimmage and, fearful of the fla[S]hing eyes
and muddy boots, bent down to look through the legs. [T]he fellows were struggling
and groaning and their legs wer[E] rubbing and kicking and stamping.

[TRIESTE] 50 : Prob. near start (i.e., 3000th letter) ~ 1 in 260
One of the first examples that he had learnt in Latin had run: India mittit ebur; and
he recalled the shrewd northern face of the rector who had taught him to construe the
Metamorphoses of Ovid in a courtly English, made whimsical by the mention of *PORKERS*
and potsherds and chines o[F BACON]. He had learnt what little he knew of the laws
of Latin verse from a ragged book written by a Portuguese priest.

<<Aron Ettore Schmitz (19 December 1861 – 13 September 1928), better known by the pseudonym Italo Svevo, was an Italian writer, businessman, novelist, playwright, and short story writer. Svevo contributed to Italian-language publication L'Indipendente (it),and began writing plays (which he rarely finished) before beginning work on Una (VITA) in 1887. A close friend of Irish novelist and poet James Joyce, Svevo was a model for Leopold *BLOOM*, the protagonist of Joyce's seminal novel Ulysses. Svevo was considered a pioneer of the psychological novel in Italy and is best known for his classic Modernist novel La Coscienza di (ZENO) (1923), a work that had a profound effect on the movement.

Born in [TRIESTE] (then in Austrian Empire, after 1867 Austria-Hungary) as Aron Ettore Schmitz to a Jewish German father and an Italian mother, Svevo was one of seven children and grew up enjoying a passion for literature from a young age, reading Goethe, Schiller, Shakespeare and the classics of Russia. Svevo was a citizen of the Austro-Hungarian Empire until the end of the First World War. He spoke Italian as a second language.

In 1923, Italo Svevo (literally Italian Swabian) wrote and published the classic novel La Coscienza di Zeno (rendered as Confessions of (ZENO), or (ZENO)'s Conscience). The work, showing the author's interest in the theories of Sigmund Freud, is written in the form of the memoirs of one Zeno Cosini, who writes them at the insistence of his psychoanalyst. Svevo's novel received almost no attention from Italian readers and critics at the time.

The work might have disappeared altogether if it were not for the efforts of James Joyce. Joyce had met Svevo in 1907, when Joyce tutored him in English while working for Berlitz in [TRIESTE]. Joyce read Svevo's earlier novel Senilità, which had also been largely ignored when published in 1898.

Joyce championed Confessions of (ZENO), helping to have it translated into French and then published in Paris, where critics praised it extravagantly. That led Italian critics, including Eugenio Montale, to discover it. (ZENO) Cosini, the book's hero, mirrored Svevo himself, being a businessman fascinated by Freudian theory. Confessions of (ZENO) never looks outside the narrow confines of [TRIESTE], much like Joyce's work, which rarely left Dublin in the last years of Ireland's time as part of the United Kingdom. Svevo brings a keenly sardonic wit to his observations of [TRIESTE] and, in particular, to his hero, an indifferent man who cheats on his wife, lies to his psychoanalyst and is trying to explain himself to his psychoanalyst by revisiting his memories.

There is a final connection between Svevo and the character Cosini. Cosini sought psychoanalysis, he said, in order to discover why he was addicted to nicotine. As he reveals in his memoirs, each time he had given up smoking, with the iron resolve that this would be the "ultima sigaretta!!", he experienced the exhilarating feeling that he was now beginning life over without the burden of his old habits and mistakes. That feeling was, however, so strong that he found smoking irresistible, if only so that he could stop smoking again in order to experience that thrill once more.

Like his most famous character Zeno, Svevo smoked for all of his life. After being involved in a serious car accident, he was brought into hospital at Motta di Livenza, where his health rapidly failed. As death approached he asked one of his visitors for a cigarette. It was refused. Svevo replied: "That really would have been the last cigarette." He died that afternoon.>>
the i{SOLATI}on of their synagogical and ecclesia[S]tical rites
in ghetto (S. Mary’s Abbey) and masshouse (Adam and E[V]e’s tavern):
the proscription (O)f their national costumes in p[E|N)al laws and
jewish dress acts: th(E) restoration in Chanah Da[V]id of (Z|I}on
and the possibility of Irish political au{T}onomy [O]r devolution.

What anthem did *BLOOM* ch{A}nt partially in anticipation
of that multip{L}e, ethnically irreducible consummation?

K{O}lod balejwaw pnimah
Nefesch, jehudi, homijah.
{ITALO S.} -1
[SVEVO] 50
(ZENO) -27
{ITALO} 38
Why was the chant arrested at the conclusion of this first distich?

In consequence of defecti(V)e mnemotechnic.

How did th{E} chanter compensate for this def(I)ciency?

By a pe{R}iphrastic version of the general text.

In wha(T) c{O}mmon study did their mutual reflections merge?

{T}he incre(A)sing simplification traceable from {T}he Egyptian
epigraphic hieroglyphs to the Gre{E}k and Roman alphabets and
the anticipation of modern *STENOGRAPHY* and telegraphic
code in the cuneiform inscriptions (Semitic) and
the virgular quinquecostate ogham writing (Celtic).
(VITA) 50
{ETTORE} -40

<<The River Liffey (Irish: An Life) is a river in Ireland, which flows through the centre of Dublin. Its major tributaries include the River Dodder, the River Poddle and the River Camac. The river supplies much of Dublin's water and a range of recreational activities. Ptolemy's Geography (2nd century AD) described a river, perhaps the Liffey, which he labelled Οβοκα (Oboka). Ultimately this led to the name of the River Avoca. The Liffey was previously named An Ruirthech, meaning "fast (or strong) *RUNNER*". The word Liphe (or Life) referred originally to the name of the plain through which the river ran, but eventually came to refer to the river itself. It was also known as the Anna Liffey, possibly from an anglicisation of Abhainn na Life, the Irish phrase that translates into English as "River Liffey". James Joyce embodies the river as "[A]nna [L]ivia [P]lurabelle" in Finnegans Wake.>>

<<[A]nna [L]ivia [P]lurabelle [ALP]: Patrick McCarthy describes {HCE}'s wife [ALP]
as "the [RIVER]-woman whose presence is implied in the "[RIVER]run" with which
Finnegans Wake opens and whose monologue closes the book. For over 600 pages,
Joyce presents Anna Livia to us almost exclusively through other characters, much as
in Ulysses we hear what Molly Bloom has to say about herself only in the last chapter."
The most extensive discussion of ALP comes in chapter I.8, in which hundreds of names
of rivers are woven into the tale of ALP's life, as told by two gossiping washerwomen.
Similarly hundreds of city names are woven into "{H}aveth {C}hilders {E}VERywhere",
the corresponding passage at the end of III.3 which focuses on {HCE}.
It is generally contended that {HCE} personifies the Viking-founded city of Dublin,
and his wife [ALP] personifies the [RIVER] Liffey, on whose banks the city was built.
. <= 57 =>
[RIVER]r u npas t Eve a n d A d am s fr o m s werve o f s h oretoben d ofb [A]{Y} bri n g s
usbya c o mmod i usv i c u s o fr e ci r c u latio n b a c ktoHowth C ast [L]{E} and E n v
irons S i rTri s tra m v i o l er d am o r{E}sfrov e r t h eshortse a had [P]{A} sse n c o
rerea r r ived f rom N o r t{H}Ar m or i{C}a onthi s[S]i d ethescra g gyi s {T} hmu s o f
Europ e M inor[T]owi e l d{E}r fi g ht{H}i(S)peniS O L A(T)ewarnorh[A]dto p {S} awy(E)r s
rocks b(Y)thes t rea{m}O{C}o n ee[E]xa g g e rated t h e m selsetoL a ure n s Cou n t[Y]
sgorg i o swhi l eth e y w e n td o ub l i n their{m}u m p erallthe t ime
[ALP] 57
{YEATS} 57 : YEATS was buried 2 days before Joyce's 57th birthday
{HCE} -56
{HEC} 56

Rationale: The New Edition of Finnegans Wake
DANIS ROSE: The Editorial Methodology

<<Level 5+ (MS 47475-92ff.; JJA 44:253ff.), a duplicate of the above with fresh additions (sent to the printer of Finnegans Wake in 1936), evidences two major additions to the text: the insertion of “past Eve and Adam’s” to follow “riverrun” and the insertion of “by commodious recirculation” to follow “us”. The latter is further intertextually rewritten as “by a commodious vicus of recirculation”, thereby indicating the intended spelling of “commodious” twice.

Draft 6: Level 6 is the first set of galley proofs (MS 47476a/b, folios 1ff; JJA 49:005ff.), dated by the printer 12 March 1937 (the revised version of these proofs were received by Harriet Shaw Weaver on 25 February 1938: see Letters, I, 14 July and 6 August 1937, and Letters, III, 18 December 1937). This level introduces our very first errors. The setting also introduces three further errors, two subsequently uncorrected: the misspelling of “commodious” as “commodius”; the unwarranted ‘correction’ by the printer of the ampersand “&” to the word “and”; and (subsequently corrected) the appearance of a comma rather than a full stop to follow “Environs”. The original run-on form of the first two sentences remains.>>

Another Look at the Rose/O’Hanlon Finnegans Wake
Terence Killeen, James Joyce Centre, Dublin

<<The “Rationale” that appears on the Houyhnhnm website is more helpful, as far as it goes. It does not in fact go beyond the first page of Finnegans Wake. Two of the three changes that Rose makes in this opening sentence can be debated (in the case of one, the change of “commodius” to “commodious”, the evidence in favour of the emendation seems to me quite straightforward: the word “commodious” is first inscribed in the second set of transition proofs; it becomes “commodius” on the first set of galley proofs and it is the kind of slip that could easily be overlooked) but they are certainly the outcome of arguable decisions. One might come to a different conclusion from Rose on the basis of the evidence, and in one case there is evidence that he appears to have ignored or overlooked, but a case has certainly been made.>>

brings us by: german: inf. bei-bringen = to teach so. sth.
or to figure sth.out by: (Old Norse) town.

commodious: conveniently spacious; adapted to wants.
(The new Rose and O'Hanlon edition aka 'FW2' replaces 'commodius' with 'commodious'.)

Commodious Vicus → spacious village → Dublin

Marcus Aurelius Commodus Antoninus: originally Lucius Aelius Aurelius Commodus (161–192 A.D.) (Shem), the son of Marcus Aurelius (HCE), was a Roman Emperor who ruled from 180 to 192 A.D. He is often considered to have been one of the worst Roman Emperors, and his reign brought to a close the era of the "five good emperors". He had a twin brother, Antoninus (Shaun), who died when he was about four years old, and a sister Lucilla (Issy) who was implicated in plots to overthrow him

FW 157.26-27: "were conclaved with Heliogobbleus and Commodus and Enobarbarus"

commodus: (Latin) pleasant.

commedia: (Italian) comedy → Dante's Commedia (the "Divine Comedy")

comme odieux: (French) as odious; like odious -

commode: an armchair containing a concealed chamber pot under the seat
→ the 6th of 7 elements in a circuit of HCE's bedroom
commode: a close-stool or cucking-stool; a toilet;
Ulysses 063.14-15: "stubbing his [Bloom's] toes against the broken commode"
commode: chamber-pot → jordan → Giordano Bruno
. Finnegans Wake : Publication date : 4 May 1939
.[RIVER]run, past Eve and Adam's, from swerve of shore to bend
. of b[A|Y}, brings us by a commodius vicus of recirculation back to
. Howth Cast[L|E} and Environs.
. Sir Tristram, violer d'amores, fr'over the short sea, had [P|A}ssen-
. core rearrived from North Armorica on this [S]ide the scraggy
. is{T}hmus of Europe Minor [T]o wielderfight hi(S) peni[SOLA(T)]e war: nor
. h[A]d top{S}awy(E)r's rocks b(Y) the strea{m} Oconee [E]xaggerated themselse
. to Laurens Count[Y]'s gorgios while they went doublin their {m}umper
. all the time:
. <= 34 =>
. r i ver r u npa s tEvea n d A d amsfro m s w erveo
. f s hor e t obe n dofba{Y}b r i ngsusb y a c ommod
. i u svi c u sof r ecirc u l a t ionbac k t o Howth
. C a stl{E}a ndE n viron s S i r Tristr a m v ioler
. d a mor e s fro v erthe s h o r tseaha d p{A}ssenc
. o r ere a r riv e dfrom N o r t hArmor i c a onthi
. s [S] ide t h esc r aggyi s{T}h m usofEu r o p eMino
. r [T] owi e l der f ighth i(S)p e niSOLA(T)e w arnor
. h [A] dto p{S}awy(E)rsroc k s b(Y)thestr e a m Ocone
. e [E] xag g e rat e dthem s e l s etoLau r e n sCoun
. t [Y] sgo r g ios w hilet h e y w entdou b l i nthei
. r {m} ump e r all t hetim e
[{m}YEATS] -34
. <= 9 =>
. [T] o w i e l d e r
. f i g h t h i (S) p
. e n i S O L A (T) e
. w a r n o r h [A] d
. t o p {S} a w y (E) r
. s r o c k s b (Y) t
. h e s t r e a {m} O
. c o n e
({m}YEATS) -9 :
. Prob. of 3{YEATS} ~ 1 in 230,000
. Prob. of 2[{m}YEATS] ~ 1 in 7,000,000
. Ulysses p. 736 of 768
in love with I suppo(S)e hes like (T)he first m(A)n
going th(E) roads onl(Y) for the *NA{m}E* of a king
. <= 9 =>
. i n l o v e w i t
. h I s u p p o (S) e
. h e s l i k e (T) h
. e f i r s t m (A) n
. g o i n g t h (E) r
. o a d s o n l (Y) f
. o r t h e n a {m} e
. o f a k i n g
({m}YEATS) -9
. Sonnet 76 (1609)

WHy is my verse so barren of new pride?
So far from variation or quicke change?
Why with the time do I not glance aside
To new found methods, and to compounds *STRANGE* ?

Why write I still all one, [EVER] the same,
And keepe inuention in a *NOT[(E)D W(E)ED]*,
That *[EVER]y WOR<D>* [D]oth almo{S|T} fel {M[Y] NAME},
Shewing th[E]ir birth, and whe[R]e they did proce[E]d?

O know sweet lo[V]e I alwaies writ[E] of you,
And you an[D] love are still (Y) argument:
So all (M)y best is dressing old words new,
Spending againe what is already spent:
____ <= 14 =>
. A *N O T[(E) D W (E) E D] T h {A}{T}
. E V E R y w o r <D>[D] O t h a
. l m o {S}{T} F E L m [Y] N a m {E}
. S h e w i n g t {H}[E]<I> r b i
. r t h a n d w h e [R] e t h {E}
. y (D) i d p r o c e [E] d O <K> n
. o w s w e {E} t l o [V] e I a l
. w a i e s w r i t [E] o f y o
. u A n d y o u a n [D] l (O) v (E)
. a r e s t i l l (M Y) a r g u
. m e n t: S o a l l (M Y) b e s
. t i s d r e s s i n g o l d
. w o r d s n e w,
[DYER] 14 {Found by A.W.Burgstahler}
[(MY) DE VERE] -14 {Found by James Ferris}
[DYEREVED] 14 Prob. in any sonnet ~ 1 in 9375
Edward de Vere & Edward Dyer:
1) Only two Shakespeare authorship candidates
. named Edward: http://tinyurl.com/6yqvqwz
2) Only two Shakespeare authorship candidates
. sharing yet another authorship controversy:
- [King Richard the Third (Quarto 1, 1597) 3.1]
Buckingham: [A HA] my Lord this prince is *NOT AN EDWARD* :
. He is not lulling on a lewd day bed,
. But on his knees at meditation:

<<Joyce described FW as a downwards parabola into sleep, or as a tunnel going through a mountain. As HCE moves through the dream, the "thunderwords" track his movement. There are 10 thunderwords, the first 9 of 100 letters each, the last of 101, for a total of 1,001--tales of a thousand and one nights, appropriate for this book of sleep.

As each thunderword leads into another part of the book, it fits into Joyce's usage of Vico's philosophy to tell the story. Each thunderword leads to a new cycle and a deeper part of sleep, and a deeper, more muddled state in HCE's mind (where the "mudmound" of his body fades from view and even the acrostics for HCE become muddled, as hec, ech, etc.). Thunder itself was important in Vico's philosophy as a motivating force and a symbolic marker of events in history.

parr: Old Parr
Piaras an Ua Ragheallach na Tullagh Mongan (Irish):
Piers, the descendant of Reilly (Perse O'Reilly) of Tullymongan (099.26)
macmacmac (Irish): son son son
"Whack-fol-the-diddle": refrain in Irish songs
"Whack! The fall of father Dublin"
Dublin on the Dubh Linn: Dublin on the Black Pool

"There are ten thunders in the Wake. Each is a cryptogram or codified explanation of the thundering and reverberating consequences of the major technological changes in all human history. When a tribal man hears thunder, he says, 'What did he say that time?', as automatically as we say 'Gesundheit.'" -- Marshall McLuhan>>
Finnegans Wake p.332 (8th 100 letter *THUNDER* word)

822.33 : WILLIAM SHAKESPEARE. A. Authorship controversies
Snip snap snoody. *Noo err historyend goody*.
Of a lil trip trap and a big treeskooner for he
put off the ketyl and they made three (for fie!) and
if hec dont love alpy then lad you annoy me. For hanigen
with hunigen still haunt ahunt to finnd their hinnigen

where - Pappappapparrassannuaragheallach[N]atullaghm[O]ngan
Joyce would have been familiar with the
simple gematria cipher the letters of [BACON] = #33
and :FRANCIS BACON: = #100

[BACON] cipher starts on the #33rd letter of #100 letters:
_____ <= 10 x 10 =>

. P a p (p) a p p a p p
. a r r (a) s s a n n u
. a r a (g) h e a l l a
. c h [N](a) t u l l a g
. h m [O](n)(g) a n m a c
. m a [C] m (a) c w h a c
. k f [A] l (l) t h e r d
. e b [B] l (e) n o n t h
. e d u b b l a n d a
. d d y d o o d l e d
Prob. of [BACON] in one of FW's 10 perfect
"thunderword" 10 x 10 arrays: ~ 1 in 855

<<[HIRAM] {ABIFF} (also [HIRAM] {ABIF} or the Widow's son) is the central
character of an allegory presented to all candidates during the third degree
in Freemasonry. Hiram is presented as the chief architect of King Solomon's
Temple, who is murdered in the Temple he designed by three ruffians as
they unsuccessfully attempt to force him to divulge the Master Masons'
secret passwords. The themes of the allegory are the importance
of fidelity, and the certainty of death.>>

A Portrait of the Artist as a Young Man by James Joyce

“Et ignotas animum dimittit in artes.” -Ovid, Metamorphoses, VIII., 18.
The only *FREEMASON* paragraph in Portrait of the Artist:

The formula which he wrote obediently on the sheet of paper, the coiling and
uncoiling calculations of the professor, the spectrelike symbols of force and
velocity fascinated and jaded Stephen’s mind. He had heard some say that the
old professor was an atheist *FREEMASON*. O the grey dull day! It seemed a limbo
of painless patient consciousness throug[H] which souls of mathem{A}ticians
might wander, project[I]ng long slender fa{B}rics from plane to plane of ever
ra[R]er and paler tw{I}light, radiating swift eddies to the l[A]st verge{F}
of a universe ever vaster, farther and more i[M]palpable.
. <= 44 =>
t h e o l d p r o f e s s o r w a s a n a t h e i s t*F R E E M A S O N*O t h e g r e y
d u l l d a y!I t s e e m e d a l i m b o o f p a i n l e s s p a t i e n t c o n s c i
o u s n e s s t h r o u g[H]w h i c h s o u l s o f m a t h e m{A}t i c i a n s m i g h
t w a n d e r,p r o j e c t[I]n g l o n g s l e n d e r f a{B}r i c s f r o m p l a n e
t o p l a n e o f e v e r r a[R]e r a n d p a l e r t w{I}l i g h t,r a d i a t i n g s
w i f t e d d i e s t o t h e l[A]s t v e r g e s o{F}a u n i v e r s e e v e r v a s t
e r,f a r t h e r a n d m o r e i[M]p a l p a b l e.

[HIRAM] 45
{ABIF} 42 : Prob. of both in *FREEMASON* paragraph ~ 1 in 3,000
Finnegans Wake page 7

And all the way (a horn!) from fiord to fjell his baywinds’ oboboes
shall wail him rockbound (hoahoahoah!) in swimswamswum and all the
livvylong night, the delldale dalppling nig[H]t, the night of bluerybells,
her fl[I]ttaflute in tricky trochees (O CA[R]INA! O CARINA!) wake him.
With her iss[A]van essav{A}ns and her patterjack[M]artins a{B}out all
them inns and ouses. Till{I}ng a teel of a tum, telling a toll o{F}
a teary turty Taubling. Grace be{F}ore Glutton.
. <= 28 =>
. A n d a l l t h e w a y(a h o r n)f r o m f i o r d t o
. f j e l l h i s b a y w i n d s’o b o b o e s s h a l l
. w a i l h i m r o c k b o u n d(h o a h o a h o a h)i n
. s w i m s w a m s w u m a n d a l l t h e l i v v y l o
. n g n i g h t, t h e d e l l d a l e d a l p p l i n g n
. i g [H] t,t h e n i g h t o f b l u e r y b e l l s,h e r
. f l [I] t t a f l u t e i n t r i c k y t r o c h e e s(O
. C A [R] I N A!O C A R I N A) w a k e h i m.W i t h h e r i
. s s [A] v a n e s s a v{A}n s a n d h e r p a t t e r j a
. c k [M] a r t i n s a{B}o u t a l l t h e m i n n s a n d
. o u s e s.T i l l{I}n g a t e e l o f a t u m,t e l l i
. n g a t o l l o{F}a t e a r y t u r t y T a u b l i n g.
. G r a c e b e {F}o r e G l u t t o n.
[HIRAM] 28
{ABIFF} 27
Prob. of both together in first 138 FW lines ~ 1 in 95,000

<<*CARINA* is Latin for the keel of a ship. Carina was once a part of Argo Navis,
the great ship of Jason and the Argonauts who searched for the Golden Fleece.>>
. "itAlY SET" : "YEATS lit."
He has hidden his o[W]n NAME, a fair NAM(E),
[WILL]iam, [I]n the p{L}ays, a super here, a
c[L]own th{E}re, as a painter of o[L]d <I{T}AL{Y}>
set his face in a dark corner of his canvas.
He has REVE(al)ED it in the sonnets
where there is [WILL] in overplus.
. <= 6 =>
. H e h a s h
. (I D) d e {N} h
. i s o [W] n N
. A M E a f a
. i r N A M (E)
. [W I L L] i a
. m,[I] n t h e
. p {L} a (Y) s {A}
. s u p (E) r h
. e r e (A) c [L]
. o w n (T) h {E}
. r e, a (S) a p
. a i n t e r
. o f o [L] d <I
. {T} A L {Y}>
(YEATS) 6 : Prob. ~ 1 in 1,550

<<[WILL]iam Butler (YEATS) (13 June 1865 – 28 January 1939) was an Irish poet and one of the foremost figures of 20th century literature. A pillar of both the Irish & British literary establishments, he helped to found the Abbey Theatre, and in his later years served as an Irish Senator for two terms. (YEATS) began writing his first works when he was seventeen; these included a draft of a play about a bishop, a monk, and a woman accused of paganism by local shepherds. In 1899, Yeats, Lady Gregory, Edward Martyn and George Moore began the Irish Literary Theatre to hold Irish and Celtic plays. Yeats remained involved with the Abbey until his death, both as a member of the board and a prolific playwright.>>
"The Lake Isle of Innisfree" (1888)

I {WILL} arise and go now, a[N]d go t[O] Inni[S|FREE],
[A]nd a s[M]all c[A]bin build there, of clay and wattles made:
Nine bean-rows will I have there, a hive for the honeybee,
And live alone in the bee-loud glade.
. <= 5 =>
. I {W I L L}
. a r i s e
. a n d g o
. n o w, a [N]
. d g o t [O]
. I n n i [S]
. [F R E E][A]
. n d a s [M]
. a l l c [A]
. b i n b u
. i l d t h
. e r e, o f
[FREE] 1
[A MASON] 5 : Prob. in first 2 lines ~ 1 in 10,850

<<Societas Rosicruciana in Anglia (SRIA) was founded around 1860-1865 by the [FREEMASON] Robert Wentworth Little. The Hermetic Order of the Golden Dawn (HOGD) was founded in 1888 by [FREEMASONS] and members of the SRIA. The Rosicrucian connection allegedly derived from a mysterious German adept; Fraulein Anna Sprengel, whom they contacted after having encountered some old cypher-manuscripts belonging to her lodge. The HOGD became an indisputable success, and attracted many prominent persons of its time, including A.E. Waite, Mina Bergson, Edvard Munch, August Strindberg, Rider Haggard, R.F. Felkin, "Aleister" Alexander Edward Crowley, and William Butler Yeats.>>

<<[J]oyce, [JAMES] Augustine Aloysius (2 February 1882 – 13 January 1941) returned to
Dublin again briefly in mid-1912 during his years-long fight with Dublin publisher
George Roberts over the publication of Dubliners. His trip was once again fruitless,
and on his return he wrote the poem "Gas from a Burner", an invective against Roberts.
After this trip, he never again came closer to Dublin than London, despite many
pleas from his father and invitations from fellow Irish writer William Butler Yeats.
"When Yeats died in 1939, Joyce sent a wreath to the funeral and confessed
to a friend that Yeats was a better writer than he.">>
. Ulysses p. 746 of 768
Molly darling he called me what was his *NAME*
(J)ack [J]oe H[a]rry [M]ulv[e]y wa[s] it yes
. <= 4 =>
. *N A M E*
. (J) a c k
. [J] o e H
. [A] r r y
. [M] u l v
. [E] y w a
. [S]
[J., JAMES] 4
Prob. of [JAMES] skip 2,3,4 in last 4% of Ulysses ~ 1 in 281

<<By 1938 virtually all of Finnegans Wake was in print in the transition
serialisation and in the booklets, with the exception of Part IV. Joyce continued
to revise all previously published sections until Finnegans Wake's final published
form, resulting in the text existing in a number of different forms, to the point
that critics can speak of Finnegans Wake being a different entity to Work in Progress.
The book was finally published simultaneously by Faber and Faber in London and by
Viking Press in New York on 4 May 1939, after seventeen years of composition.>>
It is a mere mienerism of this vague of visibilities, mark you, as accorded to by moisturologist of the Brehons Assorceration for the advauncement of scayence because, my dear, mentioning of it under the breath, as in pure (what bunkum!) essenesse, there have been disselving forenenst you just the draeper, the two drawpers assisters and the three droopers assessors confraterni-tisers. Who are, of course, Uncle Arth, your two cozes from Niece and (kunject a bit now!) our o{W}n familiars, [B{I}LLY]healy, Bal{L}y-hooly and Bu{L}lyhowley, surprised in an indecorous position b[Y] the Sigurd Sig[E]rson Sphygmom[A]nometer Socie[T]y for bled-prus[S]hers.
. <= 11 =>
. o u r o{W}n f a m i l i a
. r s[B{I}L L Y]h e a l y,B
. a l{L}y-h o o l y a n d B
. u{L}l y h o w l e y,s u r
. p r i s e d i n a n i n d
. e c o r o u s p o s i t i
. o n b[Y]t h e S i g u r d
. S i g[E]r s o n S p h y g
. m o m[A]n o m e t e r S o
. c i e[T]y f o r b l e d-p
. r u s[S]h e r s.
{WILL} 10
[YEATS] 11
This is bod[E] Belchum, bon[N]et to busby, b[R]eaking his
s[E]cred word wi[T]h a ball up hi[S] ear to the Wi[L]lingdone.
. <= 11 =>
. T h i s i s b o d [E] B
. e l c h u m,b o n [N] e
. t t o b u s b y,b [R] e
. a k i n g h i s s [E] c
. r e d w o r d w i [T] h
. a b a l l u p h i [S] e
. a r t o t h e W i [L] l
. i n g d o n e.
[L.STERNE] -11
. Born in Sandymount: W. B. [YEATS] (1865–1939), poet
<<A few months after the [{YEAST}yday: Monday 24 April, 1916]
Easter Rising, W. B. Yeats commemorated the fallen figures
of the Irish Republican movement, as well as his torn
emotions regarding these events, in the poem {EAST}er, 1916.>>
Bygmester Finnegan, of the Stuttering Hand, FREEmen's mau-
rer, lived in the broadest way immarginable in his rushlit toofar-
back for messuages before joshuan judges had given us numbers
or Helviticus committed deuteronomy (one [YEAST]yday he [STERNEL]y
struxk his tete in a tub for to watsch the future of his fates but
ere he {SWIFT}ly stook it out again, by the might of Moses*, the
VERy water was eviparated and all the guenneses had met their exodus
so that ought to show you what a pentschanjeuchy chap he was!)
EXODUS 2:10 And she called his name *Moses* and
. she said, because I *drew him out of the water* .
*Moses* is from the Hebrew/Aramaic:
*MoSHeH* : "drawing out (of the water)"
He has *REVE(al)ED* it in the sonnets where
there is *Wil{(L IN O)VER}pl{US}* [anagram: {NIL VERO}]
. *LINO* : to *DAUB* , besmear, anoint.
. *RIVE* : a small stream of water, a brook. (vocative)
Exodus 2:3. And when she could not longer hide him,
. she took for him an ARK of bulrushes [i.e., BASKET],
. and *DAUBED* it with *SLIME* and with PITCH,
. and put the child therein; and she laid it
. in the flags by the *[RIVER]'s BRINK* .
[Anne Hathaway gave birth in 6 months like the mother of Moses]
*Ma.S.He.H.* : Ma(ry) S(idney) He(nry) H(erbert)
Young Colum and Starkey. George Roberts is doing the commercial part. Longworth
will give it a good puff in the Express. O, will he? I liked Colum’s Drover.
Yes, I think he has that queer thing genius. Do you think he has genius really?
{YEATS} admired his line: As in wild earth a Grecian vase. Did he?

—Longworth is awfully sick, he said, after what you wrote about that old hake
Gregory. O you inquisitional drunken jewjesuit! She gets you a job on the paper
and then you go and slate her drivel to Jaysus. Couldn’t you do the {YEATS} touch?

BEST: (Smiling, lifts the hat and displays a shaven poll from the crown of which
bristles a pigtail toupee tied with an orange topknot.) I was just beautifying him,
don’t you know. A thing of beauty, don’t you know, {YEATS} says, or I mean, Keats says.
. Sonnet 65

Since brasse, nor stone, nor earth, nor boundlesse sea,
But sad mortallity ore-swaies their power,
How with this rage shall beautie hold a plea,
Whose action is no stronger then a flower?

O how shall summers hunny breath hold out,
Against the wrackfull siedge of battring dayes,
When rocks impregnable are not so stoute,
Nor gates of steele so strong but time decayes?

O feare{F}ull meditation, where alack,
Sh[(A)LL] times {B}est Iewell from times chest lie hid?
Or wh{A|T) strong hand can hold his swift foote ba{C}k,
Or who his (S)poile of beautie can [FOR]bid?

{O N} [ONE], vnlesse this mir(A)cle haue might,
That in black inck my love may still s(H)ine bright.
. <= 34 =>
. O f e are {F} u l l m edita t ionwhere a lackSh
.[(A)L L]t i mes {B} e s t I ewell f romtimes c hestli
. e h i d O rwh {A} t s t r ongha n dcanhold h isswif
. t f o o t eba {C} k O r w hohis(S)poileofb e autiec
. a n[F O R]bid {ON} [O N E] vnles s ethismir(A)clehau
. e m i g h tTh a t i n b lacki n ckmylove m aystil
. l s h i n ebr i g h t T hatin b lackinck m ylovem
. a y s t i lls (H) i n e b right.
{F.BACO/N} 34 : Prob. in Sonnets ~ 1 in 23
(HASTA) -43 : Prob. in last 6 lines ~ 1 in 42
Is it not *STRANGE*, that I, to whom they all have beene beholding:
is it not like that you, to whome they all have bee[N]e be-holding,
shall (were yee in that case that I am now) bee both at [ON]ce of
them forsaken? Yes trust them not: for there is an vpstart [C]row,
beautified with our feathers, that with his Tygers hart wr[A]pt in
a Players hyde, supposes he is as well able to bombast out a [B]lanke
verse as the best of you: and beeing an absolute *IOHANNES [F]ACTOTUM*
, is in his owne conceit the onely Shake-scene in a countrey.
. <= 52 =>
. Isitnot*STRANGE*thatI towhomthey allhave b e enebeho ldingis
. itnotli kethaty outow hometheyal lhavebe e [N] ebehold ingshal
. lwereye einthat caset hatIamnowb eebotha t [ON] ceofth emforsa
. kenYest rustthe mnotf orthereisa nvpstar t [C] rowbeau tifiedw
. ithourf eathers thatw ithhisTyge rshartw r [A] ptinaPl ayershy
. desuppo sesheis aswel labletobom bastout a [B] lankeve rseasth
. ebestof youandb eeing anabsolute *IOHANNE S [F] ACTOTUM* isinhis
. ownecon ceitthe onely *SHAKESCENE* inacoun t r ey
[F.BACON] -52 : Prob. ~ 1 in 6460
[F.BACO/N] -52 : Prob. ~ 1 in 4500
The KJV title page to the 1611 : http://tinyurl.com/yafpyqk

At the top, is:

1) the Tetragrammaton "יהוה" ("YHWH"/*26*) over
2) the holy spirit in a form of a dove over
3) a grotesque *St.THOMAS* with a *carpenter's square* in *SHADOW*
The KJV (1611) Epistle Dedicatory
Loading Image...
. (P)rince, (I)AMES by the grace of (G)od
. King of Great Britaine,{FRANC}e, and I{R}ela[N]d,
. Defe{N}der [O]f the F{A}ith, &[C].
. w{IS}h Grace, Mercie, and Pea{C}e, through IESVS
. Christ our Lord.
Masonic *carpenter's square* :

___ <= 10 =>
. {F R A N C.}E A N D I
. {R}E L A[N] D,D E F E
. {N}D E R[O] F T H E F
. {A}I T H[C] T h e T r
. a n s l[A] t o r s o
. f t h e[B] i b l e w
. {I S}h G r a c e,M e
. r c i e,a n d P e a
. {C}e,t h r o u g h I
. E S V S C h r i s t
. o u r L o r d.
[BACON] -10 : Prob. ~ 1 in 750
[BACON] skip < 11 occurs only 8 times in the rest of KJV
Good [BACON]: gone musty. Shakespeare [BACON]'s wild oats.
Cypherjugglers going the highroads.
*SEEKERS* on the great quest. What town, good *MASTERS*?
When Rutland[BACON]southamptonshakespeare or another poet of the same
name in the comedy of errors wrote Hamlet he was not the father of
his own son merely but, being no more a son, he was and felt himself
the father of all his race, the father of his own grandfather, the
father of his unborn grandson who, by the same token, nEVER was
born for nature, as Mr Magee understands her, *abhors PERFECTION*
—And I seen a man killed in [TRIESTE] by an [IT]alian chap.
Knife in his back. Knife like that.
would I yes to say yes my mountain flower and first I put my arms around
him yes and drew him down to me so he could feel my breasts all perfume
yes and his heart was going like mad and yes I said yes I will Yes.

He puts Bohemia on the seacoast
and makes Ulysses quote Aristotle.

<<In 1915, after most of his students were conscripted in [TRIESTE: then part of "Bohemia"] for World War I, [James Joyce (2 February 1882 - 13 January 1941)] moved to Zurich. (BArON) Ambrogio Ralli & Count Francesco Sordina, petitioned officials for an exit permit for the Joyces, who in turn agreed not to take any action against the emperor of Austria-Hungary during the war. Zurich during the war was home to exiles and artists from across Europe, and its bohemian, multilingual atmosphere suited him. Nevertheless, after four years he was restless, and after the war he returned to [TRIESTE: now part of {ITALY}] as he had originally planned. He found the city had changed, and some of his old friends noted his maturing from teacher to full-time artist. His relations with his brother (who had been interned in an Austrian prison camp for most of the war due to his pro-{ITALY} politics) were more strained than ever. Joyce headed to Paris in 1920 at an invitation from Ezra Pound, supposedly for a week, but he ended up living there for the next twenty years.>>

<<At the beginning of the 20th century, Trieste was a bustling cosmopolitan city frequented by artists and philosophers such as James Joyce, Italo Svevo, Sigmund Freud, Zofka Kveder, Dragotin Kette, Ivan Cankar, Scipio Slataper, and Umberto Saba. The city was the major port on the Austrian Riviera, and perhaps the only real enclave of Mitteleuropa south of the Alps. Viennese architecture and coffeehouses dominate the streets of Trieste to this day. {ITALY}, in return for entering World War I on the side of the Allied Powers, annexed the city of Trieste. While only a few hundred Italians remained in the newly established South Slavic state, a population of half a million Slavs were cut off from the remaining three-quarters of total Slovene population at the time and were subjected to forced Italianization. The {ITALIAN} lower middle class—who felt most threatened by the city's Slovene middle class—sought to make Trieste a città italianissima, committing a series of attacks led by Black Shirts against Slovene-owned shops, libraries, and lawyers' offices, and even the Trieste National Hall, a central building to the Slovene community.>>
However reverting to friend Sinbad and his horrifying adventures
(who reminded him a bit of Ludwig, _alias_ Ledwidge, when he occupied
the boards of the Gaiety when Michael Gunn was identified with the
management in the _Flying Dutchman_, a stupendous success, and his host
of admirers came in large numbers, everyone simply flocking to hear him
though ships of any sort, phantom or the reverse, on the s[T]age usually
fell a bit flat as also did t[R]ains) there was nothing intrinsically
[I]ncompatible about it, he conceded. On th[E] contrary that stab in the
back touch wa[S] quite in keeping with those {ITALIANOS} [T]hough candidly he
was none the less fre[E] to admit those icecreamers and friers [I]n the fish
way not to mention the chip po[T]ato variety and so forth over in little
<ITALY> there near the Coombe were sober thrifty hardworking fellows
except perhaps a bit too given to pothunting the harmless necessary
animal of the feline persuasion of others at night so as to have a good
old succulent tuckin with garlic _de rigueur_ off him or her next day
on the quiet and, he added, on the cheap.
. <= 33 =>
. a stup endoussuccessandhis hostofadm
. i rers cameinlargenumberse veryonesi
. m plyf lockingtohearhimtho ughshipso
. f anys ortphantomorthereve rseonthes
. [T] ageu suallyfellabitflata salsodidt
. [R] ains therewasnothingintr insically
. [I] ncom patibleaboutithecon cededOnth
. [E] cont rarythatstabintheba cktouchwa
. [S] quit einkeepingwiththose{ITALIANOS}
. [T] houg hcandidlyhewasnonet helessfre
. [E] toad mitthoseicecreamers andfriers
. [I] nthe fishwaynottomention thechippo
. [T] atov arietyandsoforthove rinlittle
. <I TALY>thereneartheCoombe

[TRIESTE,IT.] 33 : Prob. anywhere in Ulysses ~ 1%

<<In 33 BC Emperor Augustus built walls around [TRIESTE].>>
The *ONLY* other <ITALY> in Ulysses:
He has hidden his o[W]n NAME, a fair NAM(E),
[WILL]iam, [I]n the p{L}ays, a super here, a
c[L]own th{E}re, as a painter of o[L]d <I{T}AL{Y}>
set his face in a dark corner of his canvas.
He has REVE(al)ED it in the sonnets
where there is [WILL] in overplus.
. <= 22 =>
. H e h a s h(I D)d e{N}h i s o [W] n N A M E a
. f a i r N A M(E|W I L L]i a m,[I] n t h e p{L}
. a(Y)s{A}s u p(E)r h e r e(A)c [L] o w n(T)h{E}
. r e,a(S)a p a i n t e r o f o [L] d<I{T}A L{Y}>
. s e t h i s f a c e i n a d a r k c o r n e
. r o f h i s c a n v a{S}H e h a s R E V E a
. l E D i t i n t h e s o n n e t s w h e r e
. t h e r e i s[W I L L]i n o v e r p l u s.
[WILL] 22 : Prob. ~ 1 in 45
{STAN} -34 : Prob. ~ 1 in 3.7
{LEY} 22 : Prob. in 22 array ~ 1 in 83
(I/DEE) 22 : Prob. in 22 array ~ 1 in 70
. Sonnet 135

WHo euer hath her wish, thou hast thy [WILL],
And [WILL] too boote, and [WILL] in ouer-plus,
More then enough am I that vexe thee still,
To thy sweete [WILL] making addition thus.

Wilt thou whose [WILL] is large and spatious,
Not once vouchsafe to hide my [WILL] in thine,
Shall [WILL] in others seeme right gracious,
And in my [WILL] no faire acceptance shine:

The sea all water, yet receiues raine still,
And in aboundance addeth to his store,
So thou beeing rich in [WILL] adde to thy [WILL],
One [WILL] of mine to make thy large [WILL] more.

. Let no vnkinde, no faire beseechers kill,
. Thinke all but one, and me in that one [WILL].

<<John Joyce (4 July 1849 - 29 December 1931) was the father of writer James Joyce, and a well known Dublin man about town. The son of [JAMES] and Ellen Joyce, John Joyce grew up in Cork, where his mother's family, which claimed kinship to "Liberator" Daniel O'Connell, was quite prominent. Of all his children, John Joyce got along well only with his eldest, [JAMES], who enjoyed his father's company and shared in some of his traits, including his musical talent and his inability with money. John Joyce inspired several characters in his son's works, such as Simon Dedalus in A Portrait of the Artist as a Young Man and Ulysses, Humphrey Chimpden Earwicker in Finnegans Wake, and the narrator's uncle in the stories "The Sisters" and "Araby" in Dubliners.>>
When Rutlandbaconsouthamptonshakespeare or another poet of the same
name in the comedy of errors wrote Hamlet he was not the father of
his own son merely but, being no more a son, he was and felt himself
the father of all his race, the father of his own grandfather, the
father of his unborn grandson who, by the same token, nEVER was
born for nature, as Mr Magee understands her, *abhors PERFECTION*
. Twelfth Night (Folio 1, 1623) I,iii
To. O knight, thou lack'st a cup of Canarie:
. when did I see thee so put downe?
An. Neuer in your life I thinke, vnlesse you see Ca-
. narie put me downe: mee thinkes sometimes I haue no
. more wit then a Christian, or an ordinary man ha's:
. but I am a great eater of beefe, and I beleeue
. that does harme to my wit.
___ Chapter 9 James Joyce's Ulysses (1922)
. 1961 revised Random House edition
And sir William Davenant of *Oxford's mother*
with her cup of canary for *EVERy* cockcanary.

Buck Mulligan, his pious eyes upturned, prayed:
--Blessed Margaret Mary Anycock!
___ Chapter 9 James Joyce's Ulysses (1922)
. Hans Gabler's 1984 "Corrected edition"
And sir William Davenant of *Oxford's mother* with
her cup of ca{n|A)ry f<O|R> a[N]y {c|O)ck[C|a|N|A]ry.

<B>uck Mulligan, his pious eyes upturned, prayed:
--Blessed Margaret Mary Anycock!
. <O> (r) a
. [N] y {c}
. (O) c k
. [C] {a}(N)
. [A] r y
. <B> u c k Mulligan,

[BACONO] Skip -3 {14,500,000}
. {n} (A) r y f
. <O> (r) a [N] y
. {c} (O) c k [C]
. {a} (N)[A] r y
. <B> u c k Mulligan

*BACON* Skip -5 {975,000}

Prob of 2 [BACON]s in two adjacent sentences ~ 1 in 12,000
Good Bacon: gone musty. Shakespeare Bacon's wild oats.
Cypherjugglers going the highroads. Seekers on the great quest.
What town, good masters? Mummed in names: A.E., eon: Magee,
John Eglinton. East of the sun, west of the moon:
Tir na n-og. Booted the twain and staved.
Bacon is Shake-Speare (1910).
by Sir Edwin Durning-Lawrence

<<Bacon tells us that there are 24 letters in the alphabet (_i_ & _j_
being deemed to be forms of the same letter, as are also _u_ & _v_).
Bacon was himself accustomed frequently to use the letters of the
alphabet as numerals (the Greeks similarly used letters for numerals).
Thus A is 1, B is 2 ... Y is 23, Z is 24.
Let us take as an example Bacon's own name--
. B A C O N .
. 2 1 3 14 13
; all these added together make the number 33,
a number about which it is possible to say a good deal.>>
33rd day of year: 2 February

Sir Edwin Durning-Lawrence (born: 2 February 1837)
Delia [BACON] (born: 2 February, 1811)
James Joyce (born: 2 February 1882)

<<The publication history of Ulysses is disputed and obscure. There have been at least 18 editions, and variations in different impressions of each edition. Joyce's handwritten manuscripts were typed by a number of amateur typists (one of whom was Robert McAlmon).

According to Joyce scholar Jack Dalton, the first edition of Ulysses contained over two thousand errors but was still the most accurate edition published. As each subsequent edition attempted to correct these mistakes, it incorporated more of its own.

Notable editions include the first edition published in Paris on 2 February 1922 by Sylvia Beach at Shakespeare and Company (only 1000 copies printed), the pirated Roth edition, published in New York in 1929, the Odyssey Press edition of 1932 (including some revisions generally attributed to Stuart Gilbert, and therefore sometimes considered the most accurate edition); the 1934 Random House US edition, the first English edition of the Bodley Head in 1936, the revised Bodley Head Edition of 1960, the revised Random House edition of 1961 (reset from the Bodley Head 1960 edition), and the Gabler critical and synoptic edition of 1984.
Episode 5 - The Lotus Eaters

It does. Yes, bread of {A}ngels it’s called. There’s a {B}ig idea behind it,
kind of k{I}ngdom of God is within you {F}eel. First communicants. Hokypoky
penny a lump. Then feel all like on(E) family party, same in the theatr(E),
all in the sa[M]e swim. They do. I’m su(R)e of th[A]t. Not so lonely. In our
con(F|R]aternity. Then come out a b[I]t spreeish. Let off steam. T[H]ing is
if you really believe in it.
. <= 22 =>
. I t d o e s.Y e s,b r e a d o f {A} n g e l s
. i t’s c a l l e d.T h e r e’s a {B} i g i d e
. a b e h i n d i t,k i n d o f k {I} n g d o m
. o f G o d i s w i t h i n y o u {F} e e l.F i
. r s t c o m m u n i c a n t s.H o k y p o k
. y p e n n y a l u m p.T h e n f e e l a l l
. l i k e o n(E)f a m i l y p a r t y,s a m e
. i n t h e t h e a t r(E)a l l i n t h e s a
. [M] e s w i m.T h e y d o.I’m s u (R) e o f t h
. [A] t.N o t s o l o n e l y.I n o u r c o n(F)
. [R] a t e r n i t y.T h e n c o m e o u t a b
. [I] t s p r e e i s h.L e t o f f s t e a m.T
. [H] i n g i s i f y o u r e a l l y b e l i e
. v e i n i t.
[HIRAM] -22
{ABIF} 22

<<"Bleibtreustrasse" is an actual street in the Charlottenburg district of Berlin,
named after the painter Georg Bleibtreu in 1897. But its English equivalent would
be something like "Stay True Street," or "Remain Faithful Road." When Bloom thinks
in the next moment, "Nothing doing. Still an idea behind it," he is referring to
the Agendath Netaim proposal, and the idea is Zionism. But Bleibtreustrasse
implies a second kind of idea.>>
Episode 8 - Lestrygonians

DLUGACZ: (Hoarsely.) Bleibtreustrasse, Berlin, W. 13.

(J. J. O’Molloy steps on to a low plinth and holds the lapel of his coat with solemnity.
His face lengthens, grows pale and bearded, with sunken eyes, the blotches of phthisis
and hectic cheekbones of John F. Taylor. He applies his handkerchief to his
[M]outh [A]nd sc[R]rutin[I]ses t[He] galloping tide of rosepink blood.)

[MARIH/e] 5
Episode 9 - Scylla and Charybdis

—Well, in that case, he said, I don’t see why you should expect payment for it
since you don’t believe it yourself. Dowden believes there is some mystery in Hamlet
but will say no more. Herr Bleibtreu, the man Piper met in Berlin, who is working up
that Rutland theory, believes that the secret is hidden in the Stratford monument.
He is going to visit the present duke, Piper says, and prove to him that his ancestor
wrote the plays. It will come as a surprise to his grace. But he believes his theory.
Episode 15 - Circe

BEAUFOY: (Drawls.) No, you aren’t. Not by a long shot if I know it. I don’t see it,
that’s all. No born gentleman, no-one with the most rudimentary promptings of a
gentleman would stoop to suc[H] part[I]cula[R]ly lo[A]thso[M]e conduct. One of
those, my lord. A plagiarist. A soapy sneak masquerading as a literateur. It’s
perfectly obvious that with the most inherent baseness he has cribbed some of my
bestselling copy, really gorgeous stuff, a perfect gem, the love passages in which
are beneath suspicion. The Beaufoy books of love and great possessions, with which
your lordship is doubtless familiar, are a household word throughout the kingdom.

Art Neuendorffer
2018-03-17 21:18:46 UTC
Raw Message
Post by Arthur Neuendorffer
A Portrait of the Artist as a Young Man
by James Joyce
The personality of the artist, at first a cry or a cadence or a
mood and then a fluid an[D] lambent narrative, finally refines
itself o[U]t of existence, impers[O]nalizes itself, so to s[P]eak.
The esthetic *IMAG[E]* in the dramatic form is life purified in
and reprojected from the human *IMAGINATION*.
[E.POUND] -19
(snip long analysis of James Joyce and Yeats' versions of "stenography"

I suppose "stenography" is relevant to Shakespeare and the process of re-creation in terms of "piracy." It seems that piracy was a main reason for the plays not being published, because evidently a few were able to sit in the audience and copy down what the actors said, using memory and some notes. Also, of course, the fine audio memory that people are said to have had in those days of illiteracy could have helped determine the extent and style of stenography? Yes, as of old, having words rime in poetry helped verbal transmission.

So "pirated" copies of Shakespeare's plays have evidently been compiled into regular sources, and in a few cases "bad quartos" have been found to have better instances of language, replacing missing parts, etc. Of course, they say that printers' errors, actors' copies, traveling troupes, and later revisions and versions probably get factored in. It's been suggested that actors might write their own lines for different audiences, etc.. So it seems stenography in "re-creation" takes place. In the sense of "borrowing," Shakespeare was a great pirate?

How nice that a student of Aristole's with good stenographic ability was able to copy from what Aristotle said, leaving us with the only version of the "Poetics."