Part 1, Mr Dedalus! - Womb of sin ****21

*Stephen, finishes his conversation with Deasy and walks down a beach, doing a lot of thinking*

Stephen is so close, but Deasy still not quite finished with him. Stephen makes it just past the gate when he is flagged down one more time.  

Deasy: Just one more thing. Did you know that Ireland is the only country who didn't persecute the Jews. Do you know why?
Stephen: No, why?
Deasy:  Because she never let them in.
*Deasy laughs and coughs like a maniac* 

Good God, this guy is garbage.

This makes me think though. Usually, everyone thinks they are the good guys. So, why would he use the term 'persecute'? Only "bad guys" persecute other people, good guys would "stamp out" or "fight against" the "Jewish problem".  but Deasy, while telling this joke, is taking a moral low ground, buy using his language. Or rather by telling the joke in the first place. He is either unaware or doesn't care how he looks.  

 Well actually, as I'm typing this out, I'm not surprised a single bit. This whole time we've been getting to know Deasy,  Has repeatedly proved that he has more arrogance than intelligence. I'm sure hasn't given his appearance a single thought. In fact, thinking back on it, everything he has said regarding the Jewish people has been explicitly mean-spirited, so no, I don't guess I'm surprised at all.

On his (Deasy)wise shoulders through the checkerwork of leaves the sun flung spangles, dancing coins
I really like the image this sentence creates.  

On his shoulders
From Dedalus' point of view, It seems that the sun is behind him, meaning that it is still early or getting late. But I don't think that can be the case though. I know that earlier he already woke up, ate breakfast in a castle, hung out by a swimming hole, had all kinds of conversations with all kinds of people, and already taught one class. All of that would have had to been done at dawn. You will never convince me that a typical early 1900's Irishman is morning person of that degree.  

Also, I can't imagine that its already hitting dusk. I am aware that this whole book takes place throughout one day. I'm only on the twentieth page. Will the rest of the book take place at night? 

You know, I'll just let it be.

dancing coins
cf. (****17) all the money talk.
A nice bookend to to our time with Mr. Deasy.

Buckle in.

*Last Change Edit: The looking Paragraph:*

Ineluctable modality of the visible: at least that if no more, thought through my eyes.  Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of diaphane. But he adds: in bodies. Then he was aware of them bodies bore of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

Ineluctable modality of the visible:
Unavoidable form or process of perceiving the visible:
An unavoidable way of perceiving the visible:
An unavoidable way of seeing:

at least that if no more
at least what?
At least an unavoidable way of seeing, if no more(?)

thought through my eyes.
thought (noun) through my eyes.
an idea or opinion produced by thinking though my eyes.
an idea or opinion processed through my eyes, instead of my brain.
A thought that is processed through my eyes.

thought (past tense verb) though my eyes.
at least an unavoidable way of seeing,  if no more, processed though my eyes.

Ineluctable modality of the visible: at least that if no more, thought through my eyes.
An unavoidable way of seeing: At least an unavoidable way of seeing, if not more, a thought that is processed through my eyes.

Ineluctable modality of the visible: at least that if no more, thought through my eyes.
I have a particular and permanent way perceiving the visible world around me: at the bare minimum that is the extent of it, although there is possibly more to it, ideas, opinions and other concepts are processed though my eyes.

I have an imaginative way of perceiving the world around me.
When I look at the world, I see the world in imaginative sense, possibly in a poetic sense.

Signatures of all things I am here to read
Distinctive characteristics of all things I am here to read
Distinctive characteristics of everything I am here to read
Distinctive representations of everything I am here to read
Distinctive representations of everything I am here to see

seaspawn and seawrack
sea eggs and shoreline seaweed
fish eggs and seaweed

Ineluctable modality of the visible: at least that if no more, thought through my eyes.  Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. 
I have a particular and permanent way perceiving the visible world around me: at the bare minimum that is the extent of it, although there is possibly more to it, ideas, opinions and other concepts are processed though my eyes. Distinctive representations of everything I am here to see, fish eggs and seaweed, the nearing tide, that rusty boot.

Snotgreen, bluesilver, rust: coloured signs

Snotgreen
cf. talk of green things (*****3)

bluesilver,
And the sun drips down bedding heaven behind
The front of your dress, all shadowy lined
And the droning engine throbs in time with your beating heart

Siiiiiiiiiing bluuuuuuue siiiiiiiiiiiilveeeeeeeer

Snotgreen, bluesilver, rust: coloured signs
Snotgreen = seaspawn and seawrack
bluesilver = rising tide
rust = rusty boot
coloured signs, he is aware that he can not really see these things. There is a space between what these things really are and his perception of them.  Everything he looks at is a representation of what it really is. They are only signs. And in Dedalus' case, it's the distinguishing colors of the signs that stick out.  The seaweed reminds him of the gross handkerchief from the beginning of the book and the bluesilver reminds me of a Duran Duran song.

Limits of the diaphane
Boy, this is complicated. If understand correctly. It is this: Think of a tree and I will think of a tree. Now everyone one else will think of a tree. Now, I am thinking of a Christmas tree. I bet your thinking of a nice old oak,  and that person over there is probably thinking of a scrawny dead maple. These are all nice trees but with different characteristics. But there has to be something that they all have in common. Remember were talking about a mental image.  What is something that we would all agree that our tree has in common with almost  every other tree? I would think  a "Brown".  

Ok, Now, we all have brown, we will never agree or even figure out what kind of brown. But hold on to that brown, but throw away everything else away; the leaves, the twigs, X the Owl, everything. Now, what can we all agree on, that needs to be done to turn  that brown into a mental tree? 

What about a trunk? Everybody squeeze your idea of brown in to a basic trunk of a tree. For the most part I think we can all agree we are on the same page.  But so far, all we have is a stump. that's not a tree.  Now, from this stump lets add something that gives it its "treeness" this gets a little tricky, right? My approach is take this tree you are trying to come up with and make it as basic as your can. No adjectives. no 'dead' tree or 'oak' tree, just a tree, Maybe the kind of tree you would see a child draw? A brown stump and a chunk of green on the top of it.  

I dunno if this is one of those things that gets harder to describe with the more words you use, but this is my idea of a Diaphane.

These are just my thoughts, I really have no idea what I'm doing here.

limits of the diaphane
The limits of the basic characteristics of a mental image
limits of a mental image's basic characteristics

But he adds: in bodies.
Who is he?  Deasy?
But Deasy adds: in bodies

But he adds: 
But he adds something.

In bodies.
embodies

in bodies 
inside of the physical structures of something

Then he was aware of them bodies, before of them coloured.

Then he was aware
Who?

Then he was aware...
cf.
On his wise shoulders through the checkerwork of leaves...

Okay!  let's just stop right here.  Fresh start. This is what I see: (except for the numbers)

1.     -She never let them in, he cried again through his laughter as he stamped on gaitered feet over
2. the gravel of the path. That's why.
3.        Oh his wise shoulders through the checkerwork of leaves the sun flung spangles, dancing coins.
4.        Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures
5. of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen,
6. bluesilver, rust: coloured signs. Limits of diaphane. But he adds: in bodies. Then he was aware of
7. them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he
8. was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane.
9. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

What is my goal?
A.  To better understand the information given between lines 4 - 9.

What do I know for sure?
A. Lines 1 and 2.  Deasy tells a joke about Jewish people.
B. Line 6, I know the definition of Diaphane.
C. Line 7, I know the definitions of Sconce.
D. Line 8, I know what 'maestro di color che sanno' means
E. Line 8, I know the definition of Adiaphane.

What do I think I know?
A. Line 3 is the voice of James Joyce.
B. Line 3 is describing Dedalus' point of view. Over Deasy's shoulders, he sees the sun                 shining through leaves of a tree. I believe this to be the case because J.J describes what he     sees as "dancing coins" referring to their conversation of money.
C. Line 4 though 'Limits of Diaphane' on line 6 is Stephen's own mental narration i.e.                     "Stephen's Brain" cf. (****20)
D. Line 4 though 'Limits of Diaphane' on line 6 is Stephen reflecting on his unique perspective        of the world around him.

What do I not know?
A. Line 6, Who "he" is referring to.
B. Line 6, What is meant by "in bodies"

What have I learned at this point? 
A. Line 6, I think He = Aristotle 

Ineluctable modality of the visible: at least that if no more, thought through my eyes.  Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of diaphane. But he adds: in bodies. Then he was aware of them bodies bore of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane in. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

Limits of diaphane.
Limits of a particular aspect of Aristotelian Philosophy, the innate characteristics contained in a mental image. 

But he adds: 
But but Aristotle adds: 

: in bodies
Ok,  referring Wikibooks,  I believe understand where in bodies  is coming from, but I don't what it means. It comes from Aristotle's book Sense and Sensibila. Ari is explaining his theory of light and color.

Let's see how far we can take this madness:

We have already in On the Soul stated of Light that it is the colour of the Translucent, [τοῦ διαφανοῦς], [being so related to it] incidentally; for whenever a fiery element is in a translucent medium presence there is Light; while the privation of it is Darkness. But the "Translucent" [διαφανὲς], as we call it, is not something peculiar to air, or water, or any other of the bodies usually called translucent, but is a common "nature" and  power, capable of no separate existence of its own, but residing in these, and subsisting likewise in all other bodies in a greater or less degree. As the bodies in which it subsists must have some extreme bounding surface, so too must this. Here, too must this. Here then, we may say that Light is a "nature" inhering in the Translucent when the latter is with out determinate boundary. But it is manifest, that when the Translucent is in determinate bodies, its bounding extreme must be something real; and that colour is just this "something" we are plainly taught by facts, colour being actually either at the external limit, or being itself that limit [πέρας], in bodies. Hence it was that the Pythagoreans named the superficies of a body its "hue", for "hue", indeed , lies at the limit of the body; but the limit of the body; is not a real thing; rather we must suppose that the same natural substance which, externally, is the vehicle of colour exists [as such a possible vehicle] also in the interior of the body.

I am going to attempt to process this insanity:

It has already been said in my other book, On the Soul, that light is the color of a translucent thing, by the way; when something bright is inside of a translucent thing there is light; and the lack of light is darkness. 

But this Translucent thing is not particular to air, water or other things we consider translucent, but is a common characteristic, incapable of existing on its own, instead it exists inside of these things like air and water, and all other things in some degree or another.

And since these things which carry this light must have an outside layer, like people have skin, balloons have rubber, eggs have shells, and rocks simply have surface to grab, light must also have and outside layer.

so that means that we can say that light is a natural thing that permanently exists inside of a translucent thing even when the translucent thing does not have an outside layer.

so it is evident, that when this translucent thing is inside of a physical thing that has a surface, like a brick or a pork-chop, this translucent thing must also have a real-life outside layer. That means that our idea of color is inaccurate. Color is actually AT the outside limit of a physical thing, or at least IS the outside limit of a physical thing.  Color is contained inside of a physical thing.

This is the reason that the Pythagoreans called the surface of a body its "hue", because hue does indeed lay at the external limit of the body.  But the limit of the body is not a real thing. but instead we must assume that this same light that carries color on outside of a body, also also exists inside of a body.-

Luckily, Thomas Aquinas (****11) tackled this book, and wrote something that might make some sense.

(Translated from Latin)

Such bodies are properly called perspicuous or transparent of also diaphanous, for in Greek means the same as visible. ... Accordingly he concludes that color is the limit of the the transparent. He adds in a determinate body, because such bodies are those that are themselves colored

Ok, I'm hyped up now. Let's do this!

Ineluctable modality of the visible: at least that if no more, thought through my eyes. Signatures of all things I am here to read, seaspawn and seawrack, the nearing tide, that rusty boot. Snotgreen, bluesilver, rust: coloured signs. Limits of the diaphane. But he adds: in bodies. Then he was aware of them bodies before of them coloured. How? By knocking his sconce against them, sure. Go easy. Bald he was and a millionaire, maestro di color che sanno. Limit of the diaphane. Why in? Diaphane, adiaphane. If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

But he adds: in bodies.
But Aristotle adds:  Color is in bodied in a physical object.

Then he was aware of them bodies before of them coloured. How?

Then Aristotle knew about those bodies before they were colored. How did he know?

them bodies.

Isn't supposed to be those bodies?  Why? Is he putting on an over-the-top Irish accent? That doesn't seem right to me, but it has to be like that for a reason. Right?

By knocking sconce against them
By knocking a lit torch against them

By knocking dark objects in a dark place with a lit touch, seeing that these things have color.

By knocking dark dead bodies with a lit torch, seeing that these things have color.

Bald he was and a millionaire, Maestro di color che sanno.

Aristotle was bald and a millionaire, Master of the men who know.

Maestro di color che sanno.

Coloro in Italian is a plural pronoun,  translating to "they", "them" and "those people". But just like Esperanto, you can take off the last "o" to make it fit into a poem.  Which is quite clever in this sense, because we are talking about about Aristotle and color.

Limit of the diaphane. Why in? 
The exterior surface of a translucent object. Why are we thinking in terms of these complicated concepts being inherent inside of objects?

That may by kind of flimsy, but that's the best I have.

Diaphane, adiaphane. If you can put your five finger through it it is a gate, if not a door.

whether it is transparent or not, If you can stick your hand through it, it is a gate. If you cant, then it is a door. 

If you can put your five finger through it it is a gate, if not a door.

Gate vs. Door

Gate

1. An access point between two areas. 

2. Generally swings from a barrier on a  horizontal end and latches to another on the other end. 

3. It has various sizes and shapes relative to the average human being 

4. Exclusively used outdoors. 

5. Utilized to control who/what can pass between two areas.

6. Generally made of many widely spaced materials, allowing visibility and relatively small objects to pass through.

Door 

1. An access point between two areas. 

2. Generally swings from a barrier on a horizontal end and latches to another on the other end. 

3. Generally the same consistent rectangle shape, 

4. Always used indoors and as an entrance to the indoors from the outside

5. Utilized to control who/what can pass between two areas.

7. Generally made on solid material, to restrict visibility and objects of almost any size to pass though

What do they have in common?

1. They are access points between two areas.

2. They generally pivot on one end and latch on the other

3. They control who/what can pass between two areas

The math checks out.

 

Shut your eyes and see.

A paradoxical statement. You can't see if your eyes are closed.

Shut your eyes and see.

Close your eyes and imagine.

If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

If you can your your hand though a mental construct, it is a gate, if not, its a door. Close your eyes and see.  

No, that doesn't seem right to me either.

Stephen does indeed close his eyes as he walks the shoreline.

Stephen closed eyes to hear his boots crush cracking wrack and shells. You are walking through it howsomever. I am, a stride at a time. a very....

Wait, hold on. is the Iambic Pentameter chapter?

Holy crap, it is! I've been looking forward to this! I'll tackle that later.

Anyway...

The Listening Paragraph: 

Stephen closed his eyes to hear his boots crushing crackling wrack and shells. You are walking through it howsomever. I am, a stride at time. A very short space of time though very short times of space. Five, six: Nacheinander. Exactly: and that is the ineluctable modality of the audible. Open your eyes. No Jesus! If I fell over a cliff of beetles o'er his base, fell though the nebeneinander ineluctably! I am getting on nicely in the dark. My ash sword hangs at my side. Tab with it: they do. My two feet in his walking into eternity along Sandymount strand. Crush, crack, crick, Wild sea money. Dominie Deasy kens them a'. Won't you come to Sandymount, Madeline the mare?

Stephen closed his eyes to hear his boots crushing crackling wrack and shells.

-James Joyce: Stephen closed his eyes and listened to the sound of cracking shells as he walked on them.

You are are walking through it howsomever

However, you are walking through it

You are are walking through it howsomever.

What is it?*  Right now, I am assuming the beach

I am, a stride at time.

Yes I am, one step at a time. 

Yes I am, I am also paying attention to the passage of time as I take my steps.

A very short space of time through very short times of space.

A short amount of time through a small amount of physical space being multiplied as I walk though it.

A short amount of time passes between each step I take, and as I continue to walk, the ground I cover seems to multiply.

A very short space of time through very short times of space.

What is the relationship between space and time? 

From einstein.stanford.edu answered by Dr. Sten Odenwald

"Mathematically, and in accordance with relativity, they are in some sense interchangeable, but we do know that they form co-equal parts of a larger 'thing' called space-time, and it is only within space-time that the most complete understanding of the of the motion and properties of natural objects and phenomena can be rigorously understood by physicists. Space and time are to space-time what arms and legs are to humans. In some sense they are interchangeable, but you cannot understand 10,000 years of human history without including both arms and legs as part of the basic human condition."

Five, six: the nacheinander.

counting my steps: one after another.

Exactly: and that is the ineluctable modality of the audible.

Exactly: and that is the unavoidable form or process of perceiving the audible.
Precisely: An unavoidable way of perceiving the audible.
In exact terms, without vagueness : An unavoidable way of hearing

Stephen, still in the moment. Strolling blind on the beach. Meditating.  A visiting thought comes to him.

Open your eyes. No. Jesus. If I fell over a cliff that beetles o'er his base, fell though the nebeneinander ineluctably!

If I fell over a cliff that beetles o'er his base

The conversation with Haines comes to him. (****11)

If I fell over a cliff that beetles o'er his base,

Hamlet, Act 1, Scene 4 Lines 48-53 by William Shakespeare.

The words of Horatio trying to keep Hamlet from talking to a ghost.

What if it tempt you toward the flood, my lord,

Or to the dreadful summit of the cliff

That beetles o'er his base in to the sea,

And there assume some other horrible form

Which might deprive your sovereignty of reason,

And draw you into madness? Think of it.

The very place puts toys of desperation, 

With out more motive, into every brain

That looks mo many fathoms to the sea

And hears it roar beneath.

or

What if it tempt you toward the flood, my lord, or to the dreadful summit of the cliff that beetles over his base into the sea, and there assume some other horrible form which migh deprive your sovereignty of reason and draw you into madness? Think of it. The very place puts toys of desperation, without more motive, into every brain that looks so many fathoms to the sea and hears to beneath

What if it tempt you toward the flood, my lord

What if it tempts your toward the flood, Hamlet?

Or to the dreadful summit of the cliff that beetles over his base in to the sea,

Or to the dreadful highest point of the cliff that over hangs his base into the sea,

And there assume some other horrible form which might deprive your sovereignty of reason and draw you into madness

And then turn into another horrible thing that take away your ability to think rationally and make you crazy?

Think of it. 

Think about it.

The very place puts toys of desperation, 

This exact place puts fear, sadness, and depression

without more motive,

For no reason,

Into every brain that looks so many fathoms to the sea and and hears it roar beneath.

Into every person's thoughts that look out really far to the sea and hears it roar beneath.

Into every brain that looks so many fathoms

cf. There's five fathoms out there (****12)

or

What if it tempts you toward the flood, Hamlet, or to the dreadful highest point of the cliff that over hangs into the sea, and then turns into another horrible thing that will take away your ability to think rationally and make you crazy? Think about it. This exact place puts fear, sadness, and depression, for no reason, Into every person's thoughts that looks out really far to the sea and hears it roar beneath.

Open your eyes. No. Jesus. If I fell over a cliff that beetles o'er his base, fell though the nebeneinander ineluctably!

fell through the nebeneinander ineluctably!

The article 'the' turns the German adverb 'nebeneinander' into an English Noun. 

... Ah, nope, Nebeneinander is also an noun

fell through the nebeneinander ineluctably!

fell though the Neveneinander ineluctably

fell through the coexistence ineluctably

fell though the coexistence inevitably 

inevitably fell through the coexistence

Open your eyes. No. Jesus. If I fell over a cliff that beetles o'er his base,fell through the nebeneinander ineluctably 

Open your eyes. No. Jesus! What if I fall off a cliff, I would inevitably fall though coexistence.

No, That makes no sense. what do we mean by nebeneinander ineluctably, aside from the awesome word play?

Unavoidable coexistence or unavoidable simultaneousness. Coexistence, two or more things existing together without any troubles. What things are we discussing that are existing together?  Time and space? The unavoidable existence of time and space?

Damnit. I've been looking this all wrong. It's not the Coexistence that is unavoidable, although I think that is an interesting concept, but its inevitability of falling though coexistence. What does that mean? Inevitably falling though space and time? Dying? You can rise through space and time; meaning a type of transcendence; enlightenment,  going to heaven, or reaching nirvana. Falling through coexistence, which I get, is referring to the falling of his imaginary cliff, but also, makes me thank of just plain dying, or going to hell. What would be the opposite of transcendence? Loosing the way you experience the world? Instead of living in the world of four dimensions, you fall in the flatlanders world of two dimensions? Yeah I think that fits. 

Open your eyes. No. Jesus! If I fell over a cliff that beetles o'er his base, fell through the nebeneinander ineluctably!

Open your eyes, Stephen. No. Jesus! If I open my eyes, I will inevitably fall off the cliff, that the ghost of Hamlet's father led me too, I will inevitably loose this magical way I see the world, the coexistence of time and space!

My ash sword hangs at my side.

I am pretending that my walking stick is a sword, hanging at my side.

Tap with it: they do.

Tap with your walking stick: they do.

Tap with it: they do.

What does?

Who does?

They do what?

Who or what does what?

Tap with it: they do.

Tap with your walking stick: Time and space does exist

Tap with your walking stick, as if you were blind: Everything still exists.

Tap with it: they do.

cf.

By knocking his sconce against them, sure.

My two feet in his boots are at the ends of his legs, nebeneinander.

Well, first obvious question, who is 'he'? I have feeling, that this might reveal itself soon, but let's take a role call of the people that have been mentioned, referenced, or implied.

Stephen, Deasy, Aristotle, Shakespeare and Dante; I feel fairly comfortable that we can get rid of discard the latter four, which leaves us with only Stephen.

Stephen, while walking blind on a beach, thinking outside of the box on just about every subject, would not be a huge stretch for me to believe that he would be talking about himself in two different point of view. 

This kinda of fits.

My two feet in his boots are at the ends of his legs, nebeneinander.

Introspective Stephen's feet are in illeistic Stephen's boots at the ends of Illeistic Stephens leg's, side by side

1st per. Stephen's feet are in 3rd per. Stephens boots at the ends of 3rd per. Stephens leg's, side by side

Simply at this point, I think Stephen is playing with the idea of looking at himself as one whole individual but also as a being outside of himself. 

How is this possible?

I can't be me, and him at the same time. 

What would it take for that to happen? 

Step 1 - I am me. I am the one inefficiently pushing the buttons on my laptop. I am the one who never developed the habit of keeping my wrists raised. I am the Gundam pilot, and this sloppy machine is my Gundam, so to speak.

Step 2 - *in my head* That man is me.  I have moved my point of view from my eyeballs to the hanging lamp above my head. I see this man, who is me, typing... and pausing... backspacing... and typing.  I see the thinning spot on his head.  I know he used to be self continuous about, but now at his age, he's happy just to have any.  He also likes his new haircut, but is worried that the barber cut it in way that makes it appear as a comb-over whenever parts it. 

What is the difference? 

'Step 2' begins with *in my head*. I used my '*"*'IMAGINATION!'*"*' (****15) to pretend I was looking from a lamp.

What if I put *in my head* in 'Step 1'?

Step 1 - *In my head* I am me. I am the one inefficiently pushing the buttons on my laptop. I am the one who never developed the habit of keeping my wrists raised. I am the Gundam pilot, and this sloppy machine is my Gundam, so to speak.

Wow, That kind of affected me

Remember Stephen's eyes are closed.

If you let it stir for a while, and think a lot,  Just like our boy Dedalus is doing. My two feet in his boots are at the ends of his legs, nebeneinander., can start to make a little sense.  Maybe?

Anyway.

Sounds solid: made by the mallet of Los Demiurge.

Sound solid : made by an amalgamation to two literary characters: Los, created by W.Blake and the Demiurge by Plato

Sounds solid: made by the mallet of Los, an ethereal blacksmith, who bends and shapes metal/the universe.

Sounds solid: made by the Demuirge, an ethereal craftsman who bends and shapes the universe

Los Demiurge.

If you made it Los Demiurges, It could be a clever way of making it into a Spanish masculine plural noun.  That's what I would have done.

Am I walking into eternity along Sandymount strand?

Yeah, probably a bit pedantic, but it's glaring at me. Eternity is limitless, therefor it has no limits, therefor its has no beginning nor end. How do you walk into eternity? 

cf.If you can put your five fingers through it it is a gate, if not a door. Shut your eyes and see.

I believe he might be though, he is aware of himself as part of the universe he is in.  He sees his world in a particular way. I feel that might apply as steps to ascension  

Wild sea money.

Wild sea monkeys, completely irrelevant. 

Wild sea money.

cf. (****17),(****18)

Dominie Deasy kens them a'

Schoolmaster Deasy knows them all.

Won't you come to Sandymount, Madeline the mare?

Won't you come to Sandy?  Mount Madeline the mare. I dunno, just thought it was curious. we have spent a lot of time talking about horses.

Madeline the mare.

A reference to Madeleine Lemaire

Madeline

In my younger and more ambitious days, I read a book called Swann's Way, by Marcel Proust.  It was a difficult book, and sadly I didn't get much out of it except the most amazing description of a boy eating a Madeline.  

That is two of three. 

Rhythm begins, you see. I hear. Acatalectic tetrameter of iambs marching. No, agallop: deline the mare

Rhythm begins. you see. I hear. A correctly written Iambic Pentameter sounds like it is marching. No actually it sounds like it is galloping. Sounds that represent a running horse.

The Listening Paragraph: A Play.

The Players,

Stephen's brain A - The part that wants to see.

Stephen's brain B - The part that wants to hear.

*Stephen walks on a beach, eyes closed, crunching seashells with his feet*

Stephens brain A :  You are walking though this beach however.

Stephen's brain B:  Yup, one step at a time. I am also, acutely aware of myself in my universe. I'm counting my steps, and I know a little bit of German.

Stephen' brain A:  Exactly: You can not avoid the way you hear the world around you. Open your eyes now.

Stephen's brain B: No way! What if you lead me off of a cliff like Hamlet's friend was worried about when that ghost showed up?  Anyway, I am fine walking blind. I got my walking stick, I am pretending it is a sword.

Stephen's brain A: tap around with your stick.

Stephen's brain B: I am, everything sounds solid. created by Blake's Los and Plato's Demiurge.

*Stephens keeps on walking, still crunching shells* 

Stephen's brain B: This is rhythm. We are a team.  You look and I hear. Right now, the world around me sounds like Iambic Pantameters galloping like the horses I saw in Deasy's office.

Stephen's brain A: Open your eyes now.

Stephen's brain B: Just a moment. Has everything disappeared since I closed my eyes?

Stephen's brain A: That is enough! I am going to look around.

*Stephen opens his eyes*

Stephen's brain A: See? Everything is still here, and will continue to be here without you.

The last stretch.

They came down the steps from Leahy's terrace prudently, Frauenzimmer: and down the shelving shore flabbily, their splayed feet sinking in the silted sand. Like me, like Algy, coming down to our mighty mother. Number one swung lourdily her midwife's bag, the other's gamp poked in the beach. From the liberties, out for the day. Mrs Florence MacCabe, relict of the late Patk MacCabe, deeply lamented, of Bride Street. One of her sisterhood lugged my squealing in to life. Creation from nothing. What has she in the bag? A misbirth? with a trailing navelcord, hushed in ruddy wool. The cords of all like back, Strandentwining  cable of all flesh. That is why mystic monks. Will you be as gods? Gaze in your omphalos. Hello! KInch here. Put me on to Edenville. Aleph, alpha: nought, nought, one.

They came down the steps from Leahy's terrace prudently,

Again, who is they?

They came down the steps from Leahy's terrace prudently,

They came down the steps from Leahy's nice little hangout area thoughtfully.

Frauenzimmer: and down the shelving shore flabbily, their splayed feet sinking in silted sand.

Female attendants: flabbily going down the slopping shore, their feet sinking in sand with silt.

Like me, like Algy, coming down to our mighty mother.

Like me, like Algernon Charles Swinburne, coming down to out mighty mother. (*****3 & *****9)

down to our mighty mother

Referring to a long poem called The Triumph of Time, by ACS, Where he compares the sea to a mother. 

Also, I should have covered this along time ago. I'm sorry.

Like me, like Algy, coming down to our mighty mother.

Like me, like ACS walking down to the sea.

Number one swung lourdily her midwife's bag, the other's gamp poked in the beach.
The first female attendant heavily swung her midwife's bag, the second females large umbrella stuck in the beach. 

From the liberties, out for the day.

From the Liberties, a neighborhood in Dublin, taking the day off.

Mrs. Florence MacCabe, relict of the late Patk MacCabe, deeply lamented, of Bride Street

Mrs. Florence MacCabe,  The widow of late Patk MacCabe, deeply mourned, (both past tense and past participle sense of the word) from Bride Street.

of Bride street.

Mrs. MacCabe, bride of Mr. MacCabe lived on bride street.

Creation from nothing. What has she in the bag? A misbirth with a trailing navelcord, hushed in ruddy wool. The cords of all link back, Strandentwining cable of all flesh. That is why mystic monks. Will you be as gods? Gaze in your omphalos. Hello! Kinch here. Put me on to Edenville. Aleph Alpha: nought, nought, one.

Let’s get physical! Metaphysical! Let me hear your body talk!

What has she in the bag? A misbirth with a trailing navelcord, hushed in ruddy wool.

So, Stephen is remembering/imagining some midwives, taking a break, bringing him to a beach. It seems to me that one of the ladies brought knitting supplies, including some red yarn that's trailing line of red yarn. Or, that these ladies are insane monsters.

At this point I’m working with the help of joyceproject.com. Seriously, you should go there instead. They know what they are doing.

The cords of all link back, Strandentwining cable of all flesh.

Now we are going from yarn to telephones.

The cords of all link back, Strandentwining cable of all flesh.
The umbilical cords all link back. From child to mother. All the way back to the first mother and child. One intertwining cable of flesh.

 

The cords of all link back, Strandentwining cable of all flesh.

The metaphorical network of  metaphorical telephone cords connecting to the beginning of everything.

That is why mystic monks. Will you be as gods? Gaze in your omphalos.

Mystic monks, are you gods? Are you the same as God?  Are you connected to God? Look into your belly button.

Gaze in your omphalos.

Omphaloskepsis

Gaze in your omphalos.

Cf. (*****4) & (****10)

Put me on to Edenville. Aleph Alpha: nought, nought, one.

Hello God, connect me Eden A A:  0, 0, 1,

Aleph Alpha: nought, nought, one.

The oneness, and the beginning : nothing + nothing = 1  Creatio Ex Nihilo

Spouse and helpmate of Adam Kadmon: Heva, Naked Eve. She had no navel. Gaze. Belly without blemish, bulging big, a buckler of taut vellum, no, whiteheaped corn, orient and immortal, standing from everlasting to everlasting. Womb of sin.

Spouse and helpmate of Adam Kadmon

Spouse and helpmate of the Primordial Man

a buckler of taut vellum

A belly resembling the bump of a buckler wrapped in tight calf skin.

Womb of sin.

Carrying a baby with Original Sin.

-----------

Glossary

Spangle - A small piece of sparkly material, which among many, are sewn onto clothing as decoration. A sequin.

Ineluctable - Unable to be resisted, unavoidable, inescapable. 

Modality - A particular mode in which something exists or is experienced or expressed. 1. A particular method or procedure. 2. a particular form of sensory perception. 3. A symptom or pattern that aids in diagnosis.

Seawrack - Various types of seaweed that grow or cast around a shoreline.

Diaphane - Something transparent 
or
(In Aristotelian philosophy) The bare bones or innate characteristics of contained in a mental image. 

Sconce - A candle or torch holder attached to a wall.
or
a type of construction designed to from a fire or weather

Maestro di color che sanno - (Italian)'Master of the men who know'

Adiaphane - Opaque, Nontransparent, not diaphaous

Translucent - A way of describing an object that allows light to pass through, but not detailed shapes

Privation - 1. Whenever you lack the essential things that will keep you alive. 2. The lack of a quality or attribute that would be expected to be present.

Howsomever - Never the less, yet, however.

Nacheinander - (German) Successfully, Consecutively, One after another, Step by step.

Beetle -When a large rock or someone's eyebrows protrude or hang their respective faces.

Nebeneinander - (German) Generally to be side by side. To be neck and neck, like in race. To coexist,  or to do things simultaneously.

Nebeneinander (noun) - Coexistence, Simultaneousness

Illeism - Referring yourself in the 3rd person.

Eternity - Limitless or endless time; impossible to measure in regards to time.

Dominie - A Scottish schoolmaster.

Acatalectic - When a line in a poem has the correct number of syllables

Tetrameter -  When a line in a poem has four metrical feet.

Iamb - One metrical foot in a poem that goes "bum BUM".

Deline  -  An old-fashioned way of saying Delineate, it means to represent or flesh out an idea with sketches, words, pictures, gestures, outlines, or whatever works for you.

Basta - (Spanish) "That's enough" or "Stop it"

Terrace - A nice little area to hang out at, usually next to or attached to a building.

Prudently - Carefully and with thought for the future.

Frauenzimmer - (German)  Translates to "Woman Room". It's and old fashioned insult to women.   Way back when,  it literally meant a woman's room and her things. Later, it would also include the woman's attendants. Eventually, the word would just mean a lady's individual attendant, usually another woman of lower status.  This is why it became derogatory.

Shelving - (Geology) When the ground is slopping or in a particular direction

Splayed - When your body parts are spread out. Like when you make a snow angel.

Silt - Material that can be found in soil, sand, water, just about anywhere. A grain of silt is bigger that a grand of sand and smaller than a grain of clay.

Lourdily - It might come from the french word Lourd, which means 'Heavy', or it might come from the Scottish word Lourd which represents a habitual drunkard.

Gamp - A large umbrella.

Relict -  A widow.

Ruddy - Generally describes something of the human body that is red,  a sunburn, rash, embarrassed red face, blood, and so on

Ein Sof/Eyn Sof - (Kabbalah) God before he manifested himself in any of the Four Worlds.

Tzimtzum - (Kabbalah) An explanation of the process of creation, saying that God “Compressed” “himself” to make room for “A conceptual space” to allow other other “less special” things to exist. 

Taut -  Stretched really tight. No slack.

Vellum -  Fancy parchment made from the skin of a calf

Original Sin - The inherited tainted nature you earn from being born.

----------------

Other Things

Maestro di color che sanno -  'Master of the men who know'. Refering to Aristotle. It comes from Inferno, Part one of Divine Comedy by Dante Alighieri. Here's the quote with a little extra for context, Canto 4, Lines 130 -135:

Poi ch'innalzai un poco più le ciglia
vidi 'l maestro di color che sanno
Seder tra filosofica famiglia

Tutti lo miran, tutti onor li fanno: 
quiviv vid' ïo Socrate e Platone,
che 'nnanzi a li altri più presso li stanno;

or

When I had raised my eyes a little higher,
I saw the master of the men who know
seated in philosophic family.

There all look up to him, all do him honor:
there I behold both Socrates and Plato,
closest to him, in front of all the rest; 

Divine Comedy - Part 1, Inferno - A very long poem written by Dante Alighieri. It is the story of Dante and his tour guide, Virgil, as they roam the nine circles of Hell. Along the way they meet all kinds of colorful characters who have rejected the God's spiritual values by yielding to their bestial appetites and perverting their human intellect.

Dante Alighieri - He was probably called Durante di Alighiero degli Alighieri at his baptism. He was an Italian, a catholic, a poet, a writer, a philosopher, a husband and a father. When he wrote, he used the speech of the local people, instead of the persnickety Latin that only the college kids could read. Which in turn, allowed modern day Italian to be standardized.

Aristotle - He was a Greek philosopher and a polymath the Ancient Greek Classical period. He was taught by Plato and founded the Lyceum, a school of philosophy. He pretty much influenced everything that Western Philosophy was about after his time.

Space-time (Minkowski Space) - An idea that Albert Einstein's teacher, Hermann Minkowski come up with. He said that space and time is balled up one big thing called a Continuum. This continuum has four dimensions: Length, breadth, height, and time.

Later on, Albert Einstein would tweak this idea. Saying that space-time is actually curved, and suggest that they call this general relativity. 

Albert Einstein -  Born in the Kingdome of Wüttemberg, German Empire, died in Princeton New Jersey.

Hermann Minkowski -  Albert Einstein's teacher, born in Aleksotas, Suwalki Governorate, Kingdom of Poland, died in Göttingen, German Empire. Had one wife, Auguste Adler, and two daughters, Lily and Ruth.

Hamlet or The Tragedy of Hamlet, Prince of Denmark - William Shakespeare's twenty fourth play, and his longest play with 29,551 words about a nephew's avengement for his father.

William Shakespeare -  Probably the most famous person you have ever heard of. Born and died in Stratford-upon-Avon, Warwickshire England, A playwright,  A poet. People called him The Bard of Avon. Married a woman named Anne Hathaway**

Los - A character developed by William Blake, First appeared in The Book of Urizen and concluded in the final version of Jerusalem.  Los is the godlike part of the imagination, referred to as The Eternal Prophet.  He is described at a blacksmith, he beats hot metal with his hammer, that represents the human heart, and the bellows on his forge represent the lungs.

Demiurge (Plato's version) - Plato wrote a thing, a dialog, kind of like a play, called Timaeus , in which he said that there is a deity that rearranges real life objects. It moves physical things around to make it fit with a rational and eternal ideal.  Plato used this word because in ancient Greece, it originally meant a "craftsman" or an umbrella term for anyone who works with their hands

Sea Monkeys (Artemia NYOS)  - A hybrid breed of brine shrimp created by Harold von Braunhut. When things are bad, they can enter a state of suspended animation, and stay that way until their living situation gets better. Like when you dunk them in a bowl of purified water.  

They are born with one eye, but grow two more when they get older; they breath through their feet, and they can reproduce sexually or asexually.

Madeleine Lemaire - A French painter who specialized in painting flowers. She was called The Empress of the Roses.  She introduced the French master of ridiculously long sentences, Marcel Proust, to the Parisian salons of high society.

The Triumph of Time.  

Algernon Charles Swinburne

Before our lives divide for ever,

      While time is with us and hands are free,

(Time, swift to fasten and swift to sever

      Hand from hand, as we stand by the sea)

I will say no word that a man might say

Whose whole life's love goes down in a day;

For this could never have been; and never,

      Though the gods and the years relent, shall be.

Is it worth a tear, is it worth an hour,

      To think of things that are well outworn?

Of fruitless husk and fugitive flower,

      The dream foregone and the deed forborne?

Though joy be done with and grief be vain,

Time shall not sever us wholly in twain;

Earth is not spoilt for a single shower;

      But the rain has ruined the ungrown corn.

It will grow not again, this fruit of my heart,

      Smitten with sunbeams, ruined with rain.

The singing seasons divide and depart,

      Winter and summer depart in twain.

It will grow not again, it is ruined at root,

The bloodlike blossom, the dull red fruit;

Though the heart yet sickens, the lips yet smart,

      With sullen savour of poisonous pain.

I have given no man of my fruit to eat;

      I trod the grapes, I have drunken the wine.

Had you eaten and drunken and found it sweet,

      This wild new growth of the corn and vine,

This wine and bread without lees or leaven,

We had grown as gods, as the gods in heaven,

Souls fair to look upon, goodly to greet,

      One splendid spirit, your soul and mine.

In the change of years, in the coil of things,

      In the clamour and rumour of life to be,

We, drinking love at the furthest springs,

      Covered with love as a covering tree,

We had grown as gods, as the gods above,

Filled from the heart to the lips with love,

Held fast in his hands, clothed warm with his wings,

      O love, my love, had you loved but me!

We had stood as the sure stars stand, and moved

      As the moon moves, loving the world; and seen

Grief collapse as a thing disproved,

      Death consume as a thing unclean.

Twain halves of a perfect heart, made fast

Soul to soul while the years fell past;

Had you loved me once, as you have not loved;

      Had the chance been with us that has not been.

I have put my days and dreams out of mind,

      Days that are over, dreams that are done.

Though we seek life through, we shall surely find

      There is none of them clear to us now, not one.

But clear are these things; the grass and the sand,

Where, sure as the eyes reach, ever at hand,

With lips wide open and face burnt blind,

      The strong sea-daisies feast on the sun.

The low downs lean to the sea; the stream,

      One loose thin pulseless tremulous vein,

Rapid and vivid and dumb as a dream,

      Works downward, sick of the sun and the rain;

No wind is rough with the rank rare flowers;

The sweet sea, mother of loves and hours,

Shudders and shines as the grey winds gleam,

      Turning her smile to a fugitive pain.

Mother of loves that are swift to fade,

      Mother of mutable winds and hours.

A barren mother, a mother-maid,

      Cold and clean as her faint salt flowers.

I would we twain were even as she,

Lost in the night and the light of the sea,

Where faint sounds falter and wan beams wade,

      Break, and are broken, and shed into showers.

The loves and hours of the life of a man,

      They are swift and sad, being born of the sea.

Hours that rejoice and regret for a span,

      Born with a man's breath, mortal as he;

Loves that are lost ere they come to birth,

Weeds of the wave, without fruit upon earth.

I lose what I long for, save what I can,

      My love, my love, and no love for me!

It is not much that a man can save

      On the sands of life, in the straits of time,

Who swims in sight of the great third wave

      That never a swimmer shall cross or climb.

Some waif washed up with the strays and spars

That ebb-tide shows to the shore and the stars;

Weed from the water, grass from a grave,

      A broken blossom, a ruined rhyme.

There will no man do for your sake, I think,

      What I would have done for the least word said.

I had wrung life dry for your lips to drink,

      Broken it up for your daily bread:

Body for body and blood for blood,

As the flow of the full sea risen to flood

That yearns and trembles before it sink,

      I had given, and lain down for you, glad and dead.

Yea, hope at highest and all her fruit,

      And time at fullest and all his dower,

I had given you surely, and life to boot,

      Were we once made one for a single hour.

But now, you are twain, you are cloven apart,

Flesh of his flesh, but heart of my heart;

And deep in one is the bitter root,

      And sweet for one is the lifelong flower.

To have died if you cared I should die for you, clung

      To my life if you bade me, played my part

As it pleased you — these were the thoughts that stung,

      The dreams that smote with a keener dart

Than shafts of love or arrows of death;

These were but as fire is, dust, or breath,

Or poisonous foam on the tender tongue

      Of the little snakes that eat my heart.

I wish we were dead together to-day,

      Lost sight of, hidden away out of sight,

Clasped and clothed in the cloven clay,

      Out of the world's way, out of the light,

Out of the ages of worldly weather,

Forgotten of all men altogether,

As the world's first dead, taken wholly away,

      Made one with death, filled full of the night.

How we should slumber, how we should sleep,

      Far in the dark with the dreams and the dews!

And dreaming, grow to each other, and weep,

      Laugh low, live softly, murmur and muse;

Yea, and it may be, struck through by the dream,

Feel the dust quicken and quiver, and seem

Alive as of old to the lips, and leap

      Spirit to spirit as lovers use.

Sick dreams and sad of a dull delight;

      For what shall it profit when men are dead

To have dreamed, to have loved with the whole soul's might,

      To have looked for day when the day was fled?

Let come what will, there is one thing worth,

To have had fair love in the life upon earth:

To have held love safe till the day grew night,

      While skies had colour and lips were red.

Would I lose you now? would I take you then,

      If I lose you now that my heart has need?

And come what may after death to men,

      What thing worth this will the dead years breed?

Lose life, lose all; but at least I know,

O sweet life's love, having loved you so,

Had I reached you on earth, I should lose not again,

      In death nor life, nor in dream or deed.

Yea, I know this well: were you once sealed mine,

      Mine in the blood's beat, mine in the breath,

Mixed into me as honey in wine,

      Not time, that sayeth and gainsayeth,

Nor all strong things had severed us then;

Not wrath of gods, nor wisdom of men,

Nor all things earthly, nor all divine,

      Nor joy nor sorrow, nor life nor death.

I had grown pure as the dawn and the dew,

      You had grown strong as the sun or the sea.

But none shall triumph a whole life through:

      For death is one, and the fates are three.

At the door of life, by the gate of breath,

There are worse things waiting for men than death;

Death could not sever my soul and you,

      As these have severed your soul from me.

You have chosen and clung to the chance they sent you,

      Life sweet as perfume and pure as prayer.

But will it not one day in heaven repent you?

      Will they solace you wholly, the days that were?

Will you lift up your eyes between sadness and bliss,

Meet mine, and see where the great love is,

And tremble and turn and be changed? Content you;

      The gate is strait; I shall not be there.

But you, had you chosen, had you stretched hand,

      Had you seen good such a thing were done,

I too might have stood with the souls that stand

      In the sun's sight, clothed with the light of the sun;

But who now on earth need care how I live?

Have the high gods anything left to give,

Save dust and laurels and gold and sand?

      Which gifts are goodly; but I will none.

O all fair lovers about the world,

      There is none of you, none, that shall comfort me.

My thoughts are as dead things, wrecked and whirled

      Round and round in a gulf of the sea;

And still, through the sound and the straining stream,

Through the coil and chafe, they gleam in a dream,

The bright fine lips so cruelly curled,

      And strange swift eyes where the soul sits free.

Free, without pity, withheld from woe,

      Ignorant; fair as the eyes are fair.

Would I have you change now, change at a blow,

      Startled and stricken, awake and aware?

Yea, if I could, would I have you see

My very love of you filling me,

And know my soul to the quick, as I know

      The likeness and look of your throat and hair?

I shall not change you. Nay, though I might,

      Would I change my sweet one love with a word?

I had rather your hair should change in a night,

      Clear now as the plume of a black bright bird;

Your face fail suddenly, cease, turn grey,

Die as a leaf that dies in a day.

I will keep my soul in a place out of sight,

      Far off, where the pulse of it is not heard.

Far off it walks, in a bleak blown space,

      Full of the sound of the sorrow of years.

I have woven a veil for the weeping face,

      Whose lips have drunken the wine of tears;

I have found a way for the failing feet,

A place for slumber and sorrow to meet;

There is no rumour about the place,

      Nor light, nor any that sees or hears.

I have hidden my soul out of sight, and said

      "Let none take pity upon thee, none

Comfort thy crying: for lo, thou art dead,

      Lie still now, safe out of sight of the sun.

Have I not built thee a grave, and wrought

Thy grave-clothes on thee of grievous thought,

With soft spun verses and tears unshed,

      And sweet light visions of things undone?

"I have given thee garments and balm and myrrh,

      And gold, and beautiful burial things.

But thou, be at peace now, make no stir;

      Is not thy grave as a royal king's?

Fret not thyself though the end were sore;

Sleep, be patient, vex me no more.

Sleep; what hast thou to do with her?

      The eyes that weep, with the mouth that sings?"

Where the dead red leaves of the years lie rotten,

      The cold old crimes and the deeds thrown by,

The misconceived and the misbegotten,

      I would find a sin to do ere I die,

Sure to dissolve and destroy me all through,

That would set you higher in heaven, serve you

And leave you happy, when clean forgotten,

      As a dead man out of mind, am I.

Your lithe hands draw me, your face burns through me,

      I am swift to follow you, keen to see;

But love lacks might to redeem or undo me;

      As I have been, I know I shall surely be;

"What should such fellows as I do?" Nay,

My part were worse if I chose to play;

For the worst is this after all; if they knew me,

      Not a soul upon earth would pity me.

And I play not for pity of these; but you,

      If you saw with your soul what man am I,

You would praise me at least that my soul all through

      Clove to you, loathing the lives that lie;

The souls and lips that are bought and sold,

The smiles of silver and kisses of gold,

The lapdog loves that whine as they chew,

      The little lovers that curse and cry.

There are fairer women, I hear; that may be;

      But I, that I love you and find you fair,

Who are more than fair in my eyes if they be,

      Do the high gods know or the great gods care?

Though the swords in my heart for one were seven,

Should the iron hollow of doubtful heaven,

That knows not itself whether night-time or day be,

      Reverberate words and a foolish prayer?

I will go back to the great sweet mother,

      Mother and lover of men, the sea.

I will go down to her, I and none other,

      Close with her, kiss her and mix her with me;

Cling to her, strive with her, hold her fast:

O fair white mother, in days long past

Born without sister, born without brother,

      Set free my soul as thy soul is free.

O fair green-girdled mother of mine,

      Sea, that art clothed with the sun and the rain,

Thy sweet hard kisses are strong like wine,

      Thy large embraces are keen like pain.

Save me and hide me with all thy waves,

Find me one grave of thy thousand graves,

Those pure cold populous graves of thine

      Wrought without hand in a world without stain.

I shall sleep, and move with the moving ships,

      Change as the winds change, veer in the tide;

My lips will feast on the foam of thy lips,

      I shall rise with thy rising, with thee subside;

Sleep, and not know if she be, if she were,

Filled full with life to the eyes and hair,

As a rose is fulfilled to the roseleaf tips

      With splendid summer and perfume and pride.

This woven raiment of nights and days,

      Were it once cast off and unwound from me,

Naked and glad would I walk in thy ways,

      Alive and aware of thy ways and thee;

Clear of the whole world, hidden at home,

Clothed with the green and crowned with the foam,

A pulse of the life of thy straits and bays,

      A vein in the heart of the streams of the sea.

Fair mother, fed with the lives of men,

      Thou art subtle and cruel of heart, men say.

Thou hast taken, and shalt not render again;

      Thou art full of thy dead, and cold as they.

But death is the worst that comes of thee;

Thou art fed with our dead, O mother, O sea,

But when hast thou fed on our hearts? or when,

      Having given us love, hast thou taken away?

O tender-hearted, O perfect lover,

      Thy lips are bitter, and sweet thine heart.

The hopes that hurt and the dreams that hover,

      Shall they not vanish away and apart?

But thou, thou art sure, thou art older than earth;

Thou art strong for death and fruitful of birth;

Thy depths conceal and thy gulfs discover;

      From the first thou wert; in the end thou art.

And grief shall endure not for ever, I know.

      As things that are not shall these things be;

We shall live through seasons of sun and of snow,

      And none be grievous as this to me.

We shall hear, as one in a trance that hears,

The sound of time, the rhyme of the years;

Wrecked hope and passionate pain will grow

      As tender things of a spring-tide sea.

Sea-fruit that swings in the waves that hiss,

      Drowned gold and purple and royal rings.

And all time past, was it all for this?

      Times unforgotten, and treasures of things?

Swift years of liking and sweet long laughter,

That wist not well of the years thereafter

Till love woke, smitten at heart by a kiss,

      With lips that trembled and trailing wings?

There lived a singer in France of old

      By the tideless dolorous midland sea.

In a land of sand and ruin and gold

      There shone one woman, and none but she.

And finding life for her love's sake fail,

Being fain to see her, he bade set sail,

Touched land, and saw her as life grew cold,

      And praised God, seeing; and so died he.

Died, praising God for his gift and grace:

      For she bowed down to him weeping, and said

"Live;" and her tears were shed on his face

      Or ever the life in his face was shed.

The sharp tears fell through her hair, and stung

Once, and her close lips touched him and clung

Once, and grew one with his lips for a space;

      And so drew back, and the man was dead.

O brother, the gods were good to you.

      Sleep, and be glad while the world endures.

Be well content as the years wear through;

      Give thanks for life, and the loves and lures;

Give thanks for life, O brother, and death,

For the sweet last sound of her feet, her breath,

For gifts she gave you, gracious and few,

      Tears and kisses, that lady of yours.

Rest, and be glad of the gods; but I,

      How shall I praise them, or how take rest?

There is not room under all the sky

      For me that know not of worst or best,

Dream or desire of the days before,

Sweet things or bitterness, any more.

Love will not come to me now though I die,

      As love came close to you, breast to breast.

I shall never be friends again with roses;

      I shall loathe sweet tunes, where a note grown strong

Relents and recoils, and climbs and closes,

      As a wave of the sea turned back by song.

There are sounds where the soul's delight takes fire,

Face to face with its own desire;

A delight that rebels, a desire that reposes;

      I shall hate sweet music my whole life long.

The pulse of war and passion of wonder,

      The heavens that murmur, the sounds that shine,

The stars that sing and the loves that thunder,

      The music burning at heart like wine,

An armed archangel whose hands raise up

All senses mixed in the spirit's cup

Till flesh and spirit are molten in sunder —

      These things are over, and no more mine.

These were a part of the playing I heard

      Once, ere my love and my heart were at strife;

Love that sings and hath wings as a bird,

      Balm of the wound and heft of the knife.

Fairer than earth is the sea, and sleep

Than overwatching of eyes that weep,

Now time has done with his one sweet word,

      The wine and leaven of lovely life.

I shall go my ways, tread out my measure,

      Fill the days of my daily breath

With fugitive things not good to treasure,

      Do as the world doth, say as it saith;

But if we had loved each other — O sweet,

Had you felt, lying under the palms of your feet,

The heart of my heart, beating harder with pleasure

      To feel you tread it to dust and death —

Ah, had I not taken my life up and given

      All that life gives and the years let go,

The wine and honey, the balm and leaven,

      The dreams reared high and the hopes brought low?

Come life, come death, not a word be said;

Should I lose you living, and vex you dead?

I never shall tell you on earth; and in heaven,

      If I cry to you then, will you hear or know?

Creatio Ex Nihilo - The idea that matter was created by something divine, typically God. It is the theistic argument to creation, compared to the other Latin idea Ex Nihilo Nihil fit or Nothing Come From Nothing, which claims that everything was formed from something else.

Omphaloskepsis - Otherwise known as Navel Gazing, It is the practice of starring at your belly button, while contemplating life and the universe. Made “famous” by the monks of Mount Athos, but is practiced by all sorts of people, including yogis who say the navel to be the location of the Manipura, and important chakra of the body. Although it's taken serious ly by hte practitioners, it also brings about cheeky phrases such as “Contemplating one’s navel”, referring to self absorbed pursuits.

Aleph - א‎, The First letter of the of several alphabets, Hebrew in this case. Probably originated in Egypt, representing the head of an ox. Eventually the Greeks show up and start using it, calling it Alpha.

In Jewish mysticism, it represents the oneness of God.

Alpha - A, The first letter in the Greek ALPHAbet. In Greek numerals, it has the value of 1 which carried on through the years to also indicate the “first” or the “Beginning” of things.

In Christianity, God declared He was the Alpha and Omega, meaning he was the beginning and the end

Adam Kadmon - Ok, it gets a bit complicated here. I read a book explaining the basics of Kabbalah, and it rocked my world. So, with some experience with that, and help of Wikipedia, we can bang this out. Try to be somewhat flexible in your thinking here. It will get wacky.

In Kabbalah, before anything was created. There was God’s infinite light. Take that as literally as you can. A light that is infinite, that belongs to God. This light that belongs to God is not like a flashlight. This kind of light doesn't  have a starting point or any kind of boundary Just light. Remember nothing else has been created yet.

Real quick, I’m going to use words that refer to points in time, “when”, “before”, “after “ and so on. This won't be accurate because time wasn’t created yet. But I have to do something. Anyway…

It was time for things to start getting created. So, he gave his light a boundary and compressed it. Creating his first things: 

1. A big ball of FINITE light, It has a middle and outside edges,

2. The void that exists outside the big ball of FINITE light. We can call it room, space, a vacuum, whatever

When that part was done. A ray of divine light, shot from the big ball of finite light and entered the outside space, and projected the Persona or “face” of Adam Kadmon. It wasn’t a human face though. Instead it was a series of 10 circles that grew from it. Think of the rings of a dart board, and the laser beam of divine light was the bullseye. This was the first stage of Adam Kadmon.

What is divine light? Good question! Divine light is something that is unknown and mysterious in nature, therefore, I don't know how to define it.

The next thing that happened was that the ray of light  was “enclothed” by the anthropomorphic or human form of Adam kadmon. 

Ok. Stretch that brain out. This human form of Adam Kadmon, being projected into void by a ball of FINITE light, is, in fact, a realm of INFINITE divine light. Without anything to contain it.  This Skin of Adam Kadmon is actually the potential to create future existence

Which leads us to the Four Worlds or otherwise known as Spiritual Worlds.

 

What are Spiritual Worlds? These are also called The Four Worlds; they are the spiritual realms in Kabbalah, in the descending chain of existence. I will list them in their proper names once, but will continue to refer to them in a more reasonable language.

The Four Worlds

1. Atziluth (Archetypes)

2. Briah (Creation)

3. Yetzirah (Formation)

4. Assiah (Physical)

Other Terms

5. Emanation

6. Ein Sof.

7. Tzimtzum

Or,

The Four Worlds

1. W.1.Arch

2. W.2.Creat

3. W.3.Form

4. W.4.Phys 

Other Terms

5. Evolution

6. PreGod

7. Compression

These Worlds represent the evolution of PreGod’s creativity through the process of his compression.

Adam Kadmon, in Hebrew, translates to “Primordial Man”. It can also be called Adam Elyon or Adam Ila’ah - ”Supreme Man” (cf. Übermensch (****13))

Heva - The wife of Har in the stories by William Blake. She is Blake’s version of Eve.

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Characters

Leahy - They have a place with a terrace.

Mrs. Florence MacCabe - Widow of Patk MacCabe, lives on Bride Street

Patk MacCabe - Late husband of Florence MacCabe, lived on Bride street.

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Places

Sandymount Strand - A long beach on the east coast of Ireland. It runs down Dublin along the village and suburb of Sandymount. It's a nice place to take a walk.

The Liberties -  Otherwise known as Na Saoirsi,  is an area in the southwest portion of central Dublin.  Historically a working class neighborhood. home  of the Guinness brewery and the National College of Art and Design

Bride Street - Currently known as New Bride Street. It is located in Dublin's south inner city. It runs north - south.  It is 48 feet wide and 705 feet long. It was named after a church dedicated to St. Brigit of Kildare.

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Timeline

-322 - Aristotle died.
-360 (circ.) Plato wrote Timaeus.
-384 - Aristotle was born.
1265 (circ.) - Dante Alighieri was born.
1308 (circ.) - D. Alighieri started to write The Divine Comedy.
1320 - D. Alighieri completed The Divine Comedy.
1321 (9/14) - Dante Alighieri died.
1564 (4/23) - Shakespeare was probably born.
1564 (4-26) - Shakespeare was Baptized.
1599 (poss.) - Hamlet was written.
1601 (poss.) - Hamlet was written.
1616 (4/23) - Shakespeare died.
1794 - William Blake wrote The Book of Urizen.
1863 (6/22) - Hermann Minkowski was born.
1870 (3/14) -  Albert Einstein was born.
1891 - Madeleine Lemaire was born.
1905 - Albert Einstein introduced Special Relativity
1907 - Minkowski explained Einstein's Special Relativity using his space-time model
1908 -  Hermann Minkowski wrote Raum und Zeit (Space and Time)
1909 (1/12) - Hermann Minkowski died.
1915 - Albert Einstein introduced General Relativity
1928 (4/8) -  Madeleine Lemaire died.
1955 (4/18) -  Albert Einstein died.
1957 - Mad scientist and raciest, Harold von Brauhut created the Sea Monkey.

*IT'S IT!
**a different Anne Hathaway