Post by Franz Gnaedinger
Now let us go from Leonardo da Vinci to Edward de Vere alias William
Will I am
a strong will personified
shaking my spear
wielding my sword
which is my word
my elegant and powerful word
Leonardo's late drawings of storm and flood might have inspired The Tempest.
She to be looked at and admired as a miracle) his art, also art in general,
including the play by Shakespeare, and in her husband Ferdinand, son to
the king of Naples, political power.
What are Miranda and Ferdinand doing on their honeymoon? Play at chess!
No loving couple would do that, so they are symbols - of art and political
power respectively that maintain a complicated relationship. Edward de Vere
knew about those complications from his experience at the court of England.
I discern between art and a work of art.
Art is the human measure in a technical world, and a work of art is kind
of a formula based on the logic of equal unequal (Goethe: all is equal,
all unequal), parallel to a mathematical formula based on the logic of a = a.
Implementing art in society requires great skill. Think for example of the
Usenet, and of the Web in general.
If you google for
"lying cretans in literature"
you can find for example this link
with a discussion of the lying Cretans in Ovid and in Callimachus' hymn.
From my humanistic schooldays I vaguely remember a joking reference to
the lying Cretans, but the author was not intrigued by the paradox.
Literature can't be fettered by the mathematical logic of a = a. Instead
it follows and explores the wider logic of equal unequal.
The journeys of Odysseus are dreams. Returned home, the hero - "if ever
there was such a man" - sleeps on the shore. A long series of dreams bring
him back to Troy, Troy in disguise, and blended with other places and periods
of time. In his first dream he encounters the one-eyed giant Polyphem who
resembles more a wooded mountain top than a man who eats bread - Homeric
symbol of Troy VIIa, his one eye the acropolis overlooking the wider river
plain, his body donwntown Troy VIIa that provided protected shelter for
5,000 to 10,000 people. And in his last dream he reaches the shore of pleasant
Scherie, identified as an early Troy by Eberhard Zangger. Always Troy, always
the same, each time different.
Robert Recorde, in his algebra book Whetstone of witte, London 1557,
introduced the equality sign: "I will sette as I doe often in worke use,
a paire of paralleles, or Gemowe (Twin) lines of one lengthe, thus:======,
bicause, noe.2. thynges can be moare equalle."
The rule of equation, commonly called Algebers Rule
Edward de Vere, born 1550, may have studied Recorde's book in the ample
library of his uncle, and may have objected: "noe.2. thynges" are abolutely
identical, and nothing remains unchanged forever. I shall work on another
whetstone of witte based on the logic of equal unequal, on change and
shifting identities and perpetual transformations ... Later on, in his play
As You Like It, he would have paid homage to Recorde by calling his alter ego
Touchstone, epitome or cynosure of wit.