© Gunnar Tómasson
19 September 2016
I. Victor Hugo: Preface to Shakespeare
(William Shakespeare, 1864)
526082
18798 = The true title of this work should be,
11010 = „Apropos to Shakespeare.“
26428 = The desire of introducing, as they say in England, before the public,
16554 = the new translation of Shakespeare,
17364 = has been the first motive of the author.
30988 = The feeling which interests him so profoundly in the translator
29816 = should not deprive him of the right to recommend the translation.
27264 = However, his conscience has been solicited on the other part,
21802 = and in a more binding way still, by the subject itself.
11385 = In reference to Shakespeare
27059 = all questions which touch art are presented to his mind.
28624 = To treat these questions, is to explain the mission of art;
37741 = to treat these questions, is to explain the duty of human thought toward man.
24720 = Such an occasion for speaking truths imposes a duty,
28682 = and he is not permitted, above all at such an epoch as ours, to evade it.
14528 = The author has comprehended this.
35720 = He has not hesitated to turn the complex questions of art and civilization
9632 = on their several faces,
36720 = multiplying the horizons every time that the perspective has displaced itself,
34027 = and accepting every indication that the subject, in its rigorous necessity,
7003 = has offered to him.
30217 = This expansion of the point of view has given rise to this book.
526082
II. Snorri Sturluson: Hvernig Krist skal kenna
How to teach Christ
(Skáldskaparmál, Ch. 65.)
654497¹
III. Shakespeare: Monad/Word Become
Book Named Edda
(Construction)
3592
1 = Monad
-4951 = Shakespeare
8542 = Bók þessi heitir Edda. – This book is named Edda
3592
I + II + III = 526082 + 654497 + 3592 = 1184171
As in
Main First Folio Dedication = 1184171
IV. Francisco Goya – Los Caprichos
(Wikipedia)
583353²
Los Caprichos [The Monsters] is a set of 80 prints in aquatint and etching created by the Spanish artist Francisco Goya in 1797 and 1798, and published as an album in 1799. The prints were an artistic experiment: a medium for Goya’s condemnation of the universal follies and foolishness in the Spanish society in which he lived. The criticisms are far-ranging and acidic; he speaks against the predominance of superstition, the ignorance and inabilities of the various members of the ruling class, pedagogical short-comings, marital mistakes and the decline of rationality. Some of the prints have anticlerical themes. Goya described the series as depicting „the innumerable foibles and follies to be found in any civilized society, and from the common prejudices and deceitful practices which custom, ignorance or self-interest have made usual“.
V. Dante – Ben Jonson – Francisco Goya – Horatio
(Referenced by Victor Hugo)
28388
Dante
13584 = Vergine Madre figlia del tuo figlio³
Ben Jonson
10805 = Sweet Swan of Avon
Goya
-1 = Monad/Reason sleeping
80th Los Caprichos Print.
Ya es hora – It is time
Awakened God of Day
(Horatio, Act I, Sc. i)
4000 = Flaming Sword/Cosmic Creative Power
28388
I + IV + V = 526082 + 583353 + 28388 = 1137823
VI. Victor Hugo: This we have to tell, for this is history.
(Les Misérables, Book Twelve, Ch. VI)
1137823
In these hours of waiting what did they do? This we have to tell, for this is history. While the men were making cartridges and the women lint, while a large pot, full of melted pewter and lead destined for the bullet mold was smoking over a hot stove, while the lookouts were watching the barricades with weapons in hand, while Enjolras, whom nothing could distract, was watching the lookouts, Combeferre, Courfeyrac, Jean Prouvaire, Feuilly, Bossuet, Joly, Bahorel, a few others besides, sought each other out and got together, as in the most peaceful days of their student conversations, and in a corner of this bistro turned into a pillbox, within two steps of the redoubt they had thrown up, their carbines primed and loaded resting on the backs of their chairs, these gallant young men, so near their last hour, began to recite a love poem. What poem? Here it is:
18536 = Vous rappelez-vous notre douce vie,
22067 = Lorsque nous étions si jeunes tous deux.
20060 = Et que nous n’avions au coeur d’autre envie
16389 = Que d’être bien mis et d’être amoureux.
16669 = Lorsqu’en ajoutant votre âge à mon âge,
19767 = Nous ne comptions pas à deux quarante ans,
17075 = Et que, dans notre humble et petit ménage,
19714 = Tout, même l’hiver, nous était printemps?
16004 = Beaux jours! Manuel était fier et sage,
16565 = Paris s’asseyait à de saints banquets,
16315 = Foy lançait la foudre, et votre corsage
14404 = Avait une épingle où je me piquais.
21940 = Tout vous contemplait. Avocat sans causes,
15178 = Quand je vous menais au Prado dîner,
19952 = Vous étiez jolie au point que les roses
14717 = Me faisaient l’effet de se retourner.
13207 = Je les entendais dire: Est-elle belle!
18731 = Comme elle sent bon! quels cheveux à flots!
15531 = Sous son mantelet elle cache une aile;
16006 = Son bonnet charmant est à peine éclos.
20463 = J’errais avec toi, pressant ton bras souple.
19195 = Les passants croyaient que l’amour charmé
17538 = Avait marié, dans notre heureux couple,
15508 = Le doux mois d’avril au beau mois de mai.
21687 = Nous vivions cachés, contents, porte close,
15454 = Dévorant l’amour, bon fruit défendu;
13985 = Ma bouche n’avait pas dit une chose
14735 = Que déja ton coeur avait répondu.
17073 = La Sorbonne était l’endroit bucolique
13888 = Où je t’adorais du soir au matin.
18853 = C’est ainsi qu’une âme amoureuse applique
12832 = La carte du Tendre au pays latin.
12374 = O place Maubert! O place Dauphine!
17760 = Quand, dans le taudis frais et printanier,
15225 = Tu tirais ton bas sur ta jambe fine,
15892 = Je voyais un astre au fond du grenier.
17688 = J’ai fort lu Platon, mais rien ne m’en reste
16065 = Mieux que Malebranche et que Lamennais;
14533 = Tu me démontrais la bonté céleste
14238 = Avec une fleur que tu me donnais.
15746 = Je t’obéissais, tu m’étais soumise.
13243 = O grenier doré! te lacer! te voir!
13433 = Aller et venir dès l’aube en chemise,
20650 = Mirant ton front jeune à ton vieux miroir!
17582 = Et qui donc pourrait perdre la mémoire
15087 = De ces temps d’aurore et de firmament,
14466 = De rubans, de fleurs, de gaze et de moire,
14699 = Où l’amour bégaye un argot charmant?
16877 = Nos jardins étaient un pot de tulipe;
16922 = Tu masquais la vitre avec un jupon;
12306 = Je prenais le bol de terre de pipe,
13172 = Et je te donnais la tasse en japon.
21432 = Et ces grands malheurs qui nous faisaient rire!
13915 = Ton manchon brûlé, ton boa perdu!
17521 = Et ce cher portrait du divin Shakspeare
22530 = Qu’un soir pour souper nous avons vendu!
13671 = J’étais mendiant, et toi charitable;
17467 = Je baisais au vol tes bras frais et ronds.
15232 = Dante in-folio nous servait de table
17278 = Pour manger gaîment un cent de marrons.
17244 = Le première fois qu’en mon joyeux bouge
13613 = Je pris un baiser à ta lèvre en feu,
15375 = Quand tu t’en allas décoiffée et rouge,
17401 = Je restais tout pâle et je crus en Dieu!
19249 = Te rappeles-tu nos bonheurs sans nombre,
17190 = Et tous ces fichus changés en chiffons?
21244 = Oh! que de soupirs, de nos coeurs pleins d’ombre,
19465 = Se sont envolés dans les cieux profonds!
1137823
***
Calculator for converting letters to cipher values is at:
http://www.light-of-truth.com/ciphersaga.htm
¹ Ætlunarverk Snorra: Hvernig skal Krist kenna. 9 September 2016
² The Second Coming – Bearing Witness to Truth, 2 February 2016
³ Virgin Mother, daughter of your son.
The Love Song
Do you remember our sweet life
When were so young, we two,
And had in our hearts no other desire
Than to be well dressed and be in love.
When by adding your age to mine,
We couldn’t reach forty years between us,
And, in our humble little home,
Everything, even in winter, seemed spring?
Beautiful days! Manuel was proud and wise,
Paris sat down to incredible banquets,
Foy was waxing eloquent, and your blouse
Had a pin that pricked me.
Everyone gazed at you. A lawyer without a case,
When I took you to The Prado for dinner,
You were so pretty that the roses
Seemed to turn away.
I heard them say: Isn’t she beautiful!
How lovely she smells! What flowing hair!
Under her cape she’s hiding wings;
Her charming hat has scarcely bloomed.
I wandered with you, squeezing your lissome arm.
People passing thought that charmed love
Had married in us, the happy couple,
The sweet month of April with the handsome month of May.
We lived hidden away, happy, the door closed,
Devouring love, good forbidden fruit;
My mouth had not said one thing
When already your heart had answered.
The Sorbonne was the bucolic spot
Where I adored you from dusk to dawn.
That is how a loving soul applies
The map of Tenderness to the Quartier Latin.
O Place Maubert! O Place Dauphine!
When, in the meager springlike room,
You drew your stocking up over your slim leg,
I saw a star in a garret nook.
I’ve read a lot of Plato, but remember nothing
Better than Malebranche and Lammenais;
You showed me celestial kindness
With the flower you gave me.
I obeyed you, you were in my power.
O gilded garret! To lace you up! To see you
Coming and going from daybreak in a chemise,
Gazing at your young forehead in your old mirror!
And who could ever lose the memory
Of those times of dawn and sky,
Of ribbons, of flowers, of muslin and watered silk,
When love stammers a charmed argot?
Our gardens were a pot of tulips;
You screened the window with your slip;
I would take the pipe clay bowl,
And I gave you the porcelain cup.
And those great calamities that made us laugh!
Your muff burnt, your boa lost!
And that beloved portrait of the divine Shakespeare
That we sold one evening for our supper!
I was a beggar, and you charitable;
I gave fleeting kisses to your cool round arms.
Dante in-folio was our table
For gaily consuming a hundred chestnuts.
The first time, in my joyful hovel,
I stole a kiss from your fiery lips,
When you went off disheveled and pink,
I stayed there pale and believed in God!
Do you remember our countless joys,
And all those shawls turned to rags?
Oh! From our shadow-filled hearts what sighs
Flew off into the limitless skies!
Gunnar Tómasson
