Tom Stoppard, Jumpers —
“Heaven, how can I believe in Heaven?” “Just a lying rhyme for seven!” |
Perhaps.
Tom Stoppard, Jumpers —
“Heaven, how can I believe in Heaven?” “Just a lying rhyme for seven!” |
Perhaps.
For Tom Stoppard, author of "Jumpers" —
"Seven is Heaven"
From a webpage of Bill Cherowitzo
" … the Fano plane ,
a set of seven points
grouped into seven lines
that has been called
'the combinatorialist’s coat of arms.' "
— Blake Stacey in a March 14 post
"Bad news on the doorstep…." — American Pie
Update of 5:24 PM ET — A requiem chord —
Tom Stoppard, Jumpers —
“Heaven, how can I believe in Heaven?” “Just a lying rhyme for seven!” |
Perhaps.
“Just a lying rhyme for seven!”
— Playwright Tom Stoppard on Heaven
" 'Heaven lies about us in our infancy!' wrote William Wordsworth, one of Geoffrey Hartman’s beloved Romantics…. For Hartman, in 2010 proclaimed by his Yale colleague Paul Fry to be 'arguably the finest Wordsworth critic who has ever written,' those lines from 'Ode on Intimations of Immortality from Recollections of Early Childhood' must have been especially bittersweet. His own childhood had been cut short; born in Frankfurt in 1929…."
— "Remembering Geoffrey Hartman — |
Tom Stoppard, Jumpers —
“Heaven, how can I believe in Heaven?”
“To begin at the beginning: Is God?…” “Leave a space.” |
See as well a search for "Heaven.gif" in this journal.
For the more literate among us —
… and the modulation from algebra to space.
“Just a lying rhyme for seven!” — Playwright Tom Stoppard on Heaven
Related material in this journal: Lying Rhyme and Happy Birthday.
For seven — Two poems: Lord Shiva and somewhere i have never travelled
Incidentally… " 'Posh' is a word in Romany, the language of Gypsies, meaning 'half.' According to poet and etymologist John Ciardi, the word originally entered the argot of England's underworld in the 17th century in such compounds as 'posh-houri,' meaning 'half-pence,' and soon became a slang term for money in general. From there it was a short hop to meaning 'expensive' or 'fancy.' … the Gypsies… came originally from Northern India…."
Word detectives who are too clever by half may enjoy some context —
Readers of the previous entry
who wish to practice their pardes
may contemplate the following:
Christ and the Four Elements
This 1495 image is found in
The Janus Faces of Genius:
The Role of Alchemy
in Newton’s Thought,
by B. J. T. Dobbs,
Cambridge University Press,
2002, p. 85
Related mandalas:
and
For further details,
click on any of the
three mandalas above.
“For every kind of vampire,
there is a kind of cross.”
— Thomas Pynchon, quoted
here on 9/13, 2007
Time of entry: 10:20:55 PM
"Do not let me hear
Of the wisdom of old men,
but rather of their folly"
— Four Quartets
"Dear friends, would those of you who know what this is all about please raise your hands? I think if God is dead he laughed himself to death. Because, you see, we live in Eden. Genesis has got it all wrong– we never left the Garden. Look about you. This is paradise. It's hard to find, I'll grant you, but it is here. Under our feet, beneath the surface, all around us is everything we want. The earth is shining under the soot. We are all fools. Ha ha! Moriarty has made fools of all of us. But together– you and I, tonight– we'll bring him down."
— George C. Scott as Justin Playfair
[John Travolta runs on stage
and rushes for the door.]
For a religious interpretation
of the number 707, see
To Announce a Faith
(All Hallows' Eve, 2006)
and the following link
to a Tom Stoppard line
from the previous entry:
"Heaven, how can I
believe in Heaven?"
she sings at the finale.
"Just a lying
rhyme for seven!"
Eight is a Gate (continued)
Tom Stoppard, Jumpers:
"Heaven, how can I believe in Heaven?" she sings at the finale. "Just a lying rhyme for seven!"
"To begin at the beginning: Is God?…" [very long pause]
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From "Space," by Salomon Bochner
Makom. Our term “space” derives from the Latin, and is thus relatively late. The nearest to it among earlier terms in the West are the Hebrew makom and the Greek topos (τόπος). The literal meaning of these two terms is the same, namely “place,” and even the scope of connotations is virtually the same (Theol. Wörterbuch…, 1966). Either term denotes: area, region, province; the room occupied by a person or an object, or by a community of persons or arrangements of objects. But by first occurrences in extant sources, makom seems to be the earlier term and concept. Apparently, topos is attested for the first time in the early fifth century B.C., in plays of Aeschylus and fragments of Parmenides, and its meaning there is a rather literal one, even in Parmenides. Now, the Hebrew book Job is more or less contemporary with these Greek sources, but in chapter 16:18 occurs in a rather figurative sense:
Late antiquity was already debating whether this makom is meant to be a “hiding place” or a “resting place” (Dhorme, p. 217), and there have even been suggestions that it might have the logical meaning of “occasion,” “opportunity.” Long before it appears in Job, makom occurs in the very first chapter of Genesis, in:
This biblical account is more or less contemporary with Hesiod's Theogony, but the makom of the biblical account has a cosmological nuance as no corresponding term in Hesiod. Elsewhere in Genesis (for instance, 22:3; 28:11; 28:19), makom usually refers to a place of cultic significance, where God might be worshipped, eventually if not immediately. Similarly, in the Arabic language, which however has been a written one only since the seventh century A.D., the term makām designates the place of a saint or of a holy tomb (Jammer, p. 27). In post-biblical Hebrew and Aramaic, in the first centuries A.D., makom became a theological synonym for God, as expressed in the Talmudic sayings: “He is the place of His world,” and “His world is His place” (Jammer, p. 26). Pagan Hellenism of the same era did not identify God with place, not noticeably so; except that the One (τὸ ἕν) of Plotinus (third century A.D.) was conceived as something very comprehensive (see for instance J. M. Rist, pp. 21-27) and thus may have been intended to subsume God and place, among other concepts. In the much older One of Parmenides (early fifth century B.C.), from which the Plotinian One ultimately descended, the theological aspect was only faintly discernible. But the spatial aspect was clearly visible, even emphasized (Diels, frag. 8, lines 42-49). BIBLIOGRAPHY Paul Dhorme, Le livre de Job (Paris, 1926). H. Diels and W. Kranz, Die Fragmente der Vorsokratiker, 6th ed. (Berlin, 1938). Max Jammer, Concepts of Space… (Cambridge, Mass., 1954). J. M. Rist, Plotinus: The Road to Reality (Cambridge, 1967). Theologisches Wörterbuch zum Neuen Testament (1966), 8, 187-208, esp. 199ff.
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Related material: In the previous entry — "Father Clark seizes at one place (page eight)
upon the fact that…."
Father Clark's reviewer (previous entry) called a remark by Father Clark "far fetched."
This use of "place" by the reviewer is, one might say, "near fetched."
The play is about a philosophy professor, George, and his wife, Dotty, who “exudes a sumptuous sexuality…. She has a pert round head, high cheekbones, and a deep voice, which, like her acting, is full of playfulness and longing. George is lost in thought; Dotty is just lost. ‘Heaven, how can I believe in Heaven?’ she sings at the finale. ‘Just a lying rhyme for seven!’ She is promise and heartbreak in one.”
“With a name like Frigo…”
Related material:
Tom Stoppard and an ad for a concert
in Pribor, Czech Republic,
birthplace of Sigmund Freud
Related material:
and the five Log24 entries
ending on this date last year.
By Syd Barrett,
Dead Poet:
— From the 1967 album
“The Piper at the Gates of Dawn“
Not Crazy Enough?
Some children of the sixties may feel that today's previous two entries, on Syd Barrett, the Crazy Diamond, are not crazy enough. Let them consult the times of those entries– 2:11 and 8:15– and interpret those times, crazily, as dates: 2/11 and 8/15.
This brings us to Stephen King territory– apparently the natural habitat of Syd Barrett.
See Log24 on a 2/11, Along Came a Dreamcatcher, and Log24 on an 8/15, The Line.
From 8/15, a remark of Plato:
"There appears to be a sort of war of Giants and Gods going on…"
(Compare with the remarks by Abraham Cowley for Tom Stoppard's recent birthday.)
From 2/11, two links: Halloween Meditations and We Are the Key.
From Dreamcatcher (the film and the book):
For Syd Barrett as Duddits,
see Terry Kirby on Syd Barrett
(edited– as in Stephen King
and the New Testament—
for narrative effect):
"He appeared as the Floyd performed the song 'Shine On You Crazy Diamond.' It contains the words: 'Remember when you were young, you shone like the sun. Shine on you crazy diamond. Now there's a look in your eyes, like black holes in the sky.'
But this was the 'crazy diamond' himself: Syd Barrett, the subject of the song….
When Roger Waters saw his old friend, he broke down….
Rick Wright, the keyboards player, later told an interviewer:
… 'Roger [Waters] was in tears, I think I was; we were both in tears. It was very shocking… seven years of no contact and then to walk in while we're actually doing that particular track. I don't know – coincidence, karma, fate, who knows? But it was very, very, very powerful.'"
Remarks suitable for Duddits's opponent, Mister Gray, may be found in the 1994 Ph.D. thesis of Noel Gray.
"I refer here to Plato's utilisation in the Meno of graphic austerity as the tool to bring to the surface, literally and figuratively, the inherent presence of geometry in the mind of the slave."
Shine on, gentle Duddits.
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