--So, we're to play "exclusion list" by any brittle-ego-bandwidth necessary, are
we?..."The slings and arrows of outrageous [Occasion]"?
The subject heading is from a 1934 U.S. Federal District Court case
alleging "libel" against one Irishman named James Joyce for having written an
"obscene book" that was therefore subject to confiscation and "Farenheit 450"
book-burning by the Postmaster General, (72 F. 2d 705), selected citings to
folow for your "illumination," as my attorneys, The Hallinan's, in contact with
this "list-owner," have requested me to do...
As I've admittedly found Joyce a wee bit difficult going in mine own
study of literature--though one of my early short stories,
"Misunderstanding(s)," is indeed, as the poet/scholar Irish Catholic Ms. Mary
Gordon has pointed out, "similar in theme, treatment and style" to Joyce's
masterpiece, "The Dead," a tale of Dubliners that I've read at least a dozen
times over the years, always finding something *new* as my "mosaic of
maturation" re-fills--the charge of "Joyce wannabe" is "reaching" a bit...for
just invoking an ancient craft requiring "twenty years of experiencing as
study," what the "most distinguished British archaeologists of his generation,"
the late T.G.E. Powell described in "The Celts" (tracing the Celts and
Indo_aryans of ancient India's common origin and civilization) as those of
"f/athi" or "faith" being trained "to see" what lies hidden to the "day-to-day
ordinary mindset," becoming "fili" or (Gaelic pronounciation) "fee-lee-ahd,"
one *subject* then to "service of the Truth" attained often by trances,
shamanic-like (as the Celts are as *aboriginal* as ANY other people(s) of this
globe) inspirations and "warrior tremblings"...calling forth the "Senchas
M/ar," the transmitted memory of the Ancients. This entire matter very
similar, as I've noted this A.M. a posting (yet to read, time constraint...) by
Ms. Justine Campbell, I believe, (whose history postings I quite enjoy) to the
ancient Indo-Aryan-Vedic "rishis" or Brahmin "seers" of India; how an Irish
king-to-be was "recognized," through the "tarbfeis" or "bull dream," is exactly
the same process used in my Tibetan Buddhist tradition for transmigrated
"tulkus," through not only the "Nechung Oracle" but to gifted Druids like His
Holiness Tenzin Gyatso, THE Dalai Lama, throughout time, like the Celtic
Merlin, most "infallible" in his selections and "the best we got" (said with
<MIDI Music of Heavenly Lyre Strains Plucked by "Mal/akh's," ancient Hebrew for
"Angels," as the "moment of grace" described by Plato in the "Symposium" and
"Seventh Letter" after one's "spontaneous recognition of an Eternal Idea"
grounds a bit of Truth home within one...>
I was going to admit more of an influence in that nobly "blac Irish/Celt"
writer D.H. Lawrence, who became subject to "eugenical sterilization and
disease warfare campaigns" in British repressed-Victorian "biddies and their
baddies" retaliation for his most beautiful descriptions of romantic love
between a man and woman, a healthy subject strangely absent from discussions of
the hot-blooded Celts *these days*, but I'll cite Mr. Lawrence's legal
struggles instead, a most interesting matter as well. Now, bearing in mind the
analysis that Judge Woolsey (a colleague of *the* Judge Learned Hand, whose
fifty years of astounding work on the federal bench in the early part of this
century regarding Intellectual Property, and whose "abstraction test" I've
cited in mine own common-law copyright infringement federal "claim for relief"
as "invoke, please!" to prove my true authorship of ALL mine own "writings and
other Discoverie(s)," only to have somebody "claiming" to be "Spike Lee, Forty
Acres and a Mule Productions," after losing in federal court, holler "CIA whi
boy conspiracy, don't gotta obey nuttin from no court" (*res gestae*), causing
great intentionally-inflicted "emotional pain and suffering" to a "greatest
good" number of people, including my poor beseiged Tibetan Buddhist Rinpoche
elders, of whom I often make fond reference as "sitting on the High Panda
Throne" for each's immaculate kindness in deigning "to teach"...)
Judge Woolsey (Ulysses, supra, 5 F. Supp. 182, at 184) outlines well the
"obscenity test" that came to be invoked as "the caselaw standard," the very
rational, slow-moving-but-steady-as-a-rock process of "obtaining justice" that
often works, believe said matter or not, in that young nation called America:
Contrasting [confere] "the leer of the sensualist" with "what the French would
call 'l'homme moyen sensuel'," Judge Woolsey voided the governmental action
against that "one book" (I've made *blac humor* jokes about mine own collection
of 110 pages of original poetry, adorned with mine own original drawing of Ta
Mo/Bodhidharma/Huang Po "surfing by siddhis" with one sandal on his "teaching
stave" to the other shore, embodying the *full* mountains and rivers
connundrum, being "propped up" on some military firing ground with battleships
lined-up awaiting "the signal," given when the "one-in-charge" thinks he sees
the little figure "flip him the bird," blood-vessels bursting with "Fire at
Will...!"). The legal opinion: "Each word of the book contributes like a bit
of mosaic to the detail of the picture which Joyce is seeking to construct for
his readers" (Ibid, at 184).
Note, too, that in "Grove Press, Inc. v. Christenberry" (1959) 175 F.
Supp. 488, 489, that Federal Judge refused to "condemn" Lawrence's book "Lady
Chatterley's Lover" (originally entitled "Tenderness" as it was written towards
the close of his life) despite the observation that "the book may justly offend
many." Before I'm pilloried as a "wannabe Mellors the groundskeeper" let me
"inform" y'all that I've already done said matter, for three years, at a
northern California New Age Health Sanctuary, Wilbur Hot Springs, with quite
the *steller* reputation as a result...
Now for the good part, as "requested." My literary specialty that some
have "failed to take notice" is that chestnut-henna-haired
William Shakespeare (of the "brutal parodies" and "unmistakably purr-fect
diction"), allusion s to whom *abound* in any of my work(s)...As "these days
are dangerous/ Virtue is choked with foul ambition," I'm afraid to report that
mine own well-documented and researched arguendos, especially about how Will
Shakespeare's father the artisan was a "nobly blac Celt" whose skills and
patrician features, inherited by his son, caused the family quite a bit of
grief during the Catholic persecutions of Will's beginning teen-aged years,
when at his genteel and nobly-blue-blooded family's mother's urgings, Will left
home to avoid conscription and, as a Catholic, most likely death instead; mine
own theory, augmenting on ones already in existence, is that Will became a
private "merchant marine," only to be ship-wrecked off the western coast of
Italy before reaching port and having to make his way "by his wits" over land
back to England, being "run outta town onna rail" upon his first "romantic
encounters" and visit to London as a "vagabond," then returning a year or so
later, pockets filled with pages of poetry as the "weapons" the countering of
which took the remainder of his life...
Little known trivia: using the "shakescan search" for the word "passion"
used "anywhere in Sweet Will Shakespeare's work turned up just Sonnet 20, as
requested, to follow, mine own *original* analysis, already recorded with my
business agent, Ms. Maxine Hong Kingston, *the* published author, so "sorry
foolish widdle cutty black heathen sow girlsies, yous too late..."
SONNET 20: "A woman's face with Nature's own hand painted/ Hast thou, the
master-mistress of my passion;/ A woman's gentle heart, but not acquainted/
With shifting change, as is false women's fashion;/ Gilding the object
whereupon it gazeth;/ A man in hue, all 'hues' in his controlling,/ Much steals
men's eyes and women's souls amazeth./ And for a woman wert thou first
created;/ Till Nature, as sh wrought thee, fell a-doting,/ And by addition me
of thee defeated,/ By adding one thing to my purpose nothing./ But since she
prick'd thee out for women's pleasure,/ Mine be thy love's use their treasure."
Thomas Francis Noonan's original,(12/21-22/96) line-by-line explication:
--"A woman's face with Nature's own hand-painting," begins with reference to
the Dark Lady's (the principal one of whom, Countess Mary of Pembroke, sister
to Sir Philip Sydney, "Defence of Poe[try]" fame, and a very gifted "wordsmith'
in her own nobly *blac Celt* elegant and graceful manner) "exercise of choice"
in not "dolling" herself up with garish "jues" in a ghastly, "mish-taken"
attempt to be vainly "girlish again" or embodying "the colours of the wind," an
ancient Celtic metaphor (being explored by our Nova Scotia list-members) most
familiar to our Dark Lady's and consort-of-choice Shakespeare--despite the
"upstart crow" tarring of "another's" ignorance a classicly and elegantly
built, nobly patrician "blac Irish" specimen (like our "shot by his own"
cultural leader Michale Collins, whose recently published writings, bursting
with youthful optimism, discourse the "reclaiming" of our "natural hierarchy"
regal elegance of Irish culture and social institutions...)
--"A woman's gentle heart," referring to not only the aforementioned Mary
Sidney, Countess of Pembroke, but too [not, take notice, the AND'S + ALSO of my
legal opposition, code-named "IcKKK-ah Dah-link," given to posting this and the
"Chaucer" list, often with my pirated material, especially my tender love poems
of a "man to a woman," which she claims, when reading to "Bravo!, Bravo!,
[Author, Author!], that she wrote as "a he-man Heracles-type to his
bitch-in-heat,"(res gestae) in reality a "woman-to woman" work hastening the
end of male patriarchy by any means necessary...] "other" females fond of
Shakespeare, including that noted *tiara*-goldsmith Mary Mountjoy, wife to
Shakespeare's one-time landlord on Silver and Monkswell Street, I believe--on
the tightrope-of-working-without-reference-notes-again...The subtle meaning
here most obvious to those "in the know" as well, if one will remember James
Joyce's description of Shelley's vision of Beauty, defining that moment of
catharsis (Aha!) when one is neither attracted nor shudderly revulsed by what
one beholds...stilling one with the Wisdom of the Ancients...
--"but not acquainted" is a high-irony use of Queen Elizabeth's high-handed,
arbitrary and capricious "misfortunate occasions" that *mysteriously* befell
Shakespeare's female Patrons...modern update "bees breaks it off propah'..."
schooling of "forced dating introductions" currently *en vogue* in
--"With shifting change, as is false women's fashion;" is,like the "shifting
sands of the Arena," matters of "advantage" subject to sudden "change,' causing
those "false" to madly scramble and shamble after "da latest fashion..."
--"An eye more bright than theirs," referring to the*collective* "pyramid
scheme" of "one-eye's," as the "secret machinery of the State/Church" billed
*it*self and the alleged "Eye of Heaven" as it became suddenly enlarged and
rudely grotesque in Jackass-Balaam-Langdarna like "aspect," claiming, most
"mish-takenly," that each was part of the "Spies of God" group-ego of which was
made use by both official branches of the "spy vs. spy" intelligence
operations, Catholic and Protestant, Elizabeth and James ("King Sch-too-pid"
Reduz in all his *schmarminess* ala "Thuriness the tow-headed snot-nosed brat"
Augustus Caesar, hence the "redux"). The "more bright" by ConFere comparison
is the deep sparkling shine of which Shakespeare "took notice," as did yet
another noble Celt, the American President Thomas Jefferson, in his inaugrural
address not quite two-hundred years later, alluding to the source of his
"principles" twinkling as "the bright constellation of that which has gone
before us, and guided our steps..."
--"...less false in rolling" is an allusion with many levels of meaning...The
"only game in town" during Elizabeth's
iron-widdle-fist-spazzing-like-Dr.-Strangelove-within-the-purple-glove as her
spittle frothed at her thin, tight lips after she'd pronounce someone's "kiss
of death" as "made a mistake messing with me..." was "guess who I used to be,"
i.e., the private, sacred matter of what we Celts call "transmigration of soul"
made a sordid "public spectacle" ala the "past life remembering" now the
*fashionable* rage *these days* within Jean Houston's et al's "New Age secret
federal government thought police," (Big Sistah bees watchin' you); most "past
lifes" thus "satanic-mirror-imitated" (ever wonder why Hitler "All Hailed" with
the opposite arm?...), especially, legend goes, in attempting our *blac Celt*
partly-Roman and tall, straight-backed and nobly elegant Semitic Rabbi the
"highly heterosexual" male Jesus Christ's "heavenly roll of His eyes" in
*amusement*, not the "Father forgive them" false piety that Elizabeth would
spin-doctor, i.e., "made up after the fact revisionism," indeed happening from
*individual* "time after time"...
--"Guilding the object whereupon it gazeth," meaning this "obscure" phrase
found "incomprehensible" by those "brittle-ego-bandwidth" types ploddin' on
like "nags of olde," snouts most pig-like buried in that *oats-grue*, "da
blinders, da blinders" causing a "focus" of sorts, not one-pointed awareness,
but "close enough for Government work"...
i.e., the "Spotlight of Heaven" that Shakespeare is here complimenting with a
reverent bow of his head to his Dark Lady and her Scahtach's Light of Foresight
settling with deep restful "Sleep of Forgetfulness" calm and *happo zanshin*
awareness most essential for survival as a *samurai*, granted through the
Heavenly Grace of Clear Light Bardo, to ensure one's "gathering of
--"A man in hue..." was the term Shakespeare used in *high irony* disparagement
of "Sir" Walter Raleigh, the "shifty-eyed machievel" slithering his tongue into
Elizabeth's ear, until she deemed him "too big for his britches," as SHE
decided SHE wanted to be "the new Joseph in his coat of many colours" of Old
Testament *mythos* and tale. The following "all 'hues' in his controlling" a
witty reference to the "yellow journalism" brand of "spin-doctoring" the
"monkey-clever" Neanderthal throwback ("jackanape") Raleigh, until his "hubris
precedes a fall...," did at Elizabeth's yo-yo-like "beck and call," e.g., the
accusation made against Shakespeare and made *light* of in his own work that
"you can catch the plague from looking into his eyes alone..."
--"Much steals men's eyes..." Yet another subtly ironic allusion from the
"highly heterosexual,"by any and all accepted historical accounts, Sweet Will
Shakespeare--the defense of which causing me too much grief of "another's
phobia" and "hysteria," why I'll let stand as "obvious" in sly
onemanupmanshipping..."and women's souls amazeth" a most sadly laconic
observation from our gloomy Celt-in-Exile, reduced at one point to living in
the burned-out-but-roomy fireplace, boards and mud re-roofed like a crofter by
him, of an old Benedictine Monastery, termed a "liberty," as though property
abandoned nonetheless "off-limits" to the Sheriff of London and his "fink
division" secret police...
--"And for a woman wert thou first created," most double-entendre, in that
Queen Elizabeth developed one of these "fatal attraction" obsessions for not
only the Countess Mary but too the Ladies of her Circle, including the
aforementioned Mary Mountjoy (Shakespeare playing with the *obvious*...), no
"erotica" at all though to Elizabeth the Grim's hunt for each's "secrets" of
past lives to pirate and plunder...in so doing helping stir that "ever-widening
gyre" of *brew-ha-ha* troubles, troubles, boil and bubble... causing that
physical degradation known as "the crone," reverting to a soul-less lump of
clay, so *inverse* to that "bright"[ness] of the "master-mistress" who was
Shakespeare's "vouchsafer" preventing his being imprisoned in the Tower as a
"scruffy vagabond" under the statutes...
--"And by addition me of thee defeated," a line a bit distressing still, when
one contemplates how the ancient Celtic Law (particularly of the Fenian's) of
"Lady's Choice" meant our poor, dear, nobly-patron Lady of the Arts Countess
Mary was "rounded up and taught a lesson of respect for the Queen's authority,"
as Shakespeare, sad to say, had been branded as "that notorious poacher" who
was a "thief of the Queen's plays and love sonnets," making him most certainly
"off-limits, dearie"...the brutal "learning experience" that resulted from any
violation of the Queen's *fatwah*like "edicts" at the "dirty hands" of the
Palace "S.S.," assisted by "beggars and tramps of every description," was a
"1,2,3" schooling in simple arithmetic of which she claimed Shakespeare "can't
even add, how could he be the true author of my poetry?"...
--The use of "defeated" is a "bridge" into Shakespeare's next line, as well,
alluding to what he and other's of a "nobly Fenian" nature, e.g., the Second
Earl of Essex, were constructively engaging in terms of "enterprises of great
pitch and moment" military stratagems to counter these "eclipses of her mortal
moon" these Lady Patrons of the Artists were being forced to endure as a
prelude to being scarlet-lettered as "fallen"...Rather than "spelling it out"
I'll quote that "blac Celt" historian Gildas, from "The Ruin of Britain"
(circa 550 A.D.), 32:1-2, about how the karmic seeds of one's misdeeds one day
will form "...the teeth of an appalling lioness that will one day break your
bones," as despite the alleged "phantasy" nature of Artoris the Invincible,
Celtic Britain of *his* time was very much "really" plagued by raping and
pillaging invaders: the Picts of
Leer (no "King Lear"); the Swine-Devil-Saxons-of-Colgrin-the-Precious; assorted
remnants from the Visigoths of the Caligula-like Alaric and his "clunky, stupid
and slow" ruthlessly savage "hill people,"; and the Machievellian-clever
BAlduff-the-Bald-Old_Fart, whose Jutes and Angles played one aforementioned
faction off against the "other," thereby inheriting, by default, what is now
Great Britain, led by a modern Jute/Angle, John Major...
--"By adding one thing to my purpose nothing," now, can be seen in *light* of
the foregoing analysis as, "Watch out for Shakespeare, he's got a hidden agenda
that'll mudsuck ya's yous not careful" type of admonition "administered" in
regards to "upstart crow" Shakespeare, whose use of the Greek myth of The Wall
separating a young man and woman, forced to find a "circle" through which to
kiss, very accurately described how well the Church/State apparatchik could and
did make a "paper-decree-gulag" as a "prison without walls"...
Shakespeare's defence, both to his Dark Ladies as Patron and, too, the Earl of
Essex, was that he sought "nothing," as his "purpose" was as noble as that of
Achilleus, his "creative metaphor" for some time...His words of explanation
most often falling upon "deef" ears, as rough and rude as the ruffians
comprising his "strange bedfellows" at seedy pubs like "The Mermaid," where
even his cohort Ben Jonson was forced to dismiss his bardic excursions, with a
wave of the hand, as "eccentric flights of phantasy," secretly attempting to
prevent yet another attack on Shakespeare (note: later portraits depict several
healed scars from sword fights over Shakespeare's left eyebrow, a matter that
caused a bit of trouble with his left eye as well) by the "gay-crossed-blades"
(in an "X" not a "Celtic Cross"...) of that notoriously "anything goes" bad boy
pet of the Court, Christopher Marlowe and his unnaturally puffy-puerish little
boy cheeks (whom Shakespeare, legend tells, met and killed, with a
Fenain/martial arts kick snapping his neck, on an ice-slicked proscenium-arched
bridge between "good" and "bad" parts of town, the dispute having arisen over
Marlowe's *insulting* of the Countess Mary, Shakespeare invoking the Fenian Law
of "l/og n-enech" with regards to his beloved and, too, their son, William
Herbert, the "Adonis" of Shakespeare's poetry...Herr Marlowe and his schmirking
minions having made "the hump back of the beast" (reference to *Robert* Cecil,
son of William Burghley, Lord Cecil, Queen Elizabeth's "secret machinery of the
State" advisor as to protocol, this Robert the physically-deformed as metaphor
for the "spiritually-deformed" Richard of Shakespeare's play on the "cult of
abuse" trick of Satan-the Accuser" pointing "a shaky bony pinkie" at "another"
to escape "notice" of "one's own" karmic stains...Shakespeare most fond of the
"obvious explanation" of [fatherly] love for the young "Mr. W. H." of later
dedication, this Lord Chamberlain to be William Herbert, too, Shakespeare's
"good true friend," ala Lancelot to Arthur, "Master White Horse" of an
indefatigable nature regarding the "rescue" of Shakespeare, his father in
*secret*, a matter accomplished by Mr. Herbert, with cousin, a budding comic,
with the publication of the "First Folio" in 1616, albeit after poor Sweet
Will's death, but at least with *proper credit granted* to the "true author"
--Now, before explaining the closing couplet and the end phrase "their
treasure" let me recommend as "background" Miranda Shaw's "Passionate
Enlightenment...," on Tantric Buddhism, which has extremely good material on
not only the way women have held an exalted yet earthily and fiercely "real"
position in our Tibetan Buddhist tradition, a *freedom* guaranteed, in part, by
the ever vigorous defence of Sovereignty by, say, Rudra the Foe Destroyer,
capable of casting one into "Raudra Hell" for the calumination of Knowledge
Women--a duty nobly performed for which *he* does not "get that-there snake
sucked, Unckkkah Jed..."
For those of you thus familiar with the Art of Spiritual Consorting, from
which the following tantric practices arise, the closing lines of Sonnet 20,
"...for women's pleasure," as the spiritually psychic "sharing" nature of
male/female consorting done in an ennobling to each "way," should be obvious.
"Mine be thy love" is the declaration of undying devotion by Shakespeare, very
much deeply in love, as I myself have always been, with women, to his Dark
Lady, whose "sacred circle" included another poet, Emilia Lanier, a Roman Celt
"Dark Lady" with whom Shakespeare was *familiar* as well--this porcess causing
each "bride of Heaven" as the "merci game" they played went, in turn, "prick'd"
pain of the "pert nose pout" at "that louse Shakespeare," until the Ice
Queen/*false* Protectoress Elizabeth decreed Shakespeare "gay or gone or dead"
as a "vampire greedily devouring the innocence of these sweet women," the
"love's use" allusion used by Shakespeare to *impeach* such "projected"
repressed feelings of "one's own," as he and his Ladies lovemaking generated
what our tradition terms *amrite* or "mead-like nectar" refreshingly bestowed
from Heaven's Cauldron of Inspiration (dazzingly bejewelled and goldenly
radiant, as handicrafted on some Le Tene bowls that have survived...) as
"pleasure," the psychic-sharing-of-which creating, in the "completion stage,"
the Countess Mary's (and those females of her "wavelength") ruby-and-cherry-red
amrite "ringing" with "clear light bliss," and Mary of the *tiara's*
emerald-lime-green and wispy-light-blue-topaz ringing for "others" of her
"wavelength as well, all re-creating, as Knowledge Women/ Celtic SafeKeepers of
the Eternal Light of Wisdom as Sovereignty, "their treasure"...
BIG RUDRA, DAGDA-IN-RESIDENCE
samilda/nach and la/mfhada too...who asks for any enjoying not to respond
on-list but secretly cherish...once *properly credited*...
Thomas Francis Noonan, SAKIYA LAMA
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