Came upon the Greek for that interesting Dionysius passage on the “austere style” and am thinking of making it a longer term project to dive into that.

Couple things learned right off.
–Greek word for “name” (ὄνομα) means in a grammatical context noun.
–What has been very nicely translated as “austere style” is (αὐστηρᾶς ἁρμονίας), literally something like “bitter harmony.” That immediately evoked for me the musical practice of Charles Ives; I wonder could he be put in the same ranks as Pindar, Thucydides, Aeschylus…

(Briefly, Dionysius of Halicarnassus divides Greek writing styles into three: one harsh and noble, one pleasing and florid, and one that combines the two. Unknown to me: has there been any attempt at a thorough categorizing of English writing styles?)

one of the few places on the Earth whose waters feed three oceans…. Triple Divide Peak

idea that (following Auerbach in Mimesis), as the conceit of the afterlife in Dante’s Comedy, and the conceit of ‘the stage’ in Shakespeare’s plays (“all the world’s a stage”) , and the metafictional aspect of Don Quixote (Cervantes writing not about Don Quixote per se but about a history of Don Quixote he has found), are artifices that contribute to the realistic effects of these works; so secondary literature and critical apparatus about Ulysses make possible the realism of the book itself, and represent a further evolution of such artifices in Western Literature. 

The experience of not getting a dad joke (He brews it) then suddenly getting it (hebrews it) — describing what is really going on there.

The jocular question: “how does Moses make his tea?” The jocular response: “He brews it.” The mind, when it does not get the joke, hears he brews it, and when it does get the joke, hears hebrews it? Or does it hear, when it gets it, hebrews it and he brews it at once?

Envisioning the mind as a hollow bowling ball with two holes. To get the joke, the answer must fly through the one hole (the literal response) and out the other (the double entendre). When a person does not get the joke, it goes in and out the same hole. When a person gets the joke but does not find it funny, it passes through both holes but without having “touched base” (or perhaps having touched “the wrong base.”) When a person takes longer than he should to get the joke, then laughs harder than he should when he gets it, he is resisting any interpretation but a literal one, then is ultimately overwhelmed by the absurdity of trying to cram the nonsensical response through the only literal hole.

Question: to deliver the joke properly, on which syllable of the punchline should the teller place the accent? The question is whether to pronounce it as two unrelated words, “hebrews” and “it”, or as the phrase “he brews it”/  hebrewsit. (Or the question is whether to put the accent on the antepenult or penult, which is perhaps to say the same thing.) Attendant tended to mix it up without about equally hilarious results.

Curiosity‘s wheels… “Let’s see if these beefier wheels hold up better than Curiosity’s!” (tweet). Wikipedia: “After six years of use, the wheels are visibly worn with punctures and tears.” Same twitter thread indicates Curiosity’s wheels spelled something in the sand. Wikipedia: ” Each wheel has a pattern that helps it maintain traction but also leaves patterned tracks in the sandy surface of Mars. That pattern is used by on-board cameras to estimate the distance traveled. The pattern itself is Morse code for “JPL” (·— ·–· ·-··).”

Here is the “long lost” Appendix A to Chance Sweepings. Attempt here was to show a transaction with a customer as described through the entry of  PLU codes. I will think of this as a fairly successful experiment and have wondered if a similar technique could be applied to computer use — really slowing down what we do when we type.

APPENDIX A: 7,2,4 “plu”

Right hand, index finger: press 7,2,4, “plu”; press 9,2,4, “plu”; press 5,0,0, “plu” (see total, which is too large, and suspect I haven’t closed out the previous sale)

Right hand, index finger: press “void”, 7,2,4, “plu”; press “void” 9,2,4, “plu”; press “void”, 5,0,0, “plu” (see my fears were ungrounded –the previous total was correct– and so I reenter the sale).

Right hand, index finger: press 7,2,4,”plu”; press 9,2,4,”plu”; press 5,0,0,”plu”; (then he says he wants a cookie) press “cancel.”

Right hand, index finger: press “tax one”, 7,2,4,”plu”; press “tax one” 9,2,4, “plu”; press 5, 0, 0,”plu”; press 9, 0, 0,”plu”; press (though you don’t really need to) “subtotal”.

(The total is 8 something. 8.46. It is often remarked that the price is modest relative to the number of buttons pushed.)

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………..Hypogeumtom bolo (x);f laske
………..Manius Curius Dentatus s k e t
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………………………………….δὲ κ
……………………………………απν
……………………………………………ὸς
…………………melismatico f Chevy Chase ; flasket
………………… measure);Anacharsis;bollard;
…………………….Archibald La mpman…. cark
………………………stupe…///.………………………g
…………………………Owens Valley ………………. e
………………………….…..///.Omertà ……………….o
…………………………… oriel…///…all over painting
……………………………..hatikvah…///.cantatrice .a
………………………………La ……………………………….. g
……………………………….La ……………………………….. n
………………………………..Llorona….syncope………. n
…………………………………inedia………Porlock …….. e
…………………………………DalekINTP Merrill Gilfillan

“I have enjoyed the journey. The happiness of these days I would never have known living in the castle. I’ve seen the people as they are without pretense. I’ve seen their beauty and their ugliness with my own eyes. I thank you.” (from Hidden Fortress.)

Hippocrates 2.11 : “ῥᾷον πληροῦσθαι ποτοῦ, ἢ σιτίου.”  It’s easier to become full with drink than with food.

(Googling this I’m encountering some arguments against juicing. Seems some people think it’s easier to drink more than the same quantity unjuiced.)

A customer’s lifetime of scanning poetry alerted him to the presence of something decidedly odd about the Covid-19 sign taped to our ice cream case. And indeed, on closer inspection, it seems that what we have here are two lines of Trochaic Hexameter (albeit broken up and with a substitution in the final foot):

Wear a/ mask
And/ keep your/ social/ distance/
We are/ not re/sponsi/ble
For/ Covid/–19/disease./

(Customers will frequently remark on the unwieldy English of this sign. Oh, so it wasn’t you guys who did Covid-19 eh?) Asked to go full tilt and put this into rhyme we get —

Wear a mask, we must implore,
And stand six feet from us or more.
We’re not to blame, let us be clear,
For the virus you contract in here.

Having tried four or five versions of that, and finding this the best, I’m reminded of how subtle poetry can be. Between the spritely and mundane, a mere syllable can make an almost mystical difference.

(Chance Sweepings …)

Seems odd now this has never occurred to me (randomly stumbled on) that the mother-wife should be such a non-presence in King Lear: “What happened to Queen Lear? Where is she? How might things h bn, had she not been absent? If I recall aright, Shakespeare never even addresses this q. But isn’t this a deafening silence?”

Seems fair to mention that Shakespeare took this story pretty much as is from other sources,… but even so, the three adult-seeming daughters with a father and no mother undeniably creates the underlying familial atmospherics of that main plot, while a single father with two adult sons and no apparent mom –and with not the same mom– composes the familial atmospherics of the subplot. (Can we project from this what I think is no where explicitly stated that Lear’s two unfaithful daughters were illegitimate?)