The Intergalactic WANDERER: NGC 2419 (APOD 2009 January 23)
Posted: Fri Jan 23, 2009 4:49 pm
-------------------------------------------------------
. King Lear > Act III, scene II
.
KENT: Alas, sir, are you here? things that love night
. Love not such nights as these; the wrathful skies
. Gallow the very *WANDERERS* of the dark,
-------------------------------------------------------
http://apod.nasa.gov/apod/ap090123.html
.............................................
<<Traditionally the word "planet",
from the Greek πλανήτησ for *WANDERER* ,
simply described a celestial object that appeared to roam the sky.>>
--------------------------------------------------------
. A Midsummer Night's Dream Act 2, Scene 1
.
PUCK: How now, spirit! whither *WANDER* you?
.
Fairy: Over hill, over dale,
. Thorough bush, thorough brier,
. Over park, over pale,
. Thorough flood, thorough fire,
. I do *WANDER* everywhere,
. Swifter than the moon's sphere;
. And I serve the fairy queen,
. To dew her orbs upon the green.
. The cowslips tall her pensioners be:
. In their gold coats spots you see;
. Those be rubies, fairy favours,
. In those freckles live their savours:
. I must go seek some dewdrops here
. And hang a pearl in every cowslip's ear.
. Farewell, thou lob of spirits; I'll be gone:
. Our queen and all our elves come here anon.
..............................................
Fairy: Either I mistake your shape and making quite,
. Or else you are that shrewd and knavish sprite
. Call'd Robin Goodfellow: are not you he
. That frights the maidens of the villagery;
. Skim milk, and sometimes labour in the quern
. And bootless make the breathless housewife churn;
. And sometime make the drink to bear no barm;
. Mislead night-*WANDERERS*, laughing at their harm?
. Those that Hobgoblin call you and sweet Puck,
. You do their work, and they shall have good luck:
. Are not you he?
.
PUCK: Thou speak'st aright;
. I am that merry *WANDERER* of the night.
. I jest to Oberon and make him smile
. When I a fat and bean-fed horse beguile,
. Neighing in likeness of a filly foal:
. And sometime lurk I in a gossip's bowl,
. In very likeness of a roasted crab,
. And when she drinks, against her lips I bob
. And on her wither'd dewlap pour the ale.
..............................................
OBERON: Hast thou the flower there? Welcome, *WANDERER*.
---------------------------------------------------------
King Lear > Act III, scene II
<<Odin often walked "the road of the *WANDERER*" disguised
as a TRAVELER with one blazing eye, a long gray beard,
a blue tunic (symbolizes the sky) and with his face
partially concealed by a HOOD or hat.>>
----------------------------------------------
http://webhome.idirect.com/~donlong/zeus.html
<<Zeus is well-known for going off into the world of mortals and
trying to have "relations" with the mortals. Often times he would
change shape in order to accomplish this. He took such forms as
a bull, swan, golden shower, and a quail, for example.
This shape-shifting was also a typical action of Odin.
He changed himself into animals occasionally, such as a snake
or an eagle. (Interestingly, Zeus is often depicted as an eagle!)
But, more often than not, Odin changed himself into "The *WANDERER*."
In this form he was known to wear a long grey cloak and a wide
brimmed hat that covered or cast shadows over his missing eye. In
this form he attempted, on many occasions, to have "relations," often
spawning offspring. There is one story of Odin and RIND where Odin
must change his shape multiple times to meet the needs of RIND who
he is wooing. He transforms from captain of her father's army to
a smith to a warrior and finally is accepted into her arms
only after taking his natural form as a god.>>
----------------------------------------------------------------
*VAGABOND* from Lat. vagabundus, "a *WANDERER*," "a fugitive;"
not used opprobriously (Gen. 4:12, R.V., "*WANDERER*;"
Ps. 109:10; Acts 19:13, R.V., "strolling").
...........................................
Genesis 4:12 a fugitive and a *VAGABOND* shalt thou be in the earth.
Genesis 4:14 from thy face shall I be hid; and I shall be
. a fugitive and a *VAGABOND* in the earth; and it shall come
. to pass, that every one that findeth me shall slay me.
-------------------------------------------------------------
. *The WANDERER* Anglo-Saxons.net
http://www.anglo-saxons.net/hwaet/?do=g ... ext&id=Wdr
.......................................
Hwær cwom mearg? Hwær cwom mago?
Hwær cwom maþþumgyfa?
Hwær cwom symbla gesetu?
Hwær sindon seledreamas?
Eala beorht bune!
Eala byrnwiga!
Eala þeodnes þrym!
Hu seo þrag gewat,
genap under nihthelm,
swa heo no wære.
.......................................
Where is the horse gone? Where the rider?
Where the giver of treasure?
Where are the seats at the feast?
Where are the revels in the hall?
Alas for the bright cup!
Alas for the mailed warrior!
Alas for the splendour of the prince!
How that time has passed away,
dark under the cover of night,
as if it had never been!
.......................................
<<In J. R. R. Tolkien's The Lord of the Rings, in chapter six of The Two
Towers, Aragorn sings a song of Rohan (itself a version of Anglo-Saxon
England), beginning "Where now the horse and the rider? Where is the
horn that was blowing?". The song clearly comes from this section of
The WANDERER. (A more strictly literal translation of "mago" would
be "youth", hence "Where is the horse gone? Where the young man?"
-- but since the horse and the youth appear in the same half-line,
Tolkien's rendering "rider" is very hard to resist.)>>
-----------------------------------------------------
http://www.schuelers.com/chaos/chaos7.htm
.
<<*The Fool* : The Marseilles Tarot deck shows the fool as a court
jester holding a baton and standing near a cliff. This symbolism
suggests silliness, but perhaps a deliberate silliness. The popular
Waite deck is more complex. It shows a young *WANDERER* holding a rose
and a walking stick, to which a bag is tied, walking off a cliff. A
dog romps at his side. This suggests a happy and carefree attitude
that could be dangerous. The Golden Dawn deck shows a naked child
holding the reins of a wolf while plucking fruit from a tree. This
symbolism suggests that the fool is innocence, and that pure innocence
can check animal passions while surviving quite nicely on what nature
provides. In the Deck of Thoth, the fool is shown in a green suit and
gold shoes. A crystal is between his horns, and he is falling. He
holds A Wand in his right hand (power) and a flaming pine cone in his
left hand (purity). The card shows a tiger, a dove, a vulture, a
butterfly, a rainbow, children, flowers, grapes, a crocodile, and ivy.
This card portrays Jung's archetype of the divine child such as the
infant Christ. The imagery also suggests the archetypal eternal youth
or Peter Pan. Nichols (1984) calls the symbolism of the fool, the
archetypal *WANDERER*.>>
-----------------------------------------------------------
DIDO'S PASSION: Akiva Fox traces Dido's journey
across two thousand years of art and literature.
http://www.amrep.org/articles/3_2b/passion.html
.
<<Since her appearance in Book Four of Virgil's Aeneid in 19 B.C.E.,
the Carthaginian Queen Dido has become a touchstone for artists to
express society's changing attitudes towards women, love, and
politics. Although the story of Dido remained popular throughout the
Middle Ages, it gained unusual relevance in Elizabethan England. The
questions of female leadership raised by Dido resonated with the
subjects of Elizabeth; they feared the rule of a woman and wanted a
male heir to the line of Tudor, but at the same time they worried that
any foreign prince she married would exert influence over England in a
time of religious & political upheaval. Many writers compared the
powerful Elizabeth to Elissa, the Phoenician queen who traveled to
North Africa after the death of her husband, changed her name to Dido
( *WANDERER* ), and founded Carthage on her own. William Gager's 1583
play Dido praises Elizabeth for her chastity and wisdom, contrasting
it with Dido's uncontrolled passion. While Elizabeth uses marriage as
a bargaining chip and refuses to cede control to her suitors, Dido
lets her love disrupt her governance of Carthage.>>
------------------------------------------------------------------
. http://www.pnc.com.au/~marlan/wagner/siegfried.htm
. RICHARD WAGNER'S DER RING DES NIBELUNGEN
. Siegfried, Act I
.
<<In a cavern in deep wilderness, Mime the dwarven smith is forging a
sword. He is frustrated: no matter how good a sword he forges, his
young "ward" Siegfried breaks every one of them. There is only one
sword Siegfried could not break: NOTHUNG the enchanted. But Mime
cannot forge it anew. In his monologue we learn that he wants
Siegfried to slay Fafner (who is now a dragon) so he could get the
Ring.
Siegfried enters with a Bear which he sets onto Mime, Mime recoils in
fright and hides behind the anvil, Siegfried sends the Bear off into
the forest and teases Mime saying "you never like the friends I bring
home" he picks up the new sword looks at it and smashes it on the
anvil in disgust, Siegfried questions Mime about his parents which
sets Mime moaning again "the same old questions again" he says,
"haven't I been father and mother to you" Siegfried tells him that he
has noticed the birds and the animals with their young and that they
all have a resemblance to each other, "how can an ugly little dwarf
like you be any relation to me" Sigfried asks, to which Mime can only
reply that he has been as good as father and mother to Siegfried as he
has brought him up from a baby, Siegfried is disgusted with this idea
and turns to return to the forest ordering Mime to make a sword that
is strong enough for him.
Alone Mime worries about what he will do as he has already tried to
reforge the shattered NOTHUNG, into the cave comes the *WANDERER*
(Wotan in disguise) Wotan is *WANDER*ing the Earth to find his "free
hero" and he has seen Siegfried with Mime and realizes that Siegfried
is the hero, but he cannot instruct Siegfried himself although he can
manipulate events by suggestion, Mime tries to get rid of the
*WANDERER* but he will not move on until he has accomplished his task,
he tells Mime that he will allow him three questions to which
*WANDERER* has to give the right answer to each or he says his head
will be forfeit, Mime asks his three
questions and they are all answered correctly, *WANDERER* now says
that under the laws of contest he can now ask three questions and
Mime's head is forfeit if he cannot answer them all, Mime answers the
first two but the third "Who will forge the sword NOTHUNG" he cannot
answer, *WANDERER* tells Mime that he had made the mistake of asking
three questions about far away things that did not concern him, but
that which did and was so close to him and was so vital to himself he
had completely neglected to ask, *WANDERER* gives him the answer "Only
he who does not know fear can forge NOTHUNG, and to him I leave your
head as forfeit" the *WANDERER* leaves and Mime now has another
problem how to get Siegfried to forge the sword and
win the hoard then how to get it from him.>>
. King Lear > Act III, scene II
.
KENT: Alas, sir, are you here? things that love night
. Love not such nights as these; the wrathful skies
. Gallow the very *WANDERERS* of the dark,
-------------------------------------------------------
http://apod.nasa.gov/apod/ap090123.html
.............................................
<<Traditionally the word "planet",
from the Greek πλανήτησ for *WANDERER* ,
simply described a celestial object that appeared to roam the sky.>>
--------------------------------------------------------
. A Midsummer Night's Dream Act 2, Scene 1
.
PUCK: How now, spirit! whither *WANDER* you?
.
Fairy: Over hill, over dale,
. Thorough bush, thorough brier,
. Over park, over pale,
. Thorough flood, thorough fire,
. I do *WANDER* everywhere,
. Swifter than the moon's sphere;
. And I serve the fairy queen,
. To dew her orbs upon the green.
. The cowslips tall her pensioners be:
. In their gold coats spots you see;
. Those be rubies, fairy favours,
. In those freckles live their savours:
. I must go seek some dewdrops here
. And hang a pearl in every cowslip's ear.
. Farewell, thou lob of spirits; I'll be gone:
. Our queen and all our elves come here anon.
..............................................
Fairy: Either I mistake your shape and making quite,
. Or else you are that shrewd and knavish sprite
. Call'd Robin Goodfellow: are not you he
. That frights the maidens of the villagery;
. Skim milk, and sometimes labour in the quern
. And bootless make the breathless housewife churn;
. And sometime make the drink to bear no barm;
. Mislead night-*WANDERERS*, laughing at their harm?
. Those that Hobgoblin call you and sweet Puck,
. You do their work, and they shall have good luck:
. Are not you he?
.
PUCK: Thou speak'st aright;
. I am that merry *WANDERER* of the night.
. I jest to Oberon and make him smile
. When I a fat and bean-fed horse beguile,
. Neighing in likeness of a filly foal:
. And sometime lurk I in a gossip's bowl,
. In very likeness of a roasted crab,
. And when she drinks, against her lips I bob
. And on her wither'd dewlap pour the ale.
..............................................
OBERON: Hast thou the flower there? Welcome, *WANDERER*.
---------------------------------------------------------
King Lear > Act III, scene II
<<Odin often walked "the road of the *WANDERER*" disguised
as a TRAVELER with one blazing eye, a long gray beard,
a blue tunic (symbolizes the sky) and with his face
partially concealed by a HOOD or hat.>>
----------------------------------------------
http://webhome.idirect.com/~donlong/zeus.html
<<Zeus is well-known for going off into the world of mortals and
trying to have "relations" with the mortals. Often times he would
change shape in order to accomplish this. He took such forms as
a bull, swan, golden shower, and a quail, for example.
This shape-shifting was also a typical action of Odin.
He changed himself into animals occasionally, such as a snake
or an eagle. (Interestingly, Zeus is often depicted as an eagle!)
But, more often than not, Odin changed himself into "The *WANDERER*."
In this form he was known to wear a long grey cloak and a wide
brimmed hat that covered or cast shadows over his missing eye. In
this form he attempted, on many occasions, to have "relations," often
spawning offspring. There is one story of Odin and RIND where Odin
must change his shape multiple times to meet the needs of RIND who
he is wooing. He transforms from captain of her father's army to
a smith to a warrior and finally is accepted into her arms
only after taking his natural form as a god.>>
----------------------------------------------------------------
*VAGABOND* from Lat. vagabundus, "a *WANDERER*," "a fugitive;"
not used opprobriously (Gen. 4:12, R.V., "*WANDERER*;"
Ps. 109:10; Acts 19:13, R.V., "strolling").
...........................................
Genesis 4:12 a fugitive and a *VAGABOND* shalt thou be in the earth.
Genesis 4:14 from thy face shall I be hid; and I shall be
. a fugitive and a *VAGABOND* in the earth; and it shall come
. to pass, that every one that findeth me shall slay me.
-------------------------------------------------------------
. *The WANDERER* Anglo-Saxons.net
http://www.anglo-saxons.net/hwaet/?do=g ... ext&id=Wdr
.......................................
Hwær cwom mearg? Hwær cwom mago?
Hwær cwom maþþumgyfa?
Hwær cwom symbla gesetu?
Hwær sindon seledreamas?
Eala beorht bune!
Eala byrnwiga!
Eala þeodnes þrym!
Hu seo þrag gewat,
genap under nihthelm,
swa heo no wære.
.......................................
Where is the horse gone? Where the rider?
Where the giver of treasure?
Where are the seats at the feast?
Where are the revels in the hall?
Alas for the bright cup!
Alas for the mailed warrior!
Alas for the splendour of the prince!
How that time has passed away,
dark under the cover of night,
as if it had never been!
.......................................
<<In J. R. R. Tolkien's The Lord of the Rings, in chapter six of The Two
Towers, Aragorn sings a song of Rohan (itself a version of Anglo-Saxon
England), beginning "Where now the horse and the rider? Where is the
horn that was blowing?". The song clearly comes from this section of
The WANDERER. (A more strictly literal translation of "mago" would
be "youth", hence "Where is the horse gone? Where the young man?"
-- but since the horse and the youth appear in the same half-line,
Tolkien's rendering "rider" is very hard to resist.)>>
-----------------------------------------------------
http://www.schuelers.com/chaos/chaos7.htm
.
<<*The Fool* : The Marseilles Tarot deck shows the fool as a court
jester holding a baton and standing near a cliff. This symbolism
suggests silliness, but perhaps a deliberate silliness. The popular
Waite deck is more complex. It shows a young *WANDERER* holding a rose
and a walking stick, to which a bag is tied, walking off a cliff. A
dog romps at his side. This suggests a happy and carefree attitude
that could be dangerous. The Golden Dawn deck shows a naked child
holding the reins of a wolf while plucking fruit from a tree. This
symbolism suggests that the fool is innocence, and that pure innocence
can check animal passions while surviving quite nicely on what nature
provides. In the Deck of Thoth, the fool is shown in a green suit and
gold shoes. A crystal is between his horns, and he is falling. He
holds A Wand in his right hand (power) and a flaming pine cone in his
left hand (purity). The card shows a tiger, a dove, a vulture, a
butterfly, a rainbow, children, flowers, grapes, a crocodile, and ivy.
This card portrays Jung's archetype of the divine child such as the
infant Christ. The imagery also suggests the archetypal eternal youth
or Peter Pan. Nichols (1984) calls the symbolism of the fool, the
archetypal *WANDERER*.>>
-----------------------------------------------------------
DIDO'S PASSION: Akiva Fox traces Dido's journey
across two thousand years of art and literature.
http://www.amrep.org/articles/3_2b/passion.html
.
<<Since her appearance in Book Four of Virgil's Aeneid in 19 B.C.E.,
the Carthaginian Queen Dido has become a touchstone for artists to
express society's changing attitudes towards women, love, and
politics. Although the story of Dido remained popular throughout the
Middle Ages, it gained unusual relevance in Elizabethan England. The
questions of female leadership raised by Dido resonated with the
subjects of Elizabeth; they feared the rule of a woman and wanted a
male heir to the line of Tudor, but at the same time they worried that
any foreign prince she married would exert influence over England in a
time of religious & political upheaval. Many writers compared the
powerful Elizabeth to Elissa, the Phoenician queen who traveled to
North Africa after the death of her husband, changed her name to Dido
( *WANDERER* ), and founded Carthage on her own. William Gager's 1583
play Dido praises Elizabeth for her chastity and wisdom, contrasting
it with Dido's uncontrolled passion. While Elizabeth uses marriage as
a bargaining chip and refuses to cede control to her suitors, Dido
lets her love disrupt her governance of Carthage.>>
------------------------------------------------------------------
. http://www.pnc.com.au/~marlan/wagner/siegfried.htm
. RICHARD WAGNER'S DER RING DES NIBELUNGEN
. Siegfried, Act I
.
<<In a cavern in deep wilderness, Mime the dwarven smith is forging a
sword. He is frustrated: no matter how good a sword he forges, his
young "ward" Siegfried breaks every one of them. There is only one
sword Siegfried could not break: NOTHUNG the enchanted. But Mime
cannot forge it anew. In his monologue we learn that he wants
Siegfried to slay Fafner (who is now a dragon) so he could get the
Ring.
Siegfried enters with a Bear which he sets onto Mime, Mime recoils in
fright and hides behind the anvil, Siegfried sends the Bear off into
the forest and teases Mime saying "you never like the friends I bring
home" he picks up the new sword looks at it and smashes it on the
anvil in disgust, Siegfried questions Mime about his parents which
sets Mime moaning again "the same old questions again" he says,
"haven't I been father and mother to you" Siegfried tells him that he
has noticed the birds and the animals with their young and that they
all have a resemblance to each other, "how can an ugly little dwarf
like you be any relation to me" Sigfried asks, to which Mime can only
reply that he has been as good as father and mother to Siegfried as he
has brought him up from a baby, Siegfried is disgusted with this idea
and turns to return to the forest ordering Mime to make a sword that
is strong enough for him.
Alone Mime worries about what he will do as he has already tried to
reforge the shattered NOTHUNG, into the cave comes the *WANDERER*
(Wotan in disguise) Wotan is *WANDER*ing the Earth to find his "free
hero" and he has seen Siegfried with Mime and realizes that Siegfried
is the hero, but he cannot instruct Siegfried himself although he can
manipulate events by suggestion, Mime tries to get rid of the
*WANDERER* but he will not move on until he has accomplished his task,
he tells Mime that he will allow him three questions to which
*WANDERER* has to give the right answer to each or he says his head
will be forfeit, Mime asks his three
questions and they are all answered correctly, *WANDERER* now says
that under the laws of contest he can now ask three questions and
Mime's head is forfeit if he cannot answer them all, Mime answers the
first two but the third "Who will forge the sword NOTHUNG" he cannot
answer, *WANDERER* tells Mime that he had made the mistake of asking
three questions about far away things that did not concern him, but
that which did and was so close to him and was so vital to himself he
had completely neglected to ask, *WANDERER* gives him the answer "Only
he who does not know fear can forge NOTHUNG, and to him I leave your
head as forfeit" the *WANDERER* leaves and Mime now has another
problem how to get Siegfried to forge the sword and
win the hoard then how to get it from him.>>
