Date: Thu, 13 Aug 1998 22:36:39 -0400
Subject: "Noblesse oblique"


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	To the theater then, and mostly b/o(a)th(s) go, as a cur[led]-tain
rising to what of a stage Nietzsche found polished, cleansed with what
_Ajax_ scrubed: "Nobly to live, or else nobly to die, Befits proud
birth." (l.480). Or, rowing along upon the c-"or"-ked unscrewed, recall,
the "o philtat Aias" (O beloved Ajax) as the 'nominative' which
Nietzsche searched of in his "Description of Ancient Rhetoric"
(1872-1873), instead of the vocative. Is this "believed fictional
existence" the vocative, the "noble"; that very theater within which
cooks as only cookery as "a noble science" can, if a visit could also be
paid for to Burton's "_medicina statica_", not so antipode to
Nietzsche's tabled manners; a candle even upon the latters better diet.

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	Yet, "_comprendre c'est egaler_", even where a "foreground" can be
focused on, and t/here one throws up the lights, or _luce non lucendo_,
the shadows w/here fresco's are broom painted (twisted in wax) and
candled sfumato. Never the "rule", but a measure written upon a
landscape of steamed up glas/s, by Raphaello's without hands. 

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	Yet the question "What is Noble?" is twice repeated, (_WTP_ 943, 944),
if to _Beyond Good and Evil_ one doesn't step (_BGE_, part nine, #
257-296), or move themselves back, moved back a bit to _Human
All-Too-Human_ , II, 63, 64 (and the Mazzino Montinari "Scelta di
Frammenti Postumi 1878-1879, ref., N, IV, 2, 12). More relief, saw
Nietzsche in the Athenians vs. Moliere if to "una societa' di
transizioni e di gradi intermedi" he hadn't appeared. 

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	The noble then as that scar upon a marble gaze, or that wink without an
eye; mask sans Face. The "whoever?" as the very theater; a reverse
"_siao-sin_", hey Ariosto, where a splitting of hairs (in mine found
flowing abundant), is a splitting of the scene in theirs polished to a
shiny clear screen. That "or" finds it "difficult _to conceal [the]
irony_". Hey Ariosto? But more so(wn) to what preceded it. Clearly, mio
caro, "_The problem of those who are waiting_." [laughter!]. (Go on,
check your _BGE_ # 274). [laughter]. Still hear something "of the echo
of the desolate regions, something of the whispered tones and the
furtive look of solitude" in my style Ari? Ah! These harbors!
Predisposed? Predestined perchance? Oh! Sh/ame on me!? [laughter!], an
unhinged antipode "a" 'al-di-la del' Spencer. 
 
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	That "or", lights up as the "shopkeeperdom" you recoil from, and there,
right there is a "selection of words" which "tell something about a
person's desire". (Raggo, Thu, 13 Aug). A call to Gretchen's maybe? A
"_Gemutlichkeit_" to boot! [laughter]. Not pro, nor pre - vocative, now
is it Ari, after all that comparing; but granted, a "dissimulation"; if
only there weren't "listeners". [laughter!]. And maybe if not in
Bataille, then try Klossowski's _Nietzsche and the Vicious Circle_. Yes,
try that on for size, esp., pages 191-192, 223. [un sorriso].

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	But two to the theater go, in authorship's 'a'-sinking, and I turn
t/here to mention Basil Twist's intra-pro-voca-tation of Berlioz's
"Symphonie Fantastique", or Bob Crowly's [un]set-lingering design of
"Twelfth Night", or Robert Wilson's work-link-ings. A soundscape because
of an earscalpel not very 'mell' to "or whoever?" is it now? [un sorriso
avec darting eyes]. A _duty_, as a state of exceptions maybe, but still
edging to-word non-fictionals, and ambient screen happiness, 'or
whatever' is where your "or whoever?" runs; _not_ "To turn and wind a
fiery Pegasus / And witch the world with noble horsmanship." (_Henry IV,
IV, i, 109).

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_interdum juvat insanine_, "where else?" A second mask. [laughter]
(_BGE_, 278). 

entre chien et loup dans
lalangue trespasses,
Lucio Angelo Privitello
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