Date: Fri, 16 Nov 2001 20:59:16 -0800 (PST)
Subject: Nov. 15-19


On the etymology of chih and chan, see Weiger, Chinese
Characters: Their Origin, Etymology, History and
Classification: A Thorough Study from Chinese
Documents, Peking: Editions Henri Vetch, 1940, Lesson
112, and pp.581 & 571. Note that third tone chih also
means 'measure of eight inches' and that under
chan/ch'an (p.571) we find jen (fourth tone) 'a
measure of eight feet.'

The Black Tortoise (Prehistoric Period, 15,600 B.C.)
Hiouen-wou, has jin-sing as an asterism just above the
Tortoise, while the eight-star figure of a reverse
swastika is below the Tortoise and the ecliptic. This
eight-star figure is also a Buddhist figure: wan
'ten-thousand' resonating with the 'ten-thousand
things' or 'myriad things'. Wan is also 'snail'. This
jin-sing appears again in Confucian texts regarding
the treatise Jen-shou: jen-sing, to which I'll add
excerpts in part II of Kristevan jen/Confucian jen.

What should be included in an analysis of chih and
chan is the Chinese particle for gate(men)as 'palace
gate' and the two mouths within this gate symbol.
Karlgren's Grammatica Serica and the graphs contained
therein, complete a short expedition into the meanings
of Archaic Chinese. This double voice symbol then
leads to passages in Irigaray and Deleuze, as well as
Catherine Chalier's very fine 'Exteriority of the
Feminine' in Feminist Interpretations of Emmanuel
Levinas. What will also be shown here is that the moon
became sun. Being mirror-like, it then has affinity to
Lacan's lozenge. Being a split-voice image, toward
place-names of rivers, shamanic costumes(jen as
muskrat or 'water-splitter') and an old Indian story
'Split-his-own-head'.

'The human, or the nomad, has left without
reserves...thus pronounces the interval of a space
that is oriented from the Same toward the Other.'
(Chalier)

'Just this which is cosmically ready-to-hand, which
removes itself -- differently from elements of nature
presentat hand -- from human control, allows a
specific mode of feeling to become visible in the
extension of Dasein corresponding to what we term
endogeneity: Dasein 'happens' in [its
psychic-physically simultaneous rhythmic, periodic,
and phasic processes], exemplary in the stages of
maturation.'
(Hubertus Tellenbach, Melancholy: Endogenity as
Origin)

And a disciple of Nietzsche, Ludwig Klages, Tellenbach
quotes, describing, '...that primal feeling through
which human regulation comes under the sway of
daemonic rhythm, dissolving the vitreous resistance of
law in the undulating ether of the cosmic pulse.'
(ibid.)

'..the archaic and primitive characteristics of the
image preserve that connection.'
(Davis, Deracination)

'Appraisal: As yin and yang start to transform, they
change to red and white. Fathoming: Yin turns red and
yang turns white. Means: Reaching their limits, they
then reverse.

Althought the exact significance of this color change
is lost to us, the verses probably use an apparent
contradiction in the traditional correlations of color
magic to suggestan unhealthy disjunction in
conventional values. In China, the color white is
always used for mourning while the red of the newborn
babe is a sign of health and virility. In the same
system that correlates winter and yin with snowy
white, summer is associated with red, with heat, and
with yang ch'i. Accordingly, as summer yields to
winter, red pales to white; as winter reigns supreme,
what is fundamentally white glows with ruddy health.
With normal values reversed, a new cycle is about to
begin. Still such dramatic disjunctions and
metamorphoses are inherently dangerous. The wise
person takes warning.'
[Taixuan, Nylan trans., The Elemental Changes]


But this is also Edward Schafers' 'Fashioner of
Mutations'[Pacing the Void] as well as...

A single bloom of beguiling red,
  an azure almost dissolving.
Shining back the glory of spring,
Shaming the frost and the snow.
The Artist of Change wants only to show
  a novelty of craft
  and will not allow these idle flowers
  even the briefest respite.
[Peonies on a Winter Day]

I'll simply add that the decree from medieval Notre
Dame against the wearing of the color orange and
beaked shoes is reminiscent of the blooms of wild
carrot (Daucus carota), which sometimes will show,
amidst their many snowy-white flowerlets, a single red
one.


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