{Homer}[4th February 1991]

[Redbook8:209][19910204:1745b]{Homer}[4th February 1991]

19910204.1745

[continued]

‘The 8^th century BC[E] was in other respects, too, an era of cultural innovation, not least in the direction of monumentality, and huge temples (like the early temple of Hera in Samos) and colossal funerary vases (like the mixing bowls and amphora in the so-called Geometric style from the Diplyon cemetery in Athens) may have found a literary analogue in the idea of a vast poetical treatment of the Trojan War. But in an important sense Homer was building upon a tendency of all known oral heroic poetry towards elaboration and expansion.’*

– E[ncyclopaedia] B[ritannica] 20:697

*

[continued]

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{Dionysus [–Tragedy and Comedy]}[4th February 1991]

[Redbook8:208][19910204:1745]{Dionysus [–Tragedy and Comedy]}[4th February 1991]

19910204.1745

‘Both [Tragedy and Comedy]* were connected with the worship of Dionysus, god of fruitfulness and of wine and ecstasy.’

– E[ncyclopaedia] B[ritannica] 20:400

*[Square brackets as in ms, indicating insertion/addition/substitution in ms]

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{The Oval Circle [continued (4)]}[3rd February 1991]

[Redbook8:208][19910203:2020c]{The Oval Circle [continued (4)]}[3rd February 1991]

19910203.2020

[continued]

So far as I know the egg-shape is the only shape which will satisfy my conditions. As this occurs quite predictably in nature, one might assume that it is mathematically describable.

*

I’d expect the rules governing the distance of successive points along the O[uter] C[ircle] from C to A~ (and returning A~ to C) to be derived in some way from the laws describing the development of spirals in nature, eg the Fibonacci Series** especially as this can be related to Pascal’s Triangle.***

- - - -

– But this is speculation!

*(cf earlier Vols [])

**ref [[Redbook8:148A][19901223:1645e]{Spiral Numbers...}[23rd December 1990],] 148A

***ref [[Redbook8:149A][19901223:1645f]{[Spiral Numbers...] …and Pascal’s Triangle}[23rd December 1990],] 149A

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{The Oval Circle [continued (3)]}[3rd February 1991]

[Redbook8:207][19910203:2020b]{The Oval Circle [continued (3)]}[3rd February 1991]

19910203.2020

[continued]

I have a more * serious problem with combining Outer Curve (Oval or Ellipse) with Inner Circle, retaining Cardinals and Diagonals on the same lines through the same centre, o[uter] c[ircle] not being inside i[nner] c[ircle] at any point. This is probably my ineptitude, rather than a technical defect of symbolism.

‘Axis, n. (pl. axes). 1. Imaginary line about which a body rotates, or by revolution about which a plane is conceived as generating a solid (sphere, core, cylinder);

line dividing regular figure symmetrically.

2. Straight line from and to end of a body, as ~ of equator (polar diameter of earth).

3. [etc.]**

***

‘Oval, a. & n. 1. Egg-shaped or ellipsoidal; having the outline of an egg or elliptical; hence ~LY² adv., ~NESS n.

2. Closed curve with one axis considerably longer than the other, like ellipse or outline of egg; thing with ~ outline;

[etc.]**

****

‘Ellipse¹, n. Regular oval;

figure produced when a cone# is cut by a plane making a smaller angle with the base than than the side of the cone makes.... [etc.]**

****

‘The ellipse is symmetric about both its axes.’#*

(ie not egg-shaped)

*[See last previous entry]

**[Square brackets as in ms, indicating insertion/addition/substitution in ms]

***Conc[ise] O[xford] D[ictionary]

**** – ibid [Concise Oxford Dictionary]

#cf III. [[Redbook3:211-214][19870419:1050h](THE STRUCTURE OF TOTALITY)[19th April 1987]] 211-213 (Cones)

#*– E[ncyclopaedia] B[ritannica] 4:459

[continued]

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{The Oval Circle [continued]}[3rd February 1991]

[Redbook8:206][19910203:2020]{The Oval Circle [continued]}[3rd February 1991]

19910203.2020

I have an old problem regarding speed: if the ‘Outer Circle’ is an oval or ellipse,* and if it follows the laws of planetary motion for ‘oval’ or elliptical orbits, speed near the real focus (the Sun for planets, the Spirit ‘O’ for C[ircles] A[nalysis] & S[ynthesis]) should be greater than at the other end (because an equal area’d ‘triangle’ formed by radii from that focus is created by movement round the orbit in an equal period). But this does not seem to distort the occurrence of M~ and G~ type events over any historical cycle.

On the other hand, things do seem to happen faster – subjectively speaking – as C approaches, in the sense (perhaps) that events multiply.

*[ref last previous entry; & cf earlier volumes []]

[continued]

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{The Oval Circle}[28th January 1991]

[Redbook8:206-208][19910128:1708b]{The Oval Circle}[28th January 1991]

.1708

[continued]

It’s* an oval outside, I guess, and a circle inside. Difficult to draw.**

*[The C[ircles] A[nalysis] & S[ynthesis] pattern/diagram/closed curve; see next entry]

**{ref [[Redbook8:172][19910107:1822c]{Crop Circles are Ovals}[7th January 1991],] 172}

[continued]

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{Enemy Conscripts}[28th January 1991]

[Redbook8:206][19910128:1708]{Enemy Conscripts}[28th January 1991]

19910128.1708

Everyone feels sorry for the innocent civilians in the Gulf [War], and for our servicemen, and so do I; but I think also of the unfortunate conscripts on the other side, whose fate allied governments are understandably careful not to make an issue.*

*{Their fate was particularly horrible in a couple of instances, where armies retreating (probably to regroup) were massacred.}

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(Hellenistic Greek Art [continued (11))[– Cycladic, Cretan, Minoan][28th January 1991]

[Redbook8:205][19910128:1247k](Hellenistic Greek Art [continued (11))[– Cycladic, Cretan, Minoan][28th January 1991]

19910128.1247

[continued]

And cf: *‘Many time in the preceding pages the essential stylistic and thematic characteristics of the art of the Cyclades, Crete and the Greek mainland have been emphasised: the open, unsophisticated freshness of Cycladic taste,** the subtler fluidity of Minoan art*** and its concentration on subjects from nature and religion, the formality, insensitivity and violent preoccupations of the Mycenaeans.’****

– E[ncylopaedia of] V[isual] A[rt]1:112 (followed by qualifications)

#

*{(This is already quoted at [[Redbook8:162][19901229:1210i]{Aegean Art}[29th December 1990],] 162)}

**(c[irca]3000-c[irca]2000BCE

2048G~ semicircle

***(c[irca]2200-c[irca]1400BCE)

c[irca]R~+[sic]-C–r~S~-g~M~

****(c[irca]1600-c[irca]1200BCE)

c[irca]M~-U~

#(There is no summary for the Archaic#* (&/or Geometric)#** period)

#*2048J~-G~

c[irca]750-c500[bce]

#**c[irca]1100–750[bce]

2048A~-J~

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(Hellenistic Greek Art [continued (10))[– Time of Change][28th January 1991]

[Redbook8:205][19910128:1247j](Hellenistic Greek Art [continued (10))[– Time of Change][28th January 1991]

19910128.1247

[continued]

‘Over a wide area the Hellenistic period* was a time of change. Artists and craftsmen lived and worked in a time of new political organisations, new cultural contacts, and new economic opportunities, a world that inevitably conditioned their products from the most elaborate and costly to the smallest and most humble. The individual** was now all-important; monarchs required materials manifestations of their power, while all classes strove to improve their living standards, not least wealthy merchants *** who wished to live with every luxury money could buy. Everywhere people displayed a fresh, enthusiastic interest in human life,**** particularly in its more picturesque aspects; even traditional religious ideas and mythological themes were reinterpreted in personal terms.# Such an approach far outlasted the chronological limits of the Hellenistic period; its influence on subsequent art, especially Roman[,] was both extensive and profound.’

– E[ncylopaedia of] V[isual] A[rt]1:164

*(c[irca]330-c[irca]0BCE)

c[irca]R~-C

**R~-C

***cf c[irca]1780CEff

****R~

#C

cf c[irca]1780CEff

[continued]

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(Hellenistic Greek Art [continued (9))[– The End of Classical Art][28th January 1991]

[Redbook8:204][19910128:1247i](Hellenistic Greek Art [continued (9))[– The End of Classical Art][28th January 1991]

19910128.1247

[continued]

*

‘The convenient date for the “end of **Classical art” is the accession of Alexander of Macedon in 336BC[E],*** but art did not actually come to an end then, as the ancients liked to think. Rather, it had reached that point of complete technical confidence **** which opened the way for the experiments in human proportion of sculptors like Lysippos, and the corresponding Baroque# fancies of Hellenistic#* sculpture and architecture. With the decline of the city-state, the individual became more important,#** as is reflected in the rise of real portraiture#*** and the corollary, grotesques and caricatures,#**** in a more “humanised” artistic context. In painting this is shown in the decline of vase painting in the face of free painting which could render emotion## and characterisation, and on the other hand of the silver and gold vases,##* and jewelry [sic], demanded by the ostentatious and wealthy, which the potters could only imitate on a more humble level in plain black-glazed wares. Typically, Greek art was ready to adapt and use the new concepts brought by Alexander’s conquests.’

– E[ncylopaedia of] V[isual] A[rt]1:148

*(ref [[Redbook8:44-67][19901027ff]{Comparative Chronology}[27th October 1990],] 58)

**(c500-c330BCE)

c[irca]2048G~-R~

***2048R~256BCE

****cf IX: [[Redbook9:204-206][19910429:0914]{Italian Mannerism}[{29th} April 1991],] 204-205?

#(ref IX: [[Redbook9:304-316][19910510:0904]{Baroque Architecture}[10th May 1991],] 304)

cf Baroque c1600-1715CE

(2048R~1792)<910513>

J~???ff

#*c[irca]2048R~-C

(c[irca]330-c[irca]0BCE

#**R~-C

#***R~-C

#****A~-J~ff??

or ‘casting out of devils’ at c[irca]R~?

##G~-R~

##*s~,r~?

cf X. [] 5 re Winckelmann on ‘idealisation’ of Greek art.

[continued]

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