Ulysses = yeu

Determining the Square Root of Ulysses

jwr47

The 16th of June 1969 My own Bloomsday

Yes, I still remember my fist contact to Ulysses and rereading the book reminds me of the strange most impressive narrative style at page 40 in o!ses of decay, mine, his and all"""#" $ome o!t of them, %tephen" &ea!ty is not there" 'or in the stagnant bay of (arsh)s library where yo! read the fading prophecies of *oachim +bbas" ,or whom- .he h!ndred/headed rabble of the cathedral close"# I remember the fascinating tremble vibrating in my mind" .his was a revol!tionary style, somehow close to the 0123/revol!tions" I had not been allowed to read s!ch literat!re in my boarding school" .he book started with a letter and a mon!mental# decision of the United %tates 4istrict $o!rt rendered 4ecember 2, 0155 by *!dge *ohn (" 6oolsey, lifting the ban on Ulysses#" I never fo!nd any kind of obscenity in this mon!ment" Instead it inspired my philosophy" +ccording to the reviewer .!cholsky *oyce opened a door, which had been leaned by %igm!nd ,re!d#" I learned .!cholsky compared Ulysses 7.his is more than literat!re 8 this is the best#9 to highly concentrated stock, which may be !sed as a basis of many dishes, partic!larly so!ps and sa!ces b!t cannot be cons!med in its p!re form0"

The 16th of June 1995

.his may be tr!e" .he review however inspired me to think of f!rther concentrating the stock to a bo!illon c!be, completely solid and probably poisoned in its concentrated form" It took me some years to prepare" I did read the analysis The book as world by (arilyn ,rench: to !nderstand the str!ct!re of Ulysses" (arilyn)s work had been the first distillation step and t!rned o!t o be a great overview with lots of ;!otations, altho!gh it wasn)t the a!thor)s, b!t a reviewer)s vision" +ccording to (arilyn ,rench *oyce himself obvio!sly considered the $h!rch, art, se<!ality and the world as based on emptiness" .he world is =ods &ook" Interco!rse is a f!ndamental element, leading to pregnancy and birth 8 the initiation of a new life and the perpet!al rec!rsion of h!man life" >ternity m!st be seen as the great invention in =ods &ook" Style &!t there was more to be said" +ll words, which are !sed to describe deeds are incomplete, !ns!itable, perverted, often mis!nderstood or badly defined" In analogy to contraceptives, which are !sed to sterili?e conception writing styles may also sterili?e the coit!s of words and deeds" .he limitations of individ!al styles are deformations, which had been !nveiled by one of the protagonists, %tephen" *oyce however considers all styles as f!ndamentally deficient"
0 @!rt .!cholsky, p!blished a review for the first =erman translation of Ulysses in 4ie 6eltbAhne, ::"00"01:7, 'r" 47, %" 7339 and compared the novel Ulysses to a stock, which cannot be cons!med, b!t may be !sed to prepare lots of so!p#" %ee the original review)s te<t inB Tucholsky / Ce?ensionB Ulysses / *ames *oyce : The book as world. James Joyces Ulysses" +bac!s &ooks, Dondon 013:, I%&' 0/541/00553/2"

A word's birth In analogy to individ!al life a lang!age may be considered to !ndergo evol!tionary periods of growth, p!berty, mat!rity and decay" .he birth of a word may be identified in &!rkeE 5#, b!t in fact English as a lang!age is being born" +ccording to (arilyn ,rench *oyce compare a word)s birth to a childbirth" Isn)t &e fr!itf!l and m!ltiply, and fill the earth# characteri?ing o!r vocab!lary and are we going to add and s!bd!e itF#-" Grobably we are""" Diterat!re will have to confirm the h!man mind" In H<es lang!age is considered as tr!thf!l revelation" %im!ltaneo!sly nat!ral4# se< is considered as a!thenticity" In contrast >!mae!s lang!age is !sed to mystify" Unlimited procreation %e< is sacred" In Ulysses only the Purefoys seem to be obeying and respecting the sacred laws, altho!gh !nlimited procreation t!rned o!t to be tro!blesome I" >ach !nconditional procreation or !nconditionally !ttered word is sacred, b!t may lead to !ne<pected res!lts" .he idea, that lang!ages) relation to the tr!th may be compared to nat!ral cop!lation to a!thenticity is an !nstable design" Eternal repetitions +ccording to *oyce time follows a circ!lar pattern and leads to eternally rec!rrent events, which allows !s to derive the f!t!re patterns from historical analysis" + look back will !nveil o!r f!t!re" .his may be !ns!itable for details, b!t might be !sef!l for eternal core wordings and that)s what really matters" $ores will be saved 8 even for millenni!ms" .his idea to investigate and !nveil core wordings seems to be comparable to analy?ing the monologue intrieur. It may be compared to defining word designs by simply concatenating basics to e<plicitly form!late an idea from its basic step elements" %imply constr!cted words may eternally be derived from their basic ingredients witho!t needing a vocab!lary as long as the basic symbols were to be !nderstood"

5 Ceferenced to page 410 in (arilyn ,rench)s .he &ook as 6orld 4 'at!ral J !nblocked by contraception I Ceferenced to page 410 in (arilyn ,rench)s .he &ook as 6orld

19.2.2 1! The "roof of the "uddin#

Theses
Det)s ass!me we are willing to prove : special theses based on eternal rec!rrenciesB 0" %!ppose mankind m!st have been respecting the h!man reprod!ction mechanism as a most precio!s fertility tool and designed a set of special personal prono!ns to protect the sacred comm!nication between h!sband and wife of the matrimonial co!ple" :" In a second phase we might investigate the idea that these personal prono!ns and the related divine names apply a set of three vowels to symboli?e a family)s three core elements 7e"g" father, mother and child9" .hese words are no more than totems, which had been designed to protect and enco!rage fertility" In e<cessive overpop!lation the application of s!ch totems may seem s!perfl!o!s or even harmf!l" In some remote +lpine valleys however the totems seem to have s!rvived and may be active !p to today" It may be !nthinkable and !nimaginable to consider !nderpop!lation by red!ced fertility, b!t if we imagine how ,!k!shima)s distrib!tion of n!clear waste may dist!rb or even destroy the h!man reprod!ction mechanism the ancient motivation tools op special prono!ns may have to be revived to protect matrimonial sacredness" .his idea is the backgro!nd for the ne<t phase of concentration of Ulysses) model" "ersonal pronouns +ccording to *oyce)s Ulysses h!man procreation has always been the principal f!ndamental to sec!re the eternal life for mankind" 'at!ral# se< 7witho!t contraption9 was sacred and in the most important words of the vocab!lary the sacredness had to be conservedB 709 first of all the most important divine name =od and both the second ranking prono!ns 7:9 I# and the third 759 Yo!#2"

.he prono!ns I# and Yo!# are located at the first two rankings in the %wadesh list7, in which !nfort!nately the word =od# is missing 3" .he word =od however is intensely related and linked to the personal prono!n of the first person sing!lar 7the ego/prono!n9" In some cases s!ch as in the %avoy dialect the divine name Dz is almost identical to the ego/prono!n Dzeu!" +nd in the dialect of the ,rench city 'imes the divine name Diou and the ego/prono!n "iou#$ are e;!ally related as in Italian Dio and io, respectively in %panish Dios and yo"

2 7 3 1 00

+ltho!gh impolite it is rated as a third ranking element according to the %wadesh ranking system $omposed by the U%/+merican ling!ist (orris %wadesh 70101 8 01279 Grobably for the fear of disc!ssions abo!t the priority of the word =od#" .he >go/prono!ns and 4ivine 'ames in %avoy ,rench 4ialects Yio!# K 4Lo!# in the dialect of 'imes

2 .2.2 1! The $ore idea

*oyce)s philosophical ideas aren)t revol!tionary" .hey have been form!lated by others, b!t mostly in a different perspective" *oyce as a visionary a!thor has been reading =od)s book and reform!lated the concept" Ulysses has been named a :0th cent!ry)s version of 4ante)s 4ivina $ommedia 8 describing h!man behavior" %e< is the greatest mystery as a threatening c!rse and a fascinating marvel 8 the concept of eternal rec!rsion" If a key e<ists it m!st be related to nat!ral se<" (arilyn ,rench s!ggests and claims there is no dogma, no key, no straight road and no method to be fo!nd in Ulysses00" .he book is j!st an ill!sive historical record" .hose who claim to have the keys are liars and fools" *oyce however also p!ts !ntr!ths and errors into the mo!ths of er!dite scientists 7incl!ding himself9 and tr!ths in the brains of a p!b/philosopher or semi/intellect!al" %tephen is a semi/theologian and &loom a semi/scientist" &oth are trying to !nveil the !niverse)s secrets according to their own disciplines" Just li%e Stoomin# Blephen Isn)t *oyce j!st s!ggesting that any semi theologian scientist, as a sort of hybrid between %tephen and &loom, or %tooming &lephen, might try to !nveil the conceptI j!st decided to try and discover the track to red!ce Ulysses to its roots by !sing (arilyn ,rench)s analysis, beca!se her work seemed to be the most scientific approach for a systemic str!ct!re" .he analysis of the divine names and the reconstr!ction of the personal prono!ns already had !nveiled the priority of the three vowels I, + and U inside the divine names and the ego/prono!ns" .hese three vowels seem to be the keys for all elementary religio!s symbolism" I also had fo!nd some other a!thors s!ch as *oscelyn =odwin 0: who had !nveiled the vowel symbolism" In the end the n!mber of vowels grew from 5 to 7, which each had been associated to seven planets05, so!nds and colors" .he stage of 7 vowels however seemed to be an e<treme overshoot reaction, which may be compared to the symbolic chaos and conf!sion, which had been added by *oyce to the Ulysses man!script" .he additional overshoot of red!ndant noise had also been noticed by .!cholsky" It may have been added in the Hdyssey and in 4ante)s 4ivina $ommedia as well" It is artwork, b!t the artwork is veiling the core information"04 & s'uared root for (ante &li#hieri +nd j!st for f!n I derived the very root of 4ante +lighieri)s 4ivina $ommedia, which 8 as an eternal res!lt 8 sho!ld be leading to the same resol!tion for the enigmatic core of 4ante)s &ook of =od" Dante %lighieri in his De &ulgari elo'uentia s!ggests that the name El was the first so!nd emitted by +damB 6hile the first !tterance of h!mans after birth is a cry of pain, 4ante ass!med that +dam co!ld only have made an e<clamation of joy, which at the same time was addressing his $reator"

00 0: 05 04

Ceferenced to page 711 in (arilyn ,rench)s .he &ook as 6orld .he %acred (owels in Grono!ns / notes to The )ystery of the *e&en (owels+ ,#!!#- Joscelyn .odwin %ome 'otes to %abian Ghilosophy and .imae!s .he %acred Mowels in Grono!ns

.his of co!rse is a p!re nonsensical statement as +dam never e<perienced birth and any pains related to the birth" $reated as a f!ll mat!red ad!lt he may rather have !ttered the >go/prono!n I# which for an image of =od may have been e;!ivalent to =od)s name" In the Di&ina commedia, however, 4ante contradicts his previo!s statement by saying that =od was called I in the lang!age of +dam, and only named El in later ebrew, b!t before the conf!sion of tong!es 7Garadiso, :2"05490I" .hese statements reveal a remarkable medieval correlation between the divine name and the >go/ prono!n" It may be compared to the 6ycliffe &ible, which referred to a prono!n Y or I which in the lang!age of +dam may have been known as the name of =od" Hf co!rse it may as well have been the first so!nd emitted by +dam" In this case the >go/prono!n I m!st have been considered as one of the prime words in the lang!age of +dam"
Divina commedia - Paradiso, Canto XXVI16

.his is 4ante)s te<t, in which he applies I# and >l# in Italian te<tB Da ling!a ch)io parlai f! t!tta spenta innan?i che a l)ovra incons!mmabile fosse la gente di 'embrNt attentaB chO n!llo effetto mai ra?Lonabile, per lo piacere !man che rinovella seg!endo il cielo, sempre f! d!rabile" Hpera nat!rale P ch)!om favellaF ma cosQ o cosQ, nat!ra lascia poi fare a voi secondo che v)abbella" Gria ch)i) scendessi a l)infernale ambascia, I s)appellava in terra il sommo bene onde vien la leti?ia che mi fasciaF e El si chiamN poiB e ciN convene, be, chO l)!so d)i mortali P come fronda in ramo, che sen va e altra vene" 0:4 ).he tong!e I spoke was !tterly e<tinct 0:I before the followers of 'imrod t!rned their minds 0:2 to their !nattainable ambition" 0:7 ),or nothing ever prod!ced by reason // 0:3 since h!man tastes reflect the motion 0:1 of the moving stars // can last forever" 050 )It is the work of nat!re man sho!ld speak 050 b!t, if in this way or in that, nat!re leaves to yo!, 05: allowing yo! to choose at yo!r own pleas!re" 055 )&efore I descended to ang!ish of ell, 054 I was the name on earth of the %overeign =ood, 05I whose joyo!s rays envelop and s!rro!nd me" 052 )Dater El became is name, and that is as it sho!ld 057 for mortal c!stom is like a leaf !pon a branch, 053 which goes and then another comes"

Det)s say that we might s!ggest the root of the 4ivina $ommedia may be written as Y# or I#, s!ch as in a mathematical or etymological form!laB

Divina Commedia = i
.his is more or less the idea, that the root of the 4ivina $ommedia is the divine name I#"

0I > / of the 6ord >i >ngraven Hver the =ate of +pollos .emple at 4elphi

02 %o!rce B 4ivina commedia / Garadiso, $anto RRMI

21.2.2 1! )ou* + and the name of ,od

The divine name 17
+ncient doc!ments reveal a divine name which is to be translated to =reek as a series of vowels " .he vowels seemed to be correlating to the three vowels yau in the name of the Indo/ >!ropean sky/god Dyaus"

The Provencal ego- rono!n i"! #I$

.he sacred str!ct!re of the ego/prono!n has been conserved as iu in the Grovencal poem )ir io#/ by 0rdric )istral. .he ego/prono!n iu is intensely related to the divine name Diu"

The %l ine ego- rono!n io! #I$

+ro!nd the first episcopal center $h!r at the northern side of the +lps a vast concentration of three/ lettered ego/prono!ns s!ch as iu, iau respectively iou may be fo!nd" .he corresponding divine names are 4iO!, 4ia! respectively 4io!01, which also has been chosen as a root for Io!/piter 7*!piter9"

The %&ghan T! #'o!$()

In his work @ite C!nner# 7:0059 @haled osseini !ses a lot of +fghan e<pressions" (ost of these are +rabian words" Dooking for Indo/e!ropean e;!ivalents I fo!nd Gadar 7father9, (adar 7mother9 and .! 7identical to the ,rench word Syo!S9" .he personal prono!n S.!S 7confidential yo!9 is being !sed for confidential relations 7e"g" h!sband and spo!se9, whereas SshomaS 7respectf!l yo!9 is signifying a more distant and respectf!l relation 7even between parents and children9" Hriginally the confidential word Tu may very well e<cl!sively have been reserved for conversations between h!sband and spo!se to symboli?e the divine matrimonial relation between h!sband and spo!se in a married co!ple"

07 03 01 :0

.etragrammaton in 03I1 + %hort istory of Dang!age .he %ky/=od 4yae!s / %cribd

22.2.2 1! Etymolo#i$al -ormulas

(athematics witho!t form!las is like a lang!age witho!t hieroglyphs" = mc! is one of the !niversal form!las which may be !nderstood witho!t other words in any lang!age" +s soon as an idea may be written as a form!la it gains e<pressive power" Dots of disc!ssions, paper and translation may be skipped" It)s going to be a form!la likeB

Divina Commedia = i
+pplying an etymological s;!are root is simply omitting the enclosing consonants, which are merely con/sonating"""

Dieu = ieu
and applying an additional, etymological s;!are root is eliminated the s!perfl!o!s vowels to ret!rn the dehydrated form of the ego/prono!n, which is identical to the previo!sly derived 4ante)s ret!rn code i#, the smallest symbol in the ebrew alphabet, which according to the $abala is the root for =od)s $reation of the 6orldB

ieu = i
In the same sense *oyce)s Ulysses may be concentrated to a dehydrated 1ouillon cube "oyce's Ulysses = yeu #$$$$$$$$$$$$$ %&' ,!rther dehydrating red!ces the weight to the single vowel IB yeu = y or i #$$$$$$$$$$$$$$$$$$$$$$$$$ %!' and from e;!ation 709 and 7:9 we may concl!deB %Ulysses' = i #$$$$$$$$$$$$$$$%(' .his of co!rse needs to be e<plained by a s!itable ill!stration"""

2..2.2 1! The En#lish e#o/pronoun +* respe$ti0ely )

>nglish has been composed from vario!s lang!ages s!ch as %candinavian, 4!tch and =erman roots" .he =ermans and Mikings preferred gods like Ti!, 4is and .yr, which had been referring to (ars as it had been encoded in .!esday:0" .he ego/prono!ns refer to the vowels Y, I or Ih, respectively U" .here is considerable variety in the way the first person sing!lar nominative prono!n is prono!nced in 'orwegian dialects" .hey appear to fall into three gro!ps, within which there are also variations::B 7g9, )7g9, and )i7g9, in which the hard )g) may or may not be incl!ded" .his is common in most of %o!thern and 6estern 'orway, .rVndelag, and most of 'orthern 'orway" %ome places in 6estern 'orway, it)s common to say S *S" + 7prono!nced WiXW9, in a few areas in 6estern 'orway 7ComsdalW(olde9 and %nYsa:5 in 'ord .rVndelag " 7WjeXW9, *, 7WjZXW9, or *ei 7WjZiXW9, in areas aro!nd Hslo, and north along the %wedish border, almost to .rondheim, as well as one region in .roms" In 'orway)s &okmYl the ego/prono!n officially is defined as jeg# 7resp" in 'ynorsk eg#9, b!t the dialects !se a great variety of this prototype" In so!thern =ermany the common vowel for ego/prono!n [+h seems to be - 7>ta9" In %candinavia the vowels and . may have been preferred, which might refer to the planet Men!s 7,reyr/,reyja9" .he ego/prono!n Y has been applied by 6ycliffe:4B =enesis 5/00 +nd +dam seide, / herde thi vois in paradijs, and / drede, for / was nakid, and / hidde me"# .his way both dehydration form!las %Ulysses' = + and %Ulysses' = / may be valid as well as the derivations of +, respectively / 0rom the relevant divine names Dis, respectively 1yr" It)s j!st one of these f!nny form!las, which may be !sed to e<plain the world like Divina Commedia = +, "upiter = +2 Dieu = +2 ieu = + and so on"" = mc!,

"
:0 :: :5 :4 .he symbolic vowel wo!ld be H 7-9 2orwegian dialects 8 3iki4edia 8 seeB 4"5": ,irst person prono!n, nominative sing!lar %nYsa is one of the last strongholds for the serio!sly endangered %o!thern %ami lang!age" *ohn 3ycliffe5s .ranslation

1ontents
.he 02th of *!ne 0121 8 (y own &loomsday"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""0 .he 02th of *!ne 011I""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""0 %tyle""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""0 + word)s birth"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""": Unlimited procreation""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""": >ternal repetitions""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""": 01":":004 8 .he Groof of the G!dding""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""5 .heses""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""5 Gersonal prono!ns"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""5 :0":":004 8 .he core idea""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""4 *!st like %tooming &lephen"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""4 + s;!ared root for 4ante +lighieri """""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""4 4ivina commedia / Garadiso, $anto RRMI""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""I :0":":004 8 Yo!, I and the name of =od""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""2 .he divine name \]^""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""2 .he Grovencal ego/prono!n iO! 7I9""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""2 .he +lpine ego/prono!n io! 7I9"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""2 .he +fghan .! 7Yo!9"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""2 ::":":004 >tymological ,orm!las"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""7 :5":":004 .he >nglish ego/prono!n I, respectively Y"""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""""3