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From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Friday, September 12, 2003 12:00 AM
Subject: pynchon-l-digest V2 #3546
>
> pynchon-l-digest Friday, September 12 2003 Volume 02 : Number
3546
>
> Date: Thu, 11 Sep 2003 15:31:46 -0700
> From: "sZ" <keithsz@concentric.net>
> Subject: NPPF Jesus Crest
>
> Cedar Waxwing
>
> The Cedar waxwing is easily distinguished by its prominent crest, black
mask
> extending from above the beak to beyond the eyes, and the characteristic
red
> scales on its secondary flight feathers. It is called waxwing because the
> red scales look like sealing wax. Waxwings eat insects, fruits, and
berries
> and can often be seen passing berries or insects back and forth to each
> other while they sit eating side by side.
>
> --Tony Tilford/Oxford Scientific Films/BBC Natural History Sound Library.
> All rights reserved.
>
> crest
>
> PRONUNCIATION: krst
> NOUN: 1a. A usually ornamental tuft, ridge, or similar projection on the
> head of a bird or other animal. b. An elevated, irregularly toothed ridge
on
> the stigmas of certain flowers. c. A ridge or an appendage on a plant
part,
> such as on a leaf or petal. 2a. A plume used as decoration on top of a
> helmet. b. A helmet. 3a. Heraldry A device placed above the shield on a
coat
> of arms. b. A representation of such a device. 4a. The top, as of a hill
or
> wave. b. The highest or culminating point; the peak: the crest of a flood;
> at the crest of her career. 5. The ridge on a roof.
> VERB: Inflected forms: crest╥ed, crest╥ing, crests
>
> TRANSITIVE VERB: 1. To decorate or furnish with a crest. 2. To reach the
> crest of: crested the ridge.
> INTRANSITIVE VERB: 1. To form into a crest or crests: waves cresting over
> the seawall. 2. To reach a crest: The swollen river crested at 9 p.m.
> ETYMOLOGY: Middle English creste, from Old French, from Latin crista. See
> sker-2 in Appendix I.
>
> ENTRY: sker-2
> DEFINITION: Also ker-. To turn, bend. Presumed base of a number of
distantly
> related derivatives.
> Derivatives include shrink, ranch, rink, curve, crepe, circle, search, and
> crown.
> 1. Extended form *(s)kreg- in nasalized form *(s)kre-n-g-. a. shrink, from
> Old English scrincan, to wither, shrivel up, from Germanic *skrink-; b.
> variant *kre-n-g-. (i) ruck2, from Old Norse hrukka, a crease, fold; (ii)
> flounce1, from Old French fronce, pleat, from Frankish *hrunkjan, to
> wrinkle. Both (i) and (ii) from Germanic *hrunk-. 2. Extended form
> *(s)kregh- in nasalized form *skre-n-gh-. a. ring1, from Old English
hring,
> a ring; b. ranch, range, rank1, rink; arrange, derange, from Old French
> renc, reng, line, row; c. ringhals, from Middle Dutch rinc (combining form
> ring-), a ring. a-c all from Germanic *hringaz, something curved, circle.
3.
> Extended form *kreuk-. a. ridge, from Old English hrycg, spine, ridge; b.
> rucksack, from Old High German hrukki, back. Both a and b from Germanic
> hrugjaz. 4. Suffixed variant form *kur-wo-. curb, curvature, curve,
curvet,
> from Latin curvus, bent, curved. 5. Suffixed extended form *kris-ni-.
> crinoline, from Latin crnis (< *crisnis), hair. 6. Suffixed extended form
> *kris-t-. crest, crista, cristate, from Latin crista, tuft, crest. 7.
> Suffixed extended form *krip-so-. crepe, crisp, crispate, from Latin
crispus
> (metathesized from *cripsus), curly. 8. Extended expressive form *krss-.
> crissum, from Latin crsre, (of women) to wiggle the hips during
copulation.
> 9. Perhaps reduplicated form *ki-kr-o-. circa, circadian, circinate,
> Circinus, circle, circum-, circus, cirque, search; cricoid, recherchИ,
from
> Greek kirkos, krikos, a ring. 10. Suffixed o-grade form *kor-no-. corona,
> crown, koruna, krona1, krona2, krone1, krone2, from Greek kornos, curved.
> 11. Suffixed variant form *kur-to. kurtosis, from Greek kurtos, convex.
> (Pokorny 3. (s)ker- 935.)
>
> ------------------------------
>
> Date: Thu, 11 Sep 2003 21:31:02 -0400
> From: The Jane in Spain <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm3: Misc notes (6)
>
> Spanish, butterfly, from MarМa pСsate,
> Mary alight!, MarМa, Mary + pСsate, second
> person sing. reflexive imperative of posar, to
> perch (from Late Latin pausre, to pause, from
> Latin pausa, pause).
>
> Queer as it may sound to you boyz ... Nab had a brother.
>
> ------------------------------
>
> Date: Thu, 11 Sep 2003 22:09:20 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: NPPF Comm3: Psyche images
>
> Thanks for responding to my post, David.
>
> Sonia Cavicchioli's "The Tale of Cupid and Psyche" (NY: Braziller, 2002)
> is the best, most comprehensive study of the tale of Cupid and Psyche and
> its interpretations and artistic representations that I know of.
> Cavicchioli records that "as early as the fifth century B.C., images
> appear in the Greek world of the soul represented either as a young girl
> with butterfly wings or simply as a butterfly. While the analogy between
> soul and butterfly is justified by the fact that the same term [...]
> defines them both, we must nonetheless observe that Plato, creating in
> Phaedrus the myth of the winged soul that tendsd toward perfection and
> immortality, moves in teh same direction as these images. 'The natural
> property of a wing is to raise tthat which is heavy and carry it aloft to
> a region where the gods dwell, and more than any other bodiily part it
> shares in the divine nature, which is fair, wise, and good, and possessed
> of all other such ex ellences. Now by these excellences especially is the
> soul's plummage nourished and fostered, while by their opposites, even by
> ugliness and evil, it is wasted and destroyed.'"
>
> Cavicchioli also notes that Cupid and Psyche figures appear on a funerary
> urn in the fifth century BCE, and speculates that Psyche as soul appears
> to have symbolized the soul's posthumous reunion with the god (although,
> by the time Apuleius wrote his story of C&P in "The Golden Ass" --see
> http://www.scils.rutgers.edu/special/mjoseph/Apuleius.html--the theme had
> already been secularized into a charming genre scene. Apparently,
> depictions of C&P with wings signify chthonic meanings and those without
> are simply charming.
>
> The earliest independent modern representation of a butterly within a
> graphic narrative of the story seems to have been preserved by the
> antiquarian Bernard de Montfaucon (a Benedictine in the congregation of
> Saint Maur) in 1719, in an illustration to "L'Antiquite expliquee." The
> Baroque and Classical artists made the butterfly a convention, to
> emphasize the spiritual (rather than carnal) nature of the myth
> (presumably, this licensed them to paint voluptuous nudes), a convention
> received by nineteenth century artists, such as JOhann Heinrich.
>
> About ten years ago I mounted a web page with about 50 psyche & cupid
> images, which still remains live at
> http://www.scils.rutgers.edu/special/mjoseph/images.html.
>
> Then, of course, there's the White Rock Girl ...
> http://www.whiterocking.org/psyche.html
>
> For a couple of popular critical interpretations of the APuleius story see
> http://www.scils.rutgers.edu/special/mjoseph/neumann.html (Erich Neumann)
>
>
> http://www.scils.rutgers.edu/special/mjoseph/bettelheim.html (Bruno
> Bettlehheim)
>
>
> (Note, Bettleheim's interpretation of the lamp seems to relate to
> Nabokov's use of light imagery, as in Jasper's notes, although I think
> Nabokov has a darker and more compelling image of Cupid:
>
> "When Psyche breaks the taboo by using the lamp to see Eros in the
> darkness, Bettelheim understands this as an attempt to expand her
> consciousness before she is ready for it:
>
> 'The story warns that trying to reach for consciousness before one is
> mature enough for it or through short-cuts has far reaching consequences;
> consciousness cannot be gained in one fell swoop. In desiring mature
> consciousness, one puts ones life on the line, as Psyche does when she
> tries to kill herself in desperation. The incredible hardships Psyche has
> to endure suggest the difficulties man [sic] encounters when the highest
> psychic qualities (Psyche) are to be wedded to sexuality (Eros)'
>
> (The Uses of Enchantment. NY, 1977: p. 293)
>
> and J. Schroeder Het Sprookje van Amor en Psyche in het licht der
> Psychoanalyse (1917)
>
> http://www.scils.rutgers.edu/special/mjoseph/schroeder.html
>
>
>
> Michael
>
> On Thu, 11 Sep 2003, David Morris wrote:
>
> >
> > Very nice Michael. I'll have to look at this myth again. I didn't know
Psyche
> > was represented as a butterfly/moth. Was it so in ancient times? Can
you pass
> > along some URL's or references?
> >
> > --- Michael Joseph <mjoseph@rci.rutgers.edu> wrote:
> > >
> > > light images also touch lightly on the (Cupid) Psyche imagery of the
poem.
> > > Psyche as human spirit, wed to a monster/death, harrower of hell, and
> > > ultimately immortalized by Jupiter at Cupid's request, is
conventionally
> > > represented (e.g. Gerard, David, Canova) as a butterfly, of which
Shade's
> > > poem includes abundant examples. The Greek word Psyche specifically
refers
> > > to a kind of night moth. Hazel's suicide (following her disastrous
efforts
> > > on behalf of love) occurs at night, and could, conceivably, be thought
of
> > > as a wedding to death (just as Psyche's marriage, arranged by the
oracle,
> > > is portrayed as an execution). The ambiguous nature of revelation is
> > > nicely figured in Psyche's lamplight discovery of Cupid's reposing
body--a
> > > discovery that simultaneously makes her fall deeply in love with him
and
> > > precipitates his flight that leaves her bereft: the deadly ambiguity
of
> > > the moth beating her wings against the flame.
> >
> ------------------------------
>
> End of pynchon-l-digest V2 #3546
> ********************************
>
> To unsubscribe, send a message to waste@waste.org
> with "unsubscribe pynchon-l-digest" in the message body.
From: "pynchon-l-digest" <owner-pynchon-l-digest@waste.org>
To: <pynchon-l-digest@waste.org>
Sent: Friday, September 12, 2003 12:00 AM
Subject: pynchon-l-digest V2 #3546
>
> pynchon-l-digest Friday, September 12 2003 Volume 02 : Number
3546
>
> Date: Thu, 11 Sep 2003 15:31:46 -0700
> From: "sZ" <keithsz@concentric.net>
> Subject: NPPF Jesus Crest
>
> Cedar Waxwing
>
> The Cedar waxwing is easily distinguished by its prominent crest, black
mask
> extending from above the beak to beyond the eyes, and the characteristic
red
> scales on its secondary flight feathers. It is called waxwing because the
> red scales look like sealing wax. Waxwings eat insects, fruits, and
berries
> and can often be seen passing berries or insects back and forth to each
> other while they sit eating side by side.
>
> --Tony Tilford/Oxford Scientific Films/BBC Natural History Sound Library.
> All rights reserved.
>
> crest
>
> PRONUNCIATION: krst
> NOUN: 1a. A usually ornamental tuft, ridge, or similar projection on the
> head of a bird or other animal. b. An elevated, irregularly toothed ridge
on
> the stigmas of certain flowers. c. A ridge or an appendage on a plant
part,
> such as on a leaf or petal. 2a. A plume used as decoration on top of a
> helmet. b. A helmet. 3a. Heraldry A device placed above the shield on a
coat
> of arms. b. A representation of such a device. 4a. The top, as of a hill
or
> wave. b. The highest or culminating point; the peak: the crest of a flood;
> at the crest of her career. 5. The ridge on a roof.
> VERB: Inflected forms: crest╥ed, crest╥ing, crests
>
> TRANSITIVE VERB: 1. To decorate or furnish with a crest. 2. To reach the
> crest of: crested the ridge.
> INTRANSITIVE VERB: 1. To form into a crest or crests: waves cresting over
> the seawall. 2. To reach a crest: The swollen river crested at 9 p.m.
> ETYMOLOGY: Middle English creste, from Old French, from Latin crista. See
> sker-2 in Appendix I.
>
> ENTRY: sker-2
> DEFINITION: Also ker-. To turn, bend. Presumed base of a number of
distantly
> related derivatives.
> Derivatives include shrink, ranch, rink, curve, crepe, circle, search, and
> crown.
> 1. Extended form *(s)kreg- in nasalized form *(s)kre-n-g-. a. shrink, from
> Old English scrincan, to wither, shrivel up, from Germanic *skrink-; b.
> variant *kre-n-g-. (i) ruck2, from Old Norse hrukka, a crease, fold; (ii)
> flounce1, from Old French fronce, pleat, from Frankish *hrunkjan, to
> wrinkle. Both (i) and (ii) from Germanic *hrunk-. 2. Extended form
> *(s)kregh- in nasalized form *skre-n-gh-. a. ring1, from Old English
hring,
> a ring; b. ranch, range, rank1, rink; arrange, derange, from Old French
> renc, reng, line, row; c. ringhals, from Middle Dutch rinc (combining form
> ring-), a ring. a-c all from Germanic *hringaz, something curved, circle.
3.
> Extended form *kreuk-. a. ridge, from Old English hrycg, spine, ridge; b.
> rucksack, from Old High German hrukki, back. Both a and b from Germanic
> hrugjaz. 4. Suffixed variant form *kur-wo-. curb, curvature, curve,
curvet,
> from Latin curvus, bent, curved. 5. Suffixed extended form *kris-ni-.
> crinoline, from Latin crnis (< *crisnis), hair. 6. Suffixed extended form
> *kris-t-. crest, crista, cristate, from Latin crista, tuft, crest. 7.
> Suffixed extended form *krip-so-. crepe, crisp, crispate, from Latin
crispus
> (metathesized from *cripsus), curly. 8. Extended expressive form *krss-.
> crissum, from Latin crsre, (of women) to wiggle the hips during
copulation.
> 9. Perhaps reduplicated form *ki-kr-o-. circa, circadian, circinate,
> Circinus, circle, circum-, circus, cirque, search; cricoid, recherchИ,
from
> Greek kirkos, krikos, a ring. 10. Suffixed o-grade form *kor-no-. corona,
> crown, koruna, krona1, krona2, krone1, krone2, from Greek kornos, curved.
> 11. Suffixed variant form *kur-to. kurtosis, from Greek kurtos, convex.
> (Pokorny 3. (s)ker- 935.)
>
> ------------------------------
>
> Date: Thu, 11 Sep 2003 21:31:02 -0400
> From: The Jane in Spain <lycidas2@earthlink.net>
> Subject: Re: NPPF Comm3: Misc notes (6)
>
> Spanish, butterfly, from MarМa pСsate,
> Mary alight!, MarМa, Mary + pСsate, second
> person sing. reflexive imperative of posar, to
> perch (from Late Latin pausre, to pause, from
> Latin pausa, pause).
>
> Queer as it may sound to you boyz ... Nab had a brother.
>
> ------------------------------
>
> Date: Thu, 11 Sep 2003 22:09:20 -0400 (EDT)
> From: Michael Joseph <mjoseph@rci.rutgers.edu>
> Subject: Re: NPPF Comm3: Psyche images
>
> Thanks for responding to my post, David.
>
> Sonia Cavicchioli's "The Tale of Cupid and Psyche" (NY: Braziller, 2002)
> is the best, most comprehensive study of the tale of Cupid and Psyche and
> its interpretations and artistic representations that I know of.
> Cavicchioli records that "as early as the fifth century B.C., images
> appear in the Greek world of the soul represented either as a young girl
> with butterfly wings or simply as a butterfly. While the analogy between
> soul and butterfly is justified by the fact that the same term [...]
> defines them both, we must nonetheless observe that Plato, creating in
> Phaedrus the myth of the winged soul that tendsd toward perfection and
> immortality, moves in teh same direction as these images. 'The natural
> property of a wing is to raise tthat which is heavy and carry it aloft to
> a region where the gods dwell, and more than any other bodiily part it
> shares in the divine nature, which is fair, wise, and good, and possessed
> of all other such ex ellences. Now by these excellences especially is the
> soul's plummage nourished and fostered, while by their opposites, even by
> ugliness and evil, it is wasted and destroyed.'"
>
> Cavicchioli also notes that Cupid and Psyche figures appear on a funerary
> urn in the fifth century BCE, and speculates that Psyche as soul appears
> to have symbolized the soul's posthumous reunion with the god (although,
> by the time Apuleius wrote his story of C&P in "The Golden Ass" --see
> http://www.scils.rutgers.edu/special/mjoseph/Apuleius.html--the theme had
> already been secularized into a charming genre scene. Apparently,
> depictions of C&P with wings signify chthonic meanings and those without
> are simply charming.
>
> The earliest independent modern representation of a butterly within a
> graphic narrative of the story seems to have been preserved by the
> antiquarian Bernard de Montfaucon (a Benedictine in the congregation of
> Saint Maur) in 1719, in an illustration to "L'Antiquite expliquee." The
> Baroque and Classical artists made the butterfly a convention, to
> emphasize the spiritual (rather than carnal) nature of the myth
> (presumably, this licensed them to paint voluptuous nudes), a convention
> received by nineteenth century artists, such as JOhann Heinrich.
>
> About ten years ago I mounted a web page with about 50 psyche & cupid
> images, which still remains live at
> http://www.scils.rutgers.edu/special/mjoseph/images.html.
>
> Then, of course, there's the White Rock Girl ...
> http://www.whiterocking.org/psyche.html
>
> For a couple of popular critical interpretations of the APuleius story see
> http://www.scils.rutgers.edu/special/mjoseph/neumann.html (Erich Neumann)
>
>
> http://www.scils.rutgers.edu/special/mjoseph/bettelheim.html (Bruno
> Bettlehheim)
>
>
> (Note, Bettleheim's interpretation of the lamp seems to relate to
> Nabokov's use of light imagery, as in Jasper's notes, although I think
> Nabokov has a darker and more compelling image of Cupid:
>
> "When Psyche breaks the taboo by using the lamp to see Eros in the
> darkness, Bettelheim understands this as an attempt to expand her
> consciousness before she is ready for it:
>
> 'The story warns that trying to reach for consciousness before one is
> mature enough for it or through short-cuts has far reaching consequences;
> consciousness cannot be gained in one fell swoop. In desiring mature
> consciousness, one puts ones life on the line, as Psyche does when she
> tries to kill herself in desperation. The incredible hardships Psyche has
> to endure suggest the difficulties man [sic] encounters when the highest
> psychic qualities (Psyche) are to be wedded to sexuality (Eros)'
>
> (The Uses of Enchantment. NY, 1977: p. 293)
>
> and J. Schroeder Het Sprookje van Amor en Psyche in het licht der
> Psychoanalyse (1917)
>
> http://www.scils.rutgers.edu/special/mjoseph/schroeder.html
>
>
>
> Michael
>
> On Thu, 11 Sep 2003, David Morris wrote:
>
> >
> > Very nice Michael. I'll have to look at this myth again. I didn't know
Psyche
> > was represented as a butterfly/moth. Was it so in ancient times? Can
you pass
> > along some URL's or references?
> >
> > --- Michael Joseph <mjoseph@rci.rutgers.edu> wrote:
> > >
> > > light images also touch lightly on the (Cupid) Psyche imagery of the
poem.
> > > Psyche as human spirit, wed to a monster/death, harrower of hell, and
> > > ultimately immortalized by Jupiter at Cupid's request, is
conventionally
> > > represented (e.g. Gerard, David, Canova) as a butterfly, of which
Shade's
> > > poem includes abundant examples. The Greek word Psyche specifically
refers
> > > to a kind of night moth. Hazel's suicide (following her disastrous
efforts
> > > on behalf of love) occurs at night, and could, conceivably, be thought
of
> > > as a wedding to death (just as Psyche's marriage, arranged by the
oracle,
> > > is portrayed as an execution). The ambiguous nature of revelation is
> > > nicely figured in Psyche's lamplight discovery of Cupid's reposing
body--a
> > > discovery that simultaneously makes her fall deeply in love with him
and
> > > precipitates his flight that leaves her bereft: the deadly ambiguity
of
> > > the moth beating her wings against the flame.
> >
> ------------------------------
>
> End of pynchon-l-digest V2 #3546
> ********************************
>
> To unsubscribe, send a message to waste@waste.org
> with "unsubscribe pynchon-l-digest" in the message body.