The Complete Series Annotations

(UPDATED 1/16/2016)

The following notes to Immaterial are listed by ISSUE, PAGE, and PANEL (i.e. IV.3.2 would read Issue 4, Page 3, Panel 2) with entries quoted from the text in italics. Outside sources and texts will be cited parenthetically in accordance with the list below. Repeated motifs within the text of Immaterial will be underlined and appear at the end of the note when necessary.  For corrections, additions, notes, etc. please contact Click here to view as a .pdf.

1. Annotations

I.1.1-7 “Perception, and what depends on it, is inexplicable in terms of mechanical reasons” (M.17); “Every present state of a simple substance is a natural consequence of the preceding state, the present is pregnant with the future” (M.22)

I.1.3 ether “3.a. Physics. An extremely rarefied and elastic substance formerly thought to permeate all space, including the interstices between the particles of ordinary matter, and (in later use) to be the medium by whose vibrations light and other electromagnetic radiation is propagated. Also more fully luminiferous ether. Now hist.” (OED) “There is also a Fifth Element or Quinessence, the æther; but it is found only above the moon and we mortals have no experience of it” (DI 95)

I.6.3 “A man may be a heretic in the truth” (Areopagitica, JM. 952)

I.7.2-3 “Whate’er of life all-quick’ning aether keeps, / Or breathes thro’ air, or shoots beneath the deeps, / Or pours profuse on earth, one nature feeds / The vital flame, and swells the genial seeds” (EM III, ll. 115-118) “the second nature, which is the Spirit of the Universe – that is to say, a vivifying nature” (WMA 352)

I.8.1 pandaemonium, “place of all the demons” (JM. 321) “At Pandaemonium, the high capital / Of Satan and his peers” (PL I, ll. 756)

I.8.1 “These Metaphysics of Magicians, / And Necromantic books are heavenly; / Lines, circles, scenes, letters and characters, / Ay, these are those that Faustus most desires” (DF ll. 78-81); “Anyone who enters into communication with demons must be enclosed by this circle, under penalty of certain death” (WMA 104);

II.1.5 entelechy philos. 1. In Aristotle’s use: The realization or complete expression of some function; the condition in which a potentiality has become an actuality . . . 2. a. That which gives perfection to anything, the informing spirit. b. The soul itself, as opposed to the body . . . 3. The name given by Leibniz to the monads of his system” (OED, see M)

II.4.4 disco discere didici forms of the Latin verb meaning “to learn” (W)

II.4.4 Fancher Hall cf. Mollie Fancher, the “Brooklyn Enigma,” exemplar in the Victorian “fasting girls” tradition (PPM, ???)

II.5.1 (e)idol “5. A visible but unsubstantial appearance, an image caused by reflexion as in a mirror, an incorporeal phantom” (OED) cf. n.V.25.1-2; spectre “emanation from all things” in Epicurus (???); ex nihilo “out of nothing,” often with reference to the Biblical chaos, or abyss, in Genesis; “n. Ex nihilo nihil fit, a maxim derived from Aristotle, was accepted by the Christian Middle Ages with the single exception of God having created the world out of nothing” (S 2341); “Nothing will come of nothing” (King Lear I.1 ll.88, S 2341)

III.5.9-6.1 pistle “†3. A spoken story or discourse. Freq. in to round a pistle in (a person’s) ear : to whisper a story, etc., to someone. Obs.” (OED)

III.6.11 sibyl “A figure of antiquity, which reappears in mediaeval literature and iconography, symbolizing the intuiting of higher truths and prophetic powers” (DS 325) “The Prophetic Power of the Sibyl” (AF) “’If future fate she plans ’tis all in leaves, / Like Sibyl, unsubstantial, fleeting bliss; / At the first blast it vanishes in air, / . . . / As worldly schemes resemble Sibyl’s leaves, / The good man’s days to Sibyl’s books compare, / The price still rising as in numbers less’” (NT, somewhat dubiously quoted in AF)

III.8.5 Cranach surname of either of two prominent German Proto-Renaissance painters and printmakers. A reproduction of Lucas Cranach’s Anitchrist appears in (WMA, 48)

IV.5.5 Santa Lucia Saint Lucy, cf. John Donne’s “A Nocturnall Upon S. Lucies Day, Being the Shortest Day” (JD, 34-35) For more on Donne, see n.V.15.2

V.2.3-4 cf. n.III.6.11 “In her cave she was accustomed to inscribe on leaves gathered from the trees the names and fates of individuals . . . arranged in order within the cave . . . But if perchance at the opening of the door the wind rushed in and dispersed the leaves, the Sibyl gave no aid to restoring them again, and the oracle was irreparably lost” (AF)

V.2.6 “As Aeneas and the Sibyl pursued their way back to earth, he said to her, ‘Whether thou be a goddess or a mortal beloved by the gods, by me thou shalt always be held in reverence ‘ . . . ‘I am no goddess,’ said the Sibyl” (AF)

V.5.3 Naxos “An island in the Cyclades. This island, originally called Strongyle, was renamed Dia. Later it was conquered by Carians, whose king gave it his own name, Naxos . . . Naxos, famous for its wine, was a center of [Dionysus’] worship” (HCM 390)

V.13.2 As nothing nature cannot create / From nothing can she not annihilate “What was before from earth, / The same in earth sinks back, and what was sent / From shores of ether, that, returning home, / The vaults of sky receive. Nor thus doth death / So far annihilate things that she destroys / The bodies of matter; but she dissipates / Their combinations, and conjoins anew / One element with others; and contrives / That all things vary forms and change their colours / And get sensations and straight give them o’er” (ONT II. Infinite Worlds, 11-20), see also n.II.5.1 ex nihilo

V.15.2 “For love, all love of other sights contoules, / And makes one little roome, an every where” (“The Good-Morrow,” ll.10-11; JD. 8)

V.17.2-3 cf. n.V.13.2

V.25.1-2εἴδωλον eidōlon . . . 1. an image, likeness. a. i.e. whatever represents the form of an object, either real or imaginary. b. used of the shades of the departed, apparitions, spectres, phantoms of the mind, etc. 2.the image of an heathen god. 3. a false god” (BLB) cf. n.II.5.1; “an idol is nothing in the world” (1 Cor 8:4); “Little children, keep yourselves from idols” (1 Jo 5:21)

VI.3.4-4.4 c.f. n.V.5.3

VI.6.1 labyrinth “An architectonic structure, appartently aimless, and of a pattern so complex that, once inside, it is impossible or very difficult to escape. Or it may take the form of a garden similarly patterned. . . . the terrestrial maze, as a strcture or a pattern, is capable of reproducing the celestial, and because both allude to the same idea – the loss of the spirit in the process of creation – that is, the ‘fall’ in the neoplatonic sense – and the consequent need to seek out the way through the ‘Centre’, back to the spirit” (DS 173) “A mazelike building at Cnossus, in Crete . . . built by Daedalus as a prison for the Minotaur” (HCM 335) cf. n.XI.10.1 labyrinth

VI.6.2 crown in the sky “As a marriage present [Dionysus] gave [Ariadne] a golden crown, enriched with gems, and when she died, he took her crown and threw it up into the sky. As it mounted the gems grew brighter and were turned into stars” (AF); cf. “Looke! how the crowne which Ariadne wore / Upon her yvory forehead, . . . / Being now placed in the firmament, / Through the bright heaven doth her beams display, / And is unto the stars an ornament, / Which round about her move in order excellent” (FQ VI.X ll.112-18) “Still her sign is seen in heaven, / And midst the glittering symbols of the sky / The starry crown of Ariadne glides” (Apollonius Rhodius, Argonauticae qtd. in SN) “And in the sygne of Taurus men may se / The stonys of hire coroune shyne clere;” (Chaucer, “Legends of Good Womenk” qtd. in SN) “And now the Sunne hath reared up his fierie footed teme, / Making his way between the Cuppe and golden Diademe;” (Edmund Spenser, Shepheard’s Kalendar, or Twelve Aeglogues, Proportionable to the Twelve monethes qtd. in SN) “One plac’d i’ th’ front above the rest displays / A vigorous light, and darts surprising rays — / The Monument of the forsaken Maid” (Creech, Manilus qtd. in SN) “Corona Borealis, the Northern Crown: It was the only stellar crown known to Eratosthenes and the early Greeks, but they called it Στέφανος, a Wreath . . . The Latins adopted the Greek name and adjectives in Corona borea, borealis, and septentrionalis; and further knew it as the Crown of Vulcan . . . But generally it was Ariadnaea Corona, Corona Ariadnae, [or] Corona Ariadnes . . . Keats changed this in his Lamia to Ariadne’s tiar; and others made it the Coiled Hair of Ariadne . . . Some authors, however, — Ovid among them in his Fasti [3.459-561] — said that Ariadne herself became the constellation; . . . In all ages Corona has been a favorite, popularly as well as in literature, and few of our stellar groups have had as many titles, although the English of the Middle Ages usually wrote its wearer’s name ‘Adrian’ and ‘Adriane.’ . . . The Wreath of Flowers, occasionally seen for it, is merely the early signification of the words Στέφανος and Corona. Oculus was another name of the constellation — a term common in poetry and post-Augustan prose for any celestial luminary; and Prudens called it Maera, the Shining One.” (SN)

VII.1.1 Estrus cf. Thomas Erastus, Sixteenth-Century Swiss physician, theologian, and ethicist. Proponent of what would later be somewhat dubiously termed Erastianism, a doctrine placing the state over the church in matters of discipline and punishment for sin (WMA 64)

VII.2.2-4; 3.2 “Wee like sepulchrall statues lay . . . Loves mysteries in soules doe grow, / But yet the body is his booke” (“The Exstasie,” ll.18, 71-72; JD. 39-41)

VIII.1.1 “An Exalation of Larks” (AN 58-59) lark “A spree or frolic. The word is a modern adaptation (c. 1800) of the dialectical lake, sport, from M.E. laik, play, and O.E. lac, contest. Skylark, as in skylarking about, etc., is a more recent extension; If the sky falls we catch larks. See under SKY” (BD 649) cf. n.XI.8.2

VIII.1.2 cenotaph “1. a. A commemorative monument dedicated to a person or group of people buried elsewhere; †2. An empty tomb, from which the person interred has risen. Also fig. Obs.grisaille “a. A method of decorative painting in grey monochrome to represent objects in relief; a work, e.g. a stained-glass window, executed according to this method. Also fig.” (OED)

VIII.1.4 armillary sphere “n. a skeleton celestial globe or sphere, consisting merely of metal rings or hoops representing the equator, ecliptic, tropics, arctic and antarctic circles, and colures, revolving on an axis, within a wooden horizon.” armilla 2. ‘One of the Coronation Garments.’ Bailey 1721 . . . 4. An ancient astronomical instrument, consisting of a circular hoop fixed in the plane of the equator (Equinoctial Armilla), sometimes crossed at right angles by another fixed in the plane of the meridian (Solstitial Armilla). The shadows cast on the concave surfaces of these indicated the recurrence of the equinoxes and solstices.” (OED)

VIII.5.4 curator “†2 One who has the cure of souls” (OED)

VIII.6.1 “The bisy larke / messager of the day” (CT ll.633)

VIII.6.7 “to answer thy desire / Of knowledge within bounds; beyond abstain / To ask, nor let thine own inventions hope / Things not revealed, which th’ invisible King, / Only omniscient, hath suppressed in night, / To none communicable in Earth or Heaven: / Enough is left beside to search and know” (PL VII, ll.119-125)

VIII.7.3 kyrielle “1. A long rigmarole. 2. A kind of French verse divided into little equal couplets and ending with the same word which serves for the refrain. [1887 Sat. Rev 3 Dec. 770/1   Among the verse-forms . . . The kyrielle, of which we have three specimens, is not a form at all, and ought to have been discarded.] (OED)

VIII.7.4 The kyrie eleison is most often omitted during Palm Sunday mass (—)

VIII.7.5 “A lark in the mesh of the tangled vine,” John Payne (1842-1916) (FV)

VIII.8.1Gen. Alauda. Sky-larks. XIII. Lāwerce. Sky-lark or laverock (alauda arvensis). ME. larke; Icel. lævirki; G. lerche . . . L. 31: laudae, laurice” (JEGP)

VIII.8.2 “XXIV THE LARK FAMILY (Alaudidæ) There are a good many kinds of larks in the world, but only one comes to us, the Horned Lark, or shore lark . . .” (CBB)

IX.2.6 “Ere day began to spring ; The tuneful lark already stretch’d her wing,” John Dryden (PA)

IX.3.5Clochette magique et son usage [The Magic Handbell and its Usage]; the bell is otherwise called ‘the necromantic bell of Girardius’” (WMA 171)

IX.3.7 “Men had believed from time immemorial that the four elements were inhabited by as many kinds of genii known as ‘elementals’; salamanders frequented fire, sylphs the air, undines frolicked in water . . .” (WMA 315)

IX.4.2Terras Astraea reliquit [Astrea has abandoned the earth] (MET 1.150)” Titus Andronicus, IV.III ll.4 (S 446) Astraea “ Justice, innocence. During the GOLDEN AGE this godess dwelt on earth, but when sin began to prevail, she recluctantly left it, and was metamorphosed into the constellation VIRGO” (BD 57-58)

IX.6.5 “The Vase, or Philosophic Egg, in which the Work is completed, is no less mysterious. It is known as the aludel, and the furnace which contains it as the athanor, and yet they are but one and the same thing” (WMA 370) Alembic.1. Chem. An early apparatus used for distilling, consisting of two connected vessels . . . containing the substance to be distilled, and a receiver or flask in which the condensed product is collected. Now hist.” (OED) cf. “Love’s Extasie” (JD)

IX.7.4 “The glow-worm shows the matin to be near, / And gins to pale his uneffectual fire” Hamlet 1.5 ll.89-90 (S 1714)

IX.8.4 “The athanor, or furnace, in which transmutation is effected is a matrix in the shape of an egg, like the world itself . . . And again just as the Spirit of the Lord – Ruach Elohim – moved upon the face of the waters, so must float over the waters of the athanor the spirit of the world, the spirit of life which the alchemist must be skillful enough to master” (WMA 350) “The operation of the Great Work is completed with fire, yet here again it is not common fire, which is a brutal and fratricidal fire, destroying instead of creating, but the Fire of the Philosophers, the Fire of the Sages, which does not burn at all, but vivifies” (WMA 368-89)

IX.8.5 “That at the summit of the arch says, ‘Get ye far hence, O ye profane!’ and on the lower curve is Omnia in omnibus – ‘All is in all.’” in “The Door of the Sanctuary and the Stairway of the Sages” (1609) by Heinrich Khunrath in Amphitheatrum sapientiæ æternæ christiano-kabalisticum (WMA 209-10)

IX.9.2 “1836  Penny Cycl. V. 332/2   The hemispheres of the cerebrum are united chiefly by a broad expansion of medullary matter . . . called the corpus callosum, or the great commissure of the brain” (OED)

IX.9.4 “A child of the mind or ‘homonculus.’ The homonculus theme was borrowed by the alchemists from the Cabbalists, who were said to possess the power to create artificial human beings (Golem)” (PH 118)

X.1.5 “Latin cicātrix, a scar. In scientific use it takes the place of cicatrice. 1. Pathol. The scar or seam remaining after a wound, sore, or ulcer is healed. Also fig.; 2. Bot. The scar left by the fall of a leaf, frond, etc.; the hilum of seeds.” (OED)

X.4.1 illuminated “5. a. Of letters, writing, manuscripts, etc.: Adorned with brilliant colours, metallic pigments, etc . . . Also as n. rare; b. College slang. Of a text: Having an interlinear translation” incunabula “ 2. (With sing. incunabulum.) Books produced in the infancy of the art of printing; spec. those printed before 1500;  3. Ornithol. The breeding-places of a species of bird” (OED) “’Note that nothing can be done to invoke spirits without a circle’ . . . it must be traced with the arthame, or concecrated knife . . . ‘thou shalt make four Pentacles with the names of the Creator, and beyond these two circles thou shalt make a circle within a square by means of the said arthame, as the circle here drawn will show and demonstrate to thee” Clavicules de Salomon (WMA 104) bĕdolach bdellium (BLB) “And the gold of that land is good; bdellium and onyx stone are there” (Gen 2:12) “Now the manna was like corriander seed, and its color was like the color of gum resin” (Num 11:7) lauraceae “Chaucer Parl. Foules 182  The victor palm, the laurer [v.rr. lawrer, laureol] to deuyne” (OED)

X.4.4 quincunx “1. a. A pattern used for planting trees in which they are arranged in one or more groups of five, so placed that four occupy the corners of a square or rectangle and the fifth occupies its centre; a group or plantation of trees laid out in this manner; b. In extended use: an arrangement of five objects in this pattern; a set of five so arranged” (OED) chirograph c. An obligation or bond given in one’s own handwriting” (OED) “God Who sets, as it were, a seal in the hand of all men that they may discover their works” (WMA 262) “A special place must be given to the divination known as catoptromancy, or crystallomancy, which was performed with a magic mirror or lens . . . In the twelfth century John of Salisbury calls the practitioners of this method speculatorii” (WMA 304) palas laca bachabe . . . “’Now thou shalt enter into this circle of the Art; thou shalt have with thee the Pentacles.’ We must inquire what these pentacles are . . . Others like them are found in Le Miracle de Théophile, by the celebrated thirteenth-century trouvére Ruteboeuf, where we find the sorcerer Salatin conjuring the Devil in terms not belonging to any known language . . . In another thirteenth-century miracle play by Jean Bodel, of Arras, entitled C’est li Jus de Saint Nicholai, Tervagans yields his soul to the Devil with the words . . . We find the same language again, nearly four centuries later, in Rembrandt’s fine etching, Dr Faustus” (WMA 109)

X.7.1 “Cassiopeia, [Cephus’] queen, proud of her beauty, had dared to compare herself to the Sea-Nymphs, which roused their indignation to such a degree that they sent a prodigious sea-monster to ravage the coast. To appease the deities, Cephus was directed by the oracle to expose his daughter Andromeda to be devoured by the monster” (AF) “Or that starred Ethiop queen that strove / To set her beauty’s praise above / The sea nymphs, and their powers offended” Il Penseroso ll.19-21 “She is starred because after her death Neptune transformed her into a constellation” [cf. n.VI.6.2] (JM 47) “The Alfonsine tables and AraboLatin Almagest described the figure as habens palmam delibutam, ‘Holding the Consecrated Palm’, from some early drawing that is still continued; but how the palm, the classic symbol of victory and Christian sign of martyrdom, became associated with this heathen queen does not appear” (SN) “Above the shiny Cassiopeia’s Chair, / And all in deadly sleep did drowned lie” (FQ I.III) cf. “Take up the sword of justice / B.P. ; printed by David Allen & Sons Ld., Harrow, Middlesex. / Artist Partridge Bernard / [Color Lithograph] showing a figure rising from the sea to offer a sword, with a sinking ship and drowning victims in the distance. Refers to the sinking of the Lusitania.” (Library of Congress) palm “A classic emblem of fecundity and victory” (DS 249)

X.10.2-3 cf. n.VIII.6.7

X.10.6 cf. n.X.4.4 speculatorii

X.11.1 “We know that the Romans practiced haruspicy, which consisted in the inspection of the entrails of slaughtered animals . . . These barbarous processes had little interest, but were still preserved by Christians down to the eleventh century, and were the object of many conciliar interdictions” (WMA 299)

XI.1.4 umbra “1.a. The shade of a deceased person, a phantom or ghost. Also fig. 4. astron. a. The shadow cast by the earth or moon as visible in an eclipse; now spec. that portion in which the shadow is complete, as contrasted with the penumbra” (OED)

XI.1.4 cenotaph cf. n.VIII.1.2

XI.1.4 “I do haunt you still” (DM I.I ll.30)

XI.2.1 Charon “The ferryman of Hades. Charon ferried the souls of the dead who had been properly buried across the river Styx (or Acheron) into Hades. For this service he charged a feel of one obol, and the dead were consequently buried with this required fare in their mouths” (HCM 159)

XI.2.1 obol or obolus cf. n. XI.2.1

XI.2.1 viatical, in viaticum “(etymology: Latin viāticum travelling-money, provision for a journey)  1. Christian Church. The Eucharist, as administered to or received by one who is dying or in danger of death. 2. a. A supply of money or other necessaries for a journey; a sum given or taken to cover travelling expenses” (OED)

XI.2.2 Eidolos cf. n.II.5.1 and V.25.1-2

XI.2.4 corpselight or corpse candle “The Ignis Fatuus is so called by the Welsh because it was supposed to forbode death, and to show the road the corpse would take. The large candle at Lich Wakes was similarly named. ‘When any Christian is drowned . . . there will appear over the water where the corpse is, a light, by which means they do find the body’ Aubrey, Miscellanies (1721) p. 179” (BD 275) Ignis Fatuus “The ‘Will o’ the wisp’ or ‘Friar’s lanthorn’, a flame-like phosphoresence flitting over marshy ground . . . and deluding people who attempt to follow it” (BD 584)

XI.3.1 diadexis Med. Obs.—0 A transposition of humours in the body from one place to another” (OED) “But in our bodies [the elements] combine to form the Humours. Hot and Moist make Blood; Hot and Dry, Choler; Cold and Moist, Phlegm, Cold and Dry, Melancholy” (DI 169-70)

XI.3.1 with waxen eye and open grave / Anoint “’At this time they gave me the sacrament of the anointing of the sick, and from hour to hour or moment to moment they thought I was going to die; they did nothing but recite the Creed to me, as if I were able to understand them.  At times they were so certain I was dead that afterwsards I even found the wax on my eyes.’” (The Collected Works of Saint Teresa of Avila: The Book of Her Life, Chapter 5 in AE —)

XI.3.1 chtonic in Chtonian Demons “They are symbols of thanatic forces, of the death-wish in various guises: the subtle fascination of dreams . . . The quest for death – extremes meet (because of the curve of the conceptual line) – is apparent in limit-situations, not only in the negative aspect but also – and principally – at the peak of the affirmative. That is, vital optimism and perfect happiness of necessity imply the other extreme, that is, the presence of death” (DS 46)

XI.3.1 crown “[Crowns] were also once a funereal-symbol. The metal crown, the diadem and the crown of rays of light, are symbols of light and of spiritual enlightenment” (DS 72) cf. n.VI.6.2

XI.3.1 pharmakon “In Plato’s Phaedrus, the Egyptian god of writing—Theuth or Thoth—offers King Thamus writing as a ‘remedy’ (‘pharmakon’) that can help memory. Thamus refuses the gift on the grounds that it will only create forgetfulness: for him, it is not a remedy for memory itself, but merely a way of reminding. Writing is thus a ‘poison’ (‘pharmakon’). In his reading of the Phaedrus, Derrida focuses on the ‘pharmakon’—which can also mean philtre, drug, recipe, charm, medicine, substance, spell, artificial colour, and paint—as that which produces a flickering and disorienting play in conceptual/ philosophical oppositions: remedy/ poison, good/ bad, true/ false, positive/ negative, interior/ exterior. According to Derrida, the pharmakon of writing itself cannot be reduced to the series of oppositional concepts that it precedes and produces (see Dissemination 103).” (J)

XI.3.1 sleep, the ocean between days cf. I.4.1

XI.3.1 similia similibus curantur “(Lat.) Like cures like” (BD 1036)

XI.3.1 “Tell my brothers / That I perceive death, now I am well awake” (DM V.2 ll.166-67)

XI.5.2 audible illusion cf. Shepard Tone A cyclical sequence of tones that appears to rise indefinitely; “A single Shepard tone consists of the same ‘note’ played in seven different octaves . . . what our ear hears it interprets as the note A of the scale—not the pure tone of A in some particular octave, but rather a rich harmonic mixture of the A notes from seven adjacent octaves of which the central one” (ST)

XI.5.2 penrose or penrose stairs An impossible object or optical illusion consisting of “a flight of stairs which only ever ascended or descended, depending on how you saw it. [The stairs] form a closed, circular construction, rather like a snake biting its own tail. And yet they can be drawn in correct perspective: each step higher (or lower) than the previous one” cf. M.C. Escher’s Klimmen en dalen and Waterval (—)

XI.5.2 crown celestial cf. n.VI.6.2

XI.5.2 quire “Originally: a small book or pamphlet, esp. one consisting of a set of four sheets of parchment or paper folded in two so as to form eight leaves; (also) a short poem, treatise, etc., which is or could be contained in such a book. Later more generally: any book (containing literary work). Now rare (chiefly Sc. and lit.). †c. Sc. A gathering of sheets of gold or silver leaf. Obs. The precise number of sheets constituting a quire is uncertain; Dict. Older Sc. Tongue (at Quair) suggests that a book (book n. 7a) was composed of twelve (or occas. thirteen) quires)” also choir “ b. transf. and fig. of angels, birds, echoes, etc. 4. Each of the nine orders of angels in the heavenly hierarchy” (OED)

XI.5.3 disjecta membra “(Lat.) Scattered limbs, remains, fragments. The phrase occurs in Ovid (MET III, 724) — and Horace has “Etiam disjecti membra poetæ” (BD 338)

XI.8.1 sub divo “(Lat. divum, sky). Under the open sky; in the open air” (BD 1079) cf. n.XI.10.1

XI.8.1 unwept “unwept, unwrapped in sepulchre . . . I bid remember me, unwept, unburied” (C)

XI.8.1 “Tired Nature’s sweet restorer, balmy Sleep!” (NT 1)

XI.8.1 diadem of stars cf. n.VI.6.2

XI.8.1 ringed-in-rose cf. rose in n.XI.10.1

XI.8.1 island cf. n.V.5.3

XI.8.1 armilla cf. n.VII.1.4

XI.8.1 Adymus “The Cretans called [Phæton] Adymus, by which they meant the morning and evening star (Hesiod, Theogony, 986; Solinus, xi:9; Nonnus, Dionysiaca, xi:131 and xii:217)” —

XI.8.2 Phæton “In classical myth, the son of Phœbus (the Sun); he undertook to drie his father’s chariot . . . [and] would have set the world on fire had not Zeus transfixed him with a thunderbolt” (BD 855) “And o’er the tomb an epitaph devise: / ‘Here he,who drove the sun’s bright chariot, lies; / His father’s fiery steeds he cou’d not guide, / But in the glorious enterprise he dy’d” (MET II, ll.358-88) “Gallop apace, you fiery-foted steeds, / Towards Phœbus’ lodging. Such a waggoner / As Phæton would whip you to the west / Amd bring in cloudy night immediately.” (Romeo and Juliet III.2 ll.1-4, S 941) The Fall of Phæton by Johan Liss (c. 1624) (NG6641)

XI.8.2 if the sky falls, we catch larks “A bantering reply to those who suggest some very improbable or wild scheme” (BD 1042)

XI.10.1 in Architecture “Such temples [as Gothic cathedrals] often include essential elements from the mandala symbolism (that is, the squaring of the circle . . . ) . . . One of the specfic symbols of —

XI.10.1 “'[But] spiritual experience, like spatial experience,’ Worringer wrote, ‘is something apart from everything intellectual and abstract, something that is directly fed by our senses’ (172 [118]). Space to Worringer is immaterial, apart from all natural things, abstract but rendered into being by definite constructional properties . . . it ‘lifted [man] above his earthly limitations and his inner wretchedness . . . that he could experience the awe of eternity” (IC 114)

XI.10.1 temenosAncient Greek Hist. A piece of ground surrounding or adjacent to a temple; a sacred enclosure or precinct.” (OED) “The symbol of the mandala has exactly this meaning of a holy place, a temenos, to protect the centre. And it is a symbol which is one of the most important motifs in the objectivation of unconscious images. It is a means of protecting the centre of the personality from being drawn out and from being influenced from outside. [“The Tavistock Lectures,” CW 18, par. 410.]” (J) cf. magic circle in n. X.4.1 and rose in XI.10.1 “This is also the ‘rose garden of the philosophers, which we know from the treatises on alchemy and from many beautiful engravings” (CJ 118) “The symbolism goes back to dream 13 . . . where we met the mandala garden of the philosophers with its fountain of aqua nostra . . . Circle and basin emphasise the mandala, the rose of Medieval symbolism . . . The ‘rose garden of the philosophers’ is one of alchemy’s favourite symbols” (CJ 174)

XI.10.1 fractal “Fractals belong to a non-Euclidian way of looking at the universe. They are geometric shapes or patterns that help to describe the forces of growth . . . In 1975 the French mathematician Benoit Mandelbrot defined fractals as objects that do not lose their detail or their proportions when they are magnified or shrunk, even to the microscopic level . . . Fractals are popularly supposed to be associated with the mathematics of chaos, but they are, in fact, very ordered – just millions of of interlocking, self-replicating, natural objects. They only look chaotic yet are governed by a definite geometry” (SG 58-59)

XI.10.1 RayonnantNow rare. 3. Archit. Designating a type of Gothic architecture common in France in the medieval period, characterized by rose windows with radiating arrangements.” (OED)

XI.10.1 rose, in Sub Rosa (Lat.), or Under the Rose “Hence the flower became the emblem of silence and was sculptured on the ceilings of banquet-rooms, to remind guests that what was spoken sub vino was not to be repeated sub divo [cf.n.XI.8.1]. In the 16th century it was placed over confessionals” (BD 966) cf. n.XI.8.1 also Flower of Life “The most common form of the ‘Flower of Life’ is a hexagonal pattern (where the center of each circle is on the circumference of six surrounding circles of the same diameter), made up of 19 complete circles and 36 partial circular arcs, enclosed by a large circle . . . The complete flower also contains the three dimensional metatron cube, which holds all the Platonic solids; not just the building blocks of life, but the building blocks of creation itself” cf.n.XI.10.1 metatron (SG) “The fulfilment symbolised by the androgyne is also expressed by the ‘rose’. In all traditions of magic, as in dreams also, the rose symbolises achievement of the self, and the blossoming of personality” (PH 125) “The single rose is, in essence, a symbol of completion, of consummate achievement and perfection. Hence, accruing to it are all those ideas associated with these qualities: the mystic Centre [cf. n.XI.10.1 labyrinth], the heart, the garden of Eros, the paradise of Dante, the beloved, the emblem of Venus, and so on. . . . When the rose is round in shape, it corresponds in significane to the mandala. The seven-petaled rose alludes to the septenary pattern (that is, the seven Directions of Space, the seven days of the week, the seven planets, the seven degrees of perfection)” (DS 275)

XI.10.1 labyrinth “The symbol of the ‘Centre’, the blue rose, the golden flower, way out to the labyrinth – all these can allude to the meeting and ‘conjunction’ of the conscious and the unconscious, as of the union of the lover and the beloved” (DS 26) cf. n.VI.6.1

XI.10.1 lunate “The lunations surrounding the labyrinth: The outer edge of the labyrinth at Chartres is marked by a circle of crescent shapes called lunations. There are 114 lunations, of which two are only partly present to allow for the entrance. This suggests a lunar symbolism for the labyrinth” (SG 135)

XI.10.1 icthys “The fish became a promitive Christian symbol, principally on the basis of the anagram drawn from the name for fish: ichthys, the initials standing for ‘I-ησους X-ριστος θ-εου Υ-ιος Σ-ωτηρ. Then it came to be taken as a symbol of profound life, of the spiritual world that lies under the world of appearances, the fish representing the life-force surging up” (DS 107)

XI.10.1 Metatron “post-biblical Hebrew mĕṭaṭrōn (also in forms mēṭaṭrōn and maṭṭaṭrōn), of uncertain origin. Judaism. In Talmudic, Midrashic, and mystical writing: a supreme angelic being” (OED) Metatron’s Cube stellated tetrahedron containing the flower of life and all five platonic solids (SG 54-55)

XI.10.1 cithern in Cithara “A symbol of the cosmos, its strings corresponding to the levels of the universe. Being rounded on one side and flat on the other (like the turtle), it comes to signify the synthesis of heaven and earth” (DS 48)

XI.10.1 demiurge “(Gr. Demiourgos, artisan, handicraftsman, etc.). In the language of the Platonists, that mysterious agent which made the world and all that it contains. The Logos, or Word, spoken of by St. John in the first chapter of his gospel, is the Demiurgus of Platonizing Christians” (BD 324)

XI.10.1 zeitgeist “German, < zeit time + geist spirit. The spirit or genius which marks the thought or feeling of a period or age” (OED) cf. I.10.4

XI.10.1 geometer, in creation “God is also represented measuring the earth with a pair of compasses” (SSA 77) also compasses “An emblematic representation of the act of creation, found in allegories of geometry, architecture, and equity. By its shape, it is related to the letter A, signifying the beginning of all things. It also symbolizes the power of measurement, of delimitation” (DS 61)

XI.10.1 gold mouth in golden “n. used to render the name Chrysostom (see gilden adj. 1b) . . . In renderings of χρυσόστομος (‘Chrysostom’) ‘golden-mouthed’, the posthumous cognomen of the great preacher John archbishop of (Constantinople died 407)” chrysostomic “<Greek χρῡσόστομος golden-mouthed, an epithet applied to favourite orators, which became a kind of surname of Dio and John Chrysostom. rare. Golden-mouthed.” (OED)

XI.11.4 “The crash to earth thus leads into the depths of the sea, into the unconscious” (PA 118) cf. n.XI.8.1 Phæton


XII.6.1 “A crystal ball, a lighted candle, a photograph of the young girl who died: these are all that is required for the clairvoyant to establish contact between the dead girl and her mother and to pass on messages” (PH 299)

XII.8 — “Belief in the magic word is rooted in the ancient belief not only in the identity of the self with its name, but also the power inherent in names. To speak the name of a supernatural being, sometimes even to know it, gave one the power to invoke that being. In the evolution of magic, however the manipulation of the words and formulas themselves gradually superseded the importance of the name or the meaning of the word, until the more incomprehensible or fantastic the word, the more power in it” (FML 4)

2. Sources

AE The Art of Ecstacy, Robert T. Peterson

AF Bulfinch’s Mythology: Age of Fable, Thomas Bulfinch

AN An Exalation of Larks or, The Venereal Game, James Lipton

BD Brewer’s Dictionary of Phrase & Fable, Centenary Edition. Ivor H. Evans, Ed.

BLB Blue-Letter Bible, (Hebrew Dictionary)

C Cantos, Ezra Pound

CBB The Children’s Book of Birds, Olive Thorne Miller

CJ Psychology and Alchemy, C.J. Jung

CT The Canterbury Tales, Geoffrey Chaucer

DDL Demonology and Devil-Lore, Moncure Daniel Conway

DF Doctor Faustus, Christopher Marlowe

DS A Dictionary of Symbols, J.E. Circlot

DI The Discarded Image, C.S. Lewis

DM The Duchess of Malfi, John Webster

EM Essay on Man, Alexander Pope

FML Standard Dictionary of Folklore, Mythology, and Legend, Maria Leach, Ed.

FQ The Faerie Queene, Edmund Spenser

FV Forms of Verse – Kyrielle, Alberto Ríos (Arizona State University)

HCM The Meridian Handbook of Classical Mythology, Edward Tripp

IC Invisible Cathedrals, Neil H. Donahue, Ed.

J Jung Lexicon: A Primer of Terms & Concepts, Daryl Sharp (NYAAP)

JEGP Journal of English and Germanic Philology, Volume 2, Gustaf E. Karsten, Ed.

JD The Complete Poetry and Selected Prose of John Donne, Modern Library

JM The Complete Poetry and Essential Prose of John Milton, Modern Library

M The Monadology, G. W. Leibniz

MET Metamorphoses, Ovid

NT Night-Thoughts or, Night-Thoughts on Life, Death, & Immortality, Edward Young

O The Occult, Colin Wilson

OAB The New Oxford Annotated Bible, NRSV

OED Oxford English Dictionary

ONT Of the Nature of Things, Titus Lucretius Carus

PA Palamon and Arcite, John Dryden

PH A Pictorial History of Magic and the Super-Natural, Maurice Bessy

PL Paradise Lost, John Milton

PPM The Physical Phenomena of Mysticism, Herbert Thurston

S The Norton Shakespeare, Second Edition

SG Sacred Geometry, Stephen Skinner

SN Star Names: Their Lore and Meaning, Richard H. Allen

SSA  Dictionary of Subjects & Symbols in Art, James Hall

ST Shepard Tones, Richard Palais

VS Violence and the Sacred, René Girard (trans. Patrick Gregory)

WMA Witchcraft Magic & Alchemy, Grillot de Givry trans. J Courtenay Locke

W Words (Latin), William Whitaker (University of Notre Dame archives)


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