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| Paul McCartney se album tripping the live fantastic |
Dis 'n beskrywing vir dans en vreugdegevoel en meevoering - oorspronlik uit John Milton, in ou Engels.
And love to live in dimple sleek;
Sport that wrinkled Care derides,
And Laughter holding both his sides:—
Come, and trip it as ye go
On the light fantastic toe,
Ek het dit in my jong dae die eerste keer gesien op Paul McCartney se album tripping the live fantastic
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| Procol Harum se variasie in die liedjie A Whiter Shade of Pale We skipped the light fandango turned cartwheels 'cross the floor |
Interessante skrywe vanuit die perspektief van Derrida se oeuvre, Mnr Rautenbach - ek wonder of u heeltemal weet wat u hier beet het, want dit laat my snak na my asem?! Die stelling "trip it as ye go / On the light fantastic toe" sou beskou kon word in die lig van Derrida se volgende opmerking in sy boek saam met Ferraris getiteld A Taste for the Secret (2001: 51-52):
AntwoordVee uit"Naturally my heroic phantasms - I think this is
true for many Frenchmen and Frenchwomen of my generation
- usually have to do with the period of the Resistance, which
I did not experience firsthand; I wasn't old enough, and I
wasn't in France. When I was very young - and until quite
recently - I used to project a film in my mind of someone
who, by night, plants bombs on the railway: blowing up the
enemy structure, planting the delayed-action device and then
watching the explosion or at least hearing it from a distance.
I see very well that this image, which translates a deep
phantasmic compulsion, could he illustrated by deconstructive
operations, which consists in planting discreetly, with a
delayed-action mechanism, devices that all of a sudden put
a transit route out of commission, making the enemy's movements
more hazardous. But the friend, too, will have to live
and think differently, know where he's going, tread lightly."
Om Derrida se werk te lees vereis omtrent presies dit wat Milton so mooi in sy ou Engels sê: ""trip it as ye go / On the light fantastic toe" - Derrida se oeuvre vereis 'n byna bo-menslike noukeurige ligloop leesbenadering, baie soos gedigte ook van 'n mens vereis (daar is wel na so omtrent tien tekste 'n patroon te bespeure in Derrida se werk, maar hy verras/ontspoor mens tog ook weer elke keer, so dit word nooit heeltemal maklik nie - mens moet "jou distansie van distansie onderhou" ("maintain" - Frans maintenir, main - hand) [vgl. sy teks Spurs/Éperons] as jy Derrida se werk lees) - en wat vir u "soos 'n towerstaf, soos abracadabra" is?!
(vervolg in volgende opmerking)
Met abracadabra wat, soos Wikipedia dit stel, "have healing powers when inscribed on an amulet" is u inderdaad dan ook op die regte spoor, want dit is presies wat van Derrida se oeuvre gesê sou kon word vir diegene wat bereidwillig is om dit te lees - vergelyk byvoorbeeld sy teks "Plato's pharmakon" (Plato se apteek/medisyne [wat beide kan gesond maak of dood maak afhangende hoe reg dit gebruik word]) in hierdie verband.
AntwoordVee uitEk bedoel, ek praat nie eers van die onderstebo (geometriese) driehoek (met sy innuendo) betrokke in abracadabra nie, want soos Wikipedia dit stel:
"The first known mention of the word was in the third century AD in a book called Liber Medicinalis (sometimes known as De Medicina Praecepta Saluberrima) by Quintus Serenus Sammonicus,[3] physician to the Roman emperor Caracalla, who in chapter 51 prescribed that malaria sufferers wear an amulet containing the word written in the form of a triangle:
A - B - R - A - C - A - D - A - B - R - A
A - B - R - A - C - A - D - A - B - R
A - B - R - A - C - A - D - A - B
A - B - R - A - C - A - D - A
A - B - R - A - C - A - D
A - B - R - A - C - A
A - B - R - A - C
A - B - R - A
A - B - R
A - B
A"
Nou moet 'n mens weer Derrida se lesing van Plato se khora (wat 'n sekere soort houer is, soos 'n verpleegster, 'n moeder?!) lees, en dan ook weer Heidegger se skrywe oor die potterbakker se kleipot ...
Hier is wat Heidegger (1971:167) kwytgeraak het in die afdeling “The Thing” in sy werk Poetry, Language, Thought:
"When we fill the jug, the pouring that fills it flows into the empty jug. The emptiness, the void, is what does the vessel’s holding. The empty space, this nothing of the jug, is what the jug is as the holding vessel. [...] But if the holding is done by the jug’s void, then the potter who forms sides and bottom on his wheel does not, strictly speaking, make the jug. He only shapes the clay. No – he shapes the void. [...]. The vessel’s thingness does not lie at all in the material of which it consists, but in the void that holds."
The leegte (infiniteit?), of holte - soos 'n dimpel, of 'n paar dimpels!? - wat hou, was vashou ...
"And love to live in dimple sleek;
Sport that wrinkled Care derides,
And Laughter holding both his sides:—
Come, and trip it as ye go
On the light fantastic toe"
Ek lag te heerlik! Dankie vir die herinnering aan hierdie paar pragtige versreëls van Milton. Sien uit na u volgende skrywe.