some notes on caesaropoupaism (ie, some awkward methods of jocularity, or there's a poupée-pupa in my salad..)
the scene opens on the 'noble roman throat' just finished speaking, the 'adamant apple' sliding, to a deliciously wobbly 'halting state.' [notes: It is not easy to describe what is meant by 'scene' in the context of the given lines. One way would be to describe an application of the fictional hybrid, 'grande presepio-commedia dell'arte genetico,' to another fictional hybrid, the 'dadandroidal- theatrodioramasphere.' In other words, the stage set would 'sculpturally' perform an analogue to the trope of the cinematic close-up using an elaborate colonial 'organism' whose 'life-structure' was designed as the contents of the scene. The 'noble roman throat,' would most likely be a synthetic colonial metazoan, or "flesh tree," whose actual life-cyle is designed with the scene's "narr.ative" in mind. In language/literary terms, this throat would represent as part of a subtextual conceit, a sculptural-technical analogue to 'high language' (and all that 'might' mean/s), and would form one half of an intended dyad represented in texts like G.C. Cortese's _Viaggio di Parnasso_ (1621) in which he defends poetry written in dialect against the Tuscan, which was a posture Goethe found somewhat careless, lazy, and humorless, but nonetheless was consistent with the concept of the 'precepi popolari' echoed in the Neapolitan maschera of Pulcinella which formed part of the 'boundary complexity' of presepi as figura straodinaria as well as Cortese's "Viaggio."] now the chorus of 'typhonic scribes' must enter, carrying their styluses like daggers, jabbing with a vile and lovely tironian shorthand at the exposed throat of caesaropoupaism which begins to bellow, "Eat at Arcadia Egos.." [notes: The chorus of typhonic scribes is unself-evidently, not a chorus, but a pair of twins, and enacts not a singing but a writing as a form of cutting, the principle conceit of the scene now being revealed as a synecdoche of the murder of Caesar, who in this case is only a 'noble roman throat.' The typhonic scribe is also a play on 'type-phonic,' but primarily respresents a paradoxical convergence of the old greco 'monster hephaestus' with the freed slave Marcus Tullius Tiro's shorthand system. The greek reference also relates to the monstrous parody of democratos evinced by the "republicans" in enacting such a murder, or in more fuzzy terms, a ritual assault on "transitional fascism" by automatons of a grotesque chimerical hybridity of greek/roman, and democrat/republican but as servants of a primordial vulcanism of the accident, ie the producto-catastrophic immanence of mixture somehow vaguely represented by the appearance of the typhonic scribes whose skulls are not much more than hollow bowls full of writhing (write-thing) snakes, and whose scalar differand in the tableaux vivant represents a kind of objectification of their provincial meanderthrall rancor, but also paradoxically of a kind of exaltation of the freedom of Zoe to "fill in" with the baroque excess of its protean joyeuse. There is some evidence that Caesar was stabbed at least once by a writing stylus used to produce Tironian shorthand to record notes during the Roman Senate. The "Eat at Arcadia Egos" is a kind of talismanic attempt to ward off the lo-brau (read "no-mind" or "no-brow" alluding to a kind of rustic "barbary zen") scribes by using one the vulgarisations of the high latin using the letterally adapted english monster language. finally the typhonites fall on the quivering and adamantine apple-womb and tear it open cutting such illuminated and cultured phrases in highly truncated glyphics as "What a pretty throat-pupa, mate.." or "What's all this then, a lickle baby stuck in yer craw," "Suck on these Ides, Beotch.." As the lo-brau Typhoni-democratic monster scribes release the turquoise fluid of the adamantine-apple throat-womb-apple, a fully formed, fully hybrid, Minervan 'boon-child' emerges, an avatar of the immortal trickster god of languaged conflict, the Autoprogrammatic Punchinella, whose face is a constantly changing morphic grid of precious jewelled buttons, hotkeys to enact spontaneous mutation within the pleroma of semiotic substance. The Punchinella child leaps upon the scribes and drives his hands into their snake-bowl skulls as in the old maschera where pulcinella drives his hands into two bowls of spaghetti, and taking them up into the air he brandishes them cruelly intoning the words of the master bard: "Out, idle words, servants to shallow fools! Unprofitable sounds, weak arbitrators!"* The curtain closes, the folds of its drapery redolent with baroque immanence.. [notes: *(Shakespeare, The Rape of Lucrece, I, 1016) The Punchinella figure represents the baroque theme that "Language was caught in a self-defeating predicament; it could correct itself only through its own mechanism. Montaigne unveiled the paradox: Our disputes are purely verbal. I ask what is "nature," "pleasure," "circle," "substitution." The question is one of words, and is answered in the same way. "A stone is a body." -"Substance."- "And what is substance?" and so on, you would finally drive the respondent to the end of his lexicon. We exchange one word for another word, often more unknown. I know better what is man than I know what is animal, or mortal, or rational. To satisfy one doubt, they give me three; it is the Hydra's head. The figure of Puncinella perhaps relates to a figure represented in the figure of Donne: "Donne pinned his paradoxical bent of mind to puns on his own name through self-denying prose (Donne/Ann Donne/Undone): When thou hast done, thou hast not done (A Hymne to God the Father). + a poem honesty nothing noble, humid bacon spread out into webs carrying a wealth of connotation facts < appearances seed plant literal metaphorical circumstantial meaning is the nature of transformational reality ie oligogargicgorgoepiepikaustidentialuxonibblers or Sir Penhead Fortunakooky of Alphabeast Haus
