It is Said that They are DECEIVERS

How about Two Snakes 

coming together over 

A Black Sun? 

A magnificent 

standard. 

The only snakes I know of are 

those of Set, in those cursed towers. 

They have spread to every city. 

Two, three years ago, it was just 

another snake cult. Now, everywhere. 

It is said that They 

are DECEIVERS...

They murder people 

in The Night -- 

.....I know nothing. 

 

warlock (n.)

Old English wærloga "traitor, liar, enemy, devil," from wær "faith, fidelity; a compact, agreement, covenant," from Proto-Germanic *wera- (source also of Old High German wara "truth," Old Norse varar "solemn promise, vow"), from PIE root *were-o- "true, trustworthy." Second element is an agent noun related to leogan "to lie" (see lie (v.1); and compare Old English wordloga "deceiver, liar").

Original primary sense seems to have been "oath-breaker;" given special application to the devil (c. 1000), but also used of giants and cannibals. Meaning "one in league with the devil" is recorded from c. 1300. Ending in -ck (1680s) and meaning "male equivalent of a witch" (1560s) are from Scottish. 

Related: Warlockery.

Entries linking to warlock

lie (v.1)

"speak falsely, tell an untruth for the purpose of misleading," Middle English lien, from Old English legan, ligan, earlier leogan "deceive, belie, betray" (class II strong verb; past tense leag, past participle logen), from Proto-Germanic *leuganan (source also of Old Norse ljuga, Danish lyve, Old Frisian liaga, Old Saxon and Old High German liogan, German lügen, Gothic liugan), a word of uncertain etymology, with possible cognates in Old Church Slavonic lugati, Russian luigatĭ; not found in Latin, Greek, or Sanskrit. Emphatic lie through (one's) teeth is from 1940s.

*were-o- 

*wērə-o-, Proto-Indo-European root meaning "true, trustworthy."

It forms all or part of: aver; Varangian; veracious; veracity; verdict; veridical; verify; verisimilitude; verism; veritas; verity; very; voir dire; warlock.

It is the hypothetical source of/evidence for its existence is provided by: Latin verus "true;" Old Church Slavonic vera "faith," Russian viera "faith, belief;" Old English wær "a compact," Old Dutch, Old High German war, Dutch waar, German wahr "true;" Welsh gwyr, Old Irish fir "true."

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Trends of warlock

Iowa

organized as a U.S. territory 1838; admitted as a state 1846, named for the river, ultimately from the name of the native people, of the Chiwere branch of the Siouan family; said to be from Dakota ayuxba "sleepy ones," or from an Algonquian language (Bright cites Miami/Illinois /

boggle

1590s, "to start with fright (as a startled horse does), shy, take alarm," from Middle English bugge "specter" (among other things, supposed to scare horses at night); see bug (n.); also compare bogey (n.1), boggart. The meaning " hesitate, stop as if afraid to proceed in fear of

giant

c. 1300, "fabulous man-like creature of enormous size," from Old French geant, earlier jaiant "giant, ogre" (12c.), from Vulgar Latin *gagantem (nominative gagas), from Latin gigas "a giant," from Greek Gigas (usually in plural, Gigantes), one of a race of divine but savage and m

Friday

sixth day of the week, Old English frigedæg "Friday, Frigga's day," from Frige, genitive of *Frigu (see Frigg), Germanic goddess of married love. The day name is a West Germanic translation of Latin dies Veneris "day of (the planet) Venus," which itself translated Greek Aphrodite

conceit

late 14c., "a thought, a notion, that which is mentally conceived," from conceiven (see conceive) based on analogy of deceit/deceive and receipt/receive. The sense evolved from "something formed in the mind" to "fanciful or witty notion, ingenious thought" (1510s), to "vanity, ex

palate

late 14c., "roof of the mouth of a human or animal; the parts which separate the oral from the nasal cavity," from Old French palat and directly from Latin palatum "roof of the mouth," also "a vault," which is perhaps of Etruscan origin [Klein], but de Vaan suggests an IE root me

lead

"to guide," Old English lædan (transitive) "cause to go with oneself; march at the head of, go before as a guide, accompany and show the way; carry on; sprout forth, bring forth; pass (one's life)," causative of liðan "to travel," from Proto-Germanic *laidjanan (source also of O

anatomy

late 14c., "study or knowledge of the structure and function of the human body" (learned by dissection); c. 1400, "anatomical structure," from Old French anatomie and directly from Late Latin anatomia, from late Greek anatomia for classical anatomē "dissection," literally "a cutt

emotion

1570s, "a (social) moving, stirring, agitation," from French émotion (16c.), from Old French emouvoir "stir up" (12c.), from Latin emovere "move out, remove, agitate," from assimilated form of ex "out" (see ex-) + movere "to move" (from PIE root *meue- "to push away"). The sense

stop

Middle English stoppen, "obstruct (a passage) with a physical barrier; close up by filling, stuffing, or plugging," from Old English -stoppian (in forstoppian "to stop up, stifle"), a general West Germanic word, cognate with Old Saxon stuppon, West Frisian stopje, Middle Low Germ

Share warlock

The Matrix Screen

Drathro's 'Castle'

(The Villagers weeding The Crops don't even 

look up as the L-1 Service Robot trundles past --

perhaps because they cannot SEE it?)

DRATHRO: 

HABITATIONS.

TANDRELL: 

Only Man makes habitations.

DRATHRO: 

ALL LIFE PERISHED IN THE FIRE.

IF MEN NOW LIVE ON THE SURFACE, 

THEY MUST HAVE COME 

FROM MY BIOSPHERE.

TANDRELL: 

How can that 

be possible?

HUMKER: 

It is forbidden.

TANDRELL: 

All Work-units 

obey Your Orders.

DRATHRO: 

SOME MUST HAVE ESCAPED. 

BEEN HELPED TO ESCAPE --

THAT IS WHAT HAS HAPPENED.

HUMKER: 

Is it important?

DRATHRO: 

THEY'RE OUT OF CONTROL,

OUTSIDE THE PLAN.

TANDRELL: 

They're outlaws.

DRATHRO: 

NOW MY EXISTENCE IS THREATENED.

THEY HAVE DESTROYED 

THE SOURCE OF MY ENERGY.

TAKE MEASURES, CREATE 

A DEFENSIVE SYSYEM, 

IDENTIFY AND DESTROY 

THE TRAITORS.

[Trial room]

Mister Six : 

All this is irrelevant 

and hypothetical.

Mister Black : 

Background Testimony.

Mister Six :

 What possible value does 

The Farmyard, here think 

there is in listening to some 

half-incapacitated robot, and 

a couple of diminutive nit-wits who 

might as well be robots?

INQUISITOR: 

You're allowing Your Disrespect 

to show again, Doctor.

Mister Six : 

I'm sorry, Ma'am..... but 

The Question still stands.

INQUISITOR: 

As prosecutor, The Valeyard has The Right 

to include any evidence he considers 

to be relevant, provided he can

justify its inclusion.

Mister Six : 

But any record relating to persons 

not in My Presence must 

be sheer conjecture.

Mister Black : 

The Accused is clearly ignorant 

of the latest methods of 

surveillance, My Lady.

INQUISITOR: 

This evidence is taken from The Matrix, 

a knowledge-bank fed constantly by 

the experiences of all Time Lords, 

wherever they may be.

Mister Six : 

Yes, yes, yes, yes, yes, Ma'am. I know that. 

My whole point is, that I'm not.

INQUISITOR: 

Not what?

Mister Six : 

Not part of the scenes being shown 

by The Scrapyard, here. 

.....I'm sorry, Valeyard. 

Force of habit, I apologise.

Mister Black : 

Doctor, the experience 

of Third Parties can also 

be monitored and 

accessed if needed, as

  long as they are within 

the collection range 

of a TARDIS.

Mister Six : 

Oh.... 

But My TARDIS is 

an old model --

....are You telling Me, it's 

been bugged without 

my knowledge?

INQUISITOR: 

"Bugged"?

Mister Black : 

It is a reference apparently 

to the new surveillance 

system, My Lady. 

The expression derives 

from an Earth term.

INQUISITOR: 

I see. I think we are wasting time 

on an unimportant issue. 

Continue The Evidence, Valeyard --

 

THE BURDEN OF ISIS

BEING THE LAMENTS OF ISIS AND NEPHTHYS

TRANSLATED FROM THE EGYPTIAN

WITH AN INTRODUCTION

BY JAMES TEACKLE DENNIS

LONDON

JOHN MURRAY, ALBEMARLE STREET, W.

FIRST EDITION March, 1910

REPRINTED July, 1918

Scanned at sacred-texts.com, May 2002, J.B. Hare, redactor. This text is in the public domain. These files may be used for any non-commercial purpose, provided this notice of attribution is left intact.

p. 6

TO MY WIFE, THE SHARER OF MANY HAPPY DAYS IN EGYPT, THIS VOLUME IS LOVINGLY DEDICATED

THE BURDEN OF ISIS 

INTRODUCTION 

OF all the Egyptian religious beliefs that existed from the Prehistoric period down into Roman times, the oldest and the one most held in veneration was that connected with the worship of Osiris, Isis and Horus. These three, though primarily only local gods, at an. early period became prominent deities of all Egypt; and the cult of Isis, more particularly, remained a favourite always, rivalling even that of Osiris in later times. 

During the many thousand years of Egyptian history, not only did many changes occur in the ceremonies connected with these cults, but also the legends and origin of the Osirian faith received many additions and interpolations; and thus the old faith lost much of its purity. The simplest form in which it is preserved to us states that Osiris was the son of Seb and Nut--i.e. Earth and Heaven; of whom were born also Isis, Nephthys and Set, or Sutekh, as he is also called, Osiris married his sister Isis, while Set chose Nephthys. 

It is probably due to this feature of the legend that The Pharaohs often married their sisters, and occasionally also their daughters. 

Osiris was the first divine ruler of Egypt : whence he came is not told; but when he came to that country, he found it sunk in barbarism and ignorance, with no law but that of strength, and poverty everywhere. He went through the land settling quarrels, organizing government, teaching polite manners and customs, dictating laws and civilising The People. 

Set, his brother, became jealous of the renown of Osiris, and hated him because of the good he had done; and resolved upon his destruction. Assisted by the evil spirits, or demons (the "enemies" or "foes" of the chants), Set constructed a large chest exactly the size and shape of the body of his brother Osiris; and at a feast given by the latter, he offered to present the chest, which was richly adorned, to the one whose body it best fitted. No one was successful until Osiris entered the chest, when Set closed it, and with the help of the evil spirits bore it from the banquet hall and cast it into the Nile. Thereupon Isis fled to the Delta, taking with her Horus, her son, whom she left to be cared for in Buto, according to some  legends; others say he was left with Tehuti, or Thoth, god of learning. Isis then took a boat and searched the Nile for the body of her husband, which she ultimately found in the Delta. Before it could be interred, however, it was stolen by Set, who then divided the body into fourteen portions, and scattered them over the whole of Egypt. Again the bereaved Isis commenced a search for the pieces of her husband's body, and found thirteen; the fourteenth piece, the phallus, she was unable to find, it having been eaten by fish. 

Wherever a fragment of the body of Osiris was found, a temple was there erected to his memory; and as the head (or according to some authorities, the heart) was found at Abydos, that city was considered as especially sacred, and was the centre of his worship. 

Horus, son of Osiris and Isis, avenged his father's death by ultimately slaying Set; while Osiris, miraculously resurrected by Horus in the regions of the dead, ruled over the underworld and its inhabitants. Such, briefly, is the legend of Osiris. But the cult could never have become national in character without changing in many ways. Every city and town of any prominence in Egypt had its own especial local deity, who received special worship, even while other deities were admitted to exist, though considered subordinate to him: and at an early date the priesthood of Osiris began systematically to identify the leading characteristics of these various local gods with those of Osiris. Hence in course of time we find Osiris-Sokar, an identification of the local god Sokar with the great deity of Abydos; Osiris-Apis, which in Greek times became Serapis, where the attributes of Osiris had become identified with those of a Memphite deity; and in later times, Osiris became a solar deity, and is addressed by epithets and titles which seem to show an identification with Ra, the sun god. By this means, Abydos became the great early religious centre of Egypt. But these identifications of various deities were not confined to Osiris. Horus became mutated, and gained new attributes--as Horus-Ra, he became the midday sun; and under the priesthood of Heliopolis, he became Tum, the setting sun, even losing his name. Isis, also, received new qualifications, being often identified with Hathor (whom the Greeks in turn identified with Aphrodite); but the chief places where Hathor was worshipped were at Dendereh and at Der- el-Bahri, in the western portion of Thebes; while the worship of Isis centred around Abydos and Busiris, the latter being frequently mentioned in the liturgies; and in later times also she was worshipped at Philae; and her worship was so popular, that long after Egypt had ceased to be a nation, and her gods had become a by- word, p. 13 there were no less than three great temples erected to her cult within the walls of Rome itself. 

It is this merging of the attributes of one god into those of another, and their unification into Osiris, to which the chants refer when speaking of the "attributes" of the deities. The eating of the fourteenth fragment of the body of Osiris by fish is paralleled by a similar legend in the story of "Anpu and Bata," often called the "Tale of the Two Brothers." 

The triad was not an unusual combination in the Egyptian belief; for besides that of Osiris, Isis and Horus, we find Amen, Mut and Khonsu at Thebes; and other lesser triads; so that when Christianity reached Egypt, the trinitarian idea found ready adherents; and this may partly account for the strides which Christianity made in Egypt almost before it had obtained a foothold elsewhere. The resurrection of Osiris and his ruling over the spirits of the deceased is nearly a parallel to the story of the Cretan King Minos, and possesses some points in common with the Christian belief; while the worship of Isis paved the way for the worship of the Virgin Mary many centuries later, though this latter was repudiated by the Egyptian Christians of the first four centuries, probably as being too reminiscent of "paganism." (Budge, "Paradise of the Fathers," I., II.) 

The position of Set is curious. While he was considered an evil deity, yet he had many temples and worshippers; in early times, strangely enough, in addition to the "Horus" name, some Pharaohs had a "Set" name; and the name of Set was used by several later Pharaohs, such as Sety I., Sety Merenptah, Set-aa-pehti, Set-Nekht and others. 

Nephthys plays a somewhat unimportant rôle in the liturgies, as well as in the Egyptian pantheon, being usually associated with Isis. She seems to have repudiated Set after the murder of Osiris, and to have aided Isis in seeking for the body. The continuity of the chants is much broken it appears as if two, or even three, deities are addressed at the same moment. This, however is due to two causes : first, the identification of attributes originally belonging to divers deities in the person of the one god Osiris; and second, to the fact that these chants were accompanied by spectacular performances -- a forerunner of the "miracle-plays" of the Elizabethan period. Various temple officials impersonated the gods on certain occasions, and these were implored, invoked or praised as the living representative of the deity. But more frequently the animal sacred to the god was brought out and worshipped--not for himself, but for the deity he represented. The Hawk of Horus at Edfu, the Crocodile of Sebek at Crocodilopolis, the Cow Hathor, the Bull Apis -- all were praised as the living counterpart chosen by the god to represent himself. And just as in Roman Catholic churches, at certain times, a bell was formerly rung to frighten away the Devil, so in the Egyptian time the sistrum-bearer was prominent at sacred festivals; for it was his duty, by shaking the sistrum, not to frighten the evil one, but to call the attention of the deity specially to his worshippers. This accounts for the frequent appeal in the liturgies -- "Behold the excellent sistrum-bearer!" 

What will most impress one in these liturgies, however, is the deep, sincere religious feeling that permeates them -- the grief for the lost one, the hope of again beholding him, the cry from the heart for help, the reliance upon the divine all-ruling destiny that shall bring the trial to a happy ending, and the triumph of a desire realised and a hope fulfilled: these sentiments, as much a part of human nature now as then, bring the far-off dwellers of the land of Kem near at heart and feeling to the twentieth-century reader of our own era. For above all nations of old, the future life entered especially into the Egyptian daily life and thought; their religion was one where the present was considered only the threshold; and it was their belief in the absolute endlessness of matter and the immortality of the spirit that causes the frequent formula after many of their names -- "Ankh zetta heh" -- Living for ever, eternal. 

The two papyri in which these chants are found were both discovered in Luxor, Egypt; and that relating particularly to Osiris is written in a hand representing an intermediate stage between hieratic and demotic. The chants of Isis were found inside a statue of Osiris, by M. Passalaqua. 

The period when these chants were first written is unknown. Probably in the earliest times, they were committed to memory, and handed down verbally from generation to generation, as were so many traditions of olden time. 

We may believe, however, that they had already been reduced to writing by the time of the fourth dynasty, though at that time they probably consisted chiefly of the invocatory portions, the subsidiary matter being added later, and at different periods. 

The date of the texts from which the present translations are made approximates 300 B.C., while the texts themselves are written in a purer and more classic style than are most of the writings of that time; so that it is probable that in their present form they certainly are; not later than the twenty-sixth dynasty, and may probably be as early as the eighteenth or nineteenth. 

The Osiris chant, together with one of the Isis and Nephthys liturgies, exists in the hieratic form in what is known as the "Rhind papyrus," B.M. 10188, while the other Isis liturgy is in the Berlin papyrus 14225. Extracts have been published by Pleyte, in "Recueil des Travaux," Vol. III., and by Dr. E. A. Wallis Budge in Vol. LII. of "Archaeologia," many years ago. De Horrack published the second Isis liturgy in French, a translation of which into English appeared in "Records of the Past," Vol. II. The three chants, however, have not heretofore been published in one volume. From the frequent mention of the sistrum-bearer in the chants, we know that this musical instrument was chiefly employed, but the music in which they were written is unknown. The Egyptians rated music highly, and Plato considered their music superior to the Greek, both for melody and energy. But harmony and rhythm were always subordinated to the words, and the subject-matter was paramount. There were two sorts of harmonies known to the old Egyptians, which the Greeks designated as "Dorian" and "Phrygian" -- the former grave, slow and tranquil, the latter a dithyrambic form, probably employed in these chants, which was forceful, appealing and energetic. 

The Egyptians based their music on seven diatonics, which Demetrius of Phalerus attributes to "the seven vowels"; others say the seven senses, or the seven planets. Dion Cassius corroborates him, while Dionysos of Halicarnassus says, "Melody embraced an interval of five-it never rose more than three and one-half tones toward high, and fell less toward bass." This probably was a result of the use of the three-stringed lyre.

To find a probable origin for the legend of Osiris and Isis, it may seem strange to have to turn to the shores of Mexico and Central America; yet there, among the ruined cities of the ancient Mayan civilisation, according to Le Plongeon, are two temples bearing historical inscriptions which in many details correspond with the Egyptian legend. The King, ruling well and wisely, is slain and dismembered by his brother, and the sister- wife, after finding the body, erected over it a pyramid and sphinx, the latter with a human head on a leopard's body, after which she travelled eastward, to the colonies of her race that had settled there centuries before; where she lived until her death. Her son ultimately killed his usurping uncle, and ruled the Mayans in his stead. The points of resemblance between the two legends are too numerous to name here; but as the period when the Mayan events took place is about ten thousand years before Christ, if the legends arose from one common source it would give ample time for history to become merged into myth.

Whatever be the origin of the Osiris belief, however, it is certain that in the beginning he did not typify any of the forces of nature, as some would have us believe : this is a theory of much later date than the belief upon which it is grafted, and belongs to a period of decline; and Osiris is rather to be regarded as one of the great rulers of old time, far-seeing, advanced in his ideas, who fell a martyr to his duty, his conscience and his people. Had the Pharaohs tried rather to emulate the living Osiris, instead of simply being merged into Him after death, Egypt might have survived for many centuries the cataclysms which eventually overwhelmed her, and put an end to her existence as a nation.

Sutekh, The Hyksos and Isomorphism

Plato's Pharmacy -- 

"Pharmakos"

"Offscourings" ---  Pharmakos (n.), 

a human scapegoat.

During the Thargelia, but 

also during adverse periods 

such as plague and famine,

 Athenians and Ionians 

expelled scapegoat(s), who

 were called 'offscourings', 

in order 'to purify' the cities.

The Cat sat on The Ma'at.

The Witchcraft of Salem Village

"Now, Derrida -- Foucault was the teacher of Derrida at the E.N.S. --Foucault took Derrida with him to visit the inmates at the mental hospital of St. Annes.

Derrida has been somewhat less publicly flamboyant than Foucault but he is no less of an irrationalist he's probably a more effective one; 

He is the child of a Serpharic Jewish Family living in Algeria -- he was very young, when he had the experience of being buried alive --

He was locked in a coffin-shaped Cedar Chest by his sister; he later managed to escape alive, but he was traumatised by the belief that he had died and been brought back from The Dead....

From this grew his identification with The Isis-Osiris Myth in which Isis of course brings Osiris back from The Dead; but this also implied fora an obsession with castration, which he told his students had suggested to him the the title for one of his early books, "Disseminations".

Derrida's irrationalism was later fuelled by the mystical writings of the Kabbalah -- very important -- and by his devotion to the satanic degenerate Antonin Artaud, of The Theatre of Cruelty, some people may remember this, too.

He was somebody who had spent about a decade of his own life in a mental institution. Derrida was jailed in 1981 by the Czechoslovakian Communist Regime on on charges of drug trafficking, but these these charges were never proven --

Some of the best one-liners about Derrida come from Foucault, during the period when these two were quarreling -- During the 1970s Foucault said that Derrida was a terrorist and an obscurantist who deliberately wrote in such a way as to be impossible to understand, so he could then lash-out at his critics, as cretins who were incapable of understanding the profoundness of his Thought;

The best summary from Foucault : -- "Derrida is the kind of philosopher, who gives bullshit a bad name." 

Now we can we can turn the lights on we don't need this at the moment we have one more deid DA's opaque doctrines are a philosophy of anglo-american destabilization from the word go his big publishing breakthroughs came in 1967 and ke lectures were delivered at the height of the May 1968 riots that led to the overthrow of General Charles deal the best government that France had seen in many Ages 

Derrida was a Leading Light of the click around the magazine Tel Kel which was one of the theoretical mouthpieces of this Rebellion now deconstruction deconstruction is an attack on the judeo-christian Western European civilization it is an attack that is powered Above All by rage DEA hates and resents reason and creativity in these he identifies with the Epic of Christian creationism and infinitism when these appropriate the resources of Greek conceptuality that is from his book on grammatology in other words derida hates Plato he hates Apostolic Christianity as exemplified by St John St Paul St Augustine and other patristic writers he hates the entire edifice of Western Civilization based on Christian platonism and in this he follows mentors like n who claim to be Socrates in Reverse or diogenes who defined himself as Socrates gone mad 

Most of all Derrida hates The Logos -- this in the Greek means word or discussion, perhaps ordering, lawfulness but finally reason -- The Logos is reason. 

In Plato's Dialogues, The Spoken Word is The Path to refining and improving The Logos or Reason — later, Christ came into The World as The Word of God; and in another moment of The Christian Trinity, The Holy spirit is the logos which proceeds from The Son of God and which abides with human beings  — Derrida wishes to reject all of this, and all of the implications -- 

Derrida says that Western European culture is guilty of Logocentrism -- The Western cultural Paradigm has contained within it, the aspiration to be based on reason : this has to be rejected. 

The Western cultural-Paradigm also gives priority to speech and to The Spoken Word -- you can compare this to to other cultures around The World, but this is not the case; 

Most literature was originally designed to be read aloud or or even sung, from Plato's dialogues to Dante to Petrarch to Shakespeare to Schiller --- and this is the hated Phonocentrism, which Derrida also wants to get rid of ---

Derrida delves into Plato in an attempt to show that the overtones of The Platonic Logos are exclusively paternal and male-dominated -- this gives rise to the further charge of phalogocentrism, and of course soon enough that turns into phalocentrism in the writings of the Menads of Feminist literary Theory today --

Derrida follows his Nazi Guru Heidegger in concluding that the real problem in The West is that our culture is permeated by what he calls 'metaphysics' -- Heidegger had railed against the metaphysics of presence and against metaphysics in general.

For Derrida, 'metaphysics' evidently means anything that cannot be boiled-down to Sense-Certainty. 

Derrida seems sees 'metaphysics' as The Enemy that must be destroyed and under this heading he lumps God, The Self, The Soul, The Human Individual, Causality, Substance Essence, Idea, Action and virtually any concept of any importance turns out to be 'metaphysical' -- these have to go, of course for reasons that are never really uh explained --

And of course for Derrida,  Language is this self-contained formal system of signs with no connection to any reality, concept or thing -- 

Back during the Weimar Republic in the 20s and 30s in Germany the pro-Nazi Heidegger and others referred to their battle against 'metaphysics' with the name destrution or destruction -- and destruction was the first name that Derrida ever gave to his own method.... 

Parallels have been drawn from Deconstructionism to Zen and above all to The Sufism of Al-Gazali whose destruction is in effect a deconstruction of Al-Farrabi and Ibn Sinna attempting to play on their supposed self-contradictions and writers on postmodernism have called attention to this --

a dozen years ago larouche authored a new standard American English curriculum for Effective US public schools in which he outlined the requirements for illiterate language setting out to express the geometric complexity of reality according to larouche this would include seven grammatical cases nine tenses five moods an active and passive voice non-reflexive and self-reflexive features and a vocabulary of 50,000 to 100,000 words including a very well-developed verb system this would therefore mean the ability to express at least 1,260 degrees of geometric freedom 

But of course, for the radical nominalist, paranoid-schizophrenic Derrida, 

Language has nothing 

to DO with reality — 

Derrida sides above all with the Linguistics of Ferdinand of Geneva, which accomplished a massive deterioration in these Language Studies by abandoning all idea of Historical analysis —

For Derrida, The Word as A Sign does not lead to A Concept or An Object, but it only leads you to other signs  — take for example, the word “cat”. 

Okay,  “cat” is A Word that leads you to the furry feline, right?

Right, but no — according to Derrida, this word by itself means nothing,  it only means something because it's different from other words, like “bat” or “rat” or “hat”.

It’s therefore a Negative and Relational Axiom of Duesur;  

For Derrida The Word seems to promise Meaning, but its definition always sends us through an endless chain of other words when we look for the definitions, so the promise of Meaning is indefinitely postponed, delayed, deferred according to this nonsense — each word in a text points to a NeverEnding series of other, older texts — The Chamber of Texts of Derrida.

This is Derrida’s jargon word of “differance”;with a big “a” in the last syllable, which packs ‘difference’ and ‘delay’ into the same baggage —

Now, for Derrida, 

The Author is Dead, 

by definition, he never existed —

The Human Self and The Human Ego have collapsed into an ‘X’ marking the spot where they once were; 

This is the so-called “Subject Position” :

There is no perception, 

all that Derrida is willing 

to talk about, is A Text —

A written text of black on white, 

with punctuation, typefaces, paragraphs, margins, codons, copyrights, logoes — logoes, but No Logos — and so forth.

This is what he calls ‘writing’ or ‘L’ecriture’ and this writing is primary over Speech — primary with respect to The Spoken Word, which is another purely arbitrary and absolutely absurd assertion;

Everything is a written text, in the sense that every thought, utterance or discourse — watch out when you hear ‘discourse’, because That’s THEM — uh 

Anything, 

any Discourse 

is simply 

"A Story that 

We Tell each other 

about something that exists"

(uh well, something that that 

may or, may not exist)

— and best way for 

A Discourse to be there 

is, as a written text.

So as Derrida says, 

“There is NOTHING 

outside of The Text”;

everything is A Text — 

there are no more Works of Art;

ALL black writing on white paper is A Text, be it Shakespeare, the telephone book, Mickey Mouse, the racing form, The US Constitution, the Jupiter Symphony all of those are Texts, and every one of of them is exactly equivalent to any other —

As you can see, what Derrida tries to do, is to draw you into A Labyrinth of Jargon — he's always shifting The Jargon, allegedly to keep from falling back into the hated ways of 'Metaphysics' —

He uses words like “trace”, “sediment” and “iteration” to show that words evolve and change their meanings, as they are used again and again — it's like barnacles on a ship's Hull or the way a coin might be worn when it goes through circulation;

For example, if we hear the word “crook” — Who do we think of think of?”

So, the idea is that each one of these words becomes freighted with a trace, a sediment of something, because of the way that they've been used, and this is always there and may not be under control…

These are overtones, connotations, associations, you can think of them as etymologies if you want to -- 

They become the key to Derrida practice of what he calls 'dissemination' : -- the scattering of Meanings through Free Play; 

The Point is always to show that writing is the product of some kind of a compulsion, some kind of a determinism, it is not free -- one example is Derrida's deconstruction of his favourite target, Plato.

This is the deconstruction of the Phaedrus dialogue in the book "Disseminations", by Derrida --

Derrida attempts to show through a textual analysis of the of The Dialogue, words that Plato uses, one is Pharmaca;

This is a Proper Name; it is a Nymph who was present when one of her companions was blown off a cliff and died on the Rocks below; 

Then we have the word Pharmakon; this can mean either a Medicine which gives Life or a Poison which gives Death;

Then we have Pharmakos; Plato refers to Socrates as Pharmakos -- it has the overtone of A Sorcerer or A Medicine-Man, used ironically -- "Socrates, I do apprehend you to be A Wizard! --"

Derrida points out, that although Plato goes through this series Pharmacea, Pharmakon, Pharmakos --  he does not use a closely-related word which is a synonym of the last one, which is Pharmakos and Pharmakos is the sacrificial victim or scapegoat -- 

This is the person, for example who would be ceremonially killed in Athens, in the event of a plague or some other natural disaster, or some disaster of another type -- so, scapegoat is of course what Socrates later became; 

So Derrida goes through this, with the idea of showing you that Plato was also not free; he was compelled, he was controlled by some kinds of subconscious psychological factors, 

and THEREFORE :

The Text says, what 

Plato could not have meant; 

....and this is the obvious 

Deconstructionist conclusion :

All reading is misreading; 

the Phaedrus dialogue and 

any other piece of writing 

is hopelessly contradictory 

and completely indecipherable --"

"They had rocked The Boat; 

they had upset The State; 

they had failed to maintain Ma'at.

"The Temple walls 

[of The New Kingdom] 

will depict The King as 

going on military campaigns 

to increase Ma'at, Divine Order --

and the notion here is, 

Foreign Peoples and Places 

are a source of CHAOS : so, 

The King must bring 

ORDER to these people, 

and it's for their own Good.

So The King is functioning as 

an insurer of Ma'at and 

the temples themselves should 

be regarded as FACTORIES, 

if you will, of this Divine Order.

At the same time, another 

of the old gods of the 

Egyptian pantheon, Sutekh, 

the embodiment of confusion 

and disorder, had become 

incredibly connected with 

the gods of foreign lands.

Any remaining religions practices 

of The Hyksos had also been 

incorporated into this deity and 

would have remained A Problem 

for any King trying to maintain Ma'at.

Despite King Ahmoses' termination 

of The Hyksos' political rule 

around 1550 BCE, the deities 

of The Semites remained. 

Even Queen Hatshepsut, nearly 

a century later, commented that 

The Hyksos ruled without Ra -- 

Her claim to have restored Order 

might hint at the very reason for her 

non-attendance on The King's List. 

That, or the unorthodox 

nature of Her Rule....."

Daphne Dwarman

“Any Rational Society 

would either Kill Me

or at least put me 

to some Use….”

— Lecter.

“There is a problem in that 

Feminist Movement, isn’t there? 

From its inception in America 

there has always been 

a racial component —

When Susan B. Anthony 

was having that meeting 

and Sojourner Truth’s 

Black ass showed up. 

Read your history books. 

All the White women asked 

Sojourner Truth not to speak. 

They didn’t conflate the issues of 

Women’s Rights and Slavery. 

But you know how Black bitches are, 

so Sojourner Truth went up there anyway.

[laughter]

[applause and cheering]

She did a famous speech, she said 

“Ain’t I a woman?” 

“Ain’t I a woman?” That’s right. 

And listen, listen, listen. 

I supported the “Me Too” movement, 

but the whole time, the whole time I thought 

that the way they handled it was stupid. 

Loyalty means everything 

to The Clones.

Amanda Waller :

I wanna Build a Team of 

some very BAD people 

who I think can do some Good. 

Like Fight The Next War, 

Defeat The Next Superman. 

General Lane :

Not on My Watch. 

You're not putting 

those monsters 

back out on The Street 

in Our Name. 

Amanda Waller :

General, we run them covertly, 

non-attributed. Strictly 

need-to-know.

And if They get caught, 

We throw them 

under The Bus. 

“Before I go, I want to share this story with you because it is important to this point. I want your community to know that one of the coolest people I ever met was a transgender woman. And this is not A Man that I knew that became 'A Woman', This Woman was Trans when I met her. Lived in San Francisco, Daphne Dwarman is the name. I would do 18 shows in the Bay Area sometimes in Oakland and Dirty Hood night club and she would be there, White Trans-Woman, laughing loud and hard, at everything I said. Especially the trans jokes, very puzzling… because she was obviously Trans. And one night after one of the shows I met her. 

And what it was, turns out it was Her Dream to be A Comedian. 

And I was Her Hero. 

It was very moving. I could not dislike somebody that felt that way about me. We became fast friends. 

And when I made that special Sticks and Stones right as it was coming out, I happened to be in San Francisco and I wanted to do a show. But I needed an opening act, and I remembered… that trans woman I had met, so I called her on the phone. And I called her myself, I said, “Hey Daphne, this is Dave Chappelle.” She couldn’t believe it. And I go, “I’m in San Francisco.” And then she started saying a bunch of wild stuff, I was like “Relax now, I don’t want any pussy, I was… [laughter] I’m just calling, because I’m doing a show and I need an opening act. And I was wondering if you’d open the show?” And she was like, “Fuck, yeah.” 

Now… I didn’t know this at the time but this woman had only done stand up comedy eight times in her life. This was little to no experience and now she’s about to open a show for what many call The  GOAT.

[audience cheers]

[applause]

She’s an amateur in stature, but in practice, she was very professional. She showed up early, which is something I appreciate ’cause I like people to be on time. She was dressed to the motherfuckin’ nines, I mean, I’m transphobic and even I was like, “You look nice.”

[laughter]

Went up on the stage with all the swag of a professional comedian, grabbed that mic and walked right down the middle and looked at the crowd like a gangster. Man, you should have seen her work. This bitch bombed for 45 minutes, straight.

[cheers]

And I’m not exaggerating, Young Man. That show was terrible. Stunk. Stunk. And then she brings me on, and you know, I was like a glass of water after a handful of salt. The crowd was happy to see me. I was killing it. But here is what impressed me. Any other comedian I’ve ever seen, if they had bombed as bad as she did, would have snuck out of the back of the theatre and went home and cried or something, but she didn’t do that. Not only did she not leave, she found a seat, right up in front. You know, when a new comedian watches an experienced comedian in comedy we call this “taking class.” And this bitch took my whole class, she sat up there and was laughing as hard as she always laughs as if nothing bad had even happened to her. 

And I saw her show. 

Something bad happened to her.

[audience laughs]

She was drunk. So she starts talking to me, while I’m onstage but the way a person would talk to a television when they were alone. She was talking to me like that. That didn’t bother me ’cause I knew her. 

But the crowd didn’t like that shit at all ’cause she sucked. 

And a guy in the back of the room stood up and Daphne’s hair was dyed blonde at the time and the guy screamed out, and his energy felt Wild as Fuck. 

He said, “Hey Daphne!” and everybody got clamped, they got tense. 

We didn’t know who was a heckler or active shooter, and… [laughter] …he said, “Does the carpet match the drapes?” It was fucked up. The whole crowd kind of groaned, ’cause it was so like, mean. 

Everybody groaned, except for Daphne. She kind of laughed, which was weird. 

And she didn’t even look all the way back. 

She said, “Sir, I don’t have carpets, I have hardwood floors.” Just like that. [laughter] Just like that.

[applause]

Boy, when she said that shit, it blew the roof of the place. Cut through all the tension, with that one joke. She had made up for 45 minutes of a stinker of a show. And after that, she could Do No Wrong. And I kept on rocking, and she kept on talking to me. 

And then The Show became something cooler than A Show. It became like A Conversation between a Black Man and a White Trans-Woman and we started getting to the bottom of shit. 

All of them questions that you think about that you’d be afraid to ask, I was just asking them and she was answering them and her answers were funny as shit. The crowd was falling out of their chairs and at the end of the show, I go, “Well, Daphne”… I said “Well, that was fun.” 

I go, “I love you to death, but I have no fuckin’ idea what you’re talking about.” 

The whole crow laughed except for Daphne. 

Man, she looks at me like I’m not her friend anymore. Like I’m something bigger than me, like I’m the whole world in a guy. 

Then she said, “I don’t need you to understand me.” 

I said, “What?” 

She said, “I just need you to believe…” 

Just like that she goes, “…that I’m having A Human Experience.” 

And when she said it the whole crowd kind of gasped. 

And I gave The Fight Club-look. 

I said, “I believe you, bitch.”

[laughter]

Because she didn’t say anything about pronouns. 

She didn’t say anything about me being in Trouble. 

She said, “Just believe I’m a person and I’m going through it.” 

I know I believe you, because it takes one to know one.

[cheers and applause]

Then I told the crowd “Good night.” 

And they started going crazy and before the applause gets to it’s crescendo I was saying, “Don’t forget my opening act, Daphne.” 

And the crowd stood up. And I looked at her, tears came out of her eyes she couldn’t believe it was happening. 

I couldn’t believe it was happening ’cause her show stunk. [laughter] And it was a great night. And I remember, the late great Paul Mooney was there bunch of flyers, comedy n*ggas was there.

[cheers]

[applause]

And we all went backstage and was just drinking and talking shit and laughing and Daphne stole the room, she had everyone cracking up. 

Spinning the yarn, telling us all these crazy stories about shit, she’d be into. We all laughing real hard, and there she is telling us and everyone is laughing. 

I’m looking around, I’m like, “Oh my God, she is  funny.” 

I pulled her aside, I said, “You’re hilarious. I didn’t know that when you were onstage.” [laughter] 

I said, “You’re doing some things wrong but I can help you.” 

I said, “Anytime I’m in San Francisco why don’t you open the show for me and I’ll just try to give you some pointers and see if you can work this thing out.” 

She said, “Are you serious?” 

I was like, “Yeah.” 

And she grabbed me real tight, hugged me, squeezed me. And I pushed her off violently, ’cause I’m transphobic. 

I said “Boundaries, bitch!”

[audience laughs]

When Sticks and Stones came out… a lot of people in 'The Trans Community' were furious with me and apparently they dragged me on Twitter -- I don’t give a fuck, ’cause Twitter is not a real place.

[audience laughs]

[cheers and applause]

And the hardest thing for a person to do is go against Their Tribe if they disagree with Their Tribe, but Daphne did that for me. She wrote a tweet that was very beautiful and what she said was and it is almost exactly what she said. She said, “Punching down on someone, requires you to think less of them and I know him, and he doesn’t. He doesn’t punch up, he doesn’t punch down he punches lines, and he is a Master at His Craft.” That’s what she said.

[audience cheers]

Beautiful tweet, beautiful friend, it took a lot of heart to defend me like that, and when she did that the trans community dragged that bitch all over Twitter. For days, they was going in on her, and she was holding her own ’cause she’s funny. 

But six days after that wonderful night I described to you, 

My Friend Daphne killed herself. 

Oh yeah, this is a True Story, My Heart was broken. Yeah, it wasn’t the jokes. I don’t know if was them dragging or I don’t know what was going on in her life but I bet dragging her didn’t help. I was very angry at them, I was very angry at her. 

I felt like Daphne lied to me. 

She always said, she identified as A Woman. 

And then one day she goes up to the roof of her building and jumps off and kills herself. 

Clearly… only A Man would do some gangster shit like that. 

Hear me out. As hard as it is to hear a joke like that I’m telling you right now, Daphne would have loved that joke. That is why she was my friend.

[cheers and applause]

I was reading her obituary and I found out, she was survived by A Daughter. And the moment I found that out, and this is true Anderson Cooper from CNN texted me. And all he says, it’s very nice, he said, “I’m sorry to hear about your friend.” And I texted him right back. “New phone, who this?” [laughter] He said, “It’s Anderson Cooper.” 

"Oh," I said, “Anderson, look I need to find Her Family.” 

And he texted me right back with all the phone numbers and all this information. I say this to say, if you ever want to know about anything gay call Anderson Cooper from CNN. This n*gga is faster than Google. [laughter] 

What I did is, I got in touch with Her Family and I started a Trust Fund for Her Daughter ’cause I know that is all she ever really cared about.

[applause]

And I don’t know what the trans community did for her but I don’t care, because I feel like she wasn’t Their Tribe, she was Mine. 

She was A Comedian in Her Soul.

[applause]

The Daughter is very young, but I hope to be alive when she turns 21 ’cause I’m going to give her this money myself. 

And by then, by then, I’ll be ready to have The Conversation that I’m not ready to have today. 

But I’ll tell that little girl, “Young Lady, I knew Your Father… [audience laughs] …and he was a Wonderful Woman.”

[cheers]

[applause]
Empathy is not gay. Empathy is not Black. Empathy is bi-sexual. It must go both ways. It must go both ways.

[applause]

Remember, 

Taking a Man’s livelihood 
is akin to killing him. 

I’m begging you, please do not abort DaBaby.

[laughter]
[applause]

Kevin Hart dreamt his entire life of hosting the Oscars and when he finally got the job They just took it! It’s not fair. 

They didn’t kill him, Kevin is a strong guy. 

But I’m sure it broke old Clifford’s Heart. 

It’s over. LBGTQ, L-M-N-O-P-Q-Y-Z, it is over. I’m not telling another joke about you until we are both sure, that we are laughing together. I’m telling you this is done. I’m done talking about it. 

All I ask from your community, with all humility. 'Will you please stop punching-down on My People?' 

Thank you very much and good night.
[audience cheers]