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| many headings. Such theories of "quantavolution" play a part in all discussions as to the origin of the other bodies of the solar system; | 182 QUANTAVOLUTION AND CATASTROPHE: PART 1: Introduction to the series - - - |
| and the humanities, calling back the play to the line of scrimmage. | 206 QUANTAVOLUTION AND CATASTROPHE: PART 1: Introduction to the series - - - |
| by the gradual limited and calculable play of natural forces: | 361 QUANTAVOLUTION AND CATASTROPHE: PART 2: THE Q-C TEST - - - |
| by the gradual limited and calculable play of natural forces: | 731 QUANTAVOLUTION AND CATASTROPHE: PART 3: A Comment on the Q-C Test and Its Individual Items - - - |
| Religious ideologies have been shown to play a considerable role in adhering to scientific propositions of one kind or another. | 1140 QUANTAVOLUTION AND CATASTROPHE: PART 4: PROSPECTIVE CHANGES IN THE Q-C TEST - - - |
| seller, which brought popular authority into play as well. | 8247 COSMIC HERETICS: PART 1: - Chapter 4: A PROPER RESPECT FOR AUTHORITY - |
| track moments in such half-serious play. | 8267 COSMIC HERETICS: PART 1: - Chapter 4: A PROPER RESPECT FOR AUTHORITY - |
| be the only man who can play Moses when they make a movie of his book." | 8305 COSMIC HERETICS: PART 1: - Chapter 4: A PROPER RESPECT FOR AUTHORITY - |
| the fountain may be heard to play now that Sunday has stopped the motors. | 8760 COSMIC HERETICS: PART 1: - Chapter 5: THE BRITISH CONNECTION - |
| boys have come out early to play a frightening game with the taxicabs. | 8761 COSMIC HERETICS: PART 1: - Chapter 5: THE BRITISH CONNECTION - |
| means, be diverted, shaped, made to play games with itself, | 9857 COSMIC HERETICS: PART 2: - Chapter 6: HOLOCAUST AND AMNESIA - |
| claim to their achievements or to play them down to avoid envy and resentment. | 10321 COSMIC HERETICS: PART 2: - Chapter 7: FROM VENUS WITH LOVE - |
| to be indistinguishable, therefore safe to play with for life. | 10381 COSMIC HERETICS: PART 2: - Chapter 8: HOMO SCHIZO MEETS GOD - |
| cosmic encounters. Always quite happy to play the game of catastrophic models, | 12505 COSMIC HERETICS: PART 3: - Chapter 10: ABC'S OF ASTROPHYSICS - |
| heart's content for the fullest play and nuances of ideas (where such fullness existed) and for contradictions and errors. | 13923 COSMIC HERETICS: PART 4: - Chapter 12: THE THIRD WORLD OF SCIENCE - |
| speak, Deg had a part to play in the establishment and it was not a bad life. | 16625 COSMIC HERETICS: PART 4: - Chapter 13: THE EMPIRE STRIKES BACK - |
| instance. Toys for what? For psychiatric play-therapy, | 17257 COSMIC HERETICS: PART 4: - Chapter 14: THE FOIBLES OF HERETICS - |
| most rules of logic and fair play in literary and scientific intercourse, | 17570 COSMIC HERETICS: PART 4: - Chapter 14: THE FOIBLES OF HERETICS - |
| most rules of logic and fair play in their literary and scientific intercourse. | 17572 COSMIC HERETICS: PART 4: - Chapter 14: THE FOIBLES OF HERETICS - |
| not apply for it. One must play the game by the rules. | 17930 COSMIC HERETICS: PART 5: - Chapter 15: THE KNOWLEDGE INDUSTRY - |
| issue is one of ordinary fair play. | 18111 COSMIC HERETICS: PART 5: - Chapter 15: THE KNOWLEDGE INDUSTRY - |
| From time to time he would play with the design of an ideal system of personal and small-group publishing at a cost the humble creators of culture would afford. | 18850 COSMIC HERETICS: PART 5: - Chapter 15: THE KNOWLEDGE INDUSTRY - |
| bust in stone, and next time play that passage piu adagio. | 19512 COSMIC HERETICS: PART 5: - Chapter 16: PRECURSORS OF QUANTAVOLUTION - |
| it is exalting (and arrogant) to play with answers to the question. | 20081 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| let's jump over here and play for a while and see what happens, | 20406 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| Allan Kelly, they would come to play an important substantiating role, | 20826 COSMIC HERETICS: PART 5: - Chapter 17: THE ADVANCEMENT OF SCIENCE - |
| nor did an appeal to fair play. | 21103 COSMIC HERETICS: PART 5: - - EPILOGUE - |
| is rapidly becoming clearer that they play a dominant role in the evolution of the universe. | 22638 CHAOS AND CREATION: - - CHAPTER 02: HIGH ENERGY FROM SPACE : Notes (Chapter Two: High Energy from Space) |
| Fire was hominidal, and some primates play with fire. | 26134 CHAOS AND CREATION: - - CHAPTER 06: THE URANIANS : SIGNS OF URANIAN CULTURE |
| body, such as the Sun, might play a major role in rounding out an eccentric orbit in a surprisingly short period of time." | 27608 CHAOS AND CREATION: - - CHAPTER 07: EARTH PARTURITION AND MOON BIRTH : Notes (Chapter Seven: Earth Parturition and Moon Birth) |
| memory. The high energy forces that play upon the world collapse the time-scales of natural history and simultaneously withdraw the intellectual need for long draughts of time to explain the world. | 30763 CHAOS AND CREATION: - - CHAPTER 12: VICTORY OF THE SUN - |
| discoveries of the role that sunspots play in the Earth's weather, | 30837 CHAOS AND CREATION: - - CHAPTER 12: VICTORY OF THE SUN : FOREBODINGS |
| winds, cosmic particles, and meteoritic material play about in some disorder. | 33202 THE LATELY TORTURED EARTH: PART I: ATMOSPHERICS: Chapter 2 The Gaseous Complex - |
| adopted, the exponential principle come into play: | 38187 THE LATELY TORTURED EARTH: PART II: EXOTERRESTRIAL DROPS: Chapter 10 Metals, Salt and Oil - |
| Hebrew Exodus.) Electrical fields gather and play about the scene, | 41156 THE LATELY TORTURED EARTH: PART IV: CRUSTAL TURBULENCE: Chapter 16 Earthquakes - |
| arguments that can be brought into play to establish that the biosphere would survive. | 46029 THE LATELY TORTURED EARTH: PART V: RIFTS, RAFTS AND BASINS: Chapter 24 Continental Tropism and Rafting - |
| the comet-complex into sex, work, play, | 48736 THE LATELY TORTURED EARTH: PART VI: BIOSPHERICS: Chapter 29 Spectres - |
| seemingly far removed. Inertia comes into play in the atmosphere and lithosphere. " | 49262 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 30 Intensity, Scope and Suddenness - |
| chapter on lightning, "might environmental electrification play in setting the rules for nuclear stability, | 49974 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| in the area of the faulting play a role in the phenomenon. | 50005 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| time, it allows natural forces to play flexibly with time in history. | 50232 THE LATELY TORTURED EARTH: PART VII: DIMENSIONS OF QUANTAVOLUTION: Chapter 31 The Recency of the Surface - |
| speculation -has a large role to play, | 50399 THE LATELY TORTURED EARTH: - - - EPILOGUE - |
| not observed directly) is seen to play an intermediary, | 57282 SOLARIA-BINARIA: PART 2: DESTRUCTION OF THE SOLAR BINARY: Chapter 17: TIME, ELECTRICITY AND QUANTAVOLUTION - |
| effects, has increasingly been recognized to play a role in cosmic actions. | 57286 SOLARIA-BINARIA: PART 2: DESTRUCTION OF THE SOLAR BINARY: Chapter 17: TIME, ELECTRICITY AND QUANTAVOLUTION - |
| p236). Myth, science and amusement alike play games with trivia, | 57648 SOLARIA-BINARIA: PART 3: TECHNICAL NOTES: - TECHNICAL NOTE A: ON METHOD - |
| What role did great natural forces play? | 60526 HOMO SCHIZO I: - - - FOREWORD - |
| Birds and other animals, including primates, play about natural fires and eat roasted vegetable and animal matter consumed by the flames 3 . | 60619 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION - |
| BRAINCASE Ultimately we would have to play a trump card: | 60631 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION : THE HUMAN BRAINCASE |
| then a hundred other selective forces play upon the situation of a species. | 61164 HOMO SCHIZO I: - - Chapter 1: SLIPPERY LADDERS OF EVOLUTION : SEVERE LIMITS TO NATURAL SELECTION |
| of mega-evolution governed by chromosomatic play of a perfectly normal type. | 62324 HOMO SCHIZO I: - - Chapter 2: HOMINIDS IN HOLOGENESIS : CHARDIN'S ORTHOGENETICS |
| anarchists. Here is where symbolism might play a major role as a ally of the dictator ego. | 64570 HOMO SCHIZO I: - - Chapter 4: THE GESTALT OF CREATION : THE STRUGGLE OF THE SELEVES |
| and fire were used directly to play upon the materials and convert them. | 65249 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : PROTO-CULTURE |
| Afar. Anyone in the world can play a similar game. | 65370 HOMO SCHIZO I: - - Chapter 5: CULTURAL REVOLUTION : LOST MILLIONS OF YEARS |
| records. Until these criteria come into play, | 66404 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : GRAPHICS |
| liturgies. Bleuler reports patients who will play the same musical trill or chord a thousand times and, | 66601 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : PSYCHOLOGY OF ORGANIZATION |
| compulsion to reiterate. It permits free play to authority to expand its scope of activity and its human domain. | 66633 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : PSYCHOLOGY OF ORGANIZATION |
| will trust that nature does not play dice, | 67086 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : THE COMPULSION TO REPEAT CHAOS AND CREATION |
| humanitarian alone, sublimates at work and play, | 67209 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : SUBLIMATION |
| Otto Rank sees as a basic play for relieving the fear of a separation from the guardians, | 67739 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : HISTORISM |
| toys with the idea as we play with it here. | 67789 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : HISTORISM |
| a highly intellectual game. Computers can play it close to the master's level. | 67819 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : SCHIZOID EPISODES IN ABUNDANCE |
| 8 1 2, Spassky, who during play sometimes peered suspiciously up at the lighting, | 67843 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : SCHIZOID EPISODES IN ABUNDANCE |
| the population are farmers; many politicians play upon the rustic theme. | 69609 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : THE IDEAL PERSON |
| and showed how small children could play games with their selves, | 70919 HOMO SCHIZO II: - - Chapter 2: THE SEARCH FOR LOST INSTINCT : THE SENSE OF "I AM" |
| all, is nothing but a continuous play of the fear sensations of animal life and which, | 71330 HOMO SCHIZO II: - - Chapter 2: THE SEARCH FOR LOST INSTINCT : POLY-EGO VERSUS INSTINCT |
| and mental illness, a person will play the role of a pig, | 71454 HOMO SCHIZO II: - - Chapter 2: THE SEARCH FOR LOST INSTINCT : "YOU CAN'T GO HOME AGAIN" |
| a tennis novice watching an expert play. | 72114 HOMO SCHIZO II: - - Chapter 3: BRAINWORK : THE LOCATION OF INSTINCT DELAY |
| selves-image and be able to play the game of countering one anxiety with another, | 72568 HOMO SCHIZO II: - - Chapter 3: BRAINWORK : PSYCHOSOMATISM |
| the resources of control. He can play one film against another, | 72957 HOMO SCHIZO II: - - Chapter 4: DISPLACEMENT AND OBSESSION : TIME AND REMEMBERING |
| the G-A-S comes into play, | 73425 HOMO SCHIZO II: - - Chapter 5: COPING WITH FEAR : PHYSIOLOGY OF FEAR |
| what an important role the gods play in holding the self together, | 73611 HOMO SCHIZO II: - - Chapter 5: COPING WITH FEAR : GUILT AND PUNISHMENT |
| The most brilliant and learned voices play upon these simple themes, | 74554 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : THE STRUCTURE OF SPEAKING |
| coining new and secret words at "play." | 74678 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : CULTURAL DISCIPLINE AND SPEECH DIVERGENCE |
| imitations; emotional expressions, perhaps touching, would play a role. | 74859 HOMO SCHIZO II: - - Chapter 6: SYMBOLS AND SPEECH : IDEOLOGY AND LANGUAGE |
| reluctantly) it may help if you play music for the crops to grow by." | 75922 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SCIENCE AS INSTINCT |
| the plot holds because of its play upon the confusion of selves - Zeus and the Theban general two look-alikes, | 76058 HOMO SCHIZO II: - - Chapter 7: THE GOOD, THE TRUE, AND THE BEAUTIFUL : SUBLIMATION AS PREFERABLE DISPLACEMENTS |
| the historical and mundane battles to play out on Earth the drama of the skies. | 76669 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS - - - INTRODUCTION - |
| river banks to wash clothes and play games, | 77126 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 2: THE SONG OF LOVE : THE PHAEACIAN UTOPIA |
| TRAGEDY The song is sung. The play is over. | 77229 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 3: THE LOVE AFFAIR AS THE MASK OF TRAGEDY - |
| not alone in speaking of the play as going on in the sky; | 77239 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 3: THE LOVE AFFAIR AS THE MASK OF TRAGEDY - |
| see. Athena, too, was known to play tricks with human sight 3 . | 77739 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 5: HOLY DREAMTIME - |
| out the scenes of the sacred play. | 77746 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 5: HOLY DREAMTIME - |
| Athena, the virtuoso of Olympia, must play a leading role in it. | 80700 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 10: HE WHO SHINES BY DAY - |
| masculine? Athena has been known to play such roles. | 80701 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 10: HE WHO SHINES BY DAY - |
| would be less funny in the play or more tragic in reality than the coming of Zeus, | 82294 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 12: THE LAUGHING GODS : A DIVINE SENSE OF HUMOR |
| flighty language, indeed gives the whole play a fully heavenly treatment. | 83302 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 14: THE USES OF LANGUAGE : TRADUTTORE TRADITTORE |
| to rules in which social forces play a continuous role, | 83770 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY : TRAUMATIC ORIGIN OF MEMORY |
| her beautiful geese could continue to play about her and eat from her board. | 84251 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 16: THE TRANSFIGURATION OF TRAUMA : DREAMWORK |
| happens with children, who, in their play, | 84685 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 17: SETTLED SKY AND UNSETTLED MIND : WHAT HOMER REMEMBERED |
| inexorably, while insisting that these humans play out their pathetic roles. | 86302 GODS FIRE: - - Chapter 2: THE SCENARIO OF EXODUS : HIGH-LEVEL NEGOTIATIONS |
| of Babel, and exemplifies the unusual play of electrical forces in pre- Exodus times, | 87539 GODS FIRE: - - Chapter 3: CATASTROPHE AND DIVINE FIRES : THE ELECTROSTATIC AGE |
| ground 71 . Changing atmospheric conditions also play upon this voltage gradient causing electrical effects. | 87660 GODS FIRE: - - Chapter 3: CATASTROPHE AND DIVINE FIRES : YAHWEH'S ELECTRICAL FIRE CONGLOMERATE |
| is by no means child's play. | 87663 GODS FIRE: - - Chapter 3: CATASTROPHE AND DIVINE FIRES : YAHWEH'S ELECTRICAL FIRE CONGLOMERATE |
| Wars are games of catastrophe and play out the catastrophic mentality. | 88320 GODS FIRE: - - Chapter 4: THE ARK IN ACTION : THE GOLDEN BOX |
| a mask, that Moses wanted to play god and, | 89628 GODS FIRE: - - Chapter 5: LEGENDS AND MIRACLES - |
| namely the Israelites; then has Yahweh play the strict father of this bad family, | 91656 GODS FIRE: - - Chapter 6: THE CHARISMA OF MOSES : THE MANIAC SCIENTIST |
| and in a mood of dangerous play that forms an ironic and tragic contrast with the Old Testament setting, | 92761 GODS FIRE: - - Chapter 7: THE LEVITES AND THE REVOLTS : KORAH'S REBELLION |
| is usually a suspicion of foul play when a person disappears. | 93096 GODS FIRE: - - Chapter 7: THE LEVITES AND THE REVOLTS : BETH PEOR |
| But here we may call into play Freud's concept of instinctual renunciation which he applies to the self-denial of holy image-making 20 . | 93854 GODS FIRE: - - Chapter 8: THE ELECTRIC GOD : THE NAME OF YAHWEH |
| passages still, also word and sound play, | 94944 GODS FIRE: - - - APPENDIX TECHNIQUES FOR THE ASSESSMENT OF LEGENDARY HISTORY |
| literary harmonies through the text: the play upon threes, | 94947 GODS FIRE: - - - APPENDIX TECHNIQUES FOR THE ASSESSMENT OF LEGENDARY HISTORY |
| finding matches to make light? I play this game only to show that it is serious. | 95329 GODS FIRE: - - - APPENDIX : UNBELIEVING SCHOLARS |
| Galway and J. T. Schaefer, "Fowl Play," | 95755 GODS FIRE: - - - APPENDIX : Notes (Appendix) |
| conventional disciplines most heavily brought into play. | 95966 THE DEVINE SUCCESSION - - - FOREWORD - |
| variously successful where statistics come into play, | 96925 THE DEVINE SUCCESSION PART 1: THEOMACHY Chapter 3: KNOWING THE GODS - |
| abstract. Finally, philosophy is freed to play about the sacred and rationalize the cosmos. | 98343 THE DEVINE SUCCESSION PART 1: THEOMACHY Chapter 7: MAN'S DIVINE MIRROR - |
| drawn to television, and wants to play baseball with the kids who do not go to church. | 99491 THE DEVINE SUCCESSION PART 2: THEOTROPY: Chapter 10: ETHICS AND THE SUPERNATURAL - |
| driving is a good way to play the necessary game of half-wishing self-destruction. | 99530 THE DEVINE SUCCESSION PART 2: THEOTROPY: Chapter 10: ETHICS AND THE SUPERNATURAL - |
| The camera that has come to play an important part in contemporary investigations needs to be aimed at the hypotheses, | 102827 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 2: THE BURNING OF TROY : A NEW INTERDISCIPLINARY METHOD |
| Thermal effects encountered on calcinated sites play a large role in permitting age- determinations (as in thermoluminescence tests and fission-track dating) by providing a basal date from which calculations of age may be made, | 102950 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 2: THE BURNING OF TROY : A NEW INTERDISCIPLINARY METHOD |
| new deviant celestial force began to play upon the Earth and a new and heavy set of disasters began. | 103912 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 5: THE CATASTROPHIC FINALE OF THE MIDDLE BRONZE AGE - |
| Much can be on ready-to- play tapes to begin with, | 106815 THE BURNING OF TROY: PART 2: GEOLOGICAL ISSUES: Chapter 14: ATHENS QUAKES - |
| Pay attention! Diddle diddle the unconscious, play with the mind. | 106909 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 15: COMPTINOLOGY AND TOHU-BOHU - |
| a language to grow, especially subconscious play, | 107200 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 16: SANDAL-STRAPS AND SEMIOLOGY - |
| is never fully written, as the play never ends, | 110088 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 26: EULOGIES TO THREE QUANTAVOLUTIONARIES : LIVIO CATULLUS STECCHINI |
| various humane Judaic and Christian pastors play it sweet and low to their flocks. | 111879 THE BURNING OF TROY: PART 5: COMMUNICATING A SCIENTIFIC MODEL: Chapter 30: PAST, PRESENT, AND FUTURE - |
| from temno, cut. Aeschylus, in his play The Persians, | 112690 KA: - - Chapter 1: AUGURY - |
| B. C. dramatist Euripides, in his play The Bacchae, | 113340 KA: - - Chapter 2: THE ELECTRIC ORACLES - |
| argument we can well consider the play King Oedipus by Sophocles. | 113364 KA: - - Chapter 2: THE ELECTRIC ORACLES - |
| and the same." In the first play of the trilogy, | 113379 KA: - - Chapter 2: THE ELECTRIC ORACLES - |
| long- haired 1 . Euripides, in his play The Bacchae, | 113601 KA: - - Chapter 3: DIONYSUS - |
| the madness of Ajax in the play of that name by Sophocles. | 113688 KA: - - Chapter 3: DIONYSUS - |
| like appearance of Dionysus. In this play, | 113728 KA: - - Chapter 3: DIONYSUS - |
| ark from Baale of Judah. They play before it on instruments of fir wood, | 114073 KA: - - Chapter 4: AMBER, ARK, AND EL - |
| be helpful to glance at a play by Aristophanes, | 114504 KA: - - Chapter 5: DEITIES OF DELPHI - |
| was at war with Sparta. The play is anti-war and Utopian. | 114506 KA: - - Chapter 5: DEITIES OF DELPHI - |
| of birds are mentioned in the play. | 114520 KA: - - Chapter 5: DEITIES OF DELPHI - |
| with a little black. In the play it sings a serenade, | 114532 KA: - - Chapter 5: DEITIES OF DELPHI - |
| but cloudless air and white radiance play over it. | 114895 KA: - - Chapter 6: SKY LINKS - |
| actors introduced the subject of the play, | 115395 KA: - - Chapter 8: SKY AND STAGE - |
| city where the action of the play took place. | 115398 KA: - - Chapter 8: SKY AND STAGE - |
| had the 'Proteus' as a satyr play to follow the three tragedies. | 115410 KA: - - Chapter 8: SKY AND STAGE - |
| her lover Aigisthos. In the next play of the trilogy, | 115438 KA: - - Chapter 8: SKY AND STAGE - |
| the god Apollo. In the third play, | 115440 KA: - - Chapter 8: SKY AND STAGE - |
| round you, and are dancing in play, | 115597 KA: - - Chapter 8: SKY AND STAGE : POETIC INSPIRATION |
| ritual song and dance --as they play with a ball. | 117666 KA: - - Chapter 15: LOOKING LIKE A GOD : EXAMPLES, FROM HOMER, OF THE USE OF OLIVE OIL |
| married Hebe, daughter of Hera. Euripides' play, | 117887 KA: - - Chapter 16: HERAKLES AND HEROES - |
| to recall how Medea, in the play of that name by Euripides, | 117962 KA: - - Chapter 16: HERAKLES AND HEROES - |
| Latin 'fabula' is 'plot', of a play. | 118711 KA: - - Chapter 18: ROME AND THE ETRUSCANS : PANTOMIME |
| may be significant that iron instruments play such an important part, | 119308 KA: - - Chapter 20: SANCTIFICATION AND RESURRECTION : SANCTIFICATION |
| the words and action of a play by Euripides, | 119349 KA: - - Chapter 21: THE DEATH OF KINGS - |
| we can usefully turn to another play, | 119350 KA: - - Chapter 21: THE DEATH OF KINGS - |
| a balanced general criticism of the play; | 119352 KA: - - Chapter 21: THE DEATH OF KINGS - |
| concentrate on those details of the play which suggest links with electricity. | 119353 KA: - - Chapter 21: THE DEATH OF KINGS - |
| electricity. First, a summary of the play. | 119353 KA: - - Chapter 21: THE DEATH OF KINGS - |
| glance at some passages in the play susceptible of an electrical interpretation. | 119373 KA: - - Chapter 21: THE DEATH OF KINGS - |
| susceptible of an electrical interpretation. The play begins with the entrance of Oedipus and Antigone. | 119375 KA: - - Chapter 21: THE DEATH OF KINGS - |
| Right at the start of the play, | 119401 KA: - - Chapter 21: THE DEATH OF KINGS - |
| that at the opening of the play he sensed some divine presence in the rock where he rested). | 119446 KA: - - Chapter 21: THE DEATH OF KINGS - |
| The Phrygian satyr Marsyas learnt to play the pipe, | 119601 KA: - - Chapter 21: THE DEATH OF KINGS - |
| Etruscan suggests henbane and raving. A play was a fabula, | 120085 KA: - - Chapter 22: LIVING WITH ELECTRICITY : MEDICINE |
| Fabula is the plot of a play. | 120798 KA: - - - GLOSSARY - |
| lowered, as if in a Greek play, | 124097 - A FIRE NOT BLOWN: - - Chapter 17: ROCKS - |
| the dancers, marmaruge. It means the play of light; | 124110 - A FIRE NOT BLOWN: - - Chapter 17: ROCKS - |
| contention that electric and magnetic forces play an important role in the Universe. | 126244 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| not necessary to explain the eternal play of good evil, | 127635 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 2: THE PALAETIOLOGY OF FEAR AND MEMORY : THE DIFFICULTY OF D-FEAR THERAPY |
| historical inscriptions and legendary motifs often play the same role as recollections (infantile memories) and dreams in the analysis of a personality 3 . | 127749 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| an event in which they commonly play a very central role. | 128341 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| material which I have discussed can play a part in contributing to the task of verification of the theory of inter-planetary catastrophe, | 128533 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| theories of divine motivation come into play that the syntax becomes more complex and more dangerous. | 128754 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 4: STRUCTURING THE APOCALYPSE: : Old and New World Variations |
| land of Egypt performing a mystery play which reenacted the struggle between Horus and Seth. | 128802 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 4: STRUCTURING THE APOCALYPSE: : Old and New World Variations |
| is Velikovskian. On the surface, the play is a typical public comedy, | 129211 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| deep level of seriousness in the play, | 129217 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| arguing that we respond to the play in different ways, | 129219 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the catastrophic substructure which underlies the play. | 129221 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to begin with, as a fertility play, | 129224 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Looked at in this way, the play is accessible to any understanding, | 129225 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the genre of the comic fertility play. | 129234 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the oppositions are crystallized and the play is propelled into the second phase. | 129238 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| This means that every member must play his role, | 129253 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Shakespearian comedy, the action of the play is a sort of ritual initiation to adulthood, | 129271 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| under the most auspicious circumstances. The play opens four days before the nuptials. | 129286 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| most of the action of the play. | 129312 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of yokels, preparing a rather inept play in honor of Theseus' forthcoming wedding, | 129333 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| different levels of mankind in the play, | 129339 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| on state occasions, Shakespeare writes a play in which, | 129386 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of Pense, when composing the play. | 129395 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| which must be remedied in the play, | 129505 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| ordination at the end of the play. | 129522 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| killed, wasted without having ripened to play their part in the continuation of the life of the tribe. | 129526 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that is the action of the play. | 129537 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Helena, and neither with Hermia. The play seems to be weighing all the different possibilities. | 129586 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 4, the quadrangle, existed before the play began, | 129633 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| and will presumably exist after the play ends, | 129634 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| which predates the beginning of the play 6 . | 129640 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| again at the end of the play 7 . | 129652 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the scheme or structure in this play is so set up that the interrelationship of the whole - from the yokels to Oberon and beyond to all creation - depends upon the internal relationships within the constituent . | 129654 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| behind the comic resolution in the play. | 129696 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in the play. To most, the play is gossamer; | 129696 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| famines. Their benevolent presence in this play serves to emphasize the comic context only if they are recognized as potentially dangerous 8 . | 129705 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| by the surface action of the play. | 129709 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| effective and memorable pictures in the play are not the glimpses of single figures and activities described above. | 129711 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| distances ... As daylight returns to the play, | 129715 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| while to another, schematizing the morality play, | 129744 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| celestial, overtones. For example, the whole play's action occurs during the crucial part of a lunar fertility cycle. | 129755 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| when all the discord in the play has been reconciled, | 129761 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| which form the context of the play are originally pagan and astral. | 129766 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| and most important scene in the play, | 129795 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to the major characters in the play, | 129811 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| basis for the features of this play, | 129824 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| suggested by the words of the play, | 129867 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| dark period is over. In the play, | 129950 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| The Sun- Theseus had left the play as soon as Demetrius-Venus had become attracted to Hermia-Earth, | 129959 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| middle and largest portion of the play, | 129965 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| third and final section of the play culminates in the solemnization of this new order, | 129968 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| clear the larger meanings in his play by throwing questions at us which we ourselves must weigh and find answers for, | 129981 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| few authorial comments earlier in the play, | 129985 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in the latter end of a play, | 130042 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is setting out to defend a play when plays were attacked as mere fancy, | 130048 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| or spiritual man. What follows - the play presented by the yokels to celebrate Theseus' wedding - has been considered by most critics a bit of lightweight burlesque spoofing the inadequacies of inferior actors and theatrical traditions. | 130097 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| playlet and what happens in the play itself. | 130103 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the four lovers in the same play, | 130106 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| The final meaning of the whole play will be derived in part from the juxtaposition of these two stories. | 130114 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| are in hand? Is there no play To ease the anguish of a torturing hour? | 130124 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in his first lines in the play, | 130131 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| relationship - we must approach Shakespeare's play as Theseus' court approaches the yokels' playlet. | 130136 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the yokels' playlet. That is Audience : play Court : | 130139 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| perceived - the peripheral comments upon the play made by the amused members of the court. | 130144 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| instance, when Theseus is told A play there is, | 130146 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| brief as I have known a play; | 130147 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| it tedious; for in all the play There is not one word apt, | 130149 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| he replies I will hear that play; | 130156 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| If we imagine that Shakespeare's play, | 130162 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| if we find Mr. Shakespeare's play clumsy. | 130189 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| for their wedding- night beds. The play had begun in universal sexual frustration, | 130237 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is salvation and rebirth. So the play itself ends, | 130245 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| color our response to the whole play. | 130246 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| making amends for any offence the play may have caused is referred to three times outright, | 130248 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| may have been offended by the play need only consider it a weak and idle dream, | 130265 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| if one has not understood the play, | 130267 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the forest, they can dismiss the play's events And think no more of this night's accidents But as the fierce vexation of a dream. | 130268 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| reaction must be totally different. The play, | 130273 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| grand pattern at work behind the play's seemingly chaotic events, | 130280 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| audience, watching Theseus in Shakespeare's play, | 130288 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| thus Shakespeare's intention in this play to explain the ways of God to man. | 130291 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| great and enduring comedy. Such a play moves from an opening situation fraught with danger, | 130297 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| now to Antony and Cleopatra, a play saturated with catastrophic images and themes. | 130315 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that the whole process of the play is a movement from danger to conflict to order. | 130407 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| In this last part of the play, | 130576 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the generally accepted period of the play's composition, | 130721 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| is the basic story of the play. | 130731 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| topic in current criticism of the play - I will turn in a moment to two quite recent studies of the play. | 130739 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| two quite recent studies of the play. | 130739 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that celestial imagery in Shakespeare's play is in order because he is dramatizing material only recently available to his culture, | 130740 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the conscious act of writing a play or commenting on it. | 130751 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Velikovskyite, yet his analysis of the play produces results which are surprisingly Velikovskian. | 130756 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| stress on general 35 . In this play, | 130759 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 36 . In this way, the whole play acquires a mythic quality through the ritual nature of several of the situations 37 . | 130761 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| behaviour 40 . In Velikovskian terms, the play pictures the last stages of the catastrophic events, | 130796 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| groupings which Lee discerns in the play also complement a celestial, | 130814 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| These patterns are projected through the play 43 . | 130820 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 43 . He tells us that the play moves in an atmosphere of ambivalence which becomes the medium through which the play is perceived 44 , | 130823 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| becomes the medium through which the play is perceived 44 , | 130824 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| of Dr. Velikovsky, see in the play. | 130938 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| The result might well be a play like Antony and Cleopatra, | 130956 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to another recent study of the play, | 130960 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| which he feels underlie Shakespeare's play, | 130962 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| linking of them to Shakespeare's play may indicate a form of continuity of idea between the actual times of the catastrophes and Shakespeare's day. | 130968 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| earlier in my analysis of this play, | 131041 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| certainly the case in Shakespeare's play, | 131150 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| most significant single line in the play. | 131154 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| has been imaged forth in the play even as the great Whore of the Apocalypse, | 131273 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| in the final portion of the play is portrayed as analogous to the "bride" of the great bridegroom, | 131274 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that, at the beginning of the play, | 131278 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| to be awakened and called into play. | 131400 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| it is a game that we play with ourselves, | 131436 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| work of art permits us to play this game as we want it played, | 131438 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the fight against truth? In the play Macbeth, | 131595 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| name." Now in context in the play it is clear that Theseus is rather ambiguous; | 133194 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
| climate of thought. A scholar can play safe in elaborating the evidence for hundreds of hypotheses in the Velikovskian literature that are already clearly stated and buttressed by evidence, | 134020 THE VELIKOVSKY AFFAIR: - SCIENTISM VERSUS SCIENCE - INTRODUCTION TO THE 2ND EDITION - |
| celestial motions - electromagnetic force must also play important roles; | 134457 THE VELIKOVSKY AFFAIR: PART 1: MINDS IN CHAOS - - - |
| irresponsible manner. This bit of fair play on Corner's part later was repudiated by the society's publications committee; | 135656 THE VELIKOVSKY AFFAIR: PART 2: AFTERMATH TO EXPOSURE - - - |
| arms against the suggestion of fair play for Velikovsky. | 135756 THE VELIKOVSKY AFFAIR: PART 2: AFTERMATH TO EXPOSURE - - - |
| issue is one of ordinary fair play. ' | 135817 THE VELIKOVSKY AFFAIR: PART 2: AFTERMATH TO EXPOSURE - - - |
| concluded that these astronomers liked to play with numbers and enjoyed calculations that had little to do with reality. | 137958 THE VELIKOVSKY AFFAIR: PART 4: CUNEIFORM ASTRONOMICAL RECORDS AND CELESTIAL INSTABILITY - - - |
| I strained my sense of fair play to accept the letter by Bargmann and Motz, | 139184 THE VELIKOVSKY AFFAIR: PART 6: THE SCIENTIFIC RECEPTION SYSTEM - - - |
| vigorously. Every weapon is brought into play against the new ideas - authoritative denunciation, | 139878 THE VELIKOVSKY AFFAIR: PART 6: THE SCIENTIFIC RECEPTION SYSTEM - - - |
| machinery is to be brought into play - congressional investigations, | 140181 THE VELIKOVSKY AFFAIR: PART 6: THE SCIENTIFIC RECEPTION SYSTEM - - - |
| such phenomena as the following triple play among reviewers: | 140307 THE VELIKOVSKY AFFAIR: PART 6: THE SCIENTIFIC RECEPTION SYSTEM - - - |