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| third section consists of the yokels' playlet and a general tying up of loose ends. | 129977 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| between what happens in Bottom's playlet and what happens in the play itself. | 130102 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| stories. Second, we must situate this playlet in its proper context. | 130117 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 37. In other words, the yokels' playlet which fills the gap here between Theseus' frustration and the approved time of sexual release, | 130128 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| the whole forest episode and the playlet. | 130132 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| appreciate the full importance of the playlet, | 130135 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| as Theseus' court approaches the yokels' playlet. | 130137 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| playlet. That is Audience : play Court : playlet. | 130140 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that Shakespeare's play, like the playlet, | 130162 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| perceive the truth embedded in the playlet. | 130168 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| lie in the ridiculousness of the playlet, | 130185 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| capacity. 5.1.99-105. The playlet itself, | 130203 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| his own imaginative understanding. When the playlet draws to an end, | 130228 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| and his court watching the yokels' playlet, | 130288 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
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| said that she accidentally killed her playmate Pallas and took the name herself in remorse. | 104011 THE BURNING OF TROY: PART 1: HISTORICAL DISTURBANCES: Chapter 5: THE CATASTROPHIC FINALE OF THE MIDDLE BRONZE AGE - |
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| trust. She in turn reassures her playmates. | 77130 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 2: THE SONG OF LOVE : THE PHAEACIAN UTOPIA |
| disagreeable experiences with cruel attendants or playmates in a comic or brutal scenario with toys, | 84686 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 17: SETTLED SKY AND UNSETTLED MIND : WHAT HOMER REMEMBERED |
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PLAYS.....................46 (0.006%)
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| 1. N eugebauer is convinced V. plays a tricky game: " | 14233 COSMIC HERETICS: PART 4: - Chapter 12: THE THIRD WORLD OF SCIENCE - |
| power over things or people, but plays upon every means of entrapping and embroiling them, | 14777 COSMIC HERETICS: PART 4: - Chapter 12: THE THIRD WORLD OF SCIENCE - |
| forceful torsions and saltations. That quantavolution plays a role in the theory of natural and social science has never been denied. | 57238 SOLARIA-BINARIA: PART 2: DESTRUCTION OF THE SOLAR BINARY: Chapter 17: TIME, ELECTRICITY AND QUANTAVOLUTION - |
| it moves from the opening theme, plays upon their variations. | 66234 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS - |
| devastating man. So a tyrant arises, plays god, | 66814 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : AUTHORITY |
| casts of dice. 26 Indeed nature plays dice. | 67089 HOMO SCHIZO I: - - Chapter 6: SCHIZOID INSTITUTIONS : THE COMPULSION TO REPEAT CHAOS AND CREATION |
| a constant cold in the head, plays psychological games with his family and neighbors, | 68351 HOMO SCHIZO I: - - Chapter 7: PSYCHOPATHOLOGY OF HISTORY : RELIGION AS CUSTODIAN OF FEAR |
| Gray would not deny that fear plays a major role in psychoses, | 70222 HOMO SCHIZO II: - - Chapter 1: THE NORMALLY INSANE : SCHIZOPHRENIC AND SCHIZOTYPICAL |
| heavy motive in sexual attraction. Affection plays so large a part in nurturing and training an infant that it becomes naturally a well-developed area of fixation for many problems of other instinctive zones besides the sexual. | 71246 HOMO SCHIZO II: - - Chapter 2: THE SEARCH FOR LOST INSTINCT : INSTINCT IN MAN AND ANIMAL |
| Homer's self-image. The recital plays to a fascinated audience at the palace of Alcinous and to his guest, | 76621 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS - - - INTRODUCTION - |
| Shakespeare she acted in her own plays: | 76832 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 1: AN ATHENA PRODUCTION - |
| of the light Olympian-age character plays opposite her usual star in the Love Affair, | 79328 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 8: THE TWO FACES OF LOVE - |
| even of the unconscious role she plays in our religious rites and our forms of thought and behavior. | 81112 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 10: HE WHO SHINES BY DAY : ATHENA'S LAST BATTLES |
| interfere in the Love Affair but plays the minimal role of lending his presence and posing a question to his younger brother. | 82056 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 2: GODS, PLANETS, MADNESS Chapter 12: THE LAUGHING GODS : APOLLO |
| of tragic drama, we have full plays by only three of them and only thirty-three of the 297 creations of these three men remain. | 84065 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY : AMNESIAC PHILOSOPHERS |
| would have come a number of plays such as Seneca's Thyestes, | 84066 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 3: THERAPY FOR GROUP FEAR Chapter 15: THE BIRTH AND DEATH OF MEMORY : AMNESIAC PHILOSOPHERS |
| changed deployment of external aggregates also plays upon this voltage gradient and often it is by no means child's play. | 87662 GODS FIRE: - - Chapter 3: CATASTROPHE AND DIVINE FIRES : YAHWEH'S ELECTRICAL FIRE CONGLOMERATE |
| volcanic eruption or a meteorite fall plays havoc with its ambiance, | 87663 GODS FIRE: - - Chapter 3: CATASTROPHE AND DIVINE FIRES : YAHWEH'S ELECTRICAL FIRE CONGLOMERATE |
| rage, gives, takes, instructs, commands, discriminates, plays tricks, | 91681 GODS FIRE: - - Chapter 6: THE CHARISMA OF MOSES : THE MANIAC SCIENTIST |
| will. Sometimes, as with Pharaoh, Yahweh plays a mean game with people, | 93897 GODS FIRE: - - Chapter 8: THE ELECTRIC GOD : THE CHARACTER OF YAHWEH |
| to those in which the Unconscious plays an important role, | 107778 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 19: THE 'UNCONSCIOUS' AS A LITERARY REVOLT AGAINST SCIENCE - |
| with Dido, long-haired (crinitus) Iopas plays on his golden kithara; | 114340 KA: - - Chapter 5: DEITIES OF DELPHI - |
| play. The hoopoe, formerly King Tereus, plays an important part. | 114520 KA: - - Chapter 5: DEITIES OF DELPHI - |
| generally held that in Aeschylus's plays the emphasis is on the gods controlling events, | 115433 KA: - - Chapter 8: SKY AND STAGE - |
| as in the Iliad; in the plays of Sophocles the clash is between man and god; | 115434 KA: - - Chapter 8: SKY AND STAGE - |
| where we read that the liver plays a decisive part in aiding or preventing prophetic vision. | 115970 KA: - - Chapter 10: THE EVIDENCE FROM PLUTARCH - |
| dialogues, but also a number of plays, | 118136 KA: - - Chapter 17: BYWAYS OF ELECTRICITY : SOME PASSAGES OF INTEREST IN THE ILIAD |
| in classical Greek a lady who plays a more prominent part in public life than Athenian conservatives thought desirable. | 118472 KA: - - Chapter 18: ROME AND THE ETRUSCANS : ROME, MONARCHY, AND THE GODS |
| in the first of the Theban plays, | 119550 KA: - - Chapter 21: THE DEATH OF KINGS - |
| identities are established, or that coincidence plays no part. | 120587 KA: - - - GLOSSARY - |
| the reasonable and the fantastic. Language plays this game irrationally, | 121563 - A FIRE NOT BLOWN: - - - INTRODUCTION - |
| and the performance of games and plays, | 122902 - A FIRE NOT BLOWN: - - Chapter 11: CHANGING INTERPRETATIONS - |
| became places where kings danced and plays were performed. | 124692 - A FIRE NOT BLOWN: - - Chapter 21: KINGS - |
| overtones in two of Shakespeare's plays. | 126115 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : - FOREWORD - |
| terms of psychological resistance, although that plays a part, | 127851 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 3: PSYCHOLOGICAL ASPECTS OF THE WORK OF IMMANUEL VELIKOVSKY - |
| must treat the action of the plays in some detail. | 129200 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| astonishing Velikovskian overtones in Shakespeare's plays, | 129203 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| would therefore suggest that Shakespeare's plays may be best understood if they are seen as falling naturally into three parts, | 129244 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| s comedy, as in all fertility plays, | 129248 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| that nature is unfathomable. Those Shakespeare plays that specifically treat of nature more precisely, | 129734 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| 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 |
| 213. That is to say, all plays are not real, | 130224 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| because catastrophic overtones appear in Shakespearian plays written before the celestial events I have mentioned, | 130726 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| and medieval background to Shakespeare's plays merges virtually directly with my Velikovskian interpretation of it. | 131159 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| wish to step back from the plays themselves and look at some of the larger implications of what I have just said. | 131309 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| Dream as one of the central plays in his presentation this afternoon. | 133189 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : APPENDIX I ABOUT THE AUTHORS : IRVING WOLFE |
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PLAYWRIGHT................1 (0.000%)
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| and word-meanings. George Kaufman the playwright once wrote a line for Groucho Marx - I am not sure of the exact words. | 107196 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 16: SANDAL-STRAPS AND SEMIOLOGY - |
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| concept. The dancers first enter the plaza in a single file from the east and line up on the north side, | 129076 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 4: STRUCTURING THE APOCALYPSE: : Old and New World Variations |
| the position of dancers in a plaza. | 129088 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 4: STRUCTURING THE APOCALYPSE: : Old and New World Variations |
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PLEA......................13 (0.002%)
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| said, and in response to a plea from the allegedly poverty-stricken White House for donations, | 7501 COSMIC HERETICS: PART 1: - Chapter 3: CHEERS AND HISSES - |
| antagonistic towards the Talbotts himself; the plea was for others.) " | 15173 COSMIC HERETICS: PART 4: - Chapter 12: THE THIRD WORLD OF SCIENCE - |
| 4 I, too have this final plea in mind. | 24092 CHAOS AND CREATION: - - CHAPTER 04: A CATASTROPHIC CALENDAR - |
| is that, following upon Athena's plea, | 76890 THE DISASTROUS LOVE AFFAIR OF MOON AND MARS PART 1: SACRED SCANDAL AND DISASTER Chapter 1: AN ATHENA PRODUCTION - |
| that was operative would hear no plea, | 86304 GODS FIRE: - - Chapter 2: THE SCENARIO OF EXODUS : HIGH-LEVEL NEGOTIATIONS |
| legend, accosted the Lord, with a plea to return the Israelites to Egypt. | 86952 GODS FIRE: - - Chapter 3: CATASTROPHE AND DIVINE FIRES : WHOSE ANGEL? |
| Then Yahweh tells Moses that his plea before the Pharaoh is to lead the Israelites thither to worship him. | 93749 GODS FIRE: - - Chapter 8: THE ELECTRIC GOD : THE NAME OF YAHWEH |
| I should like to enter a plea on behalf of their implications. | 94895 GODS FIRE: - - - CONCLUSION - |
| culmination, descends, often precipitously. In a plea for the innocents, | 107058 THE BURNING OF TROY: PART 3: WORKING OF THE MIND: Chapter 16: SANDAL-STRAPS AND SEMIOLOGY - |
| and substantiated by considerable evidence. A plea was made to receive Velikovsky's theories with a courteous and just appraisal, | 109911 THE BURNING OF TROY: PART 4: POLEMICS AND PERSONAGES: Chapter 25: 'SCIENTIFIC' REPORTING - |
| a clue and an apology, a plea for understanding and tolerance, | 130164 RECOLLECTIONS OF A FALLEN SKY - VELIKOVSKY AND CULTURAL AMNESIA : Chapter 5: SHAKESPEARE AND VELIKOVSKY : Catastrophic Theory and the Springs of Art |
| all possible. But to Kallen's plea, | 134618 THE VELIKOVSKY AFFAIR: PART 1: MINDS IN CHAOS - - - |
| field in space. The Bargmann-Motz plea for scientific good sportsmanship won no response in the journals of science 1 and 2, | 135475 THE VELIKOVSKY AFFAIR: PART 2: AFTERMATH TO EXPOSURE - - - |