PREFACE By DINGRON- MOZART of the institute.
| PREFACE By DINGRON- MOZART Of the institute. At the halfway mark of our work, this question always arose: "How do we know that we are loved?" A great dissertation for my students. One of them, the author of the present work, dared to answer me: “What’s that to you?” That got him a 0 score. "From now on," he said, "I will not ask you about anything of substance”. We retired to a bar where, following jar after jar, we were as drunk as each other. ME - There is no longer, you see, you neither me but us who we love. HE - We? ME - The spirit, yes, which the Greeks, Plato included, call WE. HE - Who is afraid of the big nasty WE! ME - I. The author was a child prodigy, but so modest that no one would have suspected it. My class in philosophy that year, thanks to him, took on an unknown direction. He suggested themes for dissertations such as: "A shy speaker must pronounce on whether religion is an opiate of the masses”. Imagine the people's reaction to the fact that the speaker drew the courage to express himself from the use of opium. I still remember ... but no, I do not want to remember anything! and certainly not the parallel, as he proposed one day to his fellow students, that exists between the 22 verses of the song of "Bon roi Dagobert", published in the Grand Larousse, and the 22 arcana of the Tarot de Massilia, manipulated by the fortune-tellers; because that is the purpose of this book of 22 chapters. Beyond that I know nothing. I write my preface honestly, that is to say, before I have read what follows and has, for the moment, no name under any pen. Let me therefore excuse my awkwardness as resulting from the difficulty of presenting what is unknown, and by the desire to know what will happen as soon as I have stopped typing. And, finally, to suppose that the following happened before I finished my preface, as a result of the emotion of an old man, who in the future will find his youth and the meaning of his writing6. DM | PREFACE Par DINGRON-MOZART1 De l’institut Au mi-vieux du chemin de notre lie, cette question se posait un peu partout : "Comment savons-nous qu’on nous aime". Beau sujet de dissertation pur mes élèves. L’un d’eux, auteur du présent ouvrage, ces me répondre : "Qu’est-ce que ça peut vous faire ?" Il eut un 0 pointé. "Désormais, me dit-il, je ne te demanderai plus ce qui peut te faire "quelque chose ". Nous nous entrainâmes vers une brasserie où, pot après pot, s’éleva une ivresse commune. MOI – Il n’y a plus, vois-tu, ni toi ni moi mais nous qui nous aimons. LUI – Nous? MOI – L’esprit, oui, que les Grecs, Platon entre autres, appellent NOUS2. LUI – Qui craint le grand méchant NOUS! MOI – Je. L’auteur était alors un enfant prodige mais si modestement qu’on ne s’en serait pas douté. Ma classe de philo prit grâce à lui cette année là un visage inconnu. Il me suggéra des thèmes de dissertation tels que : "Un orateur timide doit se prononcer sur la religion considérée comme un "opium du peuple3. Imaginez les réactions du peuple s’avisant que l’orateur "a puisé dans l’opium le courage de s’exprimer". Je me souviens encore… mais non je na veux me souvenir de rien I sinon de ce parallèle qu’il propose un jour à ses condisciples entre les 22 couplets de la chanson du "Bon roi Dagobert"4 publiée au Grand Larousse et Les 22 arcanes du Tarot de Massilia5 que manipulent les cartomanciennes ; car c’est bien le propos du présent ouvrage de 22 chapîtres. Au-delà de quoi je ne suis rien, écrivant ma préface honnêtement c’est-à-dire avant d’avoir lu ce qui va suivre et n’a pour l’instant de nom sous aucune plume. Que l’on veuille donc bien excuser ma gaucherie par la difficulté qu’il y a de présenter ce que l’on ignore, et par le désir de savoir ce qui va se passer dès que j’aurai cessé de taper à ma machine, et enfin, à supposer que ce qui suit se soit passé antérieurement à ma préface, par l’émotion du vieillard qui, dans l’avenir, va trouver sa jeunesse et le sens de son écriture. D.M. |
RHEDESIUM NOTES
1] Several interpretations can be seen here. In fact, DM would firstly seem to be a kind of monogram, an amalgam of two authors of this Preface - Dingron & Mozart. Reading the Preface they seem to be talking to each other. Viz - At the halfway mark of our work, this question always arose: "How do we know that we are loved?" A great dissertation for my students. This appears to be the Teacher because he refers to his 'students'. One of them, the author of the present work, dared to answer me: “What’s that to you?” That got him a 0 score. The teacher goes on to identify one of those students - and then a shift takes place, the student is the 'author of the present work' which is Cherisey [as his alter ego Charlot/Amédée]. Charlot/Cherisey describes himself as a child prodigy and that he may have been studying philosophy. One does not study philosophy in school so I suggest he is at University.
The speaker's monogram DM may also be to draw attention to the DM Writing of Nostradamus commonly understood as "message in code".
Cent. 8 - 66
Quand l'écriture D.M. trouvée,
Et cave antique à lampe descouverte,
Loy, Roy et Prince Ulpian* esprouvée,
Pavillon Royne et Duc sous la couverte
Century. 8 - 66
When the writing D.M. found,
And antique cellar with open lamp,
Loy, Roy and Prince Ulpian* proven,
Pavillon Royne and Duc under the cover.
Appearance of the writing D.M? Who or what is this DM?
Perhaps the DEI MANI sign that the Romans had inscribed on their graves. This custom ensured them the inviolability of their grave, because the gods kept guard at its opening. It therefore seems here that the place of the lamp is a clearing and Nostradamus alludes that the main clue of this place of discovery (an ancient or hypogeal cellar) will be this lamp that had the same role as that of the temple of the Vestals in Rome. Note that in the text of the Hieroglyphs of Horapollo, Nostradamus clearly says: "How they (the Egyptians) appealed the infernal gods, that they called Manes D.M.
One also wonders if Cherisey, as author, would have been aware of Plantards speculations on this DM. Plantard wrote HERE that;
The first hand, D, runs across the dial in 1242 and the seventh hand, M. in 936 years, as indicated in the following tableThe names D (Diomedes, who gave his horses human flesh) and M (Maroneus, founder of cities) are written with capital letters. The meeting of two or more needles at the same point determines a date and the correspondence of a quatrain. However, during 4173 years, it is obvious that the meetings can be multiple. The problem was solved by using in the second place the astronomical position of the planets......These durations of time are the same as those used by the Thracians and there is no need to be a great initiate to understand the mechanism: seven preseps or hands simply mark the time on the dial of a clock with 942 degrees. Each hand is hollow and contains a treasure. The Thracian people, composed of many poets, had given a very symbolic name to each hand. And their initials give in writing: D.y.s.o.r.u.M., from the name of a mountain of Thrace, famous for its legendary Muses-Pierides.
2] Nous from the Greek is a concept from classical philosophy, sometimes equated to intellect or intelligence, for the faculty of the human mind necessary for understanding what is true or real. It also includes intuitive thought.
3]The opium of the people or opium of the masses is a dictum used in reference to religion, derived from a frequently paraphrased partial statement of German revolutionary and critic of political economy Karl Marx: "Religion is the opium of the people." In context, the statement is part of Marx's analysis that religion's role is as a metaphysical balm for the real suffering in the universe and in society.
4] "Le bon roi Dagobert" is a French satirical anti-monarchical and anti-clerical song written around 1787. It references two historical figures: the Merovingian king Dagobert I (c. 600–639) and his chief advisor, Saint Eligius (Éloi) (c. 588–660), the bishop of Noyon. The song is directed against Louis XVI and the ties maintained by the Catholic Church with the ancien régime, but it was used more broadly against monarchies in French history. For its hourly chime, the clock of the town hall in the Parisian suburb of Saint-Denis alternated between two different tunes, "Le bon roi Dagobert" and "Le temps des cerises". Le Temps des cerises (The Time of Cherries) is a song written in France in 1866, with words by Jean-Baptiste Clément and music by Antoine Renard. The song was later strongly associated with the Paris Commune, during which verses were added to the song, thus becoming a revolutionary song. The "Time of Cherries" is a metaphor regarding what life will be like when a revolution will have changed social and economic conditions. You can view poem HERE
5] Tarot de Massilia is the Tarot de Marseille.
6] This reads as one of his alter ego names - Amédée - he describes in Stone & Paper about this: