Political Fools.—The almost religious love of the king was transferred by the Greeks, when the monarchy was abolished, to the polis.

An idea can be loved more than a person, and does not thwart the lover so often as a beloved human being (for the more men know themselves to be loved, the less considerate they usually become, until they are no longer worthy of love, and a rift really arises).

Hence the reverence for State and polis was greater than the reverence for princes had ever been. The Greeks are the political fools of ancient history—today other nations boast that distinction.

Ancient Greek philosophers / in Sacred geometry play

Gand mysteries lost to scholarship / deep in plaster wet.

LETTER TO PETER GAST | Turin, Sunday, DECEMBER 16, 1888*******

Important extension of the concept of “operetta.”* [parenthesis - light or humorous theme, typically having spoken dialogue] Spanish operetta. La gran via [Madrid’s most famous road that goes through the center], heard twice [ (1) Die fröhliche Wissenschaf / (2) La “Gaya” Sciencia] - main feature, from Madrid [La “Gaya” Sciencia]. Simply cannot be imported [gai saber]: one would have to be a rogue ***** and the devil of an instinctive fellow - and solemn at the same time… a trio of three [9] solemn old gigantic villains in the strongest thing that I have heard and seen [Thrice did there peal peals at the gate like thunders, thrice did the vaults resound and howl again: then did I go to the gate.] - also as music: genius cannot be formulated… since I now know a great deal of Rossini - am familiar with eight operas [898 = U | Cow mentioned in Zarathustra 8 times] - I took my favorite one, Cenerentola, as an example for comparison: it sounded a thousand times too kindhearted [“Gaya” - गाय] when compared with the Spaniards [la & Sciencia]. you see, only a complete rogue could think out even the plot 🖕- it is just like a conjuring trick the way the villains flash like lightening into view. Four or five pieces of music [AE[I]OU] which must be heard; for the rest, the Viennese waltz in the form of larger ensembles predominates [SOCIAL]. Offenbach’s Schone Helena coming after it was a sorry falling-off [Romantic opera***: Trojan war parody]. I left. It lasts exactly 1 hour.

1h = 60min;

[At point (0,0) of 60min, radius = 12; at radius 12: X2 + Y2 = 144]****

*The development of song in opera gives an ever-new future to absolute music (through an increase in symbolism) 22[110]113 | Hear the pronunciation of “Gaya” - गाय

**Two words suffice, which of course in Germany are not easily [and in fact aren’t] translated “into German”: gai saber. 34[181] April-June 1885 (gai saber been infact the proposed title for what was to become Beyond Good and Evil, “Gai Saber. Prelude to a philosophy of the future. By Frederick Nietzsche”. 35[84] May to July 1885. (Spring 1885-Spring 1886).

*** But, Sir (🫵) if your book is not Romanticism, what on earth is? Is there not a ground bass***** of anger and delight in destruction rumbling away beneath all your contrapuntal vocal art and seduction of the ear, a furious determination to oppose the entire ‘present’, a will that is not too far removed from practical nihilism and which appears to say, I would prefer that nothing were true, rather than know that you (👋) were right, that your (🙋) truth turned out to be right.’ [BOT, Intro, A7]

****Just listen, Mr pessimist and Defiler of Art, with a more attentive ear to a single passage from your own book, that not uneloquent dragon killer passage which can sound enticing and seductive to young ears and hearts; Are you telling us that this is not the genuine, true Romantics confession [“American Romantic period” - Protestantism] of 1830 beneath the mask of the pessimist of 1850 [end of period; 1870 - exactly 40 years], behind which one can hear the opening bars of the usual romantic finale dash fracture, collapse, return, and prostration before an old belief, before the old God? [BOT, Intro, A7]

***** A pattern of notes, especially a short melodic phrase (12), set in the base and repeated over and over again in the course of a musical composition. 12+12+12+12+12+12+12+12+12+12+12+12 | 144 [BOT, Intro, A7]

** A ROGUE | 9+10+11+12+13+14+15+16+17+18+19+20+21+22+23+24+25+26+27

and the devil of an instinctive fellow | 1+2+3+4+5+6+7+8+9+10+11+12+13+14+15+16+17

and solemn at the same timE | 1+2+3+4+5+6+7+8+9

******* 888 = [18+9+5 | Center of number chains] Vav = 22

The number 22 is also significant in the Gematria field, which interprets the Hebrew alphabet as numerical values. In Gematria, the number 22 is the numerical value of the Hebrew letter “Vav,” which is often used to represent the idea of connection or unity.

Great wickedness of rebellion and sin [steps in number chains] [9+8+4]

The meaning of number 21 is that of great wickedness of rebellion and sin. After the children of Israel left Egyptian bondage, they had twenty-one major rebellious events as they wandered the wilderness. The number 13, which symbolizes depravity and sinfulness, and 21 are closely related.

Lack, disorganization, disorder (sum of starts of number chains) [9+1+1]

The number 11’s meaning in the Hebrew context is quite similar to its biblical meaning. 11 (pronounced in Hebrew as achat esre or echad asar) is associated with lack, disorganization, disorder, and other negative virtues. Khaf is the eleventh Hebrew letter, which is a numerical equivalent of the number twenty.

Redemption [(lenght of number chains) 9+17+19]

The numerical value of Hebrew word GAVLE meaning redemption, ADM meaning Adam with the final letter "mem" equal to 40, and HBLE meaning insult, gives each one 45. Occurrence The number 45 is used 3 times in the Bible. The word fidelity is mentioned 45 times in the Bible.

ect, ect…