1-Page-Classics: A Compendium Including Original Works and Interpretations of Eastern and Western Classics

By Nathan Coppedge

1-Page-Classics is written by a dimensional philosopher. It includes renditions of mysteries and philosophies ranging from the Tao Te Ching, to the Orphic Mysteries, Mandate of Heaven, and the nature of Ambergris. It also has literary merits through the authors interesting accounts of prior lives as Rip Van Winkle, the Burner of Alexandria, and Pippin son of William Tell. Valuable for its eclectics, it is also valuable for its philosophical accounts of Modal Realism, Wittgensteins Tractatus, and the stoic manual The Enchiridion; Topics are chosen for their integrity as well as broadness; there is even a translation of Simone d Beauvoirs The Second Sex; The author also takes a unique viewpoint on topics ranging from Archeology to Mathematics, with many of his works having original intellectual merits. The book includes potential study packages such as Cultures, Logic, and Miniature Linguistic Treatises. It also includes writings on the subject of Wonders of the World and Signs of the Zodiac; Compact, complex, and alphabetized, calling this book intellectual would be an understatement, but it has value as pleasure reading too.

• Language: English
• Publisher: AuthorHouse
• Release date: Feb 22, 2012
• ISBN: 9781468552188

Nathan Coppedge

Nathan Coppedge is a philosopher, artist, inventor, and poet who lives in New Haven, CT. He is previously the author of 1-Page-Classics (2012) and The Dimensional Philosopher’s Toolkit (2013). His poetry and artwork has appeared in the small-print publication THESE Magazine, and his own self-printed ‘chapbook’ collection, called Inverse Threads (2004).

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{|[ 1-PAGE-CLASSICS ]|}

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A Compendium

Including Original Works and

Interpretations of Eastern and Western Classics

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

by Nathan Coppedge

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AuthorHouse™

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© 2011, 2012 Nathan Coppedge. All rights reserved.

Cover Art by Nathan Coppedge

A NOTE ON COPYRIGHT

THIS BOOK IS INTENDED FOR PERIODIC XEROX USE

Permission is freely given to Xerox individual pages, or pages in bulk for academic purposes or personal, as opposed to commercial use; However, every Xeroxer should have their own purchased copy, or the rule is moot;

There is no free academic license on the total sum of contents; Those who wish to make use of all of the materials should purchase a new copy;

Additionally, there is no permission to post the material on the internet, in whole or partial form, except with the use of quotations; My use of decorative elements allows for a distinction between short originals and relatively long or extensive quotations of the text;

The blurred line between beaux-arts and academic material is intentional, and serves the interest of students, who deserve interesting referencia;

First published by AuthorHouse 02/13/2012

ISBN: 978-1-4685-5219-5 (sc)

ISBN: 978-1-4685-5218-8 (ebk)

Library of Congress Control Number: 2012902680

Printed in the United States of America

Any people depicted in stock imagery provided by Thinkstock are models, and such images are being used for illustrative purposes only.

Certain stock imagery © Thinkstock.

This book is printed on acid-free paper.

Because of the dynamic nature of the Internet, any web addresses or links contained in this book may have changed since publication and may no longer be valid. The views expressed in this work are solely those of the author and do not necessarily reflect the views of the publisher, and the publisher hereby disclaims any responsibility for them.

CONTENTS

ACKNOWLEDGEMENTS

INTRODUCTION

A continuous succession of correspondences

NOTES ON CONSTRUCTION

A NOTE ON CONCEPT OBJECTS IN THE 1-PAGE-CLASSICS

AN ACCOUNT OF ERRORS

AEGIS HANDBOOK OF PROVIDY

THE AENEID OF VIRGIL

AN ALTERNATE THEATRE

THE ANALECTS or ANALECTUS

THE ANIMAL HARMS & THE HUMAN CHARMS

APOCHLAMATIONS Meaningful Apocalypse

THE AQUARIAN AQUADUCT

ARABIAN NIGHTS

ARCHANA LINEA Hagiology, the Study of Hands

ARCHE_FACT The Highest Information

ARCHEMESIS An Account of Genesis

THE ARTESIAN WELL An Edition of History

THE ART OF ARIES A Zodiac Story

THE ART OF IKEBANA

ART OF WAR OF SUN TZU

ASCETIC TASTE by Nathan Coppedge

THE ASSAY OF MANIFOLD PREDICAMENT

THE ATOMIC CLOCK

THE AXES Theology and Atheism

BEAUTY AND THE BEAST

BEESBALL

BELLES LETTRES

BENT OF THE WRITER

BHAGAVAD-GITA Edited and Interpreted by Nathan Coppedge

THE BICYCLE ad hominem

THE BILLETURE* OF THE ILLUMINATI

THE BOOK OF THE MADMAN

BOOK OF SECRETS or the Book for Lost Travelers

THE BURNER OF ALEXANDRIA

THE CAPITAL CALLED EPICUREA

THE CAPRICIOUSNESS OF CAPRICORN

CASUAL DIMENTIA

CONSTRUCTIVE FUTURISM

CORPUS FIRMA

THE CRESCENDO OF CANCER

THE CROOKED ROAD OF KNOWLEDGE

CULTURA NATURAE

DARK FORCES GATHER A Tale of Good and Evil

DEGREES OF POLARITY

DEGREES OF TEMPORAL MASTERY

DE LOOP

DEMYSTIFIED APES An Account of Their Work on Typewriters in Their Own Words by Nathan Coppedge

DIALOGUE ON SIGNIFICANCE

DIALOGUE ON VALUE AND EXPERIENCE

DISBELIEF More True than True

THE DISREPUTABLE SAYINGS OF COWBOYS

OF EARTH AND HEAVEN

ECCENTRIC BUILDING BLOCKS

ECHELON The Scale of Proof

EFFICIENT FOODS

EGONONE The Story Without an Ego

THE EGOPLAST Against Fascination

THE EMBELLISHED ART Lies and Prophecies

ENCAPSULATED TIME An Account of Neutrals

THE ENCHIRIDION

THE END OF PROBLEMS

ETERNAL SONG

EVENTS AT THE TEMPLE OF DIANA

EXCEPTIONAL DOGMAS AND DIGRESSIONS

EXCEPTIONAL SAFEGUARDS AND TACTICS

EXCEPTIONAL STEALTH AND FAMOUS

EXCLUSIVE NOTES by Nathan Coppedge

THE FACILITY OF FOOLS

FAMOUS ADVERTISING

FINN HUMANE

FISHY FINN, COLORDOOR, AND THE CHAKRA KILLINGS

FOUR LIVES Exempla

FREEING DEMONS

FROM AN UNKNOWN SAGE*

GAMBOLING GEMINI

THE GAME OF AMBERGRIST

TO GAMUT A MAZE

THE GARDEN OF FORKING PATHS

THE GARDENS OF BABYLON

THE GOLD COIN, THE GOLD FISH, AND THE SILVER FISH

THE GOLDEN APPLE Or, While I Tarry

THE GOOGLE SOUL A Half-Life

THE GREAT LIGHTHOUSE

A GUIDE FOR THE PERPLEXED

HARPER’S FISH HOOKS

THE HIDDEN AND SERENE LANGUAGES

THE HUMBLE STANDARDS OF EPICURES

THE IDIOT, ANIMAL FARM, AND UTOPIA

THE IMAGE OF DESIRE

INCITING MADNESS

THE INFLUENTIAL, INFLECTIVE, AND ELOQUENT LANGUAGES

INNOCENCE AS DIVINE SCIENCE

INQUISITION OF METHOD

INVISIBLE CITIES of Italo Calvino

THE INVISIBLE MAN

THE JAWBONE OF A MULE*

THE JOKER’S GUIDE TO IMMORTALITY

KWANG AND KUNG

LEARNING OF ENLIGHTENMENT

THE LEGEND OF INFAMY

LEVITATION LEVELS by Nathan Coppedge

LIBERATED LIBRA

LIBERTARIAN IDEALISM

THE LITTLE DUCHESS

LOVE OF LEO

MAGICAL ELIMINATION

MAGICAL MANNERS In an Appropriated Setting

MAGICAL PROOF

THE MANDATE OF HEAVEN

THE MERCHANT BENEATH THE COLOSSUS

A MERRY COMPANY An Illustration

METAPHYSICA Aristotle Interpreted by Nathan Coppedge

METHODS OF INFINITY

THE MEXICAN BIBLE A Work of Weather

A MINIMAL GUIDE TO PROPHECY

MODAL REALISM of David K. Lewis

MODES OF REASONING By Nathan Coppedge

MOTLEY BEHAVIOR Raising a Beaver*

MOTLEY CONTRACT Reaction-Time Concept

MOTLEY DRINKING SONG In Prose Verse

A MOTLEY EXPLANATION Extempore Theatre

MOTLEY FOOLS’ CANDIED HOUR

MOTLEY FOOLS’ KEYNOTE PERFORMANCE

MOTLEY MILITARY

MOTTES D’ JOUR Mottoes

THE MYSTIQUE OF PURPLE

THE NAMING GUIDE TO PROGRESS AND EXPECTATION

NEW ARCHANA by Nathan Coppedge

NOSTALGIA

NURSERY RHYME ON FOOD AND FLIRTING

NURSERY RHYME ON SLEEP

THE OLD AND COMMON LANGUAGES

OMNUS OMNI The Original Directory

ON FUTILITY

ON WORK AND PLAY

ONE QUARTER ADROIT A Dialogue About Gender

ORDANI PROMISI A Directory of Spies

ORDINARY AND EXTRAORDINARY LANGUAGES

ORPHIC MYSTERIES

THE PARABLE OF CITIES An Eternal Prophecy

PARENTHETICALS or GIANT STEPS

PEA’S SOUP A transgression against love and delicious tastes

PHILOSOPHY OF CHICANERY

PICKY PISCES A Zodiac Story

THE PLAN OF HISTORY

PLATITUDES or Epipheticals

POINTS IN THE HIERARCHY pas faux

POLUTUM POLITUM An Account of Concealed Truth

PROGRAM FOR POLITICS

PROLIX PROVERBS

THE PROPHECY OF THE DIVIDED MIND

PROPHETIC ADVICE

Proto-Archaic Superman

PROVERBS OF SOLOMON

PUCCINI, FELLINI, AND MORELLI

Q.E.D. A Strategy that Can Map a Life

QUOTH THE RAVEN QUOTH THE RAM

A RABBIT-HOLE OF SYNTHETIC PURSUIT

RAISON D’ SUPERENNUI

THE REPUBLIC of Plato

RESPITE An Old Woman’s Reply

THE RHETORIC OF IDIOCY An Attempt at Completeness

RIP VAN WINKLE Dies

RIP VAN WINKLE LIVES

ROETHKE A Modern Poet

THE RUMOR OF MENUS

RUMPSPRINGER The Original Wizard Sport

SABUL ASTONISHED

SAD SOMEBODY, SOMEBODY SAID

SAGACIOUS SAGITTARIUS

SAPPHO the Tenth Muse*

SECONDARY AND NON-STANDARD LANGUAGES

THE SECOND SEX of Simone d’ Beauvoir

THE SECRET OF THE BIG HOUSE

THE SECRET SECRETARY For Virgins

THE SECRET OF THE TAILOR

SECRET UMPIRE

SEXUAL DISCRETIONARY URBANISMS

SHAKESPEARE’S PEINN

THE SHAMAN OF SHAM

SKULKING SCORPIO

SLIGHTS OF MIND

THE SLURRED LANGUAGE

SOBRIETY

THE SOCIAL CONSTRUCT

SO COEUR

SOLUTIONS or How to Hold Water in One’s Hand

SONG OF LOVE

SONG OF SILVER morningtide

S.P.I.E.S. A Critical Methodology for Paranoiacs

SPIRITUS ANIMUS MUNDI

THE STATUE OF ZEUS

THE TALE OF BITTERNESS

THE TALE OF IGNORANCE

THE TALE OF POVERTY The Creation of the Book

TAO TE CHING original by Lao Tzu

TEAR OF TAURUS

TEMPLATE DIVINUM An Attempted Science

A TEMPORAL STUDY OF MAGIC

THIEF’S NIGHTMARE

THINGS THAT WON’T MOVE

TIMAEUS of Plato

TRADITIONAL CLAIMS

A TRACT OF HEAVEN

TRACTATUS of Wittgenstein

THE TRANSISTORY AND DIVERGENT LANGUAGES

TREE OF LIFE Cabbalah

THE TREE METHOD A Guide to Interface Parsing

TREES OF VALUE

THE TRICKERY OF HERMES

TURNING RED a Map of Embarrassment

UNRULY DIRECTIONS or Pistols and Rifles

THE UNRULY GUIDE TO INTELLIGENCE & PROFIT

THE UNRULY PROOFS OF GOD

UNRULY SPITE by Nathan Coppedge

     Or, A Casual Warning About Dimentia, in a Harsh Tone

THE URCHIN OF UR

VIA LOGOS

VICIOUS LANGUAGE Misnomers

VICTORIOUS VIRGO

VICTORY BY SURFEIT

THE WAY OF ABERRATIONS

THE WAY OF ABSOLUTES

THE WAY OF ADVENTURE

THE WAY OF AGE

THE WAY OF AMBERGRIS

THE WAY OF AMELIORATION AND AXIOMETRY

THE WAY OF ARCHEOLOGY

THE WAY OF ARCHITECTURE AND INSTITUTIONS

THE WAY OF THE BODY

THE WAY OF BOOKS

THE WAY OF CASE AND EXAMPLE

THE WAY OF CHEMISTRY

THE WAY OF COMPLEXITY AND MODALITY

THE WAY OF CONTINGENCY

WAY OF COSMIC KNOWLEDGE

THE WAY OF CRITICISM AND TRANSLATION

THE WAY OF CULMINATION

THE WAY OF THE DOKTOR A Manual of Mirth*

THE WAY OF ECONOMICS

THE WAY OF ENCYCLOPEDISM

THE WAY OF ETHICS

THE WAY OF EVENTS

THE WAY OF EXCEPTION AND DEVIATION

THE WAY OF EXTRINSICS

THE WAY OF FATE

THE WAY OF FIGURIZATION

THE WAY OF FOOLISHNESS

THE WAY OF FORM

THE WAY OF HABIT AND ECLECTICS

THE WAY OF HEALTH AND TOUGHNESS

THE WAY OF HEAVEN

THE WAY OF IMMORTALITY

THE WAY OF INFORMATION

THE WAY OF INTELLIGENCE

THE WAY OF INTRINSICS

THE WAY OF LABYRINTHS AND OPTIMISM

THE WAY OF LANGUAGE

THE WAY OF LAWS OR THE BOOK OF KINGS

THE WAY OF LOVE

THE WAY OF MATH

THE WAY OF META-COMPOSITION

THE WAY OF META-CONTINGENCY

THE WAY OF META-HISTORY

THE WAY OF META-NATURE

THE WAY OF MIND

THE WAY OF MONEY

THE WAY OF MOTISM

THE WAY OF NATURE

THE WAY OF NECESSITY

THE WAY OF OBJECTS

THE WAY OF PATIENCE AND IMAGINATION

THE WAY OF PERFECTION AND LIMITATION

THE WAY OF POND-LOGIC

THE WAY OF PROLEGOMANA

THE WAY OF PROOF

THE WAY OF READING

THE WAY OF RELIANCES

THE WAY OF RUMINATION

THE WAY OF THEATRE

THE WAY OF THEORY

THE WAY OF THOUGHT

THE WAY OF TRICKERY AND STRATEGY

A WEAK HEART Developing Expressiveness

WHEEL OF DISMAY

WRITING A CONJECTURAL ANALYSIS

WRITTEN UPON A BOTTLE

ZENO’S PARADOXES

INDEX

ABOUT THE AUTHOR

ACKNOWLEDGEMENTS

First I would like to thank Hannah and Michael, my parents, for their intellectual inspiration during my childhood, and their conscious or unconscious efforts to bring me into the New Haven, Connecticut community from their home places in the South;

Next I would like to thank the children I grew up with, for their intelligence and cultured mentality, particularly my Jewish friends (although I am not Jewish) including especially the Berger Family, who once took me on a vacation to Israel, which has been inspiring for the writing of classics;

I am grateful for the translators from Europe and the East who have made texts available for scholars and students, such as the work of Friedrich Nietzsche and Lao Tzu particularly, who seem very insightful at this distance from the original;

I am also thankful for the many gurus and rojis of the Eastern traditions, who perpetuated the first secrets and inklings of knowledge, which has come to me in the form of several kinds of translated works, including sutras;

I have also a kind of abstract gratitude for the many prospective works that were considered for this volume, including such potential monstrosities as The Trap-Door Spider, and The Clay Chair, that taught me how dust to dust;

Finally, I am grateful for the friends that I have had, and especially the staff at Authorhouse who made this publication possible;

On, to the introduction

INTRODUCTION

This book is intended for Café and Xerox culture.

I came to a junction in thought where it had to be obvious that some books are products of very specific problems, whereas others embody solutions without qualities, leading to a position in which there is a quality imperative, and an additional imperative for solutions to the specific problems of writing.

The problem is encompassed in the Western notion of the academic universe;

It consists of the relative-center, the ambiguous-miscellanea, madness which needs to be explained, and some sort of categorical description of totality;

Explaining each of these elements atomically sheds light on the nature not of what needs to be included, but what needs to be excluded from writing that is suitable. This is not because it is non-academic, but because it needs to make none of the errors affiliated with intellectual books.

Instead of using pre-set rules or working from a tradition, what I intended to do was work without precedent, but in doing so, I engendered a special kind of frustration, because inevitably traditional works are that to which originality is compared;

So I set out to define my own set of rules, that would integrate traditional and extemporaneous writing;

The relative-center is a way of contending that a point needs to be made. Without a point, the content lacks texture; texture is a virtue in writing.

Secondly, ambiguous-miscellanea implies that a method is required; writing should explain or elucidate methods without making any further assumptions.

But what must be clarified is its madness; Madness may be defined as paradoxical; this usefulness lends a foundation of rationality to what otherwise may appear as a floating island however au passé fantastic that may seem;

Finally, category is the capacity to construct labels or icons for what I have already explained, be it construed as an example or a systemization. It is the need to define an archetype, as much as it is the need to relate the previous components Point, Method, and Paradox.

Working retroactively, a usefulness may be found first for the label, then for a paradox, next for a method, and finally for the point.

This becomes the working method for literature that may or may not be academic, as a twist to induce a new anxiety.

After all this, it may be said that a point is a culture in which associative thinking fully applies ink, and spices, computer code, and the reactor core are all active metaphors.

If paradox is the opposite of sensation, then there is a claim that writing could not construe anything. Neutral categories would dominate all successful writing.

But writing is casual enough to construe some label, say a weekend, or a conversation. These sorts of elements become interesting through the use of categories;

With that in mind, there is no problem with paradoxical (and even academic) thinking. Instead it serves as a battery, a mitochondria, for further derivatives, incidents, occasions. It has momentum.

It is for method of some kind—be it [1] a point [2] a method [3] a paradox, or [4] a category—to adduce that it has a point.

In other words, returning to our earlier vocabulary, the method may have a madness, but as easily it may have a system, a coherency [a category] or simply a sensation of one of these things.

In this way, my Classics acquired meaning, of a form that embodies either systems, the properties of potential systems, the problems of forming properties, or the properties themselves. These correspond to the four areas of the intellectual tradition. Based upon these four categories, I have allowed my project to encompass a vast conceptual space, while simultaneously containing many potential interconnections and mutual self-natures.

But let me begin again with the idea that I am a genius;

A continuous succession of correspondences

What would mark the beginning of what I called an intellectual schizophrenia, a period of profound insight that for three years went uninterrupted by any medication;

I found my mind broken by thought and tested ideas of post-modern deconstruction against a razor of pure intuition and the sacredness of immortal knowledge;

I reveled in the idea of being rather than becoming a post-Nietzschean madman;

For me the violence of the world was really to be enacted on a subtle level, an uncompromising Leibstrung which I compared to high-speed computing and the inculcations of prior epiphanic history;

Genius was an aperture to all that is real and good;

No politics, no archeaology, and no history could amount to anything without a seed from that visionary bird;

Lightning could strike, and without a divine word, mean nothing, repeal stingily; so that one mote remained in the mind

The seed of literature, the art of knowing, the way of philosophy, borrowed from so many dark corners of forgotten history, or equally, born new from the mind, with every resemblance of a new history, a new rigor, a new chastity, entirely separate from the workings of those who would not see it, or to the Romantics, drink it, or write it

NOTES ON CONSTRUCTION

Some example has been taken from the nursery rhyme The House that Jack Built as a theory of compact volumetric lucidity; You may find unconscious iterations of this idea are present in the form of writing adopted in many places.

By comparison, other sources such as 1001 Arabian Nights, were used as a context of inspiration that was not useful for formatting, but instead was used with generalistic importance to inspire entire themes, while not influencing specific modes.

In contrast to the Arabian Stories approach and the Jack Built approach, philosophical works comprise a large part of the volume, through their own independent intelligence, which occasionally inspires a still further category, of the avant-garde literature that has structure as a sole means of explication. However, avant-garde may be seen properly as philosophy.

Finally, another source of material is generally classified as Ideas of History, such as annals, accounts, or collections of quotations; I feel that these have special importance because of the degree of commitment traditionally allocated for them.

So, generally, one theory of the composition of this book is that it consists of Allocated Commitments (histories), another that it is Original Ideas (philosophies), further that it is Imaginative Intelligence (aphorisms), and finally that it is Structural Intelligence (iterations); Based on this kind of list, some degree of criticism can be established about the success of the mission

A NOTE ON CONCEPT OBJECTS IN THE 1-PAGE-CLASSICS

––––––––––––––––––––––––-

EXCEPTIONAL DIAGRAMS Are an invention of the author; Each includes two charts and a set of four intermediate terms or conditions demonstrating a case in which the chart positions are not opposites;

GRAPHICAL CONTENT Is included in some rare cases, such as relativity, psychology, and the Cabbalah (See Index)

LITERARY PHILOSOPHY This is the most common type of miscellaneous entry within the text;

MOTLEY FOOLS Are interpreted as intellectual performers, as distinguished from the financial group called The Motley Fool (my inspiration);

PAST-LIVES Some stories are based on my ostensible past-lives, with some restraint;

UNRULY GUIDES Are based loosely on the Motley Fools concept, and demonstrate associations of data or a variety of quotations

WAYS