Never noticed that Laissez Faire and Lucifer sound basically the same until I read aloud this incredibly funny text. The Swiftean tone aside, MMcL’s use of naval metaphors for reciting an alternative History foreshadows Fuller’s own attempt on this matter with his History of the Great Pirates (Operating Manual for Spaceship Earth, 1969), which is quite intriguing.
Not only the metaphors but also the grievances toward society and technology.
could this be the root of the interest or understanding of the vortex, simply due to this Mariner figure?
you nailed it Anonymous ! Perceptive pattern-ing !
“He holds him with his glittering eye—/The Wedding-Guest stood still/And listens like a three years child:/The Mariner hath his will.” strophe is taken from The Rime of the Ancient Mariner by Coleridge, about whom McLuhan did write a literary essay in 1957 (Coleridge as Artist, republished in The Interior Landscape (1969), pp. 115-133).In this essay, McLuhan points out that The Ancient Mariner is “a little epic, an epyllion,” “a classical form [that] has been given little scholarly or critical attention”, in the making of which much of “the full classical program of studies, the eguklios paideia*, pursued by Vergil, Dante, Chaucer, Spenser, and Milton” went there and “is recognized as necessary by modern poets like Valéry, Joyce, Pound, and Eliot.”In that regards, It takes place in 2932 A.D. could be the story of an epic returning home and finding no ground ashore on which to harbor, all shores having been ripped off by specialism.*Writing to Cottle, [Coleridge] said:I should not thin of devoting less than twenty years to an epic poem. Ten years to collect materials and warm my mind with universal science. I would be a tolerable Mathematician. I would thoroughly understand Mechanics; hydrostatics; optics and Astronomy; Botany; Metallurgy; Fossilism; Chemistry; Geology; Anatomy; Medicine; then the mind of man; then the minds of men, in all. Travels, Voyages and Histories.”
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