Alexey
Sklyarenko's revised anagrams:
RONALD
ORANGER + GO = GERALD + ORGANON + OR = LORD + ONAGER + ORGAN = GOLD + ARGO +
NARR + ONE = LONDON
+ RARA + GORGE = ROGER + NAROD + NALOG = GARAGE + DONON
+ LORRAINE
– AÏ – NE ;ANTILIA
GLEMS
+ GERALD
+
ADA
+ SEVAN
=
GITANILLA
+
ESMERALDA
+
NAVSEGDA
;KISEL'
= SEKIL' = SIEKL'... Alexey Zhavoronkov
JM: Unfortunately I
couldn't understand the rules for adding syllables or shifting from one language
into another in this kind of verbal exercise.
Word-Golf, in comparison, seems easy as pie
(whatever that means). Thank you, Alexey, for your
patience.
Inversions, reversions, perversions apparently
function like the Devil tempting Faustus by offering eternal youth
through the disruption of the fateful arrow-linearity of ordinary speech.
According to Van, "It was the standing of a metaphor on its head not for the sake of
the trick’s difficulty, but in order to perceive an ascending waterfall or a
sunrise in reverse: a triumph, in a sense, over the ardis of time[...]
Van on the stage was performing organically what his figures of speech
were to perform later in life — acrobatic wonders that had never been expected
from them and which frightened
children.
Why would children
be frightened by this kind of "upsidedown metaphor" -
should these "spacial" feats be possible and cable to conquer
time or operate as some sort
of "verbal pedophilia"?
BTW: I
was told that Bakhtin worked over Rabelais' use of obscene
words, but I don't know if Bakhtin was indirectly mentioned in the
IPH-IF-Potato-peut-être exchanges and additional linguistic crossing of
trees, as we find in "Pale Fire", nor if these linkages have a special technical
name.