and when Aeneas, the Trojan prince, fled Troy with
the shamed Paris and Helen, took to sail, and led
the remnants of his people to the shores of Italy -
it was from the womb of Helen where the Roman tongue
was born, in a vision, the plagiarism descended from
high - as to how strengthen the papyrus
and change from oxen blood and quill and
frailty, to the sweat the chisel and the stone,
or as the fables said: two tablets, made of stone,
and in stone you will write of Rome,
and you will be glorified; but they needed
a revenge against the Greeks - so they
used what empowered the Greeks: their alphabet
(later known as the a-to-zed, although
i don't know how that worked out in the learning
of letters, it became known as the geography
of towns) - thus from
alpha (α) came a (and here the major
distinction... given the nature of Greek encoding,
namely that each letter had a respective noun / name
attacked to it, the Roman tongue became more
musicological: the West End theatres are a pale
shade of the former Grecian tragedies and comedies...
the Roman tongue sung, as it was encoded to be
sung - no longer the ancient naming of letters,
akin to Greek, akin to Hebrew - the revolution
of loose consonant associations, by excessive
consonant solos with vowels as prime stabilisers
of the symbol being seen, on papyrus, as also in stone,
and no stranger then the talk of dimensions:
using the preposition on refers to 2 dimensional
objects... the preposition in refers to 3 dimensional
objects, and how much stronger the feels when said:
the cheap sacrifice of the skin to tattoos,
as those who said: suntans are for peasants -
they're the same people that sacrificed themselves
to the tattoo) - from beta (β) came b
(remember the cartwheel: b q p d)
from gamma (γ) came y
from delta (δ) came d
from epsilon (ε) came e
from zeta (ζ) came z
from eta (η) came n
from theta (θ) came thought
from iota (ι) came i
(mind you, the reason why the Greeks
named their letters, is the reason why this system was
perfectly suitable to accommodate the letters into the use
denoting scientific constants - constants, consonants,
constants, consonants, eh? vowels are always unstable
*******) -
from kappa (κ) came k
lambda (λ) and upper-case gamma (Γ) came L
(mind you, the Greeks also had a cartwheel: γ λ Υ, gamma
lambda, upsilon)
from mu (μ) came h from nu (ν) came v
from xi (ξ)... actually, i don't know if they even
used this... unless! xi... 11... maybe they thought:
let's derive a mathematics based on xi - i, ii, iii, pre nu,
i.e. iv, ν, vi, vii, viii, ix, ξ, xi...
from omicron (ο) came o...
so as to expose the nature of it all, the rotary
transformation, the moment of homage toward
the feminine Greek spirit: with the perfect curvatures,
the smooth babe's buttock cheeks all over woman -
curve on curve - yet with the Roman spirit: a homage
toward the masculine spirit: rods, sharpening,
alms due to the acute < 90° - knives where once boxing
gloves were - as will be shown in one specific example...
and from rho (ρ) came p...
pi (π)? a myth like status ensued from this
letter - they merely looked at the anatomy of
pronunciation from beta, and came up with p'eta -
lending to correct the ρ, to which they added a second
leg, \, to represent the possibility of the first step
forward: or trilling;
from sigma (ς) they derived s: emphasis in
later application of Latin, as in garçon -
and from tau (τ) came t (the basis for the crucifix),
and from upsilon (υ) came u -
and from phi (φ) came p (by moving the
doughnut dividing line to be attached
like a tangent -
and from chi (χ) came x,
and from psi (ψ) came psychology summation -
and from omega (ω) came w - and only then
did the idea of the cartwheel gymnastics and all
what's decisively chiral provide the revision of omega
once more: to give m -
so you see, in light of all this: Romans chiselled the curvatures
of the Greek feminism, sharpening their letters -
making all sounds acute - readied for opera and
war cries.