Horton genealogy and historical curre...

Horton genealogy and historical currents beofre and after Shakespeare

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Harry Horton

Raleigh, NC

#1 Mar 31, 2008
Most likely an appearance of an ELizabethan Eck Master occured in England in the 1500's up through and beyong the Mayflower voayge. And he influenced the development of the poetry and theatre plays and music and other artistic modes at that time. But why England at this point of time, would such an indiviual's presence occur? And interesting question. And leads to understanding the historical and artisitc modes of expression before and after the Shakespearian times. What is is interesting on a spiritual basis is that the people say of Scandanavia, and the British isles , around the 700's had two things about their existence at this time. 2.5 billion years of humanity preceded them all across the globe, in ealier time periods and geographical locales. Secondly in a scant 1300 years ahead, the world becomes focused on their artic regions for understanding impending catastrophe of global warming and its effects on the artic climate. Furthering effects of this environmental problem potentially can lead to agriculture failure on a massive scale. Yet say the peoples of this region of the earth in the year 700 were unknowing most likely of what the 21st century would bring. But that is the way history and current events are turning out. So the issue is when one thinks of the northern peoples of this area, they are representative of the geographical region which could spell doom for the world in the future environmentally beginning in the 21st century. So in the 1500's what better place for the arrival of an Eck Master than in the middle of this historical current, an Eck Master in England in the 1500's who brings the message, to use John Donne's understanding, such message that this world is spent. Along with the deconsruction of the English Kings and explorations of tragic dimensions of other characters such as Romeo and Juliet and the like. So what is interesting, the musical, theatrical and poetical modes of expression of the human soul that originate from these regions, that circulate from Scandanvia, to the British isles, and eventually wind up in the mode of poetry that comprises Shakespeare and other Elizabethan authors. And these motifs will eventually develop and arrive in England in the 1500's and be the modes of expression for delivering the word of God so to say via Our ever living poet who promises happiness and Eternity, that is the Eck Master. And that is word of the furute of the human soul from where its been 2.5 billion years earlier and what is up ahead for it in the future. So the Vikings of Norway, Sweden, and Finnland, and the Sami of these regions also, the Normans and the Saxons and other peoples of the British isles are all on stage, so to say, to bring into the world all this spiritual information from the Eck master. And tracing their historical roots of artistic modes of expressions back at 700 and before, in terms of the Viking Sagas and how this artistic mode of peotry could have been influneced by the Sami joik that existed in the same Scandanvian regions is one such originating point.
Harry Horton

Raleigh, NC

#2 Mar 31, 2008
additional thoughts on the above themes, is the charcter and history of the Sami people that lived in the northern Scandanvian regions of that European area. Their living habits centered around fishing and folowing reindeer groups, they essentially became reindeer herders. Most importantly they existed with a sentiment of the northern lands being "dumb and lazy and as lands that did not speak." Essentially lands that one could not grow vegetables on. Possibly wheat and other nutrient filled plants and the like. This situation creates a 'wasteland" or 'abandoned lands" situation for the living of the Sami in this area where they inhabited the region for at least 2,500 years. And the development of the musical and poetical style 'joik' existed in this environment where description of people, their character, with sorrow and anger, set against this bleak landscape, where the winds howled along the tundra, barren and empty with dense thick forests, essentially lands that produced no vegetables or other foods because of the unsuitability of the lands. When the Viking explorations occured, as mentioned aboved, failed agriculture situations, in this precarious food growing region was a major factor, during the "warm period" in Norwegian and other Scandanvian peoples-- a major factor for the Viking raids, exploits and plunderings of the northern European continent, the British Isles, and long expansive explorations that the Vikings made to Kiev, Iceland and America. But what all this means from this period is that uselelss lands for growing becomes a psychic imprinted reality for these peoples 1300 years ago. If William the Conqueror wanted to subdue the rebellious Cheshire population in the pre 1100 year, by laying waste to the lands of Cheshire County, creating 'Wasta', the Viking heritage knew the conditions of useless lands from their Scandanvian watelands. And how such conditions could create dire living conditions for a population. What is interesting about this situation is that from 700 up until at least 1700's and 1800's in Europe there seems to be this interplay between wastelands on one hand and growing seasons and gardens of vegetables and the like on the other hand. Whether conditions of famine drove the Vikings abroad or Bitter rancour with the Chehsire and Lancashire populations, because of their lands becoming 'wasta' from saltings and Norman ravagings and scorchings, all these factors become the warp and woof of English history. Before Shakespeare and afterwards. And this alternation between growing food and useless lands become a historical current and backdrop indigenous to the musical, poetical and theatrical and other literature 'modes of expression' of the Scandanvians and English minstrels and later English actors of this period running roughly from 700 to the 15000's and 1600's. Even in the 1920's the mystery of where did T.S. Eliot get his inspiration for the Title of the poem "The Wasteland" has not been accurately clairified. But it is possible, that Eliot's poem of potential environment 'doom up ahead for humanity', as the subject indigenous to the Wasteland and other poems of his "The Four Quartets" for example, could have come from stirrings of thoughts of William the Conquerors' wasta policy and situation in England during that time. And the fact that the creative endeavor of Eliot's subconscious was so genuine and deliverance of truth in the Wasteland lines, could further give the same profound truthfulness to William the Conqueror's wasta creations, as a part of a profound previous historical current set in the context of eventual future impending environmnetal doom. Up ahead in the 21st century, where these artic and northern regions are gaining so much attention with this new global 'warm period' and its unforseen consequences, that is of worldwide global warming. The causes for this global warming still hangs in the balance with uncertainity.
Harry Horton

Raleigh, NC

#3 Mar 31, 2008
What is interesting about the 'artistic modes of expression' beginning with the Sami, ranging through whatever influences their 'joik' had on the Viking saga, poetry in subject and structure. And how the Sami culture joiks could have found eventual influence into the Mistrels of England in the Middle Ages, are areas that could use future research. The underlying musical beat of the joik is pentatonic. The meter and beat of a good deal of English poetry is iambic pentameter. Five beats underly both the structure of some English poetry and the Sami 'joik'. a possible influence of the Joik on iambic pentameter strucutre of English poetry is conceivable. Secondly the Sami joik is sung basically in a cappela from. No musical instruments embellish it generally, at least in historical considerations of the early joik compositions. This fact means even though the joik is a musical style, it is poetry basically. Shakespeare's work were poetry also.And the a capella nature of the Joik greatly forwarded it as a poetical mode of expression more so in a lot of ways than a form of music. These above features make the joik a primary influence in stimulating the subsequent creation of the Norse saga perhaps. And in England whatever joik influenced modes of poetry there were appearing with the English minstrels, the poetical form of the minstrels piece return to a musical style with instruments supporting the poetry. The loss, in some cases, of the purely a cappella style. One only has to listen to the style of singing of the Sami descended "Joni Mitchell" and one can imagine her yodelling high pitched musical flow at times in the context of the bleak winds of the tundra, where the Sami joik, carries a forlorn piercing quality, in high pitch like whistling wind, in these lands where no vegetables grow. Even after Shakespeare Andrew Marvell, the Puritan Poet still continued the musical heritage of the English minstrel and the syles of music that came before it, in his poem "Musik's Empire". How sound and music was fairly important in English culture and spiritual nature at that time is revealed with Andrew Marvell. And even today with contemporary musicians, such musicians carry on these traditions in a lot of ways.
Harry Horton

Raleigh, NC

#4 Mar 31, 2008
The fact that the Shakespeare Canon and other Elizabethan Writers were centrally influenced by an English Eck Master, Maister EK of Spensers collaboration, reveals a significant facet of English literature. Becuase the myriad of Eckist themes are all going to crop up in the works of Shakespeare, and furthermore, be alluded to, centerd on expressed from other authors subsequent to Shakespeare's time. Whther they be the recently later poet Andrew Marvell, T.S. Eliot of the 1920's even later rock and roll artists and folk singers from the 1960's onwards whose spontaneous subconscious expressions in forming their musical compositions---the subject matter of these compositions tend to match earlier themes and subjects present by your Shakespeares, Andrew Marvells, and T.S. Eliots. Or that is a remodifying and recreating at whatever present moment of time such artists embark upon such creative endeavors in these subject areas. Andrew Marvell's Coy Mistress is interesting for several reasons, because this poem and other subjects of Marvell, were substantially influential in supplying the themes found in T.S. Eliot's Waste land. Reading the first fifteen lines of the Marvell poem,'if there were world enough time such coyness would be no crime',a thought or theme, very similar to the Wasteland's 'The women come and go talking of Michelangelo', as an expression of the desolate emptiness of modern human existence, spiritually, that Eliot wanted to convey in this scene of the poem: Wasteland. Also Eliot created themes and images from India for the poem and Marvell too, uses India's themes also in his Coy Mistress, which is relatively novel for the Puritan period at that point in English literature. But even more fascinating, is, a line of Marvell, which sounds almost banal and insipid, a slip of the line that is when he addresses his love for his coy mistress---his vegetable love. At first glance it makes no sense, but hidden in the phrase, is the concept of lands that either grow vegetables or either don't. One must remember, Eliot's reliance on this poem, or more accurately reliance on various attributes of Marvells Coy Mistress and other poems of his, for Eliot's own poetical themes. And all of these attributes get housed, so to say, under the term Wasteland. So approaching Eliot's view of Marvell's poem 'Coy Mistress', since the main high priority title: "Wasteland" is created by Eliot, then the high priority phrase from the Marvel poem is vegetable love. His love for his coy mistress, is also carrying attributes of Love of the earth, that produces vegetables. In the retro prespective approach of Eliot. When Eliot is writing the wasteland time has moved forward, a little under three hundred years into the 1920's, and wastelands that do not produce vegetables, is becoming central again in Eliot's prescient poetic vision of what the future holds for the world from his 1920's conceptual stance, as apposed to a most intiamte concern of a coy mistress' petualant like nature.Marvell may not have carried such an environmental emphasis because the time was not right for environmental destruction in the 1600's, and vegetable love seems a little banal, lispish, accessorial and not very central per se to the Marvell aim, intent of his creation in this poem in the 1600's. But this lispish line grows with more urgency and importance, into a more predominant looming subject detailed with multiple lines of Eliots, in his poems (as opposed to just a faint singular thought in Marvell's treatment of it) as when Eliot begins writing in the 1920's since love and will have become problematic in the 20th century and at the same time with the worldly environment could be moving towards catastrophe.
Harry Horton

Raleigh, NC

#5 Apr 1, 2008
Researching my Horton genealogy, is one of the reasons I am interested in the Shakesperian times and the artistic and theatrical modes of expressions of England, ranging from the medieval times up to Shakespeares and beyond. The following thematic treatment will go a few posts ahead of this one, continuing the thought originating in this one. But anyway, considering the Maggie Shrull web site on the Horton family history, there are two major points in history, in the Horton family progression that interested me. The first point, (1) that is, is in the late 1300's when William Horton of Leicester County migrated northwards to Cheshire County and married a woman Joan Dutton, and with that event, William Horton participates with the Lords of the Misntrels. The Lords of the Minstrels are an artistic and theatrical like enterprise overseen by the Cheshire Duttons. An enterprise ongoing since its inception around 1216. The Second salient Horton event, (2), was William Horton shifting out of Leicester COunty northwards to Yorkshire,and William marries Elizabeth Hanson. Elizabeth Hanson most likely was a relative to WIlliam Brooke, the English statesmen at the time. William Brooke had an extensive hand in running the Shakesperian companies, and had family members possibly even himself as subjects for some of Shakespeare's works. THe Two gentlemen of Verona, Falstaff, Arthur Brooke, author of ROmeo and JUliet---for example. Katherine Brooke was the mother of Elizabeth Hanson and thus most likely was a relative of William Brooke. And furthermore William Bradford's mother was a Hanson, both William Bradford and the Hansons came from Yorkshire. Thus William Horton and Elizabeth Hanson marriage is a continuance of the Horton participation of the artistic environment of the Dutton Lords of the Mistrels (late 1300's), since this mode of artistic expression is evolving into the poetical forms destined to arrive as the substance of the Shakepseare Canon. So these two historical eras of William Hortons involve a growing participation of the Horton line with the artistic currents developing in England from the medieval times throughout the Shakespearian period. Finally, the Wikipedia entry Hortus conclusus, gives an idea of the meaning of the name Horton, which means garden , or enclosed garden. The significance of this is that garden can have two meanings: (a) a worldly garden where vegetables, flowers and other plants are grown. Sometime in an enclosed space. (b) THe spiritual entity of paradise, such as the Garden of Eden. Or in Eckankar references, mythical kingdoms, cities, or spiritual places found in the God plane realms of non negative light. Places that can be visited via soul travel with the guidance of the Eck Master. The previous, is the two definitions that comprise the term Hortus and name Horton. A name carried by my ancestors in England such as Robert de Horton, WIlliam Hoton and Hugh Horton ect. The content of the above post is a genealogy approach to my ancestral Horton line in England at this time, and the participation of the Hortons into this poetical, theatrical and musical, literary mode of expressions, of roving minstrels, actors and the like--- a cultural artistic mileu, which will receive the Elizabethan Eck Master, in my belief, in England in the mid to late 1500's. And such a cultural mileu will be 'the modus operandi' for disseminating the wrod of God, at this time, by the Eck Master.
Harry Horton

Raleigh, NC

#6 Apr 1, 2008
Maybe at the risk of getting more wierder on this subject, continuing that is, the presented themes from the previous post, and not going over the edge into some paranoid state of thinking -( I have a schizo affective disorder, hence maybe the reason I think about all this stuff to begin with, but its fun and creative for me)---I created a scene in Cheshire County with my ancestor WIlliam Horton and his wife Joan Dutton.
Imagine, William Horton having dinner with the Duttons, in the early evening hours, with his wife and her relatives. They are eating dinner in this stately minstrel hall, where earlier in the day, minstels were playing their instruments, reciting their poetry lines, tuning lyres, playing kitterns and flageolots and the like. So this musical air, lingers in the ambience of the room as the situation grows into silence as darkness of the outside has descended on the Cheshire landscape. One gets the sense, since the time is now near 1400, this is an artisitc environment, that is well approaching 200 years old in its heritage. THe Lords of Minstrel environment that is. Music and the development of these artistic modes of expression are proceeding through history on the British Isles, with hundreds of years ahead to go. As William glances out of a window, a memory is strirred of the Cheshire landscape that emerges from earlier in the day. A barren section of land, a vestige of sorts, still sits in the Cheshire countryside. A reminder of the 'wasta' conditions from WIlliam the Conquerors time, where his desecration of the land in order to subdue the Cheshire population, still lingers on the landscape, amidst the foilage, tress, and dense forest. If one broke this scene down, three parts stand out in prominence.(1) William Horton's name is Horton, derived from Hortus, and means garden. The 'two part attribute' as described in the previous post,(a), and (b), physical worldly gardens and heavenly gardens are indigenous to WIlliam Horton's last name.(2) William's marriage to Joan Dutton, signifies William's carrying his name Horton, Hortus the garden, that is, into the musical, Lords of the Misntrels Environment, in Chehsire, with the Dutton family, in the late 1300's and early 1400's. A musical tradition and artisitc current destined to be pariticpant with the coming Eck Master of the 1500's, whose spiritual garden like heavenly cities, and kingdoms,-- the Eck Master has visited, in accordance to his spiritual duties and aims and just raison d'etre of his purpose.(3) Conditions of 'wasta' or wasteland still inhabit the Cheshire region at this point of time. Yet 'wasta' was certainly a predominant environmental condition in Cheshire in post 1086 period, when William the Conqueror carried out his destruction of the farming of the region in his military and martial law tactics. So these are three conditions, above enumerated, that will hold significance for later post's content.And continuance of the above themes presented in this post. I call them Post 1's three conditions. Where 'the garden condition of Hortus 'can be divided further into two subsections.
Harry Horton

Raleigh, NC

#7 Apr 1, 2008
In regards to the previous two posts, their content and themes presented, I decided to create a timeline of artistic 'mode of expressions' extant in England ranging from the medieval to present day twentieth century periods. In order to illustrate some of the themes I'm centering on. So moving forward from 'William Horton, Joan Dutton-Lords of the Minstrels scene'--'in Cheshire late 1300's', suing as point (1). The next area is what I call the intermediary area that consists of two features (i) Eck Master's arrival and the ramifications of this event, its impact on Elizabethan literature development of the time.(ii) "William Horton -Elizabeth Hanson marriage" in Yorkshire mid 1500's to later 1500's and the implications of this event. But For now, I decided to put aside the intermediary section and move to point (2). Point (2) is Andrew Marvell's existence in the Puritan era (1600's) Around the mid part of the 1600's that is. And most importantly his poetry. When one looks at Andrew Marvell's poetry one finds the obvious metaphysical content of the works. Daimonic themes: Daimon the Mower, The distinction of the Body and Soul, in dialogue, other poems to famous Englishmen at the time ect. But in his poetry are two poems that stand out. First, Musik's Empire. And Secondly the poem Hortus, written in Latin. Here at point (2) in the mid 1600's one can take these two poems and compare their content back to WIlliam Horton Jaon Dutton scene of point (1). Hortus-gardens is also contained in the William Horton Joan Dutton scenario. And secondly since Minstrel Halls music and compositions were so predominant in Cheshire in the late 1300's Andrew Marvell's Musik's Empire poem is also right along the theme of music. Music, also, the entity indigenous to the Minstrel Halls of the Duttons. So these two poems of gardens and Music of Andrew Marvell are reflective of the continuance of the artistic modes found in point (1) as described in the previous post or two. And the two Marvell poems reflect how imporatnt in Marvell's subconcious (or unconscious for want of a better term) these two subjects are in genuine spiritual import for the Puritan times. And also, two subjects that were present and evolving from the late 1300's from Cheshire as point (1) descibed. So one could conclude, that gardens and Music among other metaphysical subjects are predominating with Marvell here in the 1600's, seemingly happy,festive positive subjects, reflective of the favourable attributes of the Puritan mind that likelwsie evolved as such attributes from the post Norman times, up to the late 1300's of Point (1) and beyond. But what is more haunting, is as one moves forward to the 1920's to point (3) T.S. Eliot's poetry, most salient--The Wasteland and the Four Quartets, the themes he presents is cultural and environmental desolation, the theme of the 'wasta' returns. As if William Horton's preoccupation of the Wasta in Cheshire, comes more fuller in global extent with Eliot's treatment. Furthermore, Eliot gained a lot of the unconscious resonation of subject material, from Andrew Marvell. Marvell's Coy Mistress poem did supply thematic content for Eliot's later poetry as well as other Marvell works. But the predominace of the music and garden subjects of Marvell fades and the reappearance of environmental wasteland and spiritual desolation predominate in Eliot's poetry at point (3).All in all, this interplay between 'wasta' and 'gardens' has been a fascinating theme in the poetry of these times, ranging from medival periods throughout the Elizabethan and Puritan times up into the twentieth century. Horton, the name is so closely associated with garden since its etymological origins, probaby from Latin, associate the name with garden. Both worldly in nature and heavenly, for that matter. And thus, the name Horton, has some relationsip to these religious and marvell poetical themes as described above.
Harry Horton

Raleigh, NC

#8 Apr 1, 2008
If one considered T.S. Eliot's poetry, at the time of the 1920's, and considered the influence the Puritan Poet Andrew Marvell had on T.S. Eliot's psyche and hence creative inspiration, the following could be said. Themes, and subjects in Marvell's poetry were genuine, cogent and relative to the spiritual truths of the English world and man's spiritual nature in relationship to it,(or the whole world for that matter),that such themes' genuiness in this context made them integral for Eliot's use in his own later creative exploits in the first two or three decades of the twentieth century. So what about even later, than Eliot in the 1960's and onwards in popular music, amongst rockers and folk singers and the like. Using the Eliot reliance on earlier themes of earlier works by Marvell and other poets and writers, what musical groups created songs containing subjects and themes found in these earlier points, that is (1)-(3), of artists as detailed in previous posts. Crosby Stills and Nash, Joni Mitchell, Toad the Wet Sprocket and Robert Plant are four groups I believe whose music contains the themes of Soul travel, gardens, English and Scandanvian exploits, and India oritented far eastern religious content, an area where Eckankar is historically located--themes indigenous to the English artisitc creative historical traditions--or European tradition as such, for that matter.. For example the CSN and Young compositions Guinevere and Wooden ships both have soul travel together with English literary and historical content inherent in the compositions. Guinevere is a character in the Arthurian legend of Old English medieval domains,--a legend essentially built around soul travel. Camelot, is the mythical heavenly realm that is present in the piece. But even more interesting about the CSN and Young piece is the lyrics describe a garden scene in which Guinevere is present in along with oranges, as a fruit of such garden like scene,(maybe the garden is more implied in the lyrical description). Oranges made naval activity, that is ships travel, more durable, lengthy and safer. Because oranges contain vitamin C that can keep scurvy and ricketts,(disease of vitamin C deficency) away. Oranges were used on the ships and scurvy thus disappeared as a major affliction of the sailors, and thus naval travel began more commonplace and skilled as a result of oranges use by the Navies of the world. Here naval exploits are hinted at in the soul travel oriented CSN&Y song of Guinevere. And if ships sailing across the oceans of the physical world around us, in Eckankar's perspective, the such oceans are a part of the spiritual plane known as the physical world around us. THe Molecular part of the nonmolecular spiritual world, so to say. THese previous two facts, enhance naval ship travel as soul travel endeavors in themselves, perhaps. So the CSN & Y piece Guinevere, being Arthurian legend, and hence legend of soul travel, the orange described in the song, represents predictive creative nature of the piece, that the fruit is expanding the essence of soul travel into the future as naval travel of wooden ships, which will occur later around 1588 in earnest with the English victory over the Spanish in the Spanish Armada. Arthurian legend and soul travel and English wooden ship naval travel and activity become one in the same, in a sesnse with the CSN&Y creative peice of Guinevere. One in the same as soul travel. CSN&Y, also wrote wooden ships, a musical piece about ships of England and other nationalities that came later, predominatnly in the 1600's through the 1800's, as if to say, this could be an example of soul travel at least in accordance with earlier previous themes just mentioned in this post. Those two songs alone attest to how loaded CSN&Y's subject and theme of their material falls in line with Marvell, Eliot and other writers, and the Eck Master's arrival in the 1500's in England.
Harry Horton

Raleigh, NC

#9 Apr 1, 2008
In continuance of the previous post's themes and other themes, Crosby Stills and Nash and Joni Mitchell perofrmed together in 1969 at Woodstock. I believe the song they did was Woodstock. Perhaps they did other pieces, I don't exactly remember. What is interesting about this event, is that Joni Mitchell, is Sami Descent, from the land of the joik, the musical style, that contributed attributes to her own singing style and delivery and perhaps unconscious intent and activity in the creative processes. The song "Woodstock" has lyrics that go--"I met a child of God, he was walking along the road...he said he was going to set his soul free" Liberation of the soul, soul travel is represented in these lines. But also the piece states, we must get back to the garden. And here the concept of garden, Hortus, that comes up in emphasis as well in Marvell's poetry too, earlier, and in William Horton's name, Horton, and activity at point (1) in Cheshire. "Bomber death planes turning into butterflys above our nation" is reminiscent of Nietsche's statement that all evil is energy in need of transformation, qualities inherent in the Eckankar tenets and belief system. In other pieces, "Both Sides Now" the struggle to understand love is tackled by her, and finally, the wisdom, that life is for learning. Coverting bad karma to love and consciousness, the activity of Eckankar, is thus indigenous to that joni Mitchell line. So Joni Mitchell has a well developed mature approach to her music and content. And while at Woodstock, the Sami descendent, singing with a group that did Guinevere and Wooden Ships, pieces of the English treatment of Soul travel, Arthurian legend inherent in one of the pieces, is somewhat fascinating to me. So all of this is the essence of point (4), that these artist's works reflected the underlying genuine themes and subjects in modern day life that are a continuacne of earlier artists ranging from Shakespeare, Marvell to Eliot and others, perhaps. Whether getting back to the garden, whether its the one of marvell's hortus, perhaps in some more mysterious way Joni Mitchell and Andrew Marvell are grappling with a similar subject with different results,---such grappling from different eras whose concerns are strikingly similar. Robert Plant's centering on viking exploits, the Tibetan regions, where Eckankar and other religions are present, such as Buddhism and Sihk religions, gardens to, and heeding Master's Call, all are subjects of medieval Europes' heritage and far eastern religion's tenets and essence. Where my ancestors came from. In any case, Joni Mitchell and Crosby Stills and Nash and Young on stage together at Woodstock in 1969, brings together these earlier subsconscious strains of compositional subjects of Medieval England and beyond, Eckankar soul travel also found in the pieces at times. And the fact she is from the Sami culture, the nomadic wandering peoples of Northern Scandanvia, who knew lands that did not produce vegetables, where the gardens are impossible to cultivate, makes the Woodstock gathering more interesting in consideration of these two groups.
Harry Horton

Raleigh, NC

#10 Apr 2, 2008
What is interesting about the potentiality that an Eck Master appeared in Elizabethan England in the 1500's "Our Ever Living Poet with his long experimented secrecie", as to use Gabriel Harvey's designation of the indiviual as detailed from 'Harvey Immerito letters'. Letters referred to in the web site: "Ms Spenser", is the following. If Eliot is right, that up ahead in the future is eventual environmnetal catastrophe, where the human race experiences extinction, then the Elizabethan Eck Master is one of the last ones, for the human race and the souls of humans on this planet. And at the core of such an individual is the pulsating "information, knowledge, or logos like essence of Divine presence and direction" that the world's population can plug into with the various Eckist techniques. But the whole spiritual and worldly situation in England at this time, is becoming essentially extroidinary initself. For example, imagine that 50,000 years ago, a small band of humans is roaming through the wilderness in Europe. And they gather in a circle and in rudimentary manners, start, humming, singing, beating hollow wood logs, to create a rhythm. And unbeknowest to them the Eck Master somewhere else in the world is knowledgable of this creation of artistic sound current, with this tribe. Whatever spiritual knowledge the tribe gains, and that is the evolvement of their souls, that is burning off Karma, being at stake with such a ceremonial activity, one fact is for certain. Whatever the status of each member's soul is at such time, the tribe has future of fifty thousand years ahead via reincarnation, that is plenty of time, in the world --(to use Marvell's Coy Mistress opening line's thought)to look forward to, for evolving their souls. But with the Elizabethan Eck Master, with minstrel Halls, and poetical substance of the plays, only a scant five to six hundred years may be only left for the human soul's spiritual journey, at its present status, that is being housed in the human body. The clayey lodgings that Sidney refers too may be destined to 'be crumbled to its original atomies' as Donne stated if Eliot is correct in his poetical relaying of world catastrophe and spiritual desolation,, as illustrated in the Wasteland and Four Quartets. So when William Horton travels to Cheshire County in the late 1300's,(a time of famine earlier in England, if I recall correctly), He is entering in an artisitc enviromnet that is devleoping towards the future where in the 1500's ,arriving information, for eventual separation of the soul from the human body, as related by the English Eck master, will occur in the few centruries ahead, an event unprecedented in human history. Particularly in regard to the writings of John Donne--anatomy of the World who conveyed these future events.And all these artists, Shakespeare, the roving mistrels, Andrew Marvell, T.S. Eliot and the point (4) folk and rock singers, are resonating these spiritual truths in the content their artistic pieces, in terms of soul travel, reincarnation, and Masters ect.
Harry Horton

Raleigh, NC

#11 Apr 2, 2008
Other assorted points, ponderances on the Eckankar themes, Eck Master's soul travel, and the artistic modes of expression from England during its history. The following web sites contain further intersting information:(1) "Andrew Marvell Works" --the poem: "The Definition of Love" (2) Wikipedia entry: Moksha
(3) Walk On the OCean Video-"Toad the Wet Sprocket" (4) CSN&Young's Helplessly Hoping.
These are web sites referenced in the following themes. THe point Eckankar states or the aim in life for an individual, to become spiritually sucessful, is to reach that point where the person is totally overwhelmed with guilt, anxiety, and has nowhere to turn As despair pervades ones being in a tidal manner. All the evil inherent in ones soul and being is vital for the spiritual ascension to take place. This point is known as the moksha, commencement of spiritual liberation of the soul from the karma laden status of the physical world. Its sort of funny that when, one contemplates the mountainload of self help books that promise happiness and fufillment (heaven forbid if any of that ever happened while living in life), needless to say the whole batch of works continually turn up empty. One might as well be "helplessly hoping " to use CSN & Young's philosophical line,when one encounters these books that are the supposed 'plethora staple of wisdom and promised happiness' from all sorts of authors. And happiness and wisdom never arrive via these books. But getting back to the Moksha, or the point of spiritual liberation, all the negative current troubles that afflict the human psyche and state of being, can actually be put into a structure according to Eckankar's principles. For example, The chela or Eckist disciple, follows the master, like walking in a line behind the master, through the planes above the physical world plane, when one wishes to encounter and experience soul travel activity. And that is when the person is in the Atma Sarup, or soul body form.In other words light body.When this occurs,say when one goes through the next plane--the Astral plane where the hells and prisons exist--this plane ruled by Kal Nirigian, Lord of the negative current, Lord of the Underworld,---then one finds themselves proceeding walking in a line in the endeavor of Soul Travel. THe video Toad the Wet Sprocket, has a scene where the gutiarists are walking through the sand in a line, an interesting subconscious action that is like the described soul travel action delineated by Eckankar. One of the muscians throws the guitar up into the air, as if the being of the artist that existe in the music of the song --in this case, a song of soul travel--- ascends heavenwards, as if "to set his soul free' is indigenous to this action. This video clip could reveal intersting programmed beahviors and attitudes of what goes on in the minds of creative artists, where their creative endeavors, and finished products: the songs, fall in structural line with Eckankar practices, descriptions and tenets. Its an interesting thought to consider. Additionally the guitarists are similar to the medieval roving minstrel's in their walking, as if to suggest, the free spirits of medieval minstrels of England, were roving as a behavior like walking upwards through the Eckankar planes of consciousness. What their physical bodies do on the physical plane coordinates with what light bodies do in the other spiritual planes, perhaps. These could be further psychological research areas for the future, in any case, but I find all of this interesting.
Harry Horton

Raleigh, NC

#12 Apr 2, 2008
Continuing along the previous posts themes, the Moksha, the point of spiritual liberation could be related in Andrew Marvell's poem: "The Definition of Love" The famed UFO experience which is actually, astral projection phenomena is described in Marvells' opening 8-12 lines. But what is happening here, in Marvell's psyche is his soul and psychic visitation of the next plane of spiritual consciousness, the Astral plane, where UFO like phenomena exist. But the reason for the soul travel journey, is spiritual in itself, and the end result of this journey, invariably is going to obtain the state of being of "Love". So Marvel takes astral phenomena and love, in unity, in the poem. But these are actions of spiritual liberation, the essence of the moksha, and invariably, helplessness and despair are going to be the blended unavoidable state of being characteristics of Marvell's spiritual journey. His opening lines goes: "My Love is of a birth as rare,/ As tis' for object strange and high;/ It was begotten of despair,/Upon impossibility.
Magnanimous Despair alone/ Could Show me so divine a thing,/ where feeble hope could ne'er have flown,/ But vainly flapped its tinsel wing./THe poem then continues subsequently And yet I quickly might arrive/ Where my extended soul is fixed;?...End of quote. THe helplessness and description of magnaminous despair, the essence of the negative current, bad karma or evil, whatever one wishes to call it, is constituent to the moksha like ascending experince of Marvel into the astral plane. Feeble hope could never have flown or vainly flapped its tinsel wing, describes the overwhelming prerequisite emotional state, for making this spiritual journey in the first place. Helplessness. And finally, arriving where his extended soul is fixed, is describing the goal Marvell sets out initially to obtain with this soul travel endeavor described in the poem. But compare the above Marvel activity and themes to the Crosby Stills and Nash song--Helplessly Hoping. Since this 1960's song was created with Guinevere soul travel peices and wooden ships, by the group, this third CSN& Young song too, could be respresentative of the moksha and its emotional despairing helplessness intrinsic to the subject of the song. One could simply compare the CSN&Young piece to the above first eight to ten lines of the -"Defintion of Love" poem of Marvell. Perhaps both are addressing the same thing, this part or experience of soul travel. Thus, confessing, the CSN&Young piece may not contain the deifinite essence of soul travel experiences and moksha events, because the song is not descriptive per se in those areas; The piece though was written in the pool of other songs that do address soul travel subjects such as "Guinevere" and ", a "Wooden Ships"--and because of that fact "Helplessly Hoping" gains some credence as a moksha containing piece, maybe to a more fainter degree. But all in all, at point (4) earlier spiritual themes present in English literature again reappear in this piece of CSN&Young's repetoire.
Harry Horton

Raleigh, NC

#13 Apr 3, 2008
Further thoughts on the previous post's themes----one of the reasons I like rock and roll singers, folk singers of recent current status, is that what comes out of their subconscious, usally does it on its own, purely , without any real referencing of any extended sort in other materials. Like the extensive study of T.S. Eliot who found Andrew Marvell's poetry, resonating with genuine substance and clarity, of artisitc truths. Thus Eliot based a lot of his dire warnings of the future of the environment and man's spiritual crisis on Marvell's work, in part, though to a substantial 'degree and part' at that. With rock and roll singers, when one gets the same subject materials in their songs, it carries a purer authenticity, because, the subjects emerge solely from the artistic encounters of the artisits at this time, without the extensive referencing, one finds with say an Eliot.
In regards to the Horton genealogy, the two main and interesting points in history, for the Horton line is the (1) William Horton - Joan Dutton marriage. Joan Dutton from Cheshire and the family member of the Lords of the Minstrels.
(2) THe second foray of sorts, of Hortons into Yorkshire, from Leicstershire, that is of the later 1500's William Horton marriage to Elizabeth Hanson, in Yorkshire--Elizabeth Hanson daughter of Katherine Brooke. The significance of this marriage is that if Katherine Brooke was related to the William Brooke, then WIlliam Horton of the 1500's re-enters into potentially the artistic, writing and poetical venues,of the Elizabethan writers. A reappraochment or re connection with Englands artistic environment with a Horton, that originated ealrier with the 1300's William Hortons entry into the Lords of the Minstrel's affairs with his marraige to Joan Dutton. THese two events, the first from the late 1300's and the second in the 1500's, position the Horton line along this evolving minstrel - musical and eventual theatrical and poetical 'mode of Expressions' or artistic venues, that were becoming more instituionalized in England at this time. And the Eck Master of the 1500s and early 1600's would use these cultural artistic venues, to deliver the then current 'word of God' so to speak. So these two historical eras of the two William Horton's marriages, create a significant participation of the Horton line with all of this previously mentioned. Even in the 1700s, according to the Horton Family History web site Maggie Shrull, Henrietta Horton's marriage to a man, who was a descendent of Lord Strange, and associated with the Earl of Derby, such an event or conjugal occurence reflects the extent of the Horton line with important members of the Elizabethn theatre during Shakespeare's time, since Lord Strange owned acting troupe companies, that Shakespeare performed in. Earl of Derby was a character in Shakespeare plays also. This fact exemplifies later in the 1700's the Yorkshire Horton, and the general connectiveness the Hortons had to this London theatre environment, historically that is.
Harry Horton

Raleigh, NC

#14 Apr 3, 2008
What is fascinating about the William Horton marriage to Joan Dutton in Cheshire in the late 1300's is that the Black Death in 1346-48, wiped out a third of the population, and thus a major shifting of the social structure of the English population were occuring at this time. Later in 1381, famine struck England. The historian Barbara Tuchman wrote a book entitled: "A Distant Mirror" that chronicled the history of this European time period. The culture, like today, was dying out, social collapse, plague, and famine wracked Europe. The following web site (1) "Effects of the Hundred Years War on Monarchies in England and France" www.hyperhistory.net .(2) "The Peasants Revolt England's Failed Revolution" www..(3) "Zeal Monarachorum Online" The population of England was scant 2.0 to 2.5 million people, in environmental collapse of its own. Number (3) gives climate information of the English culture and countryside at this time. It was this environment, that my ancestor, William Horton of Leicestershire married Joan Dutton in Chehsire County. And from that point on, the Horton genetic make up at that particular time from this marriage was 'Horton-Minshull-Dutton'geneti c constituecny of William Horton's children. The Minshull blood line would have a later family member as the wife of John Milton, And at a point critical to English poetry, since Elizabeth Minshull would be instrumental in getting "Paradise Lost" written and published to the public. With these dire social and environmental situations in England in the late 1300's, the Horton name becomes one with the Lord's of The Minstrels, so to say in Cheshire, and with it one with the minstrel musical environs of England where later the Eck Master would perform upon, so to say , in the influencing and 'formative part' of creating Shakesperes works most likely and creating the poetry of the time. And even more hauntingly, my 1300's ancestor, William Horton carried a name that meant enclosed garden: "Hortus". Hortus has had this dual meaning, signifying simply, worldly gardens, or, alternatively, heavenly spiritual gardens, of lush light imbued forests, streams, dales and mythical cities, that the God Planes of Eckankar relate. And here we find this three way or three segemnted condition with 1300's William Horton.(1) Crop failures in the England countryside during his lifetime.(2) Hortus which means vegetables, wheat other flowers, plants and the like, the components of 'Hortus' or gardens that is. Thus this fact being the opposite of (1)(3) "Hortus" also means gardens of heavnly attributes, spiritual dells of tres, flowers plants and the like. When one considers, these three features described aforementioned, it seems William Horton seems to say about his name, if the world gardens fail beacuse of (1), then at least (3) the spiritual gardens could be indigenous to my being, at least in name. And isn't that what WIlliam Horton of the 1300's was graviatating towards anyway?--that is, with his marriage to Joan Dutton, and thus entering the realm of the Lords of the Minstrels, whose muscial strains, contained the heavenly essence that later Andrew Marvell desribed in his poem: "Musik's Empire". All of these conditions are interesting in that this 1300's marriage of William Horton is a firm entry into the developing spiritual ambience of medieval England at this time. Additionally the web site -"New Marian Poetry- Hortus Conclusus by unknown" www. campus. udayton.edu . carries the following segment---"Mary was a well-closed garden,/ closed to mortal feet and eyes/ but wide open to the maker/ of earth's second paradise." End quote. THis quoted section, has a camelot flavor or reference for Hortus conclusus.'Hortus' is soundly identified as the internal sense of the mind, of the existence of the God plane entities, that are mythically portrayed at times, as Garden of Eden and camelot, amongst other designations from other religions.
Harry Horton

Raleigh, NC

#15 Apr 3, 2008
The reason I'm writing a lot of this, centers around the 1500's William Horton family situation in Barkisland and Halifax Yorkshire. In other words how much participation did WIlliam Horton have with the literary environmnet, THe Elizabethan writes and Elizabethan theatre for that matter, in the 1500's? If the 1300's WIlliam Horton was already a participant with the Dutton Lords of the Minstrels, then William Horton of Yorkshire conceivably, in part, from tradition's sake, could have had some participation with the Shakespeare Canon. He officially would be an in law of William Brooke, and it is already confirmed William Brooke had family members in the Shakespeare plays, even a relative Arthur Brooke who essentially authored Romeo and Juliet.Could William Horton and his son William Horton be the subjects of the sonnets? Because he was a Brooke relation? Mr. W.H. of the sonnet's dedication could have been the fair youth William HOrton, son of Elizabeth Hanson and William Horton the elder? Or could William Horton the elder, be something of a literary agent, collecting assorted works of literary pieces, such as the Gwynneth Bowen article described, such as, the W.H. in the Southwell Fourfold Meditation dedication. Furthermore, WIlliam Horton working in collaboration with the Elizabethan Eck Master, collecting literary works for the Eck Master's participatory role molding and shaping the works with his divine creative essence? Or could William Horton have written the sonnets and the rest of the Shakespeare Canon? No facts for that, but the tenuous situation of the authorship controversy could at least on hypothetical grounds, not out rule that conclusion. Or finally WIlliam Horton had at best a peripheral if any, thus negligible contact with any of the literary scene in Elizabethan England, in spite of a potential relationship as in law to WIlliam Brooke. A relationship via Katherine Brooke, the latter, mother of Elizabeth Hanson. Such above are the possibilities, and brings another direction into Yorkshire, for understanding potentially more indiviuals that could have influenced the creation of Shakespeare's works, The Eck Master and William Horton in this case. The metaphysical poet Andrew Marvell, was from Yorkshire and his essence of his works were a continuation of Shakespeare themes and content also. Even later Emily Bronte's Wuthering Heights, a love story set against the bleak moors, would be a work from Bronte , she a Yorkshire writer. So alot of the posts I have written, ultimately point towards William Horton in Barkisland, when one wants to go looking for more answers on Shakespeare's authorship nature or the controversy for that matter. Since he had participation with the London theatre, and its members and his family history were involved with the Lords of the Minstrels.
Harry Horton

Raleigh, NC

#16 Apr 4, 2008
In other areas, on this topic, the minstrel environmnet, that is the essence of the arts forms that were emerging in Medieval Europe, that would give way to the structure and poetical forms of Shakespeare eventully---some scholarly sources have attributed this form to the earlier influences of the Norse sagas, poetical art forms from Scnadanavia. This fact in turn raises the issue, say anywhere before 800, whether the Sami culture, and the psychological import of its musical form, the "joik" could have had a predecessor or precursor role in forming the later style content and artisitc approach of the Norse saga. If it did, then essentially, the Shakespeare canon at the later end of the time or historical spectrum, with its poetical form, was originally inspired 800 years later by the originating art forms of the Sami people, at least in part. And that is the originating point of time of structure being pre-800, and the joik being the major art form. This form travelled through all sorts of modifications and revampments with subsequent different historcial period and their influences, for the eventual development of the art form, in the 1500's and at the same time of the arrival of the Eck Master. What is interesting, in some of the historical accounts of the Medieval minstrels roving the English countryside in the years 1080' up unto Shakespeare's time, is that the physical act of walking and strumming say a guitar, or lyre like instrument is the same as the artists soul moving through the God planes, or different planes of consciousness. Whether the spiritual plane: earth, and the human motor part of the central nervous system, is determined by spiritual influences from these higher planes of consciousness, and walking and playing an instrument is a coordinated expression of 'Atma Sarup soul body travel' of the non molecular planes of consciousness would be an interesting research fact to determine.If possible. Afterall the world around is no different than the planes of consciousness since the physical world is in total essence, a spiritual plane. The medieval minstrels, were known as free spirits and were welcomed particularly at monastaries, or institutions that recognized the illusions of the world, with its evil, and created lifestyles, for spiritual,development vis a vis a corrupt world. THe monastic life that is. So soul travelers would be welcome in such an environment. All this happening concordantly with say the magna charata's birth,in the early 1200's, which began the beginnings, at its most humable seedling stage, for the eventual later creation and recognition of the intrinsic rights of each individual----the spiritual and civil rights inherent in the polity of people that later would emerge, later to a substantial degree, as a distant example in the future, with the U.S. Constitution, and from there certain Presidents as Andrew Jackson that began an actual populist influential wave of political activity that gave the population rights in the political climate, that later would be expnaded to peoples of all differnt ethnic backgrounds.
Harry Horton

Raleigh, NC

#17 Apr 4, 2008
In Wuthering Heights, a turbulent volatile love story between Heathcliff and Cathy Earnshaw? don't know if the last name is correct, if my memory serves me coorect. The major initiating feature of the novel, is Heathcliff's origins are not known. He is orphaned off a London street as a waif and winds up in the northern moors country, where this violent love story begins-- where Cathy is hurled into the sloughs of erotic despond, esentially killed by in this erotic sphere with Heathcliff, and Heathcliff is left in mortal agony, with a love he refuses to let go of.
Something similar could be said of the poetical forms, of the Shakespeare canon perhaps, if the Sami "joik" had any kind of earliest seedling influence on the Norse saga,--- or the "event" "the joik", being the prototype art form totally in itself for the subsequent Norse saga structure and Norse saga origins. In any case, the following wiikpedia entry: "Sami People" relate the following information. "Sami genetic history is of great interest to present day phylogenetics because of the large genetic division from other European populations including their cohort neighbors. THe modern research in genetics seems to agree that Sami people are not closely related to any other known human...." end quote. Like Heathcliff, the Sami people seem to have come from nowhere, their origins, or there recent history as a people, are singular in themselves with no relation to any other human stock. Heathcliff, off the streets of London, unknown, where he came from,the Sami also have no known real point of origins---though some scientists supposedly have genetic evidence 9000 years ago that they emerged from the Berber group of North Africa. Yet today, they are a singular distinctive people. Secondly, Finnish,a "Finno Urgic language family tongue", that too, Finnish that is, cannot be traced to any other tree of languages with any definitiveness, and it too has a Heathcliff aura surrounding its origins and roots also. The Sami inhabited Finnland also, in part.
The above are some intersting circumstances, the poetical forms of Shakespeare originated in, perhaps,-- 700 to 800 years earlier, in the Norse regions. And by the time Shakespeare appears on the ENglish litereary scene, The Eck Master is using these evolved forms of artistic modes of expression, for the delivery of the 'word of God',--- the newest spiritual information, for the planet, so to say.Perhaps reflected in the poetry of the times and subsequent, up through Eliot in the 20th century and beyond. Finnish is not an Indo European language though all of the other European languages can be connected, or at least a good deal of them, to Indo European roots. Other European languages, have more "Romance' character and bent and origins to them. THese mysterious cultural circumstances, at the earliest in pre King Alfred days, in Scandanavia, could have began the impetus of art forms from the Sami and the Norse, that would later evolve into the medieval minstrel forms and the poetry of the Elizabethan writers. Norman art forms influenced English minstrel in post Norman invasion days. And the Vikings and their song strucutres comprised, the Norman culture to varying degress since a lot of Vikings became Normans eventually.
Harry Horton

Raleigh, NC

#18 Apr 4, 2008
Along some of the above themes in continuance; Sonnet 53 carries in its essence, a ponderance of the Eck Master's inner nature, by the poet, Will.
THe line goes: "What is your substance/ That millions of strange shadows on you tend?/Since every one hath, every one, one shade,/ And you, but one, can every shadow lend./ Describe Adonis, and the counterfeit/Is poorly imitated after you/...[later the lines continue]....Speak of the spring, and foison of the year;/ The one doth shadow of your beauty show,/ The other as your doth bounty doth appear;/ And you in every blessed shape we know./ In all external grace you have some part,/ But you like none, none you, for constant heart." The Elizabethan Eck Master, is pondered here by the poet Will, Will potentially of Stratford. What is the divine nature, the essence of the being of our ever living poet, Will tries to understand. In Eckankar terms, this would be the mahanta, that is being pondered here. The Grecian Adonis from an earlier era of Greek antiquity is modelled after that culture's Eck Master. The interesting thing also, about the poem, with this ponderance of the Eck Master, the later lines transit into descriptions of nature, the foison of the year. An interesting reference, when one considers later, that Marvell writes of similar subjects in his poem 'Hortus', and 'vegetable love', in Coy Mistress, that is the love of the vegetable producing earth. So even in the Shakespeare lines, environmental concerns and centering on this very subtle, seemingly subliminal and faint basis, is appearing with definitveness. T.S. Eliot in the 1920's will be describing scenes like "April is the Cruelest month, feeding dried tubers with a little...WInter kept us warm". Just to illustrate the contrast three hundred years can bring in the consciousness of the later American born,English poet. Continuing with the additional lines from the above sonnet 53: "And you in every blessed shape we know, In all external grace you have some part." The Eck Master is simply the conveyor of the essence of God to man's consciousness, and with it, every plant, creature and tree, ect. will bear his presence and guidance of knowledge of the spiritual texture of the spiritual plane called the physical world around us. So I call the above sonnet a flagship sonnet,(along with Sonnet 20) for supporting the Elizabethan Eck Master's presence in England as a divine influence on the creation of the literary works at that time. Furthermore, on a different topic, in regards to the previous post's ponderances on the Sami people, their unique phenotypical character and the mystery of the Finnish language origins. These two phenomena are also expressions of the spiritual plane called earth, that is the physical world around us, that is a spiritual plane of consciousness, no different than any other plane. And thus these are the earthly spiritual imbued circumstances, these two mysteries emerged from. THe two mysteries of the Sami people's distinctive nature and the Finnish language origins. Mysteries of spiritual nature that supplied possibly the vehicles of artisitc modes of expression in part, for the later Shakespeare Canon's poetical forms.
Harry Horton

Raleigh, NC

#19 Apr 5, 2008
In the pre Beauwolf days, the British isles poetry influences were varied, Germanic modes, Saxon types, but most importantly were definite Norse strains and influences in the poetical compositions on the Isles. And with this fact, Sami influence for shaping and constituting the Norse influences on these poetical styles cannot be outruled. The "joik" could have been around in the northern Sami culture even way back in pre- 5th century England at this time. But what is fascinating is the above Sami People wikipedia entry that states the ehtnic purity of the Sami, for possibly as long as 9000 years. And the raises the issue, how much do genetics have bearing on cognitive participation with spiritual realms of the human mind--poetry, music, even acting---and the like, that is the depth of communicating the deepest fundamental truths of human states of being through these modes of artisitc expression. The Ethnic purity of the Sami "artistic modes of expression' hold the most purest forms of spiritual communications and power in areas of erotic love, man's relationship to God, the nature of people's character?---an interesting issue to determine. Particularly if the physical world around us is a spiritual plane, that fact, in turn would make genetic makeup a spiritual essence in itself, an an essence inseparable from the tones, poetical lines, of spontaneous creative emmanantion folowing from the Sami creative mind and soul, while such mind is in the artisitic endeavor and encounter. Genetics may as well be an expression of the soul's state of being, no different than a creative song that holds real genetic truths. Its funny to think in a way, that when looks at world war II, Adolph Hitler, his preoocupations of white purity, 10,000 year reichs of White Aryan predominance of the world, or such predominance of the spiritual plane around us, to be more accurate,---where this idea comes from is interesting. Because there is a pure genetic group probaby having passed 9,000 years of purity heading for their 10,000 year somewhere in the future, called the Sami in northern Norway. And their cultural influences could have been well established in the British Isles via Norse influences, in pre Beauwolf days. The poetry of the British isles in pre Beauwolf days could have definite Sami contributions to their form, meanings and state of being communications for the centuries ahead. The Sami "joik' sometimes were given at birth to a Sami child. And the Joiks were also used to be songs and poetical forms of people. If the Sami joik and poetry was a mode of purity with genetic pariticipation inherent to the joik nature, when one arrives at Shakespeares time, the plays deconstruct the negative currents of the characters of the plays, their tragic flaws, overwhelming negative current filled states of beings that comprise the charcters . Why not a pure form of Sami joik influenced currents, that could thoroughly, bring out the negative attributes, such negative attributes on the one end of the spectrum, of the Shakespearian characters? Genetics someday in the future could play a constitutent role, for understanding the contributory nature of artistic modes of expression, and what they communicate. But what this means, is that the Shakespearian play is interesting in that the conversion of negative states of being , energy states, is the spiritual goal of Eckankar--that is the soul's gaining knowledge when evil is replaced with goodness, in the mind. An action that occurs with soul travel. One has a hand, a foot and a soul--and all inseparable in a sense. Why not a pure current of ethnically pure Sami influenced artisitc forms to stimulate the soul travel of the Shakesperian characters.
Harry Horton

Raleigh, NC

#20 Apr 5, 2008
Further along these thoughts is my Horton ancestry line, particularly, involving William Horton and his marriage to Elizabeth Hanson in Yorkshire in the 1500's. Andrew Marvell and Emily Bronte would probably be the two most prominent writers from Yorkshire following the Shaksperian era, as well as William Bradford of Plymouth colony who completed the successful existence of the Plymouth Colony, 1621-1657. The novel Wuthering Heights, and particularly Heathcliff, are important in regards to the themes presented in the previous post. There are two web sites that illustrate this fact to varying degrees: "Espirits - Frere" www.powys - lannion.
The second one " When Rachel returns" books. google Balticbard. The first web site has references to Heathcliff from the letters of a literary person Powyrs. But what is interesting the web material sets Heathclif in the context of free spirits. Essentially free spirits were the essence of the medieval roving mistrels that the Duttons organized into the "Lords of the Minstrels". A sif to say the character of Heathcliff is in the tradition of the roving minstrels in some regards. The second web stie gives a description of Heathcliff. High cheekbones, dark complexion, the hirsute and outlander qualities puring from him. Physical features that welll fit the Sami culture of the artic regions. Even the opening scenes of Wuthering Heights, starts with sharing the dsolation, Lockwood and Heathcliff that is. The desolation is reminiscent additionally of the tundra regions of the north that were occupied by the Sami. So these opening characteristics of the novel describe a situation much like the Sami. And the novel form of artistic expression, utilized by Emily Bronte, too, is a continuation of the poetical and artisitc forms of England, that began in preBeowolf days, with Norse saga participation extant at that time. So why would not Heathcliff be a continuation of the Sami cultural traditions inherent in English literature--as in this case a novel's character? That is a possibility. If any of the above is true, the fascinating fact is the essence of the novel is the love or erotic love sphere that heathcliff and Catherine Earnshaw pariticipate in as lovers, is so overwheming a pure, it hurls Catherine into destruction adn she eventually dies within its nature, and Heathcliff is thrown into mortal agony, where the love turns to brutal hate--reducing his household into totalitarian state of being. If Heathcliff were of Sami descent, would his genetic makeup contribute to the intensity of the state of being of lovthe erotic love sphere, that appears in the meeeting of the two souls Heathcliff and Catherine? Would the poetical forms of the Sami in English literature carry such purity, that delineating the negative flaws of the shakesperian characters can be carried out with more power, from such an genetic pure originating people and their mode of artisitc expression that found its way via the Norse saga into the English forms of poetry in pre Beouwolf dyas, and reasserted itself at t the time of the Norman invasion?, the Sami? Way out there sort of thinking, buts its an interesting issue in my perspectives.

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