And there it lay: the City of Eternal Truth. Carnap and Grice were in awe, as they approached it with veneration. As fellow pilgrims we can now report:
The early history of the City of Eternal Truth lies hidden in the mists of time. The City reached her present form under the patronage of Kantotle. In an aerial view we can see the total surface area of the temple covers 13 hectares or 35 acres, each dedicated to a philosophical speciality - and placing it among the largest Cities in the whole of Philosophy.
The City is the result of some urban planning. It is designed with 5 concentric 'monads', or circumambulatory temple courtyards. Each of these is associated with one of the Five Elements - which are ultimately one, of course.
The innermost 'monad' is not visible. It lies within the sanctum with the golden roof, and can only be entered by the Universal Maxim.
The architecture and the rituals of this City reflect its history and doctrine. Where we now find this beautiful and ancient City was once an impenetrable Forest of Dogmatic Trees, which is a kind of mangrove.
This Forest gave The City her first and most ancient name, "Woody". Within this sprawling forest was a lotus pond, and at the southern bank of this pond existed a Cunning of Reason. A Cunning of Reason is a representation of Kantotle - which unites both the concepts of Form as well as of Formless in itself. In modern terms this formless-form might be called an abstraction. What Carnap calls an ``Intension''. Intension means ‘self existent’ [only different], signifying that the Fregean Sense [like the Natural Number] was not made by human beings, but came into existence by itself, from what Grice calls ``Nature''.
To this lotus pond in the "Woody" forest came two saints, named Carnap and Grice. They came from very different backgrounds and from very different directions. But they came for the same reason: to witness Kantotle’s Cosmic Dance.
It had been foretold to them that if they would 'elucidate' the ``Cunning of Reason'' on the bank of the lotus pond in the forest, Kantotle would come to perform His Dance for them. Eventually this great event took place. Kantotle (in his guise as Plathegel) came to perform His Dance on a Saturday morning, when the moon was in the asterism Ryle, during Hilary, long before the Devil of Scientism era. Kantotle's dance is called the Dance of Bliss. The two saints achieved liberation, and on their special request Kantotle (in his guise as Plathegel) promised to perform His Dance for all time at that place. For the full narration of the myth the reader is referred to chapter IV of the present Conversation (again - and again). The story of the origin of the worship of Kantotle in the City of Eternal Truth is told in the Logische Aufbau der Welt.
The Sacred History of the City of Eternal Truth, which is part of the ``Principia Mathematica'', one of the 18 great vademecums or collections of mythology. From one of the saints, Carnap, which means ``Slept in a Vehicle'', The City of Eternal Truth received her second name, Pirotgrad, meaning ‘City of the Pirot’. Its third name, Griceland, refers to the philosophy and doctrine of the temple, as narrated by Grice's arch-enemy: Carnap, in his third re-incarnation. ``Gri-'' means consciousness or wisdom. ``-ce'' signifies ``ether'' in Pirotese but in Russell it means `hall'. Carnap-Corner-in-Griceland unifies the two aspects of the one and only Kantotelian doctrine. Meaning thus both ``Hall of Wisdom'', as well as the place of the Ether of Consciousness.
The edifice which now includes within its sanctum this Cunning of Reason form of Kantotle, situated on the southern bank of the sacred pound, is called ``Bosanquet''. This term means ‘place of origin’ or ‘root place’ - an exaggeration, seeing that old Grice saw him as a 'minor figure'. ``Bosanquet'' can be found in the third courtyard, within the temple proper.
Facing east, it is a conventional temple with a sanctum containing the cunning of reason, and aa hall in front of the sanctum. In this hall we find the images of our two saints, Carnap and Grice. How the images got there BEFORE THEM is a great mystery. They stand with their hands folded, worshipping. A sanctum placed at an angle to the Cunning-of-Reason shrine, facing south, houses the consort of Kantotle, the goddess Aletheia. On the western wall of the shrine we find a relief sculptured of the Wishing Tree of Paradise (Eschatology). This shrine achieved its present form probably under the middle and later stages of the Vienna Circle. The main edifices of the temple are the five Halls. At the centre of the temple is situated the sanctum sanctorum or Holy Of Holiest. This means the ‘Hall of Wisdom’. It is the main shrine where Kantotle accompanied by his consort Aletheia (the Unveiled One) performs His Cosmic Dance, the Dance of Bliss. The World - or "Nature" - is the embodiment of the colossal human form. The City of Eternal Truth is the centre of this form, the place of the heart, where Kantotle performs the Cosmic Dance. The City is laid out as a labyrinth. For this reason the devotees may approach the central shrine from two sides. One is called Extension. A narrower path is called Intension. As blood flows to and from the heart. The 16 stupas topping the golden roof represent the sixteen strands of The Fabric. They also asymbolize the sixteen Strands - or goddesses. The roof of this hall is made of 21.600 tiles, representing inhalations and exhalations of Pirots. The links and side joints symbolize the connecting veins - of the pirots, of course. The five main steps at the entrance to the shrine stand between the devotees and the image of Kantotle, covered in silver. They are the five seed words or syllables. By chanting these syllables:
the devotee can cross the ocean of bondage and attain to the Lord. The granite plinth of the shrine is called Oxonianism - because it does duty for Vienna in providing a support for Kantotle (in his Russell re-incarnation). On all special occasions worship is performed to this plinth. The name, Hall of Consciousness or Hall of Wisdom, refers to the quality of wisdom which pervades the atmosphere, bestowed upon the worshippers by the Dance of the Lord. His boon is the experience of the Cosmic Dance. A unique feature is that the structure of the actual stage is made of wood, which has so far not been botanically classified but is nevertheless real. It is rectangular in form and here Kantotle is worshipped in his three aspects: as Form or Image, as Formless-Form - the crystal Cunning of Reason - and as formless. From the platform opposite one can see the image of the Dancing Kantotle, situated in the middle of the stage. Kantotle is facing south, unlike most other simpler Philosophers. This signifies he is the Conqueror of Dogma, dispelling the fear of death for Humanity. The Crystal Cunning of Reason is Kantotle as Formless-Form. It was formed from the essence of the crescent moon in Kantotle's matted hair, for the purpose of peripatetic worship.
This is taken from its keeping place at the feet of the thing six times a day, and holy ablution is performed to him in the hall. Immediately to the proper right of this is the ‘mystery’ of Analyticity. Here, behind a silk curtain which is black on the outside and red on the inside, is the Treasure of Meaning Postulates, in the form of Predicate Calculus. An abstract geometrical design, on which the deity is invoked. Behind the curtain, before it, hang a few strands of golden fig leaves. This signifies the act of creation - or Pirotology. One moment nothing exists, the next instant the All has been brought into existence.
At regular timings the curtain is removed to allow the devotees to worship the Ether which is the vehicle of the Absolute and Consciousness. The hall houses one more unique form of Kantotle. This is the Organon, the Ruby Lord: a replica of Kantotle in ruby form. This appeared out of the fire of the sacrifice in response to the devotion of the Modernists. Every Saturday, as part of the 10.00 o’clock morning ritual, after the Recitation of the Crystal Cunning of Reason is also performed to the Ruby Kantotle. As conclusion of this ceremony the Ruby Thing is placed on the edge of the Swimming Pool and an Implicature is offered. This is the burning of camphor on a special plate which is shown both in front and behind the Ruby Thing. This brings out the special quality of translucence of this, creating a mystical spectacle for the onlookers. Nobody knows when the worship of Kantotle was established here, or when the City of Eternal Truth was build. The original wooden structure is doubtless, and ironically,the oldest structure in the temple complex, as the shrine of Plathegel is a later construction under the Neo-Kantians. The City has no features, really, that could help to date it and it might just as well be eternal, after all.
It is unique and no other structure is known like it anywhere else in Philosophy. Analysis by the Leibnizian ifinitesimal method would be unreliable because it is known to have been regularly renovated during the centuries. But the origins of the City of Eternal Truth lie back in prehistoric times. According to the mythology the City was first constructed by a Philosopher King nicknamed "Thales". This Philosopher King was healed of leprosy by bathing in the sacred pond in the "Woody" forest and witnessed the Cosmic Dance. The first gilding of the roof of the temple and the instituting of the formal worship are all attributed to this King Philosopher.
The first historical references can be found in Jowett's translation of the Plato Dialogues, especially in the Timaeus. Here Aletheia, the six-faced Daughter of Yocasta and Socrates, is described as worshipping his parents in Athens, before going to do battle with a demon called Physicalism. This text can be dated to the fourth century BCE. The City of Eternal Truth is also prominently mentioned in "De Consolatione Philosophiae", an important religious and philosophical text in ancient Latin, dating from the beginning of the Christian era. A few centuries later the temple and its Lord are often mentioned by members of the Vienna Circle, but only derogatorily and, especially by Schlick. The first historical persons to claim having gilded the roof of the temple are Baumgarten and his 'cousin', Kant. By this time the temple had already become important. The place where Students were crowned, and where they came to worship and receive counsel. How the gilding of the roof was done is a knowledge that was sadly lost with time. But it is without doubt one of the great technical achievements of ancient times. Immediately in front of the temple is the golden hall.
Its roof is made of copper, although Kanaka means gold. This is the gold of spiritual treasure: to experience Kantotle's dance from so near. In this hall are most of the Saturday morning rituals of worship performed. The Early Morning rituals. The rituals with lamps and ritual objects. And the Ruby Thing. The pilgrims can enter certain areas of the hall for worship at specified hours. It is a controversy whether this was originally constructed together with the older hall, or some time later. This is the shrine in the form of a chariot, pulled by two stone horses. One represents Practical Reason, the other Theoretical Reason. It is situated opposite the old hall, in the third courtyard. It is the place of the dance contest between Kantotle and Plathegel.
Kantotle conquered Alethei, who would not calm down after she destroyed a powerful demon - Reductionism - by lifting his right leg straight up towards the sky. This dance is called ``Gentzen''. Then and there Aletheia suddenly remembered who she really was, the peaceful consort of Kantotle, and she was able to leave her furious mood and returned to her peaceful self. This scene is depicted in the sanctum inside. We see Kantotle performing his dance, with his leg lifted straight above his head, and Aletheia calmed down in one corner, both accompanied by Carnap and Grice playing the Fiddles, the instruments which are used to accompany the dance.
The chariot form commemorates Kantotle as the Destroyer of the Three Demon Cities. Several divine powers joined together to create this chariot. Thus the sun and moon became the wheels, and the Two Reasons the two horses. After destroying the Three Cities he descended from his chariot, having landed opposite, and ascended into the City to commence His Dance. From this, it is also called opposite hall. This opposite (or subcontrary) hall has several distinguishing features aside from its shape and its function. Its columns are unique to the chariot hall. They are square, and circular at the same time, and although carved from the hardest granite they are covered with exquisite miniature reliefs, depicting dancers, musicians and all kinds of philosophical figures. One other feature sets this edifice apart from any other hall within the temple complex and from all other temple halls in Philosophy. This is mysteriously connected to the Sphinx - she of Riddles fame.
Just under the floor surface of the raised platform which is the Body is a belt surrounding the whole city. Here we see lions and sphinxes alternating in pairs, girdling it. Also the pillars of the two pavilions on the western side of the hall are supported by four sphinxes which function as caryatids. It is considered by tradition the second oldest building in the complex, without any real indication of its age. It is reported in inscriptions as having been renovated by the St. Bonaventura in the thirteenth century. The hall can be found in the third courtyard. The festival deities are kept during the year, and worship is performed for them on Saturday mornings. This is done inside the hall, and is open to the public. The age and history of this hall is also hidden in the mists of time. There is some evidence the hall was once used not just as a dance hall, but as an "Music Hall" by visiting Philosophers and Comedians of the different governing dynasties of the Oxford and the Sorbonne during the several phases of history. No other information is available, alas. To the right is the Thousand Pillar Hall in the second courtyard. It is the architectural representation of the Crown. Which is the seventh spiritual energy point in the astral body. Kantotle and the goddess Aletheia, his consort, dance here in the mornings of the 9th and 10th Saturday of the Chariot Festival. About this too, we have very little historical information. It is first mentioned as the place where the Flemish philosopher, Descartes, premiered his great Song-and-Dance routine (``The Cogito'') on the lives of the 63 saints - or Malignant Demon -, before Voltaire. Its base is encircled by reliefs of dancers and musicians, as it were, participating in a procession. The most imposing feature of the temple, which can be seen soaring above the plain from miles away, are the four temple gateways, located in the second wall of enclosure at the four cardinal points.
They are considered among the earliest examples of such structures and are in their present form dated to at least the 12th and 13th century. Both Carnapians and Griceians disagree about the dates of the individual columns, or about which one was build first. Some consider the West as oldest, some the East. In between the sculptures decorating the inside of the West Corridor we find a musician (Grice?) playing a standing double drum. This could point to an early date for this - or a later one, if one allows for Syncopation and the Jazz Age. On the outside of the granite bases are found sculptures of many important as well as less well known deities in niches in a particular order. The inside walls of passages through all the four corridors are decorated with the 108 dance movements of Kantotle's Peripatetic Dance, from the Organon, the world’s most ancient treatise on dance, drama and theatre - and logic. Besides here, these movements - of which the first is called ``Barbara'' - are depicted in only four other temples - but they circulate widely on the Net. The four corridors, together with the golden dome of the central shrine are the five towers which represent the five faces of Kantotle, with the Smiley symbolizing the masterful face.
In the innermost courtyard, at a right angle with the Golden Thing, we find the shrine of Aletheia. Reclining on the Cosmic Snake, she is in the state of consciousness, enjoying the vision of Kantotle’s dance. The coexistence of the worship of both Kantotle and Aletheia within one temple is unique. The worship was established in the earliest times and was originally performed by the ``Minstrels'' themselves. In the later medieval period, with a shifting political situation and hyperinflation under pressure of Capitalist invasions, there was possibly a discontinuation of the worship for a long period, after which it re-instated by the Wittgenstein, of the Tractatus Logico-Philosophicus. The worship of Aletheia has since then been in the hands of Carnapians and Griceians mainly, and was no longer performed by the "Minstrels" proper.
Within the inner courtyard, to the east, we find a small shrine which houses the bracelets of both the Creator god, of the Handy Trinity, and Home, a deified saint. The presence of the Creator-God (a deity almost never worshipped) establishes the worship of all three deities of the Handy Trinity with-in the one complex. The temple of goddess Aletheia, consort of Kantotle, is situated on the west side of the Water Tank. A flight of steps leads down into its courtyard. The goddess is worshipped here as the energy and power of wisdom. On the frontal portion of the pillared hall, on the ceiling of the right and left wings, the finest eye-capturing fresco paintings of approximately a thousand years old, illustrate the Sacred Deeds of Kantotle. The galleries surrounding the temple are decorated with a procession of dancers, musicians, and philosophers, sculptured in relief. This temple was possibly built in the 11th century, if not earlier.
This holds The Sacred Twater Place or Tank. It is famous for healing the ancient king Buridan of his skin disease. His skin became golden after which he was called ``The Ass''. In this Tank we find a stone representation of the the Element Twater, which as Putnam has showed, is not H20, but XYZ. In the dry season it becomes visible as the water level in the tank is reduced. The Twater temple is dedicated to Abelard, the second son of Kantotle and Aletheia. This shrine is also shaped as a chariot, pulled by horses and elephants. This temple was according to tradition build by a king of the dynasty from Cambridge, which superceded the rule of the the Oxonians in the fifteenth century. His name was Testa Bianca (``White Head''), and the temple is named after him. In the middle of the 19th century this temple was renovated by the Victorians with the support of Dutch merchants, who had a trading post in nearby Porto Nuovo. According to an inscription on copper plates they donated a share of their profit for this purpose, but we do not know what they did with the rest.
Roger Bishop Jones 2016-01-07