ERIC II – last part
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Musik: Where heaven meets the earth- own song
ERIC II. – The END
Chapter VII – The Discovery
Fifty men were enough to bear the weight of LeCarnac.
The stones cry, if the good news of the martyrs will not be heard.
Eric’s fulfilled the proof of divine word with the top of his sword.
He unbend the secret of the columns.
Under the solid rock of Columban´s last house, the Knights of St. John found the famous copper shield with golden necklace, showing the seven stars; this old Druid astronomic instrument was built from an unknown master in the fog of former times. Eric took the plate with the inner ring and placed it into the similar plate that stickled under the surface of his own shield. The peaces fit together! He held the navigation instrument against the Northern star and fixed the hole again to the Great Bear. This was the Cairos, the moment, when divine destination showed the whole congregation their direction to the Promised Land, along the Jacobin Way to Jerusalem.
Epilogue – EMUNAH
The Adventure began and some otherstory has to fit all the fabulous tales about Eric II, called EMUNAH by his horsemen, who are worthy to be remembered. But this shall be told another time.
2. Analysis and Evaluation of written essay:
This historical narration is settled in the early middle ages. LeCarnac, a sacred monolith stonewall is the stage of the novel-like scenes. First Columban appears and dies. His character represents the Christian missionary with Celtic-druid cultural background. In the next act Eric II, Prince of Denmark moves on stage.
In order to support the single point of Celtic Culture and its influence on European Christianity, the author shows specific evidence through the authentically historical persona of Eric Emunah.
The King’s character, his astronomical knowledge in the tradition of the druids and his strong belief in Jesus Christ organize the next chapters and connect the content with the main theme.
Coherence is given by the long time lasting heritage and familiar privileges, which combine elements of both cultures. The blessing of his forefathers and the continuity of the bloodline of his Kingdom is used as an issue to affect and transfigure the Priesthood of former ages with leadership in the Christianized European middle ages. The genetic code of the divine destination is described as the missing link between mystery and historical fact.
This essay is based on several sources with a clear message, according to the title. The main point is dealt on by some frame stories, which fit together like a historic puzzle. As a symbol of the defragmentation the two pieces of astronomic shields- as prototypes of modern sextants- are set together. By this means chronological and logical coherence is supported.
Depending on the archaic setting, the Glossary explains the words that are unusual today.
Sentence skills; have been demonstrated obviously, by means of figures, parallelism and symbols from historical drama (like Shakespear´s Macbeth or Hamlet). E.G. the riddle-rhyme uses the dramatic stile of poem and combines it with astronomical knowledge, in order to increase the tension. Strong figures are used, like the symbolism of ?, ?, TT, ?, ?, which represent the shape of the altar-stone.
This means can be transported into other cultures to cross communication barriers. (Referring to the ICI-Course “Cross cultural communication”). This can be proofed by using Gnostic knowledge (some say “esoteric”) from Feng Shu, the Asian spirituality. The sign for “Creation Power” appears to look similar to the altar-like desk of Columban´s grave and therefore is giving a link to Jesus-centred belief with an earnest signification of the cross as a symbol for resurrection and spiritual new life in the tradition of the messianic heritage of being a son of GOD.
Arcade wisdom uses such lectures as well as eastern gurus, when teaching with symbolic figures and anagrammed NLP. “KOANs” help to open doors of heart and head and feeling like keywords. “Brecht´s Theatre” (BERTHOLD BRECHT, e.g. ANTIGONE or his arrangement for “Die Neuen Leiden des jungen Werther”) uses this stylistic means by creating an effect of being a foreigner. From this outer look the identification persona (here: ERIC as the main character and identification figure) takes fortune in discovery of a secret. That brings the reader into the option to realize the secret for him from a higher level of recognition.
The smart solution to do that in a single stand situation, is not giving force unto the reader, but is leading swiftly to the key point. “Get out of your selfish grave of egocentric isolation!” – This unheard shout sounds from the present state of the art from every line of the essay. This is bringing spiritual freedom.
In the context of Integral Spirituality (Ken Wilber and others, 2007/2008) this progress is actually made in literature. Post-modern writers and thinkers are not only randomly amused, when the contextualization of the Cartesian System with the four coordinates into literature provokes the reader to step out of his self-centred orientation (often just poorly covered as “Jesus-Centred Belief”) into a spiritual communication with individuals beyond himself and the acting characters of the narration.
To tell it easily in own words, the following example may give a mind opening brainstorm. Spelling words in funny English opens the door for playing scrabble games: The sentence “He unbanned the secret of the columns” hints to the name of the Old Druid COLUMBAN.
The historical fact of the appearance of the Crab Fog is transfigured to the natural phenomenon of the crab colonies along the shore of northern France. A kind of deeper irony is demonstrated, when the soldiers grilled the crabs. This is a parabolic image of the priority of rational Christendom over the anxious pagan mysticism. Drinking beer and laughing at fairy tales is interrupted by the proclamation of “Jesus!” We find examples of such scenes to create serious atmosphere in literature, like the “porter scene” in Macbeth.
The flux of chapters is brought to an order of logic, to go straight through the main theme. Attending to reach the aim of unity, support, coherence and sentence skills, the eight chapters fit the idea in the act of the characters. It could have been said with fewer words by arguing on the single point, but the dramaturgical scenario leads the reader into the strange atmosphere, realizing the danger of using archaic language and deadwood phrases. Shakespeare, e.g. would have said „fiends“, instead of „enemies“. A kind of mysterious clockwork would never been mentioned as a modern navigation instrument. (In fact: research discovered, that these instruments first have been mentioned in the 13. century. Raymond Lull, the well-known founder of universities like Sorbonne and Oxford, who used such plates not only as a sextant, but also as a computer, demonstrating his syllogistic framework of spirituality). On the one hand a fine temper between showing sentence skills, which is helpful to create an authenticable atmosphere and the rule of using clear words and correct spelling, is carefully estimated; on the other hand the reader is confronted with a hard stuff. The skills of reading between the lines and feel into the ensemble of scenario are hardly demanded. In a pre-test, the author was reading the story to an A-level-auditory and was surprised, that there was no break of tension. The hearer of the story, even if not all of the details have been understood, could follow the inner spirit of the act and listened carefully. The contents had been remembered and logical mistakes have been corrected. The contrast between former English and writing modern American stile, which is supposed to be normative to be “written in better English”, is chosen, to bring the reader back from bloomy past into cool presence. The tension between over-emphasizing supernatural signs andwonders and presenting error-free sentences with clear intention is used as means to build a bridge between Old-fashioned romanticism and post modernity. As a logical consequence of the historical attitudes, classical elements and stylistic formulas have been used. To my mind the freedom of arts in this novel-like poetry longs for the righteousness of the reader to judge, whether the essay is a true story or a fairy tale. This is because both elements like” tales of mystery and imagination” and words like “worthy to remember” (=EMUNAH) in the epilogue are closing circles, hinting again to the title and character of the narration. One needs to decide the value of information by separating the broken down rough message into a scale of graduation. Avoiding redundancy, which would have caused boring disinterest in a post-modern society, needs a high scale density of digital information.
The outlook “this shall be told another time” encloses this novel into a set of stories.
As a conclusion of the author’s intention to write this story the way he did, one may argue that the leading character Eric II. later on appeared to be the first Templar, known as “Rosenkranz” =ROSARY). This is, because in fact Eric Emunah has been the name-giver of the family, clan or dynasty of Rosenkranz, as a privilege from the Pope, Eric and his horsemen freed from the so called “Babylonian Captivity”. In this constellation the leading character occurs to be the most relevant cornerstone between Ire-Celtic Christianity in the early middle-ages and the reconciliation of the Roman-Catholic Empire in European and worldwide Christhood.
With the present narration I am going to my own historical roots. This short novel is one of the first fruits that efforts in “Writing Better English” bear. Creating a personal, passionate stile has been more important than just being “perfect” (or imperfect- not only from grammatical point of view, but even in space and time).
Please estimate the blood and sweat it may have cost to be so familiar (in the true sense of the word!) with the theme. Today’s English for Foreign Language writing seems to taste a little bitter-sweet, like new vine in old storage. To my humble opinion it’s not too sophisticated to be measured with masterpieces of classic drama, (like Shakespeare), because the overcome of hybris is a goal of downfall, caused by pride. In my case this is the overwhelming theme in a generation-review like condensed in the craft of this art. It has been a hard work, and a young and wise man is better than an old and foolish king.
What do others think about? After analysing and evaluating the essay, I discussed it on an internet platform with international authors. One of them actually sent the content to an English-writing friend, to use the theme for a roman.
Tags: analysis, education, evaluation, story telling