Grice Reaches the City of Eternal Truth

Adapted from

http://www.chidambaram.rajadeekshithar.com/temple_history.htm

The City of Eternal Truth and Her History.

"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."


"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.

--- INSIDE THE CITY:

"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,"

KAN -- TO --- TLE

"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 image

As Formless-Form The crystal Cunning of Reason

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 Shiva.

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 Sabha 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. These are:

The South,

The West,

The East

and

The North.

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 is 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.

-----

(For the account of the OTHER city of eternal truth, vide http://www.chidambaram.rajadeekshithar.com/temple_history.htm)