GRGR(12)NOTES(9)A

[Terrance F. Flaherty]

GR.V.270.19 Munchkins
into the erotic Poisson. Don
Giovanni's map

"Follow the yellow-brick road." Try to say it only one time,
slow. Say it again quickly, now your singing it in a
Munchkin voice, "he must be out of his mind 32nd notes
demisemiquavers say it very (denisemiquaver) fast in a
Munchkin voice
" These are the Munchkins (more midgets) from
the Wizard of OZ; in the film versions, they help Dorothy
ease on down the Yellow Brick Road. See the epigraph "Toto,
I have a feeling we're not in Kansas anymore
Part 3 of
GR-"In the Zone" Here, Speed and Perdoo are skipping,
obsessive as Munchkins through Slothrop's Don Juan erotic
adventures. In Mozart's Don Giovani act I Mozart LISTS Don's
sexual conquests, Weisenburger says, a remarkably long List,
organized by nation. 

R.I.P Wilt the Stilt Chamberlain. 

(Cava di tasca una lista) 

ogni villa, ogni borgo, ogni paese
è testimon di sue donnesche imprese.

Madamina, il catalogo è questo
Delle belle che amò il padron mio;
un catalogo egli è che ho fatt'io;
Osservate, leggete con me.
In Italia seicento e quaranta;
In Almagna duecento e trentuna;
Cento in Francia, in Turchia novantuna;
Ma in Ispagna son già mille e tre.
V'han fra queste contadine,
Cameriere, cittadine,
V'han contesse, baronesse,
Marchesine, principesse.
E v'han donne d'ogni grado,
D'ogni forma, d'ogni età.
Nella bionda egli ha l'usanza
Di lodar la gentilezza,
Nella bruna la costanza,
Nella bianca la dolcezza.
Vuol d'inverno la grassotta,
Vuol d'estate la magrotta;
È la grande maestosa,
La piccina e ognor vezzosa.
Delle vecchie fa conquista
Pel piacer di porle in lista;
Sua passion predominante
È la giovin principiante.
Non si picca - se sia ricca,
Se sia brutta, se sia bella;
Purché porti la gonnella,
Voi sapete quel che fa. 

Don Juan is  fictitious character who is a symbol of
libertinism. Originating in popular legend, he was first
given literary personality in the tragic drama El burlador
de Sevilla (1630; "The Seducer of Seville"),
attributed to the Spanish dramatist Tirso de Molina. Through
Tirso's tragedy, Don Juan became a universal character, as
familiar as Don Quixote, Hamlet, and Faust. Subsequently, he
became the hero-villain of plays, novels, and poems; his
legend was assured enduring popularity through Mozart's
opera Don Giovanni (1787). The legend of Don Juan tells how,
at the height of his licentious career,
he seduced a girl of noble family and killed her father, who
had tried to avenge her. Later, seeing a commemorative
effigy on the father's tomb, he flippantly invited it to
dine with him, and the stone ghost duly arrived for dinner
as a harbinger of Don Juan's death. In the original Spanish
tragedy, Don
Juan's attractive qualities--his vitality, his arrogant
courage, and his sense of humor--heighten the dramatic value
of the catastrophe. The power of the drama derives from its
rapid pace, the impression it gives of cumulative tension as
Don Juan's enemies gradually hound him to destruction, and
the
awareness that the Don is goaded to defy even the ghostly
forces of the unknown. In the end he refuses to repent and
falls to eternal damnation.  

GR.V270.23  mindless pleasures
Once the working title of Gravity's Rainbow

GR.V.272.19  young Sigmund Freud
Weisenburger says this is the first reference to Freud and
his research into deviant sexuality, circa 1905; he cums up
in similar context at GR.V.737.6---"a little S and M never
hurt anybody." "Who said that? "Sigmund Freud."