Гамлет Hamlet Constantine Cedar

             Монхбат Инга (Научный руководитель Алексей Викторович Татаринов)
                Гамлет Константина Кедрова

«Поэзия - райское состояние души, запечатленное в словах и звуках. Четыре формообразующих элемента поэзии — музыка, ритм, рифма, метафора… …только метафора новая, созданная поэтом, может стать поэтическим образом. Она-то и названа мною метаметафорой. Новизна образа — важнейший признак поэзии. Поэзия — словесный рай на земле и при жизни. Высшая награда поэту — сама поэзия», - пишет Константин Кедров, современный поэт, филолог и философ, в «Энциклопедии метаметафоры»[9].
Кедров - создатель термина метаметафора (1983 год)[8], которая, словами поэта, есть «зрение человека вселенной». Пример чистой метаметафоры – поэма «Компьютер любви», она же – программное произведение поэта:
РАССТОЯНИЕ МЕЖДУ ЛЮДЬМИ ЗАПОЛНЯЮТ ЗВЕЗДЫ
РАССТОЯНИЕ МЕЖДУ ЗВЕЗДАМИ ЗАПОЛНЯЮТ ЛЮДИ

ЛЮБОВЬ – ЭТО СКОРОСТЬ СВЕТА
ОБРАТНО ПРОПОРЦИОНАЛЬНАЯ РАССТОЯНИЮ МЕЖДУ НАМИ
РАССТОЯНИЕ МЕЖДУ НАМИ
ОБРАТНО ПРОПОРЦИОНАЛЬНОЕ СКОРОСТИ СВЕТА –
ЭТО ЛЮБОВЬ
                (Компьютер любви, 1983) [7]
Со страниц произведений Кедрова нам открывается абсолютно новый мир, где всё не просто едино, а одно вытекает из другого и так до бесконечности. Из всех архетипов К.Кедров признает лишь один, именуя его «архетипом архетипов» [9] - это крест. В его творчестве он всюду: в образах и стрекозы, и Христа, и, конечно же, самого креста, и греческой буквы «Х» (икс), и кириллической «Х» (херъ), и, что интересно, в образе Гамлета. Как Христа, так и Шекспира К.Кедров называет великими метаметафористами.
Гамлет – герой шекспировской трагедии, прочно вошедший в мировую литературу, постепенно стал образом архетипичным. К.Кедров предлагает собственную интерпретацию известного персонажа, выводя читателя на новый уровень восприятия и осмысления текста – уровень метаметафоры.
«Гамма тел Гамлета, или Новый Гамлет» [4] - произведение с таким названием не может не заинтриговать. Но что мы видим с первой строки? Отсутствие традиционной рифмы, знаков препинания, странный ритм произведения, сложности возникают и с определением жанра. Автор в «Энциклопедии метаметафоры» пишет, что «Гамма тел Гамлета» - это мистерия [9]; в ней мы можем найти не просто реминисценции, но само произведение У.Шекспира, при этом главным оружием Кедрова становятся палиндромы, анаграммы и, безусловно, метаметафоры.
флейта уплывающая по воде
флейта тонущая в ручье
флейта погребаемая Гамлетом и Лаэртом

– Кого хороните?
– Флейту!
- во флейте опытный читатель сразу узнает Офелию, дочь Полония, но что или кого читатель должен увидеть сквозь ткань всего произведения? Кедрова трудно читать: его подход к жизни столь же необычен, сколь нетипична его поэзия.
Мистерия Кедрова начинается словами:
Шекспир обезврежен в радиусе рапиры
воткнутой наугад через занавеску смысла
Далее описывается поединок между Гамлетом и Лаэртом, то есть автор начинает трагедию с финальной сцены, желая продолжить её, но, дочитав произведение, понимаешь, что это не продолжение, а скорее расшифровка, «обезвреживание» Шекспира Кедровым. 
В оригинале со смертью Гамлета «приходит тишина» («Дальше – тишина» [10, 223])в «Новом Гамлете» тоже тишина, но не пугающая, ведь она - музыка: «Гамма тел Гамлета – это тишина клавиш», переложенная на ноты:
Шин Шта Шин
Шта Шин Шта
Музыка, которая есть тишина, и  тишина, которая есть музыка, - процесс, происходящий  на глазах читателя, - есть метаметафора в движении. 
        В трагедии Шекспира герой предлагает Гильденстерну сыграть на дудке, метафорически тем самым намекая на самого себя, и заключает: «Назовите меня каким угодно инструментом – вы хоть и можете меня терзать, но играть на мне не можете». [10,174] Кедров же пишет:
Флейта играла роль Гамлета
и умирала в финале на верхнем фа
Появляется образ флейты, указаны даже ноты её клавиатуры, но всё-таки она умирает вместе со своим героем, уступая также музыке тишины. Но возникает сомнение:
То ли Гамлет играет флейтой
то ли флейта играет Гамлетом
Гамлет лей флей-
ту
be
or
not
to
быть
или
не
бе
-  обратите внимание, что эти строки складываются в форме буквы «Г», что немаловажно в лирике поэта, так как графически передается не меньше смысла, чем метафорически.
Повествование Кедрова похоже на бессмысленный поток слов, букв и графических знаков, но мнение это ошибочно и поверхностно. Способ передачи мысли относит нас к поэзии футуристов, в чем, несомненно, выражено стремление поэта создать новый язык, вывести нас на иной этап смыслового пространства уже известного произведения, желание не только по-новому преподнести «Гамлета», но и открыть недосказанное. Дискретность же повествования в мистерии говорит о том, что всё происходящее осуществляется не в линейном времени, а происходит параллельно. Здесь и сейчас Офелия поет песни про руту, про мяту, здесь и сейчас происходит поединок, здесь и сейчас флейта наигрывает гамму Гамлета, здесь и сейчас автор считает тела погибших.
Автор предлагает нам саму «гамму» Гамлета, указывая на её составляющие. Гамма состоит из кириллических по названию и произношению букв: «Е О Х Л Ж, или Он Есть Херъ Люди Жизнь», за этими буквами - события разговора Гамлета с матерью и убийство Полония. Автор констатирует, что это сцена 1. В ней Гамлет представлен буквой Херъ, по начертанию представляющей собою не что иное, как крест.
Сцена вторая называется «Мышеловка», но о театральной постановке ничего не говорится, описано только самое начало сцены, где Гамлет ложится у ног Офелии, но у Кедрова он не просто ложится:
А В Б
или
Аз
Веди
Буки

Я
Ведаю
Мудрость
Таким образом, смысл, изложенный Шекспиром в диалогах актеров, играющих пьесу по заказу принца, речи и поведение самого Гамлета, у Кедрова находит выражение в трех буквах кириллицы.
Три последующие сцены поэт также расписывает действительно по буквам, и общая картина выглядит так:
Сцена 1 – Е О Х Л Ж
Сцена 2 – А В Б
Сцена 3 – И Ж Е
Сцена 4 – С Т У
Сцена 5 – Икс – Игрек – Йот
         И  вот перед нами - «Новый Гамлет», который получает расшифровку:
Е О Х Л Ж А В Б И Ж Е С Т У
или
Есть Он Херувим Люди Жизнь
Я Ведь Бог Уже Слово Твердо
или
Слово крест указал икс узнал я
«Гамма тел Гамлета» - это попытка автора доказать, что смысл рождается из отсутствия смысла, как космос - из хаоса. Пред нами не просто набор заглавных букв: при пристальном рассмотрении видно, что они облекаются в слова, форму более доступную и привычную для понимания и содержат в себе метакод. Отсюда можно заключить, что трагедию Шекспира можно изложить кратко с помощью метаязыка, который выражен непосредственно в алфавите. Но что же делать с полнотою смысла оригинала? Он не теряется. Кедров сохраняет за Шекспиром формулу «быть или не быть», предлагая свой вариант инерпретации этой философской синтагмы.
Х (икс)
образован скрещением двух рапир
или умножением друг на друга
быть или не быть = Х
быть [/] перечеркивает не быть [/] = Х
Икс Йорика и Икс-Игрек-Йот Гамлета
- так в мистерии возникает проблема «быть или не быть»  - под угрозой смерти, но вмещает она в себя всё происходящее во внешнем и внутреннем мире Гамлета. Рапиры сцепились, «быть перечеркивает не быть», но что побеждает? В гамлетовском случае первое связано с продолжением существования, а второе – с уходом из жизни. В финале шекспировской трагедии мы не находим ни одного, ни другого, мы находим тишину – «или» соединяющее «быть или не быть», которое может расцениваться как метаметафора бесконечности.
Постепенно в ткань текста проникает образ Иисуса Христа:
Чаша Гамлета – кубок с ядом
«Да минует меня чаша сия»
там скрестились рапиры / \
образуя имя Христа – Х
или чашу с вином и ядом
В чаше Гамлета кровь Христа
с растворенным ядом
«Примите, ядите»
в чаше яд
 «Гамлет – первое новое слово в культуре после моления о Чаше в Гефсиманском саду,» - пишет Кедров в заметке «ИЛИ» [3], здесь же он отмечает, что «Гамлет – Христос полтора тысячелетия спустя и до наших дней», ведь у Гамлета есть выбор между двумя крайностями, но предпочитает он «или», что есть «пространство свободы, где размещается человек»[3], он не должен и не может выбрать, в этом его близость Иисусу Христу, который мог позволить себе, «будучи и Отцом и Сыном», отказ от распятия, но это лишило бы его своей сущности, как определенный выбор сделал бы, в первом случае, из Гамлета Дон Кихота, а выбор «не быть» - Буддой. [9]
По тексту «Икс» - это астральное тело Гамлета, другими словами – это метаметафора Гамлета, заключенная не просто в букве, но и в архетипе архетипов – кресте. Автор приводит нас к тому, что Гамлет – Христос, который скорее шахматная фигура, играющего в «шахматы Иисуса» [3], где «Конь ходит буквой Г // образуя имя Гамлета». Но в шахматах этих все фигуры, по Кедрову,  – это маленькие распятия, на каждой из которых воскресает Христос, и таким образом, рассуждать можно бесконечно, а следует сказать лишь одно: Гамлет есть метаметафора Иисуса Христа.
Что же несет собой столь концентрированный образ? Сам по себе Гамлет и так является фигурой значимой и архетипичной. К.Кедров приводит нас к мысли, что Гамлет – новый Иисус, но это заявление слишком сильное, чтобы оно было похоже на правду. Но, с другой стороны, почему же в читательском представлении Христос должен быть показан лишь с известной всем стороны? Вспомним Дон Кихота, князя Мышкина – они «выросли» из образа Иисуса Христа, но они не изменились координально, отличаются от оригинала лишь эпохой. Но Гамлет – герой своего времени, а, следовательно, к чему и пытается привести читателя русский поэт, Христос своего времени, герой, несущий свой крест – Х (икс). Изменилось время – появился соответствующий ему персонаж с соответствующими мыслями и действиями. Безусловно, возникает вопрос – как жить в таком мире, где новый Христос – Гамлет? Чего ждать от такого «спасителя»? Что делать, когда конец столь трагичен, но воскресения нет и не будет? Молчать?
За Гамлетом – другие герои, его суть, видимо, в его вопросе «Быть или не быть?» и в поиске ответа. Может быть, впервые после Христа человеку вручили его чашу, а выбор – только за  ним, но исход, вне зависимости от авторства, один – тишина.
Ближе к концу мистерии поэт перечисляет всех убитых, подводя к тому, что «Гамлет празднует праздник тел», по этой строке видно, что слово «тело» заключено ещё в имени героя, которое можно прочитать как «Маг тел». Это в иной раз подтверждает, насколько искусно ловит смыслы Константин Кедров, смыслы, которые, возможно, не были видны гению, ведь мы характеризуем слово «Гамлет» уже в русской транскрипции, опираясь на русские лексемы. Но ведь совпадение скрытого и описанного в тексте поразительно!
 В заключении произведения Гамлет мертв, но в такой ли же степени, в какой мертвы остальные герои?
А Гамлет стал флейтой

он играет сам себя
выдувая
уже не существующими губами
неслышимую мелодию
незримого
т
е
л
а
И снова зрительно он представляет самого себя, даже будучи в форме «незримого тела».
Автор возвращает нас к тишине, с которой начиналось произведение, но и ее он представляет в виде нотной гаммы для флейты в четырех частях, содержащих уже известные нам буквы, которые играются сначала в прямом порядке нот, а затем в обратном, что снова относит нас к анаграмме, заставляя видеть отражение идеи тишины как бесконечности со всех сторон, в четырехмерном представлении.
В финальной части Кедров отсылает нас обратно и к Шекспиру:
Рокировка Шекспира с призраком:
Шекспир сыграл в своей пьесе
свою лучшую роль – Гамлета-отца
Возвращает, чтобы показать, раз Гамлет подобен Христу, то Гамлет-отец  - это Гамлет-принц, а если Шекспир сыграл свою лучшую роль (отца Гамлета), то он и Сын, и Отец, и Святой Дух.
Константин Кедров обезвреживает Шекспира и обезоруживает читателя, увлекая его за собой. Его мистерия, на мой взгляд, сама по себе является анаграммой, ведь и начало, и конец строится по одинаковой схеме: Шекспир, принц, поединок, тишина, флейта как Гамлет. Только в начале флейта – это бездыханная Офелия, в конце же есть строки:
После смерти Гамлет вошел в Офелию
как дыхание входит во флейту
Создается следующая метаметафора: Офелия - флейта Гамлета, Гамлет – флейта Офелии, метаметафора, соответствующая основному принципу «Компьютера любви» К. Кедрова, где слияние мужчины и женщины – это движение в космос, движение мира, так Гамлет и Офелия – это единая флейта, где сам инструмент – дочь Полония, а дыхание, следовательно, её музыка – принц Датский.
Помимо «Гаммы тел Гамлета» у К. Кедрова есть и другие произведения о датском принце, сюжет которых выходит за границы шекспировского текста, но идея одна: показать в Гамлете образ нового Христа, который является ничем, потому что мертв, но является всем, как и музыка тишины, заполняющая всё пространство: её нет только в физическом плане.
Рассмотрение шекспировского вопроса К.Кедровым близко рассказу Х.Л. Борхеса «Everything and nothing». Борхес, как и многие-многие исследователи, пытается раскрыть тайну Шекспира: реальный это человек, или же нет? Автор говорит о том, что «сам по себе он был ничто», от скуки выдумывал других героев, и когда после смерти просил Бога позволить ему, «бывшему в суе столькими людьми», стать самим собой, то глаз Творца ответил ему: «Я тоже не я: я  выдумал этот мир, как  ты свои созданья,  Шекспир мой,  и один из признаков  моего  сна  - ты, подобный мне, который суть Всё и Ничего» [2].
Шекспир Борхеса – творец-писатель, подобный Всевышнему, Шекспир же Кедрова – Гамлет, он же Святая Троица, а всё это, в сущности, метаметафора вечного существования, бесконечного представления:

Продолжай свою смерть
Гамлет
и не молчи
потому что каждое слово
продолжает тебя
в старой пьесе
может быть плохо сыгранной
но хорошо проигранной
так
что и смерть
лепечет твоим
голосом

Быть или не быть

А у жизни
ничего другого не остается
как снова и снова проигрывать
твою смерть
         (Лет гам, 2008) [3]







1.Аристов В. Заметки о «мета» - Арион: Журнал поэзии, М.: Изд. дом Русанова, 1997 – Вып. 4(16). С. 48-60
2.Борхес Х.Л. «Everything and nothing»; http://lib.ru/BORHES/kniga.txt
3.Кедров К. Ангелическая поэтика; http://metapoetry.narod.ru/knigi/ang.htm
4.Кедров К. Гамма тел Гамлета, или Новый Гамлет; http://metapoetry.narod.ru/knigi/gamma.htm
5.Кедров К. ИЛИ / Полное собрание поэтических сочинений – М.: Мысль, 2002; http://metapoetry.narod.ru/knigi/ili.htm
6.Кедров К. Инсайдаут. – 1983; http://metapoetry.narod.ru/knigi/ins.htm
7.Кедров К. Компьютер любви; http://metapoetry.narod.ru/knigi/comp.htm
8.Кедров К. Материал из Википедии – свободной энциклопедии;
9.Кедров К. Энциклопедия метаметафоры – 2008; http://metapoetry.narod.ru/knigi/enciklopedia.htm
10. Шекспир В. Гамлет, Принц Датский / Пер. Лозинский М. – М.: Просвещение, 1984

Константин Кедров

ГАММА ТЕЛ ГАМЛЕТА,
или
НОВЫЙ ГАМЛЕТ
----------------------------------------------------

Часть 1


Шекспир обезврежен в радиусе рапиры
воткнутой наугад через занавеску смысла


Рапира Гамлета – рапира Лаэрта


Гамлет: Защищайтесь!


Образует в воздухе махаон


Лаэрт: Защищайтесь, принц!


Образует в воздухе букву Шин
или три сегмента,
предощущая битву за корону
или имя Шекспира
в написании кириллицей


Три клинка в теле Клавдия –
Лаэрта –
Полония –
Ш И Н


Лаэрт умирает убивая
Гамлет убивает умирая


Дальнейш-ш-ш-ш-ш-ш-шее
Тиш-ш-ш-ш-ш-ш-шина
Ш-ш-ш-ш-ш-шекспира


Ш И Н – корона
астральное тало Гамлета


Не правда ли
звучанием оно похоже на облако
начертанием на верблюда
где два горба
один – быть
а другой – не быть


Еще есть тело в виде Гамлета
обезглавленного в Англии


Еще есть тело Гамлета в виде Офелии
Есть еще тело Офелии в виде Гамлета


Есть еще несколько двойных тел
соединенных воткнутой шпагой


Есть еще веерообразное
многостраничное
тело – книга
где только слова – слова – слова –


И наконец есть самое любимое тело
состоящее из молчания


Гамма тел Гамлета – это тишина клавиш


Музыка тишины клавиш:
Шин Шта Шин
Шта Шин Шта


Клавиатура флейты:
Фа
Ля
рЕ
сИ
Т
фА


Флейта играла роль Гамлета
и умирала в финале на верхнем фа


Офелия – это флейта:
дО
Фа
рЕ
Ля
сИ
лЯ


Распадаясь
она пела песни
про робина
про невесту обманутую женихом
про руту
про мяту
про дикий мед


флейта уплывающая по воде
флейта тонущая в ручье
флейта погребаемая Гамлетом и Лаэртом


– Кого хороните?
– Флейту!


Гамлет и Офелия ищут друг друга
как слова в кроссворде


г а м Л Е т
о ф Е Л и я


То ли Гамлет играет флейтой
толи флейта играет Гамлетом
Гамлет лей флей-
ту
be
or
not
to
быть
или
не
бе


А вот Офелия плывет за лилией
Офелия и лилия л – или – я


Траектория шпаги Гамлета
на пути к утробе Полония
предвосхищает штопор Нестерова
или чертеж железной дороги
Москва – Петербург


Вместе с Гамлетом они образуют
Е ( Есть)


Сам Полоний своими неясными
очертаниями за ширмой –
аэростат «Гинденбург» в момент взрыва –
О (Он)


Сам Гамлет
с растопыренными руками
похож на аэроплан «Максим Горький»
в момент падения
Х (Херъ)


Королева Гертруда как Эйфелева башня
вся в кружевах
Л (Люди)


Гамлет со шпагой в Полонии
(не в Польше, а в животе) через занавеску
Ж (Живот)


Вместе они – Е О Х Л Ж
Он Есть Херъ Люди Жизнь

это сцена 1.

-------------------------------

Сцена 2.
Мышеловка


Офелия вошла буквой А
Села буквой В
Гамлет лег возле ее ног буквой Б


Получилось А В Б
или
Аз
Веди
Буки


Я
Ведаю
Мудрость
-------------------------------

Сцена 3.
Йорик


Гамлет взял череп Йорика буквой У

Бедный Йорик –
У – У – У
У – У
У
---------------------------------------

Сцена 4.
Ива


Офелия потянулась к склоненной иве буквой
С (Слово)
Упала в ручей буквой
Т (Твердо)
Стала тонуть буквой
У (Ук)


Получилось С Т У
-----------------------------------------

Сцена 5.
Поединок


Сошлись в поединке – рапиры скрестились
Х
Лаэрт занес над Гамлетом смертельный клинок
Й
Гамлет выбивает рапиру из рук Лаэрта
У
Получилось
Х Й У


Теперь вся сцена в движении
Й У Х
У Й Х
Х Й У
У Х Й
Й Х У


Сцена 1 – Е О Х Л Ж
Сцена 2 – А В Б
Сцена 3 – И Ж Е
Сцена 4 – С Т У
Сцена 5 – Икс – Игрек – Йот


Новый Гамлет

Е О Х Л Ж А В Б И Ж Е С Т У
или
Есть Он Херувим Люди Жизнь
Я Ведь Бог Уже Слово Твердо
или
Слово крест указал икс узнал я

Х (икс)
образован скрещением двух рапир
или умножением друг на друга
быть или не быть = Х
быть [/] перечеркивает не быть [/] = Х
Икс Йорика и Икс-Игрек-Йот Гамлета


Разговор черепа Йорика с черепом Гамлета:


– Бедный Гамлет
я держал тебя на руках
ты играл со мной и смеялся
но куда денутся эти губы
после поединка
еще недавно шептавшие
быть или не быть


Астральное тело Гамлета –
это севрский фарфор
или Х –
две скрещенные рапиры
-----------------------------------------------

Сцена 6
Могильщик
(мог или еще)


Могильщик роющий могилу буквой М
выбрасывает прах наружу буквой Г
ГМ – ГМ – ГМ


Астральное тело Шекспира – король
«в доспехах, с бородой,
как серебристый соболь,
с бледным лицом»


Молитва Гамлета:

– Офелия – нимфа – флейта


«Благословенны те, у кого кровь и суждения
так соединены, что они не являются флейтой
в руках фортуны, берущей ту ноту,
которую захочет».


Гамлет после смерти:

После смерти Гамлет вошел в Офелию
как дыхание входит во флейту
как нота си становится нотой фа
Си – чернильный плащ Гамлета
Фа – белизна Офелии


Чаша


Чаша Гамлета – кубок с ядом
«Да минует меня чаша сия»
там скрестились рапиры / \
образуя имя Христа – Х
или чашу с вином и ядом
В чаше Гамлета кровь Христа
с растворенным ядом
«Примите, ядите»
в чаше яд


Хроника смерти:


Гамлет-старший убит Клавдием

Клавдий убит Гамлетом

Королева Гертруда убита ядом Клавдия

Гамлет убит рапирой Лаэрта
и ядом Клавдия

Полоний убит Гамлетом

Розенкранц и Гильденстерн обезглавлены
по приказу Клавдия и Гамлета

Гамлет убил:
Розенкранца и Гильденстерна
Полония, Клавдия и Лаэрта

Клавдий убил:
Гертруду, Гамлета-отца, Гамлета-сына

Лаэрт убил:
Гамлета и Лаэрта

Брат убил брата
свою жену
жену брата

Племянник убил дядю
Дядя убил племянника


Рокировки:


Рокировка Гамлета-отца с Клавдием:
Клавдий становится королем вместо короля
и мужем вместо мужа

Рокировка Гамлета с Розенкранцем и Гильденстерном:
после высадки на английском берегу
оба обезглавливаются вместо Гамлета


Рокировка Гамлета с королевой:
вместо Гамлета чашу с ядом
выпивает королева Гертруда


Рокировка Гамлета с Офелией:
вместо Гамлета,
уплывающего на гибель в Англию,
уплывает и тонет Офелия


Рокировка Гамлета с Фортинбрасом:
вместо Гамлета королем Дании
становится Фортинбрас


Рокировка Шекспира с призраком:
Шекспир сыграл в своей пьесе
свою лучшую роль – Гамлета-отца


Рокировка автора с актером –
Шекспира с призраком
Конь ходит буквой Г
образуя имя Гамлета


Гамлет празднует праздник тел


Давно уже нет его тела
Смеется череп Йорика
над черепом Гамлета


А Гамлет стал флейтой


он играет сам себя
выдувая
уже не существующими губами
неслышимую мелодию
незримого
т
е
л
а


Мелодия флейты Гамлета,
или New Hamlet


1.
[до] Е О Х Л Ж
[ре] А В Б
[ми] С Т У
[фа] Й Х У

2.
[соль] Ж Л Х О Е
[ля] Б В А
[си] У Т С
[до] Х Й У

3.
[до] О Л Е Х Ж
[си] В Б А
[ля] С У Т
[соль] У Й Х

4.
[фа] Х Е Л Ж О
[ми] А В Б
[ре] Т У С
[до] Й У Х


Поется два варианта:
сначала каждый столбец от до до фа,
затем все столбцы подряд.


1993
[Mokhbat] of Hamlet Constantine [Kedrov]'s [Inga]
Cedars -[Chelishchev]
             [Monkhbat] Of [inga] (scientific leader Aleksey [Viktorovich] [Tatarinov])
                Hamlet Constantine Cedar

“Poetry - paradisiacal state of soul, imprinted in the words and the sounds. Four shaping elements of poetry - music, rhythm, rhyme, metaphor… … only metaphor new, created by poet, can become poetic means. Just she is named by me [metametaforoy]. Novelty of means - most important sign of poetry. Poetry - verbal paradise on the earth and with the life. The highest reward to poet - poetry itself”, writes Constantine [Kedrov], contemporary poet, philologist and philosopher, in “the encyclopedias of [metametafory]” [9].
Cedars - creator of the term of [metametafora] (1983) [8], which, by the words of poet, there is “sight of man of the universe”. Example of clean [metametafory] - poem “the computer of love”, it - the program work of the poet:
THE DISTANCE BETWEEN THE PEOPLE FILL THE STARS
THE PEOPLE FILL THE DISTANCE BETWEEN THE STARS

LOVE - THIS IS THE SPEED OF LIGHT
INVERSELY PROPORTIONAL TO THE DISTANCE BETWEEN US
DISTANCE BETWEEN US
INVERSELY PROPORTIONAL TO THE SPEED OF LIGHT -
THIS IS THE LOVE
                (Computer of love, 1983) [7]
From the pages of works it is cedar to us it is opened absolutely the new peace, where all it is not simply united, but one escapes from another and so to infinity. Of all archetypes Of [k].[Kedrov] is recognized itself only one, naming it “the archetype of archetypes” [9] - this cross. In its creation it everywhere: in the means and dragon-fly, and Christ, and, certainly, cross itself, and Greek letter “X” (IKS), and [kirillicheskoy] “X” ([kher]), and, which is interesting, in the means of Hamlet. Both Christ and Shakespeare [K].[Kedrov] are called great [metametaforistami].
Hamlet - hero of Shakespearean tragedy, solidly entered the world literature, he gradually became means [arkhetipichnym]. [K].[Kedrov] it proposes its own interpretation of well-known character, deriving the reader to the new percent articulation and comprehension of text - level of [metametafory].
“The ranges of bodies Hamlet, or new Hamlet” [4] - work with this name cannot but intrigue. But that we do see from the first line? The absence of traditional rhyme, punctuation marks, the strange rhythm of work, complexity appear also with the determination of genre. The author in “the encyclopedias of [metametafory]” writes that “the ranges of the bodies of Hamlet” - this is mystery [9]; in it we can find not simply reminiscences, but very work Of [u].[Shekspira], in this case by main weapon it is cedar they become palindromes, anagrams and undoubtedly [metametafory].
flute swimming away on the water
flute sinking in the stream
flute buried by Hamlet and [Laertom]

- Whom you do bury?
- Flute!
- in the flute the experienced reader does immediately recognize Ophelia, daughter of polonium, but that or whom the reader must see through the cloth of entire work? It is cedar difficult to read: its approach to the life is so uncommon, how untypical its poetry.
Mystery is cedar it begins with the words:
Shakespeare is render harmlessed in a radius of the foil
inserted at random through the curtain of the sense
Further is described the duel between Hamlet and [Laertom], i.e., the author begins tragedy from the final scene, desiring to continue it, but, after reading work, you understand, that this is not continuation, but is faster interpretation, “the neutralization” of Shakespeare cedar.
In the original with death of Hamlet “comes the silence” (“further - silence” [10, 223]) in “new Hamlet” also silence, but not frightening, indeed it - the music: “The ranges of the bodies of Hamlet - this is the silence of keys”, transposed to the notes:
Tires Of [shta] of the tires
[Shta] of the tires Of [shta]
Music, which is silence, and the silence, which there is music, the process, proceeding on the eyes of the reader, is [metametafora] in the motion.
        In Shakespeare's tragedy the hero proposes [Gildensternu] to play on the pipe, metaphorical thus hinting at himself, and it concludes: “Name me what conveniently tool - you although can me torment, to play on me you do not can”. however, [10,174] cedars he writes:
Flute played the role of Hamlet
and it died in the finale on the upper of [fa]
The means of flute appears, even notes of its keyboard are indicated, but nevertheless it dies together with its hero, being inferior also to music of silence. But the doubt appears:
That whether Hamlet plays by the flute
that whether flute plays by Hamlet
Hamlet is the leu of [fley]-
that
be
or
not
to
to be
or
not
b
- you will focus attention, that these lines are added in the form letter “G”, which is important in the lyric poetry of poet, since graphically is transferred not less sense than metaphorical.
Narration it is cedar similarly to the senseless flow of words, letters and graphic signs, but this opinion erroneously and superficially. The method of the transfer of thought carries us to the poetry of futurists, in what, undoubtedly, is expressed the tendency of poet to create new language, to derive us on another stage of the semantic space of already known work, the desire not only to in a new way present “Hamlet”, but also to open that not expressed. However, the discretion of narration in the mystery speaks, that all proceeding is achieved not in the linear time, but it occurs in parallel. Here and now Ophelia sings songs about the rue, about the mint, here and now occurs duel, here and now flute strums the gamma of Hamlet, here and now the author counts the bodies of those been killed.
The author proposes to us very “range” of Hamlet, indicating its components. Gamma consists of [kirillicheskikh] on name and pronunciation of the letters: “E ABOUT X L Zh, or it is [Kher] people life”, after these letters - event of the conversation of Hamlet with the mother and the murder of polonium. The author establishes that this scene 1. in it Hamlet is the letter Of [kher], on the tracing by represented by himself nothing else but cross.
Scene the second is called “mousetrap”, but nothing it is discussed the theatrical production, is described only very beginning of the scene, where Hamlet lies down in the feet of Ophelias, but in is cedar he simply it does not lie down:
BUT IN B
or
Basics
Conduct
Beeches

I
I know
Wisdom
Thus, the sense, presented by Shakespeare in the dialogues of actors, which play the play to order of prince, speech and behavior of Hamlet himself, in it is cedar find expression in three letters of cyrillic alphabet.
Three subsequent scenes poet also paints actually on the letters, and common picture appears as follows:
Scene 1 E ABOUT X L Zh
Scene it is 2nd A in B
Scene 3rd Zh E
Scene 4 WITH T [u]
Scene is 5th IKS - Y - the iotas
         And is here before us - “new Hamlet”, who obtains the interpretation:
E ON X L ZH A IN B AND ZH E WITH T [U]
or
There is it cherub people the life
I indeed god already word am solid
or
Word cross indicated IKS it learned I
“The ranges of the bodies of Hamlet” - this is the attempt of the author to prove that the sense is born from the absence of sense as space - from chaos. Before us it is not simple the collection of the capital letters: it is evident with the fixed examination that they are clothed in the words, the form more accessible and more customary for the understanding and include [metakod]. Hence it is possible to conclude that Shakespeare's tragedy can be presented briefly with the aid of the meta-language, which is expressed directly in the alphabet. However, but that to make with the completeness of the sense of the original? It is not lost. Cedars it preserves for Shakespeare formula “to be or not to be”, proposing its version of [inerpretatsii] of this philosophical syntagma.
X (IKS)
it is formed by the crossing of two foils
or by multiplication by each other
to be or not to be = X
to be [/] [perecherkivaet] not to be [/] = X
IKS Of [yorika] and IKS-Y- iotas of Hamlet
- so in the mystery appears problem “to be or not to be” - under the threat of death, but it contains all proceeding in the external and internal peace of Hamlet into itself. Foils were bound, “to be it [perecherkivaet] not to be”, but which does conquer? In the [gamletovskom] case the first is connected with the continuation of existence, and the second - with the withdrawal from the life. In the finale of Shakespearean tragedy we find not one, not another, we find silence - “or” connecting “to be or not to be”, which can estimate as [metametafora] of infinity.
Gradually the cloth of text penetrates the means of Christ's [Iisusa]:
Cup of Hamlet - goblet with the poison
“Yes passes me cup this”
foils/\ there were scraped
forming the name of Christ - X
or cup with the wine and the poison
In cup- Hamlet Christ's blood
with the dissolved poison
“Accept, you [yadite]”
in the cup- poison
 “Hamlet - the first new word in the culture after praying about the cup- in The [gefsimanskom] garden,” - write cedars in the note “EITHER” [3], here it notes that “Hamlet - the Christ of one-and-a-half millenium after and to the present”, indeed in Hamlet is a selection between two extremes, but he prefers “or”, that there is “the space of the freedom, where is placed man” [3], he must and cannot select, in this his proximity For [iisusu] to Christ, which could allow itself, “being both father and son”, failure of the crucifix, but this would deprive of its its essence as determined selection would make, in the first case, from Hamlet Don Quixote, while selection “not to be” - Buddha. [9]
On the text “IKS” - this is the astral body of Hamlet, in other words - this is [metametafora] of Hamlet, concluded not simply in the letter, but also in the archetype of archetypes - cross. The author leads us to the fact that Hamlet - Christ, who is faster chess figure, playing into “chess [Iisusa]” [3], where “horse walks by letter G // forming the name of Hamlet”. But in chess of these all figures, on [Kedrovu], these are small crucifixes, for each of which rises again the Christ, and thus, to discuss is possible infinitely, and should be said only one: Hamlet is [metametafora] of Christ's [Iisusa].
However, what does bear by itself the so concentrated means? By itself Hamlet so is the figure of that meant and [arkhetipichnoy]. [K].[Kedrov] it leads us to the thought, that Hamlet - new [Iisus], but this statement is too strong that it would be similar to the truth. But, from the other side, why in the reader's idea Christ must be shown only from side known to all? Let us recall Don Quixote, prince [Myshkina] - they “grew” from the means of Christ's [Iisusa], but they did not change [koordinalno], they differ from the original only in terms of epoch. But Hamlet - hero of his time, and, therefore, to what attempts to lead the reader Russian poet, the Christ of its time, hero, who carries his cross - X (IKS). Time changed - the character with the appropriate thoughts and the actions corresponding to it appeared. It goes without saying, does arise question - as to live in such peace, where the new Christ - Hamlet? What to wait from this “rescuer”? What to make, when end is so tragic, but there is no resurrection and it will not be? To keep silent?
After Hamlet - other heroes, him they are, apparently, in his question “to be or not to be?” and in the search for answer. It can be, for the first time after Christ to man entrusted his cup, and selection - only after it, but outcome, independently of the authorship, one - silence.
Nearer toward the end mystery poet transfers all those killed, bringing to the fact that “Hamlet celebrates the holiday of bodies”, it is evident in this line that the word “body” is concluded still in the name of hero, which can be read as “MAG (high-power aerosol generator) of bodies”. This in sometimes confirms, how skillfully Constantine [Kedrov] catches senses, senses, which, possibly, were not visible to genius, indeed we characterize word “Hamlet” already in the Russian transcription, relying on Russian lexemes. But indeed the agreement of that hidden and described in the text surprisingly!
But in the conclusion of work Hamlet is dead, but to this whether degree, in which are dead remaining heroes?
But Hamlet became the flute

he plays himself
blowing out
no longer existing lips
the inaudible melody
invisible
t
e
l
A
And is again visually it presents itself, even being in the form “invisible body”.
The author returns us to the silence, with which the work, began, but also it presents in the form note range for the flute four parts, which contain the already known to us letters, which are played first in the straight order of notes, and then in the reverse, which again carries us to the anagram, making it necessary to see the reflection of the idea of silence as infinity from all sides, in the four-dimensional idea.
In the final part of the cedars it sends away us conversely, also, to Shakespeare:
Shakespeare's castling with the spectre:
Shakespeare played in his play
its best role - Hamlet- father
It returns in order to show, once Hamlet is such to Christ, then Hamlet- father - this Hamlet- prince, and if Shakespeare played his best role (father of Hamlet), then he and son, and father, and holy spirit.
Constantine [Kedrov] renders safe Shakespeare and disarms the reader, carrying along him after himself. Its mystery, in my view, itself is anagram, indeed and beginning, and end is built according to the identical diagram: Shakespeare, prince, duel, silence, flute as Hamlet. Only at the beginning flute - this lifeless Ophelia, at the end there are the lines:
After death Hamlet entered into Ophelia
as respiration it enters into the flute
Is created following [metametafora]: Ophelia - the flute of Hamlet, Hamlet - the flute of Ophelias, [metametafora], which corresponds to the basic principle “of the computer Of [k]. [Kedrov]'s love”, where the confluence of man and woman - this motion into space, the motion of peace, so Hamlet and Ophelia - this is the united flute, where tool itself - daughter of polonium, and respiration, therefore, her music - prince [Datskiy].
Besides “the ranges of the bodies of Hamlet” K. Cedar has other works about Danish prince, whose subject falls outside the boundaries of Shakespearean text, but idea one: to show in Hamlet new Christ's means, which is anything, because it is dead, but is all as music of silence, which fills all space: it does not exist only in the physical plan.
The study of Shakespearean problem By [k].[Kedrovym] is close to the story [KH].[L]. Of [borkhesa] “Of everything and nothing”. [Borkhes], as a great many researchers, attempts to open Shakespeare's secret: real this of men, or no? The author speaks, that “by itself he was nothing”, from the boredom he invented other heroes, and when after death it requested god to allow it, “that been in [sue] so many people”, to become himself itself, then the eye of creator answered it: “I also not I: I invented this peace as you my [sozdanya], Shakespeare my, and one of the signs of my sleep - you, similar to me, which are all and nothing” [2].
However, Shakespeare [Borkhesa] - creator- writer, similar To [vsevyshniy], Shakespeare is cedar - Hamlet, the very same holy trio, and all this, in the essence, [metametafora] of eternal existence, infinite idea:

Continue your death
Hamlet
and do not keep silent
because each word
you continues
in the old play
it can be badly played
but well lost
thus
that also death
it babbles to your
by the voice

To be or not to be

But in the life
nothing other it remains
as again and again to lose
your death
         (Years din, 2008) [3]







[v]. [Zametkya]'s 1.[Aristov] about “the meta” - [Arion]: Periodical of poetry, M.: Publ. the house of Rusanov, 1997 - iss. 4 (16). S. 48-60
2.[Borkhes] [KH].[L]. “Everything and nothing”; http://lib.ru/BORHES/kniga.txt
3.[Kedrov] [K]. [Angelicheskaya] poetics; http://metapoetry.narod.ru/knigi/ang.htm
4.[Kedrov] Of [k]. Range the bodies of Hamlet, or new Hamlet; http://metapoetry.narod.ru/knigi/gamma.htm
5.[Kedrov] k. OR/the complete meeting of poetic compositions - M.: Thought, 2002; http://metapoetry.narod.ru/knigi/ili.htm
6.[Kedrov] [K]. [Insaydaut]. - 1983; http://metapoetry.narod.ru/knigi/ins.htm
7.[Kedrov] [K]. [Kompyuter] love; http://metapoetry.narod.ru/knigi/comp.htm
8.[Kedrov] [K]. [Material] from [Vikipedii] - free encyclopedia;
9.[Kedrov] [K]. [Entsiklopediya] [metametafory] - 2008; http://metapoetry.narod.ru/knigi/enciklopedia.htm
10. Shakespeare [V]. Hamlet, prince [Datskiy]/trans. [Lozinskiy] M. - M.: Education, 1984

Constantine [Kedrov]

GAMMAS OF THE BODIES OF HAMLET,
or
NEW HAMLET
----------------------------------------------------

Part 1


Shakespeare is render harmlessed in a radius of the foil
inserted at random through the curtain of the sense


Foil of Hamlet - foil Of [laerta]


Hamlet: Protect!


It forms in air of [makhaon]


[Laert]: Protect, prince!


The letter of the tires is formed in air
or three segments,
[predoshchushchaya] battle for the crown
or Shakespeare's name
in the writing by the cyrillic alphabet


Three blades into tele- Klavdiy -
[Laerta] -
Polonium -
SH I N


[Laert] it dies killing
Hamlet it kills dying


to the Further-w-w-w-w-w- neck
the [Tish]-w-w-w-w-w- tire
Sh-w-w-w-w- Shakespeare


Sh I N the crown
astral is thawed of Hamlet


Isn't that true
by sounding it is similar to the cloud
by tracing to the camel
where two humps
one - to be
and other - not to be


Still there is a body in the form of Hamlet
beheaded in England


Still are a body of Hamlet in the form the Ophelias
There is another body of Ophelias in the form Hamlet


There are still several dual bodies
connected by the inserted sword


There is even fan-shaped
multi-page
body - book
where only word - word - word -


And finally there is the most dear body
consisting of the silence


The gammas of the bodies of Hamlet - this is the silence of the keys


Music of the silence of the keys:
Tires Of [shta] of the tires
[Shta] of the tires Of [shta]


Keyboard of the flute:
[Fa]
[Lya]
Re
SI
T
[fA]


Flute played the role of Hamlet
and it died in the finale on the upper of [fa]


Ophelia - this is the flute:
to
[Fa]
Re
[Lya]
SI
[lYa]


Being decomposed
it sang the songs
about the robin
about the bride deceived by the fiance
about the rue
about the mint
about the wild honey


flute swimming away on the water
flute sinking in the stream
flute buried by Hamlet and [Laertom]


- Whom you do bury?
- Flute!


Hamlet and Ophelia search for each other
as words in the crosswords


g and m L E t
on f E L and I


That whether Hamlet plays by the flute
roofings flute plays by Hamlet
Hamlet is the leu of [fley]-
that
be
or
not
to
to be
or
not
b


But here Ophelia will swim after the lily
Ophelia lily l or - I


Trajectory of the sword of Hamlet
on the way to the womb of polonium
Nesterov's corkscrew anticipates
or the drawing of the railroad
Moscow - Petersburg


They form together with Hamlet
E (there is)


Polonium itself by its obscure
by outlines behind the screen -
balloon “Hindenburg” at the moment of explosion -
About (it)


Itself Hamlet
with the spread wide hands
is similar to the airplane “Maxim Gor'kiy”
at the moment of the drop
X ([Kher])


Korolev Gertrude as the Eiffel Tower
entire in lace
L (people)


Hamlet with the sword in polonium
(not in Poland, but in the stomach) through the curtain
Zh (stomach)


Together they - E ABOUT X L Zh
It is [Kher] people the life

this is scene 1.

-------------------------------

Scene 2.
Mousetrap


Ophelia entered by letter A
Villages by letter [v]
Hamlet lay near its feet letter B


It came out by A in B
or
Basics
Conduct
Beeches


I
I know
Wisdom
-------------------------------

Scene 3.[Mokhbat] of Hamlet Constantine [Kedrov]'s [Inga]
Cedars -[Chelishchev]
             [Monkhbat] Of [inga] (scientific leader Aleksey [Viktorovich] [Tatarinov])
                Hamlet Constantine Cedar

“Poetry - paradisiacal state of soul, imprinted in the words and the sounds. Four shaping elements of poetry - music, rhythm, rhyme, metaphor… … only metaphor new, created by poet, can become poetic means. Just she is named by me [metametaforoy]. Novelty of means - most important sign of poetry. Poetry - verbal paradise on the earth and with the life. The highest reward to poet - poetry itself”, writes Constantine [Kedrov], contemporary poet, philologist and philosopher, in “the encyclopedias of [metametafory]” [9].
Cedars - creator of the term of [metametafora] (1983) [8], which, by the words of poet, there is “sight of man of the universe”. Example of clean [metametafory] - poem “the computer of love”, it - the program work of the poet:
THE DISTANCE BETWEEN THE PEOPLE FILL THE STARS
THE PEOPLE FILL THE DISTANCE BETWEEN THE STARS

LOVE - THIS IS THE SPEED OF LIGHT
INVERSELY PROPORTIONAL TO THE DISTANCE BETWEEN US
DISTANCE BETWEEN US
INVERSELY PROPORTIONAL TO THE SPEED OF LIGHT -
THIS IS THE LOVE
                (Computer of love, 1983) [7]
From the pages of works it is cedar to us it is opened absolutely the new peace, where all it is not simply united, but one escapes from another and so to infinity. Of all archetypes Of [k].[Kedrov] is recognized itself only one, naming it “the archetype of archetypes” [9] - this cross. In its creation it everywhere: in the means and dragon-fly, and Christ, and, certainly, cross itself, and Greek letter “X” (IKS), and [kirillicheskoy] “X” ([kher]), and, which is interesting, in the means of Hamlet. Both Christ and Shakespeare [K].[Kedrov] are called great [metametaforistami].
Hamlet - hero of Shakespearean tragedy, solidly entered the world literature, he gradually became means [arkhetipichnym]. [K].[Kedrov] it proposes its own interpretation of well-known character, deriving the reader to the new percent articulation and comprehension of text - level of [metametafory].
“The ranges of bodies Hamlet, or new Hamlet” [4] - work with this name cannot but intrigue. But that we do see from the first line? The absence of traditional rhyme, punctuation marks, the strange rhythm of work, complexity appear also with the determination of genre. The author in “the encyclopedias of [metametafory]” writes that “the ranges of the bodies of Hamlet” - this is mystery [9]; in it we can find not simply reminiscences, but very work Of [u].[Shekspira], in this case by main weapon it is cedar they become palindromes, anagrams and undoubtedly [metametafory].
flute swimming away on the water
flute sinking in the stream
flute buried by Hamlet and [Laertom]

- Whom you do bury?
- Flute!
- in the flute the experienced reader does immediately recognize Ophelia, daughter of polonium, but that or whom the reader must see through the cloth of entire work? It is cedar difficult to read: its approach to the life is so uncommon, how untypical its poetry.
Mystery is cedar it begins with the words:
Shakespeare is render harmlessed in a radius of the foil
inserted at random through the curtain of the sense
Further is described the duel between Hamlet and [Laertom], i.e., the author begins tragedy from the final scene, desiring to continue it, but, after reading work, you understand, that this is not continuation, but is faster interpretation, “the neutralization” of Shakespeare cedar.
In the original with death of Hamlet “comes the silence” (“further - silence” [10, 223]) in “new Hamlet” also silence, but not frightening, indeed it - the music: “The ranges of the bodies of Hamlet - this is the silence of keys”, transposed to the notes:
Tires Of [shta] of the tires
[Shta] of the tires Of [shta]
Music, which is silence, and the silence, which there is music, the process, proceeding on the eyes of the reader, is [metametafora] in the motion.
        In Shakespeare's tragedy the hero proposes [Gildensternu] to play on the pipe, metaphorical thus hinting at himself, and it concludes: “Name me what conveniently tool - you although can me torment, to play on me you do not can”. however, [10,174] cedars he writes:
Flute played the role of Hamlet
and it died in the finale on the upper of [fa]
The means of flute appears, even notes of its keyboard are indicated, but nevertheless it dies together with its hero, being inferior also to music of silence. But the doubt appears:
That whether Hamlet plays by the flute
that whether flute plays by Hamlet
Hamlet is the leu of [fley]-
that
be
or
not
to
to be
or
not
b
- you will focus attention, that these lines are added in the form letter “G”, which is important in the lyric poetry of poet, since graphically is transferred not less sense than metaphorical.
Narration it is cedar similarly to the senseless flow of words, letters and graphic signs, but this opinion erroneously and superficially. The method of the transfer of thought carries us to the poetry of futurists, in what, undoubtedly, is expressed the tendency of poet to create new language, to derive us on another stage of the semantic space of already known work, the desire not only to in a new way present “Hamlet”, but also to open that not expressed. However, the discretion of narration in the mystery speaks, that all proceeding is achieved not in the linear time, but it occurs in parallel. Here and now Ophelia sings songs about the rue, about the mint, here and now occurs duel, here and now flute strums the gamma of Hamlet, here and now the author counts the bodies of those been killed.
The author proposes to us very “range” of Hamlet, indicating its components. Gamma consists of [kirillicheskikh] on name and pronunciation of the letters: “E ABOUT X L Zh, or it is [Kher] people life”, after these letters - event of the conversation of Hamlet with the mother and the murder of polonium. The author establishes that this scene 1. in it Hamlet is the letter Of [kher], on the tracing by represented by himself nothing else but cross.
Scene the second is called “mousetrap”, but nothing it is discussed the theatrical production, is described only very beginning of the scene, where Hamlet lies down in the feet of Ophelias, but in is cedar he simply it does not lie down:
BUT IN B
or
Basics
Conduct
Beeches

I
I know
Wisdom
Thus, the sense, presented by Shakespeare in the dialogues of actors, which play the play to order of prince, speech and behavior of Hamlet himself, in it is cedar find expression in three letters of cyrillic alphabet.
Three subsequent scenes poet also paints actually on the letters, and common picture appears as follows:
Scene 1 E ABOUT X L Zh
Scene it is 2nd A in B
Scene 3rd Zh E
Scene 4 WITH T [u]
Scene is 5th IKS - Y - the iotas
         And is here before us - “new Hamlet”, who obtains the interpretation:
E ON X L ZH A IN B AND ZH E WITH T [U]
or
There is it cherub people the life
I indeed god already word am solid
or
Word cross indicated IKS it learned I
“The ranges of the bodies of Hamlet” - this is the attempt of the author to prove that the sense is born from the absence of sense as space - from chaos. Before us it is not simple the collection of the capital letters: it is evident with the fixed examination that they are clothed in the words, the form more accessible and more customary for the understanding and include [metakod]. Hence it is possible to conclude that Shakespeare's tragedy can be presented briefly with the aid of the meta-language, which is expressed directly in the alphabet. However, but that to make with the completeness of the sense of the original? It is not lost. Cedars it preserves for Shakespeare formula “to be or not to be”, proposing its version of [inerpretatsii] of this philosophical syntagma.
X (IKS)
it is formed by the crossing of two foils
or by multiplication by each other
to be or not to be = X
to be [/] [perecherkivaet] not to be [/] = X
IKS Of [yorika] and IKS-Y- iotas of Hamlet
- so in the mystery appears problem “to be or not to be” - under the threat of death, but it contains all proceeding in the external and internal peace of Hamlet into itself. Foils were bound, “to be it [perecherkivaet] not to be”, but which does conquer? In the [gamletovskom] case the first is connected with the continuation of existence, and the second - with the withdrawal from the life. In the finale of Shakespearean tragedy we find not one, not another, we find silence - “or” connecting “to be or not to be”, which can estimate as [metametafora] of infinity.
Gradually the cloth of text penetrates the means of Christ's [Iisusa]:
Cup of Hamlet - goblet with the poison
“Yes passes me cup this”
foils/\ there were scraped
forming the name of Christ - X
or cup with the wine and the poison
In cup- Hamlet Christ's blood
with the dissolved poison
“Accept, you [yadite]”
in the cup- poison
 “Hamlet - the first new word in the culture after praying about the cup- in The [gefsimanskom] garden,” - write cedars in the note “EITHER” [3], here it notes that “Hamlet - the Christ of one-and-a-half millenium after and to the present”, indeed in Hamlet is a selection between two extremes, but he prefers “or”, that there is “the space of the freedom, where is placed man” [3], he must and cannot select, in this his proximity For [iisusu] to Christ, which could allow itself, “being both father and son”, failure of the crucifix, but this would deprive of its its essence as determined selection would make, in the first case, from Hamlet Don Quixote, while selection “not to be” - Buddha. [9]
On the text “IKS” - this is the astral body of Hamlet, in other words - this is [metametafora] of Hamlet, concluded not simply in the letter, but also in the archetype of archetypes - cross. The author leads us to the fact that Hamlet - Christ, who is faster chess figure, playing into “chess [Iisusa]” [3], where “horse walks by letter G // forming the name of Hamlet”. But in chess of these all figures, on [Kedrovu], these are small crucifixes, for each of which rises again the Christ, and thus, to discuss is possible infinitely, and should be said only one: Hamlet is [metametafora] of Christ's [Iisusa].
However, what does bear by itself the so concentrated means? By itself Hamlet so is the figure of that meant and [arkhetipichnoy]. [K].[Kedrov] it leads us to the thought, that Hamlet - new [Iisus], but this statement is too strong that it would be similar to the truth. But, from the other side, why in the reader's idea Christ must be shown only from side known to all? Let us recall Don Quixote, prince [Myshkina] - they “grew” from the means of Christ's [Iisusa], but they did not change [koordinalno], they differ from the original only in terms of epoch. But Hamlet - hero of his time, and, therefore, to what attempts to lead the reader Russian poet, the Christ of its time, hero, who carries his cross - X (IKS). Time changed - the character with the appropriate thoughts and the actions corresponding to it appeared. It goes without saying, does arise question - as to live in such peace, where the new Christ - Hamlet? What to wait from this “rescuer”? What to make, when end is so tragic, but there is no resurrection and it will not be? To keep silent?
After Hamlet - other heroes, him they are, apparently, in his question “to be or not to be?” and in the search for answer. It can be, for the first time after Christ to man entrusted his cup, and selection - only after it, but outcome, independently of the authorship, one - silence.
Nearer toward the end mystery poet transfers all those killed, bringing to the fact that “Hamlet celebrates the holiday of bodies”, it is evident in this line that the word “body” is concluded still in the name of hero, which can be read as “MAG (high-power aerosol generator) of bodies”. This in sometimes confirms, how skillfully Constantine [Kedrov] catches senses, senses, which, possibly, were not visible to genius, indeed we characterize word “Hamlet” already in the Russian transcription, relying on Russian lexemes. But indeed the agreement of that hidden and described in the text surprisingly!
But in the conclusion of work Hamlet is dead, but to this whether degree, in which are dead remaining heroes?
But Hamlet became the flute

he plays himself
blowing out
no longer existing lips
the inaudible melody
invisible
t
e
l
A
And is again visually it presents itself, even being in the form “invisible body”.
The author returns us to the silence, with which the work, began, but also it presents in the form note range for the flute four parts, which contain the already known to us letters, which are played first in the straight order of notes, and then in the reverse, which again carries us to the anagram, making it necessary to see the reflection of the idea of silence as infinity from all sides, in the four-dimensional idea.
In the final part of the cedars it sends away us conversely, also, to Shakespeare:
Shakespeare's castling with the spectre:
Shakespeare played in his play
its best role - Hamlet- father
It returns in order to show, once Hamlet is such to Christ, then Hamlet- father - this Hamlet- prince, and if Shakespeare played his best role (father of Hamlet), then he and son, and father, and holy spirit.
Constantine [Kedrov] renders safe Shakespeare and disarms the reader, carrying along him after himself. Its mystery, in my view, itself is anagram, indeed and beginning, and end is built according to the identical diagram: Shakespeare, prince, duel, silence, flute as Hamlet. Only at the beginning flute - this lifeless Ophelia, at the end there are the lines:
After death Hamlet entered into Ophelia
as respiration it enters into the flute
Is created following [metametafora]: Ophelia - the flute of Hamlet, Hamlet - the flute of Ophelias, [metametafora], which corresponds to the basic principle “of the computer Of [k]. [Kedrov]'s love”, where the confluence of man and woman - this motion into space, the motion of peace, so Hamlet and Ophelia - this is the united flute, where tool itself - daughter of polonium, and respiration, therefore, her music - prince [Datskiy].
Besides “the ranges of the bodies of Hamlet” K. Cedar has other works about Danish prince, whose subject falls outside the boundaries of Shakespearean text, but idea one: to show in Hamlet new Christ's means, which is anything, because it is dead, but is all as music of silence, which fills all space: it does not exist only in the physical plan.
The study of Shakespearean problem By [k].[Kedrovym] is close to the story [KH].[L]. Of [borkhesa] “Of everything and nothing”. [Borkhes], as a great many researchers, attempts to open Shakespeare's secret: real this of men, or no? The author speaks, that “by itself he was nothing”, from the boredom he invented other heroes, and when after death it requested god to allow it, “that been in [sue] so many people”, to become himself itself, then the eye of creator answered it: “I also not I: I invented this peace as you my [sozdanya], Shakespeare my, and one of the signs of my sleep - you, similar to me, which are all and nothing” [2].
However, Shakespeare [Borkhesa] - creator- writer, similar To [vsevyshniy], Shakespeare is cedar - Hamlet, the very same holy trio, and all this, in the essence, [metametafora] of eternal existence, infinite idea:

Continue your death
Hamlet
and do not keep silent
because each word
you continues
in the old play
it can be badly played
but well lost
thus
that also death
it babbles to your
by the voice

To be or not to be

But in the life
nothing other it remains
as again and again to lose
your death
         (Years din, 2008) [3]







[v]. [Zametkya]'s 1.[Aristov] about “the meta” - [Arion]: Periodical of poetry, M.: Publ. the house of Rusanov, 1997 - iss. 4 (16). S. 48-60
2.[Borkhes] [KH].[L]. “Everything and nothing”; http://lib.ru/BORHES/kniga.txt
3.[Kedrov] [K]. [Angelicheskaya] poetics; http://metapoetry.narod.ru/knigi/ang.htm
4.[Kedrov] Of [k]. Range the bodies of Hamlet, or new Hamlet; http://metapoetry.narod.ru/knigi/gamma.htm
5.[Kedrov] k. OR/the complete meeting of poetic compositions - M.: Thought, 2002; http://metapoetry.narod.ru/knigi/ili.htm
6.[Kedrov] [K]. [Insaydaut]. - 1983; http://metapoetry.narod.ru/knigi/ins.htm
7.[Kedrov] [K]. [Kompyuter] love; http://metapoetry.narod.ru/knigi/comp.htm
8.[Kedrov] [K]. [Material] from [Vikipedii] - free encyclopedia;
9.[Kedrov] [K]. [Entsiklopediya] [metametafory] - 2008; http://metapoetry.narod.ru/knigi/enciklopedia.htm
10. Shakespeare [V]. Hamlet, prince [Datskiy]/trans. [Lozinskiy] M. - M.: Education, 1984

Constantine [Kedrov]

GAMMAS OF THE BODIES OF HAMLET,
or
NEW HAMLET
----------------------------------------------------

Part 1


Shakespeare is render harmlessed in a radius of the foil
inserted at random through the curtain of the sense


Foil of Hamlet - foil Of [laerta]


Hamlet: Protect!


It forms in air of [makhaon]


[Laert]: Protect, prince!


The letter of the tires is formed in air
or three segments,
[predoshchushchaya] battle for the crown
or Shakespeare's name
in the writing by the cyrillic alphabet


Three blades into tele- Klavdiy -
[Laerta] -
Polonium -
SH I N


[Laert] it dies killing
Hamlet it kills dying


to the Further-w-w-w-w-w- neck
the [Tish]-w-w-w-w-w- tire
Sh-w-w-w-w- Shakespeare


Sh I N the crown
astral is thawed of Hamlet


Isn't that true
by sounding it is similar to the cloud
by tracing to the camel
where two humps
one - to be
and other - not to be


Still there is a body in the form of Hamlet
beheaded in England


Still are a body of Hamlet in the form the Ophelias
There is another body of Ophelias in the form Hamlet


There are still several dual bodies
connected by the inserted sword


There is even fan-shaped
multi-page
body - book
where only word - word - word -


And finally there is the most dear body
consisting of the silence


The gammas of the bodies of Hamlet - this is the silence of the keys


Music of the silence of the keys:
Tires Of [shta] of the tires
[Shta] of the tires Of [shta]


Keyboard of the flute:
[Fa]
[Lya]
Re
SI
T
[fA]


Flute played the role of Hamlet
and it died in the finale on the upper of [fa]


Ophelia - this is the flute:
to
[Fa]
Re
[Lya]
SI
[lYa]


Being decomposed
it sang the songs
about the robin
about the bride deceived by the fiance
about the rue
about the mint
about the wild honey


flute swimming away on the water
flute sinking in the stream
flute buried by Hamlet and [Laertom]


- Whom you do bury?
- Flute!


Hamlet and Ophelia search for each other
as words in the crosswords


g and m L E t
on f E L and I


That whether Hamlet plays by the flute
roofings flute plays by Hamlet
Hamlet is the leu of [fley]-
that
be
or
not
to
to be
or
not
b


But here Ophelia will swim after the lily
Ophelia lily l or - I


Trajectory of the sword of Hamlet
on the way to the womb of polonium
Nesterov's corkscrew anticipates
or the drawing of the railroad
Moscow - Petersburg


They form together with Hamlet
E (there is)


Polonium itself by its obscure
by outlines behind the screen -
balloon “Hindenburg” at the moment of explosion -
About (it)


Itself Hamlet
with the spread wide hands
is similar to the airplane “Maxim Gor'kiy”
at the moment of the drop
X ([Kher])


Korolev Gertrude as the Eiffel Tower
entire in lace
L (people)


Hamlet with the sword in polonium
(not in Poland, but in the stomach) through the curtain
Zh (stomach)


Together they - E ABOUT X L Zh
It is [Kher] people the life

this is scene 1.

-------------------------------

Scene 2.
Mousetrap


Ophelia entered by letter A
Villages by letter [v]
Hamlet lay near its feet letter B


It came out by A in B
or
Basics
Conduct
Beeches


I
I know
Wisdom
-------------------------------

Scene 3.
[Yorik]


Hamlet took the skull Of [yorika] by letter [u]

Poor [Yorik] -
In [u]
In [u]
[U]
---------------------------------------

Scene 4.
Willow


Ophelia was stretched to the inclined willow by the letter
(Word)
It fell into the stream by the letter
T (solidly)
It became to sink the letter
In ([Uk])


It came out WITH T [u]
-----------------------------------------

Scene 5.
Duel


Refer in the duel - foils were scraped
X
[Laert] carried above Hamlet the fatal blade
Y
Hamlet knocks out foil from the hands Of [laerta]
[U]
It came out
X Y [U]


Now entire scene in the motion
Y IN X
IN Y X
X Y [U]
IN X Y
Y X [U]


Scene 1 E ABOUT X L Zh
Scene it is 2nd A in B
Scene 3rd Zh E
Scene 4 WITH T [u]
Scene is 5th IKS - Y - the iotas


New Hamlet

E ON X L ZH A IN B AND ZH E WITH T [U]
or
There is it cherub people the life
I indeed god already word am solid
or
Word cross indicated IKS it learned I

X (IKS)
it is formed by the crossing of two foils
or by multiplication by each other
to be or not to be = X
to be [/] [perecherkivaet] not to be [/] = X
IKS Of [yorika] and IKS-Y- iotas of Hamlet


Conversation of the skull Of [yorika] with the skull of Hamlet:


- Poor Hamlet
I held you on the hands
you played with me and laughed
but where these lips will disappear
after the duel
still recently whispered
to be or not to be


Astral body of Hamlet -
this is the Sevres porcelain
or X -
two lattice-type foils
-----------------------------------------------

Scene 6
Grave-digger
(it could or still)


Grave-digger digging grave by letter M
dust ejects outside by letter G
GM - GM - THE GM


Astral body of Shakespeare - king
“in the armors, with the beard,
as silvery sable,
with pale face”


Prayer of Hamlet:

- Ophelia - nymph - the flute


“Are blessed those, in whom the blood and the judgment
it is so connected, that they are not the flute
in the hands of the fortune, which takes that note,
which it will want”.


Hamlet after death:

After death Hamlet entered into Ophelia
as respiration it enters into the flute
as the note of SI becomes note [fa]
SI - ink raincoat of Hamlet
[Fa] - whiteness of Ophelias


Cup


Cup of Hamlet - goblet with the poison
“Yes passes me cup this”
foils/\ there were scraped
forming the name of Christ - X
or cup with the wine and the poison
In cup- Hamlet Christ's blood
with the dissolved poison
“Accept, you [yadite]”
in the cup- poison


Chronicle item of death:


Hamlet- elder is killed by Klavdiy

Klavdiy is killed by Hamlet

Korolev Gertrude is killed by the poison of Klavdiy

Hamlet is killed by the foil Of [laerta]
and by the poison of Klavdiy

Polonium is killed by Hamlet

Rosenkrantz and [Gildenstern] are beheaded
on the order of Klavdiy and Hamlet

Hamlet killed:
Rosenkrantz and [Gildensterna]
Polonium, Klavdiy and [Laerta]

Klavdiy killed:
Gertrude, Hamlet- father, the Hamlet- son

[Laert] killed:
Hamlet and [Laerta]

Brother killed the brother
its wife
the wife of the brother

Nephew killed the uncle
Uncle killed the nephew


Castlings:


Castling of Hamlet- father with Klavdiy:
Klavdiy becomes king instead of the king
and by husband instead of the husband

Castling of Hamlet with Rosenkrantz and [Gildensternom]:
after debarkation on the English shore
both are beheaded instead of Hamlet


Castling of Hamlet with the queen:
instead of Hamlet cup with the poison[Mokhbat] of Hamlet Constantine [Kedrov]'s [Inga]
Cedars -[Chelishchev]
             [Monkhbat] Of [inga] (scientific leader Aleksey [Viktorovich] [Tatarinov])
                Hamlet Constantine Cedar

“Poetry - paradisiacal state of soul, imprinted in the words and the sounds. Four shaping elements of poetry - music, rhythm, rhyme, metaphor… … only metaphor new, created by poet, can become poetic means. Just she is named by me [metametaforoy]. Novelty of means - most important sign of poetry. Poetry - verbal paradise on the earth and with the life. The highest reward to poet - poetry itself”, writes Constantine [Kedrov], contemporary poet, philologist and philosopher, in “the encyclopedias of [metametafory]” [9].
Cedars - creator of the term of [metametafora] (1983) [8], which, by the words of poet, there is “sight of man of the universe”. Example of clean [metametafory] - poem “the computer of love”, it - the program work of the poet:
THE DISTANCE BETWEEN THE PEOPLE FILL THE STARS
THE PEOPLE FILL THE DISTANCE BETWEEN THE STARS

LOVE - THIS IS THE SPEED OF LIGHT
INVERSELY PROPORTIONAL TO THE DISTANCE BETWEEN US
DISTANCE BETWEEN US
INVERSELY PROPORTIONAL TO THE SPEED OF LIGHT -
THIS IS THE LOVE
                (Computer of love, 1983) [7]
From the pages of works it is cedar to us it is opened absolutely the new peace, where all it is not simply united, but one escapes from another and so to infinity. Of all archetypes Of [k].[Kedrov] is recognized itself only one, naming it “the archetype of archetypes” [9] - this cross. In its creation it everywhere: in the means and dragon-fly, and Christ, and, certainly, cross itself, and Greek letter “X” (IKS), and [kirillicheskoy] “X” ([kher]), and, which is interesting, in the means of Hamlet. Both Christ and Shakespeare [K].[Kedrov] are called great [metametaforistami].
Hamlet - hero of Shakespearean tragedy, solidly entered the world literature, he gradually became means [arkhetipichnym]. [K].[Kedrov] it proposes its own interpretation of well-known character, deriving the reader to the new percent articulation and comprehension of text - level of [metametafory].
“The ranges of bodies Hamlet, or new Hamlet” [4] - work with this name cannot but intrigue. But that we do see from the first line? The absence of traditional rhyme, punctuation marks, the strange rhythm of work, complexity appear also with the determination of genre. The author in “the encyclopedias of [metametafory]” writes that “the ranges of the bodies of Hamlet” - this is mystery [9]; in it we can find not simply reminiscences, but very work Of [u].[Shekspira], in this case by main weapon it is cedar they become palindromes, anagrams and undoubtedly [metametafory].
flute swimming away on the water
flute sinking in the stream
flute buried by Hamlet and [Laertom]

- Whom you do bury?
- Flute!
- in the flute the experienced reader does immediately recognize Ophelia, daughter of polonium, but that or whom the reader must see through the cloth of entire work? It is cedar difficult to read: its approach to the life is so uncommon, how untypical its poetry.
Mystery is cedar it begins with the words:
Shakespeare is render harmlessed in a radius of the foil
inserted at random through the curtain of the sense
Further is described the duel between Hamlet and [Laertom], i.e., the author begins tragedy from the final scene, desiring to continue it, but, after reading work, you understand, that this is not continuation, but is faster interpretation, “the neutralization” of Shakespeare cedar.
In the original with death of Hamlet “comes the silence” (“further - silence” [10, 223]) in “new Hamlet” also silence, but not frightening, indeed it - the music: “The ranges of the bodies of Hamlet - this is the silence of keys”, transposed to the notes:
Tires Of [shta] of the tires
[Shta] of the tires Of [shta]
Music, which is silence, and the silence, which there is music, the process, proceeding on the eyes of the reader, is [metametafora] in the motion.
        In Shakespeare's tragedy the hero proposes [Gildensternu] to play on the pipe, metaphorical thus hinting at himself, and it concludes: “Name me what conveniently tool - you although can me torment, to play on me you do not can”. however, [10,174] cedars he writes:
Flute played the role of Hamlet
and it died in the finale on the upper of [fa]
The means of flute appears, even notes of its keyboard are indicated, but nevertheless it dies together with its hero, being inferior also to music of silence. But the doubt appears:
That whether Hamlet plays by the flute
that whether flute plays by Hamlet
Hamlet is the leu of [fley]-
that
be
or
not
to
to be
or
not
b
- you will focus attention, that these lines are added in the form letter “G”, which is important in the lyric poetry of poet, since graphically is transferred not less sense than metaphorical.
Narration it is cedar similarly to the senseless flow of words, letters and graphic signs, but this opinion erroneously and superficially. The method of the transfer of thought carries us to the poetry of futurists, in what, undoubtedly, is expressed the tendency of poet to create new language, to derive us on another stage of the semantic space of already known work, the desire not only to in a new way present “Hamlet”, but also to open that not expressed. However, the discretion of narration in the mystery speaks, that all proceeding is achieved not in the linear time, but it occurs in parallel. Here and now Ophelia sings songs about the rue, about the mint, here and now occurs duel, here and now flute strums the gamma of Hamlet, here and now the author counts the bodies of those been killed.
The author proposes to us very “range” of Hamlet, indicating its components. Gamma consists of [kirillicheskikh] on name and pronunciation of the letters: “E ABOUT X L Zh, or it is [Kher] people life”, after these letters - event of the conversation of Hamlet with the mother and the murder of polonium. The author establishes that this scene 1. in it Hamlet is the letter Of [kher], on the tracing by represented by himself nothing else but cross.
Scene the second is called “mousetrap”, but nothing it is discussed the theatrical production, is described only very beginning of the scene, where Hamlet lies down in the feet of Ophelias, but in is cedar he simply it does not lie down:
BUT IN B
or
Basics
Conduct
Beeches

I
I know
Wisdom
Thus, the sense, presented by Shakespeare in the dialogues of actors, which play the play to order of prince, speech and behavior of Hamlet himself, in it is cedar find expression in three letters of cyrillic alphabet.
Three subsequent scenes poet also paints actually on the letters, and common picture appears as follows:
Scene 1 E ABOUT X L Zh
Scene it is 2nd A in B
Scene 3rd Zh E
Scene 4 WITH T [u]
Scene is 5th IKS - Y - the iotas
         And is here before us - “new Hamlet”, who obtains the interpretation:
E ON X L ZH A IN B AND ZH E WITH T [U]
or
There is it cherub people the life
I indeed god already word am solid
or
Word cross indicated IKS it learned I
“The ranges of the bodies of Hamlet” - this is the attempt of the author to prove that the sense is born from the absence of sense as space - from chaos. Before us it is not simple the collection of the capital letters: it is evident with the fixed examination that they are clothed in the words, the form more accessible and more customary for the understanding and include [metakod]. Hence it is possible to conclude that Shakespeare's tragedy can be presented briefly with the aid of the meta-language, which is expressed directly in the alphabet. However, but that to make with the completeness of the sense of the original? It is not lost. Cedars it preserves for Shakespeare formula “to be or not to be”, proposing its version of [inerpretatsii] of this philosophical syntagma.
X (IKS)
it is formed by the crossing of two foils
or by multiplication by each other
to be or not to be = X
to be [/] [perecherkivaet] not to be [/] = X
IKS Of [yorika] and IKS-Y- iotas of Hamlet
- so in the mystery appears problem “to be or not to be” - under the threat of death, but it contains all proceeding in the external and internal peace of Hamlet into itself. Foils were bound, “to be it [perecherkivaet] not to be”, but which does conquer? In the [gamletovskom] case the first is connected with the continuation of existence, and the second - with the withdrawal from the life. In the finale of Shakespearean tragedy we find not one, not another, we find silence - “or” connecting “to be or not to be”, which can estimate as [metametafora] of infinity.
Gradually the cloth of text penetrates the means of Christ's [Iisusa]:
Cup of Hamlet - goblet with the poison
“Yes passes me cup this”
foils/\ there were scraped
forming the name of Christ - X
or cup with the wine and the poison
In cup- Hamlet Christ's blood
with the dissolved poison
“Accept, you [yadite]”
in the cup- poison
 “Hamlet - the first new word in the culture after praying about the cup- in The [gefsimanskom] garden,” - write cedars in the note “EITHER” [3], here it notes that “Hamlet - the Christ of one-and-a-half millenium after and to the present”, indeed in Hamlet is a selection between two extremes, but he prefers “or”, that there is “the space of the freedom, where is placed man” [3], he must and cannot select, in this his proximity For [iisusu] to Christ, which could allow itself, “being both father and son”, failure of the crucifix, but this would deprive of its its essence as determined selection would make, in the first case, from Hamlet Don Quixote, while selection “not to be” - Buddha. [9]
On the text “IKS” - this is the astral body of Hamlet, in other words - this is [metametafora] of Hamlet, concluded not simply in the letter, but also in the archetype of archetypes - cross. The author leads us to the fact that Hamlet - Christ, who is faster chess figure, playing into “chess [Iisusa]” [3], where “horse walks by letter G // forming the name of Hamlet”. But in chess of these all figures, on [Kedrovu], these are small crucifixes, for each of which rises again the Christ, and thus, to discuss is possible infinitely, and should be said only one: Hamlet is [metametafora] of Christ's [Iisusa].
However, what does bear by itself the so concentrated means? By itself Hamlet so is the figure of that meant and [arkhetipichnoy]. [K].[Kedrov] it leads us to the thought, that Hamlet - new [Iisus], but this statement is too strong that it would be similar to the truth. But, from the other side, why in the reader's idea Christ must be shown only from side known to all? Let us recall Don Quixote, prince [Myshkina] - they “grew” from the means of Christ's [Iisusa], but they did not change [koordinalno], they differ from the original only in terms of epoch. But Hamlet - hero of his time, and, therefore, to what attempts to lead the reader Russian poet, the Christ of its time, hero, who carries his cross - X (IKS). Time changed - the character with the appropriate thoughts and the actions corresponding to it appeared. It goes without saying, does arise question - as to live in such peace, where the new Christ - Hamlet? What to wait from this “rescuer”? What to make, when end is so tragic, but there is no resurrection and it will not be? To keep silent?
After Hamlet - other heroes, him they are, apparently, in his question “to be or not to be?” and in the search for answer. It can be, for the first time after Christ to man entrusted his cup, and selection - only after it, but outcome, independently of the authorship, one - silence.
Nearer toward the end mystery poet transfers all those killed, bringing to the fact that “Hamlet celebrates the holiday of bodies”, it is evident in this line that the word “body” is concluded still in the name of hero, which can be read as “MAG (high-power aerosol generator) of bodies”. This in sometimes confirms, how skillfully Constantine [Kedrov] catches senses, senses, which, possibly, were not visible to genius, indeed we characterize word “Hamlet” already in the Russian transcription, relying on Russian lexemes. But indeed the agreement of that hidden and described in the text surprisingly!
But in the conclusion of work Hamlet is dead, but to this whether degree, in which are dead remaining heroes?
But Hamlet became the flute

he plays himself
blowing out
no longer existing lips
the inaudible melody
invisible
t
e
l
A
And is again visually it presents itself, even being in the form “invisible body”.
The author returns us to the silence, with which the work, began, but also it presents in the form note range for the flute four parts, which contain the already known to us letters, which are played first in the straight order of notes, and then in the reverse, which again carries us to the anagram, making it necessary to see the reflection of the idea of silence as infinity from all sides, in the four-dimensional idea.
In the final part of the cedars it sends away us conversely, also, to Shakespeare:
Shakespeare's castling with the spectre:
Shakespeare played in his play
its best role - Hamlet- father
It returns in order to show, once Hamlet is such to Christ, then Hamlet- father - this Hamlet- prince, and if Shakespeare played his best role (father of Hamlet), then he and son, and father, and holy spirit.
Constantine [Kedrov] renders safe Shakespeare and disarms the reader, carrying along him after himself. Its mystery, in my view, itself is anagram, indeed and beginning, and end is built according to the identical diagram: Shakespeare, prince, duel, silence, flute as Hamlet. Only at the beginning flute - this lifeless Ophelia, at the end there are the lines:
After death Hamlet entered into Ophelia
as respiration it enters into the flute
Is created following [metametafora]: Ophelia - the flute of Hamlet, Hamlet - the flute of Ophelias, [metametafora], which corresponds to the basic principle “of the computer Of [k]. [Kedrov]'s love”, where the confluence of man and woman - this motion into space, the motion of peace, so Hamlet and Ophelia - this is the united flute, where tool itself - daughter of polonium, and respiration, therefore, her music - prince [Datskiy].
Besides “the ranges of the bodies of Hamlet” K. Cedar has other works about Danish prince, whose subject falls outside the boundaries of Shakespearean text, but idea one: to show in Hamlet new Christ's means, which is anything, because it is dead, but is all as music of silence, which fills all space: it does not exist only in the physical plan.
The study of Shakespearean problem By [k].[Kedrovym] is close to the story [KH].[L]. Of [borkhesa] “Of everything and nothing”. [Borkhes], as a great many researchers, attempts to open Shakespeare's secret: real this of men, or no? The author speaks, that “by itself he was nothing”, from the boredom he invented other heroes, and when after death it requested god to allow it, “that been in [sue] so many people”, to become himself itself, then the eye of creator answered it: “I also not I: I invented this peace as you my [sozdanya], Shakespeare my, and one of the signs of my sleep - you, similar to me, which are all and nothing” [2].
However, Shakespeare [Borkhesa] - creator- writer, similar To [vsevyshniy], Shakespeare is cedar - Hamlet, the very same holy trio, and all this, in the essence, [metametafora] of eternal existence, infinite idea:

Continue your death
Hamlet
and do not keep silent
because each word
you continues
in the old play
it can be badly played
but well lost
thus
that also death
it babbles to your
by the voice

To be or not to be

But in the life
nothing other it remains
as again and again to lose
your death
         (Years din, 2008) [3]







[v]. [Zametkya]'s 1.[Aristov] about “the meta” - [Arion]: Periodical of poetry, M.: Publ. the house of Rusanov, 1997 - iss. 4 (16). S. 48-60
2.[Borkhes] [KH].[L]. “Everything and nothing”; http://lib.ru/BORHES/kniga.txt
3.[Kedrov] [K]. [Angelicheskaya] poetics; http://metapoetry.narod.ru/knigi/ang.htm
4.[Kedrov] Of [k]. Range the bodies of Hamlet, or new Hamlet; http://metapoetry.narod.ru/knigi/gamma.htm
5.[Kedrov] k. OR/the complete meeting of poetic compositions - M.: Thought, 2002; http://metapoetry.narod.ru/knigi/ili.htm
6.[Kedrov] [K]. [Insaydaut]. - 1983; http://metapoetry.narod.ru/knigi/ins.htm
7.[Kedrov] [K]. [Kompyuter] love; http://metapoetry.narod.ru/knigi/comp.htm
8.[Kedrov] [K]. [Material] from [Vikipedii] - free encyclopedia;
9.[Kedrov] [K]. [Entsiklopediya] [metametafory] - 2008; http://metapoetry.narod.ru/knigi/enciklopedia.htm
10. Shakespeare [V]. Hamlet, prince [Datskiy]/trans. [Lozinskiy] M. - M.: Education, 1984

Constantine [Kedrov]

GAMMAS OF THE BODIES OF HAMLET,
or
NEW HAMLET
----------------------------------------------------

Part 1


Shakespeare is render harmlessed in a radius of the foil
inserted at random through the curtain of the sense


Foil of Hamlet - foil Of [laerta]


Hamlet: Protect!


It forms in air of [makhaon]


[Laert]: Protect, prince!


The letter of the tires is formed in air
or three segments,
[predoshchushchaya] battle for the crown
or Shakespeare's name
in the writing by the cyrillic alphabet


Three blades into tele- Klavdiy -
[Laerta] -
Polonium -
SH I N


[Laert] it dies killing
Hamlet it kills dying


to the Further-w-w-w-w-w- neck
the [Tish]-w-w-w-w-w- tire
Sh-w-w-w-w- Shakespeare


Sh I N the crown
astral is thawed of Hamlet


Isn't that true
by sounding it is similar to the cloud
by tracing to the camel
where two humps
one - to be
and other - not to be


Still there is a body in the form of Hamlet
beheaded in England


Still are a body of Hamlet in the form the Ophelias
There is another body of Ophelias in the form Hamlet


There are still several dual bodies
connected by the inserted sword


There is even fan-shaped
multi-page
body - book
where only word - word - word -


And finally there is the most dear body
consisting of the silence


The gammas of the bodies of Hamlet - this is the silence of the keys


Music of the silence of the keys:
Tires Of [shta] of the tires
[Shta] of the tires Of [shta]


Keyboard of the flute:
[Fa]
[Lya]
Re
SI
T
[fA]


Flute played the role of Hamlet
and it died in the finale on the upper of [fa]


Ophelia - this is the flute:
to
[Fa]
Re
[Lya]
SI
[lYa]


Being decomposed
it sang the songs
about the robin
about the bride deceived by the fiance
about the rue
about the mint
about the wild honey


flute swimming away on the water
flute sinking in the stream
flute buried by Hamlet and [Laertom]


- Whom you do bury?
- Flute!


Hamlet and Ophelia search for each other
as words in the crosswords


g and m L E t
on f E L and I


That whether Hamlet plays by the flute
roofings flute plays by Hamlet
Hamlet is the leu of [fley]-
that
be
or
not
to
to be
or
not
b


But here Ophelia will swim after the lily
Ophelia lily l or - I


Trajectory of the sword of Hamlet
on the way to the womb of polonium
Nesterov's corkscrew anticipates
or the drawing of the railroad
Moscow - Petersburg


They form together with Hamlet
E (there is)


Polonium itself by its obscure
by outlines behind the screen -
balloon “Hindenburg” at the moment of explosion -
About (it)


Itself Hamlet
with the spread wide hands
is similar to the airplane “Maxim Gor'kiy”
at the moment of the drop
X ([Kher])


Korolev Gertrude as the Eiffel Tower
entire in lace
L (people)


Hamlet with the sword in polonium
(not in Poland, but in the stomach) through the curtain
Zh (stomach)


Together they - E ABOUT X L Zh
It is [Kher] people the life

this is scene 1.

-------------------------------

Scene 2.
Mousetrap


Ophelia entered by letter A
Villages by letter [v]
Hamlet lay near its feet letter B


It came out by A in B
or
Basics
Conduct
Beeches


I
I know
Wisdom
-------------------------------

Scene 3.
[Yorik]


Hamlet took the skull Of [yorika] by letter [u]

Poor [Yorik] -
In [u]
In [u]
[U]
---------------------------------------

Scene 4.
Willow


Ophelia was stretched to the inclined willow by the letter
(Word)
It fell into the stream by the letter
T (solidly)
It became to sink the letter
In ([Uk])


It came out WITH T [u]
-----------------------------------------

Scene 5.
Duel


Refer in the duel - foils were scraped
X
[Laert] carried above Hamlet the fatal blade
Y
Hamlet knocks out foil from the hands Of [laerta]
[U]
It came out
X Y [U]


Now entire scene in the motion
Y IN X
IN Y X
X Y [U]
IN X Y
Y X [U]


Scene 1 E ABOUT X L Zh
Scene it is 2nd A in B
Scene 3rd Zh E
Scene 4 WITH T [u]
Scene is 5th IKS - Y - the iotas


New Hamlet

E ON X L ZH A IN B AND ZH E WITH T [U]
or
There is it cherub people the life
I indeed god already word am solid
or
Word cross indicated IKS it learned I

X (IKS)
it is formed by the crossing of two foils
or by multiplication by each other
to be or not to be = X
to be [/] [perecherkivaet] not to be [/] = X
IKS Of [yorika] and IKS-Y- iotas of Hamlet


Conversation of the skull Of [yorika] with the skull of Hamlet:


- Poor Hamlet
I held you on the hands
you played with me and laughed
but where these lips will disappear
after the duel
still recently whispered
to be or not to be


Astral body of Hamlet -
this is the Sevres porcelain
or X -
two lattice-type foils
-----------------------------------------------

Scene 6
Grave-digger
(it could or still)


Grave-digger digging grave by letter M
dust ejects outside by letter G
GM - GM - THE GM


Astral body of Shakespeare - king
“in the armors, with the beard,
as silvery sable,
with pale face”


Prayer of Hamlet:

- Ophelia - nymph - the flute


“Are blessed those, in whom the blood and the judgment
it is so connected, that they are not the flute
in the hands of the fortune, which takes that note,
which it will want”.


Hamlet after death:

After death Hamlet entered into Ophelia
as respiration it enters into the flute
as the note of SI becomes note [fa]
SI - ink raincoat of Hamlet
[Fa] - whiteness of Ophelias


Cup


Cup of Hamlet - goblet with the poison
“Yes passes me cup this”
foils/\ there were scraped
forming the name of Christ - X
or cup with the wine and the poison
In cup- Hamlet Christ's blood
with the dissolved poison
“Accept, you [yadite]”
in the cup- poison


Chronicle item of death:


Hamlet- elder is killed by Klavdiy

Klavdiy is killed by Hamlet

Korolev Gertrude is killed by the poison of Klavdiy

Hamlet is killed by the foil Of [laerta]
and by the poison of Klavdiy

Polonium is killed by Hamlet

Rosenkrantz and [Gildenstern] are beheaded
on the order of Klavdiy and Hamlet

Hamlet killed:
Rosenkrantz and [Gildensterna]
Polonium, Klavdiy and [Laerta]

Klavdiy killed:
Gertrude, Hamlet- father, the Hamlet- son

[Laert] killed:
Hamlet and [Laerta]

Brother killed the brother
its wife
the wife of the brother

Nephew killed the uncle
Uncle killed the nephew


Castlings:


Castling of Hamlet- father with Klavdiy:
Klavdiy becomes king instead of the king
and by husband instead of the husband

Castling of Hamlet with Rosenkrantz and [Gildensternom]:
after debarkation on the English shore
both are beheaded instead of Hamlet


Castling of Hamlet with the queen:
instead of Hamlet cup with the poison
queen Gertrude drinks


Castling of Hamlet with Ophelia:
instead of Hamlet,
swimming away to the loss into England,
Ophelia swims away and sinks


Castling of Hamlet with [Fortinbrasom]:
instead of Hamlet by the king of Denmark
becomes [Fortinbras]


Shakespeare's castling with the spectre:
Shakespeare played in his play
its best role - Hamlet- father


Castling of the author with the actor -
Shakespeare with the spectre
Horse walks by letter G
forming the name of Hamlet


Hamlet celebrates the holiday of the bodies


Long ago already there is no his body
Laughs the skull Of [yorika]
above the skull of Hamlet


But Hamlet became the flute


he plays himself
blowing out
no longer existing lips
the inaudible melody
invisible
t
e
l
A


Melody of the flute of Hamlet,
or New Of hamlet


1.
[to] E ABOUT X L Zh
[Re] A in B
[mi] WITH T [u]
[[fa]] Y X [u]

2.
[salt] Zh L X rel.un.
[[lya]] B in A
[SI] IN T [s]
[to] X Y [u]

3.
[to] ABOUT L E X Zh
[SI] IN B A
[[lya]] [S] in T
[salt] IN Y X

4.
[[fa]] X E L Zh [o]
[mi] A in B
[Re] T [u] [s]
[to] Y in X


Two versions rehearse:
first each column from to [fa],
then all columns in a row.


1993


© Copyright: Cedars -[Chelishchev], 2011
Evidence about the publication of №11105240229
The list of the readers/version for the press/to place announcement/to s
queen Gertrude drinks


Castling of Hamlet with Ophelia:
instead of Hamlet,
swimming away to the loss into England,
Ophelia swims away and sinks


Castling of Hamlet with [Fortinbrasom]:
instead of Hamlet by the king of Denmark
becomes [Fortinbras]


Shakespeare's castling with the spectre:
Shakespeare played in his play
its best role - Hamlet- father


Castling of the author with the actor -
Shakespeare with the spectre
Horse walks by letter G
forming the name of Hamlet


Hamlet celebrates the holiday of the bodies


Long ago already there is no his body
Laughs the skull Of [yorika]
above the skull of Hamlet


But Hamlet became the flute


he plays himself
blowing out
no longer existing lips
the inaudible melody
invisible
t
e
l
A


Melody of the flute of Hamlet,
or New Of hamlet


1.
[to] E ABOUT X L Zh
[Re] A in B
[mi] WITH T [u]
[[fa]] Y X [u]

2.
[salt] Zh L X rel.un.
[[lya]] B in A
[SI] IN T [s]
[to] X Y [u]

3.
[to] ABOUT L E X Zh
[SI] IN B A
[[lya]] [S] in T
[salt] IN Y X

4.
[[fa]] X E L Zh [o]
[mi] A in B
[Re] T [u] [s]
[to] Y in X


Two versions rehearse:
first each column from to [fa],
then all columns in a row.


1993


© Copyright: Cedars -[Chelishchev], 2011
Evidence about the publication of №11105240229
The list of the readers/version for the press/to place announcement/to s
[Yorik]


Hamlet took the skull Of [yorika] by letter [u]

Poor [Yorik] -
In [u]
In [u]
[U]
---------------------------------------

Scene 4.
Willow


Ophelia was stretched to the inclined willow by the letter
(Word)
It fell into the stream by the letter
T (solidly)
It became to sink the letter
In ([Uk])


It came out WITH T [u]
-----------------------------------------

Scene 5.
Duel


Refer in the duel - foils were scraped
X
[Laert] carried above Hamlet the fatal blade
Y
Hamlet knocks out foil from the hands Of [laerta]
[U]
It came out
X Y [U]


Now entire scene in the motion
Y IN X
IN Y X
X Y [U]
IN X Y
Y X [U]


Scene 1 E ABOUT X L Zh
Scene it is 2nd A in B
Scene 3rd Zh E
Scene 4 WITH T [u]
Scene is 5th IKS - Y - the iotas


New Hamlet

E ON X L ZH A IN B AND ZH E WITH T [U]
or
There is it cherub people the life
I indeed god already word am solid
or
Word cross indicated IKS it learned I

X (IKS)
it is formed by the crossing of two foils
or by multiplication by each other
to be or not to be = X
to be [/] [perecherkivaet] not to be [/] = X
IKS Of [yorika] and IKS-Y- iotas of Hamlet


Conversation of the skull Of [yorika] with the skull of Hamlet:


- Poor Hamlet
I held you on the hands
you played with me and laughed
but where these lips will disappear
after the duel
still recently whispered
to be or not to be


Astral body of Hamlet -
this is the Sevres porcelain
or X -
two lattice-type foils
-----------------------------------------------

Scene 6
Grave-digger
(it could or still)


Grave-digger digging grave by letter M
dust ejects outside by letter G
GM - GM - THE GM


Astral body of Shakespeare - king
“in the armors, with the beard,
as silvery sable,
with pale face”


Prayer of Hamlet:

- Ophelia - nymph - the flute


“Are blessed those, in whom the blood and the judgment
it is so connected, that they are not the flute
in the hands of the fortune, which takes that note,
which it will want”.


Hamlet after death:

After death Hamlet entered into Ophelia
as respiration it enters into the flute
as the note of SI becomes note [fa]
SI - ink raincoat of Hamlet
[Fa] - whiteness of Ophelias


Cup


Cup of Hamlet - goblet with the poison
“Yes passes me cup this”
foils/\ there were scraped
forming the name of Christ - X
or cup with the wine and the poison
In cup- Hamlet Christ's blood
with the dissolved poison
“Accept, you [yadite]”
in the cup- poison


Chronicle item of death:


Hamlet- elder is killed by Klavdiy

Klavdiy is killed by Hamlet

Korolev Gertrude is killed by the poison of Klavdiy

Hamlet is killed by the foil Of [laerta]
and by the poison of Klavdiy

Polonium is killed by Hamlet

Rosenkrantz and [Gildenstern] are beheaded
on the order of Klavdiy and Hamlet

Hamlet killed:
Rosenkrantz and [Gildensterna]
Polonium, Klavdiy and [Laerta]

Klavdiy killed:
Gertrude, Hamlet- father, the Hamlet- son

[Laert] killed:
Hamlet and [Laerta]

Brother killed the brother
its wife
the wife of the brother

Nephew killed the uncle
Uncle killed the nephew


Castlings:


Castling of Hamlet- father with Klavdiy:
Klavdiy becomes king instead of the king
and by husband instead of the husband

Castling of Hamlet with Rosenkrantz and [Gildensternom]:
after debarkation on the English shore
both are beheaded instead of Hamlet


Castling of Hamlet with the queen:
instead of Hamlet cup with the poison
queen Gertrude drinks


Castling of Hamlet with Ophelia:
instead of Hamlet,
swimming away to the loss into England,
Ophelia swims away and sinks


Castling of Hamlet with [Fortinbrasom]:
instead of Hamlet by the king of Denmark
becomes [Fortinbras]


Shakespeare's castling with the spectre:
Shakespeare played in his play
its best role - Hamlet- father


Castling of the author with the actor -
Shakespeare with the spectre
Horse walks by letter G
forming the name of Hamlet


Hamlet celebrates the holiday of the bodies


Long ago already there is no his body
Laughs the skull Of [yorika]
above the skull of Hamlet


But Hamlet became the flute


he plays himself
blowing out
no longer existing lips
the inaudible melody
invisible
t
e
l
A


Melody of the flute of Hamlet,
or New Of hamlet


1.
[to] E ABOUT X L Zh
[Re] A in B
[mi] WITH T [u]
[[fa]] Y X [u]

2.
[salt] Zh L X rel.un.
[[lya]] B in A
[SI] IN T [s]
[to] X Y [u]

3.
[to] ABOUT L E X Zh
[SI] IN B A
[[lya]] [S] in T
[salt] IN Y X

4.
[[fa]] X E L Zh [o]
[mi] A in B
[Re] T [u] [s]
[to] Y in X


Two versions rehearse:
first each column from to [fa],
then all columns in a row.


1993


© Copyright: Cedars -[Chelishchev], 2011
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