You guys ever read The Anatomy of Melancholy? By Robert Burton. Burton worked his entire life on this one book, constantly revising it- with each new addition adding a hundred pages, then a hundred more, and so on, until he died with it still in progress, at Edition Six, 2000 pages; in this book he used melancholy as a lens through which to dissect all human behavior, the entire microcosm of man. He produced one of the most learned volumes ever put together by a single man. Guy quotes a different author/book every line. But he’s got nothing on me.
I only counted them up once in here, but I believe 36 different authors are cited in this passage. Mostly Latin, with a good bit of Italian sources, a German one and a Greek one too, for extra spice. Poets, dramatists, alchemists, philosophers, theologians, chroniclers, critics, epigrammatists, etc.; all kinds of authors. Most of the cited authors and books in here are rare/obscure enough that they can’t be found on google search, have no wikipedia articles, etc. They only exist in the metaphorical deep-web; as digitized, scanned images of the actual physical books- they’ve never been typed into plaintext by anyone so searching is nearly impossible. Many of these authors appear literally nowhere else in the literature besides their own book(s). Thus, in order to link up these strings of associations and ideas and authors and books, I would have had to possess, in my actual working memory, all of these sources- simultaneously, in order for the connections, the patterns, to become visible… and this is only on one random subject- so my memory would have to be even greater than what is shown here, by 10,000 times over … How is that possible? And this is a single page from my book. (One of them. Though, like Burton, they are all deeply interconnected and self-referential, arranged as multiple volumes of a single work that simply keeps growing, growing, absorbing more and more and more. Like him, my obsessive mind cannot stop, and I simply keep enlarging myself to beyond the point of self-parody. Indeed- humor is the one essential element to consider when reading Burton, or me. Humor about the vanity of knowledge, and the fact that, in order to finally grasp that melancholy truth, the end of things, the vanity of knowledge… you must fully invest yourself in knowledge, in the production and accumulation of knowledge.) How is that possible, for me to possess this inhuman memory? MAGICK SON. Chronodemons lift the veil of time and culture for me and I perceive things on a greater scale. The Dead guide me to the names that have been forgotten, to the books buried underneath the tenuous, arbitrary thing we call our history. For it is frail, insipid- vain.
Why is history vain, insipid, arbitrary? You might imagine that these 36-40 authors cited in this page from my book, or say to yourself regarding them something like: 'well if they aren’t on google, wikipedia, etc, and they’ve been entirely forgotten, buried in the back catalogs of private libraries and university servers and archives, trapped in languages that few people can even read at this point in time… You might say to yourself they were forgotten for a reason. Perhaps they were not as worth remembering as say, Milton or Shakespeare or Ovid. Hah! Bullshit!
Let me just take one example. I quote an author in this passage named Staphorsius. Specifically a poem he wrote entitled “Puniens Peccata, Providentia Divina”. Google “Staphorsius.” Or that poem’s title. Yeah, nothing. But guess what? Milton plagiarized almost word-for-word passages out of his (Staphorsius’) Latin verse into his English Paradise Lost. Entire. Pages. Straight out of Staphorsius, word for word. So guess what? Your history is bullshit. There’s nothing real behind what history remembers and forgets. It’s just random. Arbitrary. The greats? You think they deserve their place in history? Milton and Shakespeare- they both did the same; the vast majority of their works I can directly cross-reference to these kind of lost authors and lost works, their contemporaries now lost to the endless halls of books in our endless libraries. Those remembered by history like Shakespeare and Milton took most of their own works from authors like the ones I cite here- so ask yourself: how much gold is in this endless depth of lost knowledge? How many nascent Shakespeares and Miltons are silently living in that Plutonian cave? They get buried underneath it all, centuries pass, people forget the languages they wrote in and their work dies, and then they get buried even deeper. I have my own philosophy as my primary ambition in life, but a secondary devotion I have made: to bring forth all that is lost, to light. I am doubly committed to articulating my own philosophy, knowledge, and text, and preserving and bringing forth all the philosophy, knowledge, and text that has been lost to history.
The passage of mine in question, about the worth of the poet’s youth to his mature self: (Foreign language quotes are Italicized, authors names and works are not Italicized, and they are usually included in parallel bracketed text following the citation. These brackets also, quite often, contain additional references and notes, and sometimes plays on words or poetical digressions and amusements. This extreme parallelism is something I modelled on the Talmudical scholars, who format their writings in a similar way. For example, the first author cited is Patrignanius, in his Anacreonte Cristiano. It’s an Italian one. Second author mentioned is Tossanus, a philosophical tract of his being the work, entitled De Senetute Tractatus Christianus et Consolatorius.)
From one of the annotated appendices to an essay of mine on the ‘diagrammatic’ metaphysics of Cusanus and Ramon Llull:
As much as the seas were given, like the soul, the abyss,- and that to hold image of things,- [Patrignanius, in the Anacreonte Cristiano: Diede al mare un vasto seno di ricchezze anch ei ripieno. Diede all Uomo alma immortale, forza, e ingegno all opra uguale. Queste sparse doti Iddio tutte accolse, e in una unio: poi le infuse in creatura la piu bella.] so man has his memories, though he bears them with the ‘fetters of the soul’ in animam coelum evolandum ex ditis compedibus implice; [Danielis Tossanus, de Senectute Tractatus Christianus et Consolatorius; P. 91. The fetters of the soul: Animam, quae ad feliciter ex hac vita in coelum evolandum se comparare debebat, ditis compedibus implicet.] memory were but our ‘iuvenes belle simulachra cientem’, for the poetickal muses judge no less the young poet by Fate’s higher criterion, than do those of War the young warrior; [A play on the words belle and belli, beauty and war, out of Triphon Bentius Assisinatensis, in “Ad Pium Quartum”: iuvenes belli simulachra cientes, quos vere possis dicere Marte fatos. The rousing phantastikon of war conducted by our poets, though it raises the hearts of the young to deed, is no judge of the measure of their spirit and the fate of their daemon, as is the god Mars.] memory were but the poet’s infantine sustenance,- ex quantae sapientia in paucis vitae portionem,- [Rhoerus, Orationes. Quantae enim sapientiae … insignem vitae portionem paucis intelligendis deberemus inpendere? Note here the handsome versifications of Augustus Cottaeus Casteldunensis, in: Ad Nympha Vivariam. What magic of poesy can preserve thy youth, or stop memory from loosening the frame of love, that would hold true to thee? Iuvenem extitis egregias unquam minus aptus ad artes; aut ut amor longo tandem evanesceret aevo: nequicquam auxilium magicas tentasse per artes; immemori lethes immiscuit undae, ut sese memori languentem solvat amore, at nil lethaeo misceri profuit amni.] an ambrosia or ‘Platonica ales Cecropii nectaris artifex’ [Oliver. Reilophus, in: Ode Altera ad Apes Platonicas de Livini Meyeri Sapientia: nota Platonico ales Cecropii nectaris artifex, quam feris referunt carmina posteris blandum mel sapientiae instillasse; quae fortes animos celsius evehant, venturisque porens ingenium viri notum temporibus dabunt.] enjoyed in excultus primis ardenter [Unde tuum numerose sciat quis nomen Horati, omnis si prote cura fuisset iners? Si non excultus primis ardenter ab annis, arte fores, nulli notus in orbe fores. Liechtenstain, Aichberg Sollius, & Christophorus Ammanus Abenspergensis, in: Mecaenatem, ex Poemata ad Amicos. The door of the arts shall not open to you, if you have not opened the doors to the world. (Note also, Hieron Leorinis Arconatus, in the Elegiae, for to this same point, the muse ‘bestoweth no worldly favors’: nil simul doceant simulque versus delectent, labor omnis est inanis, est & vanus Apollo, vana Musa; nemo iuvat, nemo vati succurrit egenti, esuriunt Musae, pallet Apollo fame. O mihi transactae redeant si tempora vitae, nomine fors alio notus in orbe forem.) Though we must not discount entirely the words of Johannes Schosserius, in the Poetae Carminum Excudebat Crato, Liber Secundus, where we are told the Muses spurn our games of ignoble, worldly politic; macte tua virtute: piae tibi praemia dudum pierides, famae tempora longa parant; spernere quod musas nobile ducit opus.] with the Soul’s ‘first sabbath’ and wasted on the wind in pace ligare animos rapiunt conamina venti, in vatis ore decus inesse spiritum neget, [Casparis Staphorsius Dordracae, Carmen Epinicium ac Protrepticum et Dei Gratiam Foelici Exitu, qui est Triumphus Pacis: Puniens Peccata, Providentia Divina; Lib. II. Omnia sint operata Deo, sua sabbatha curae; imbibat atque animus persanctum illius amorem; viri concordi pace ligare tentabant animos, rapiunt conamina venti. Secondarily, we have the poet’s truth mocked in 'Veneres agnosco jocosque Sophiae’. See Alessius Lapacinus, 1 in: de Comoedia Jacobi Nardii, cui Titulus Amicitia.] inasmuch as the poet best cherishes and knows their potencies in colti paradiso vergini mill anni, [A ‘captive of Paradise’. Che di venere fu gia son mill anni; ma tal l odore e l colore hanno insiemo, che nel mirargli sembran pur or ora da vergini man colti in paradiso. See Antoni. Leuciscus Grazzinus, in: Egloga IV., Tirsi, Galatea e Filli.] which he must nevertheless leave off,- in musarum hortis vagans dubiis ad spinosa sophorum finibus,- [The poets may cultivate their flowers of doubt and pleasant vagrancies as they like, but the thorn of Sophos is the end of all or ‘nobil pregio di verita cura vita perduto’, in the words of the Florentine poet. (Ptolomaeus Nozzolinus: A che di vita bauer degg’io piu cura, s’ho d’honesta perduto il nobil pregio? What value are any of the other virtues, if they be not brought into the service of the Truth?) Canisii Iusto Haesdoncanis Symbolum Iuste & Constanter; Poemata et Aenigmata et Totidem Logogriphi, P. 147; Phoenix Redivivus Mechliniensis: e placidis musarum hortis, spinosa sophorum lustra petis. Joannes Gislenus Caimus, Epigramma: Nec minus ut tenebras sparsit sophorum dogmata, sacrosque est visus penetrare recessus. Burmannus, in Iter in Arcadiam; Orat. X: Et tunc forte vagans dubiis spinosa sophorum finibus, ad cari vindicies ora ruit.] if he is to make finally his entire stature, which Plato would account the height of Philosophy,- pravum ingenii poetis alimentum in Circea venenavit philosophiam. [Othonus Heurnius, Barbaricae Philosophiae Antiquitatum. Circea illius virgae qua prima antiquam venenavit philosophiam; in horum scriptis flumen verborum ubique videas, mentis vix guttam, cererbrum enim illis omne in linguam; horumque errores ipsorum discipuli bibunt quas maternum lac, quod pravum ingenii alimentum tanquam in membra iudiciorum transmutatum, nunquam postea deponer possunt.] Though a child of remembrance, under which he beholds the world ab oculos obiecit morti supremus artifex,- [Julianus Grandamicus Odomaranus, in: Orationes Funebres in P. Alph. Contreros; P. 10. Atqui unum illud memoria aeterna dignum nuperrime ab oculos obiecit supremus ille rerum artifex Deus, morte videlicet.] that searches out the depth of Lethean spring, d una ria passione, che a Lete il torce a passeggiare in riva, invitto dalla fanghiglia ad ubbidir ragione, e l alta Mente, ond ogni ben deriva,- [P. Gius. Trevisius, in: Rime Sacro-Morali; Sonetto VIII.] it were still in the hope of futurity alone, an image glimpsed in imago perfecte impleat naturam imaginati, [Montursius.] that the poet discovers his ‘communes solatia Musae’ [Jacobus Carolus Lectius, Elegiae II. Aegris siqua ferunt animis solatia Musae, et luctum illacrymans delinit amicus amici, communes fundere tecum quas me iussit amor lacrymas.] in virtutum incrementum sumant, for virtue is purchased with virtue, strength with strength, wisdom with wisdom, [Et sic in amicitia Dei & familiaritate ac connaturalitate sanctarum virtutum incrementum sumant, & interiorem pulchritudinem videant, & eam apprehendant. Indaginus, in de Perfectione, P. 169.] and these were things hardly pieced together ex σοπηος ηραρε τεμτων, after Hamon’s phrase, [Gr. aphorism by Hammonius, in Zinus Pierfrancesci, de Philosophiae Laudibus Oratio: Quamobrem cum sapientis nomen maximo in pretio honore que esset, effectum est, ut illud sibi quotidie plures vindicarent. Itaque brevi tempore adeo crevit sapientium numerus, ut nihil aliud q sapientes aspiceres, sapiens testamen barba, vestituque tenus ac nomine, cum re ipsa magna ex parte essent insipientissimi.] much less were they bought, with all else, in the play of drums and costumes; [Deo prore vindice facta; man’s Justice announces itself by drums and marches, while God’s prefers to creep. Rabodii Schelii Iselmundanis Salaniae agri praesidis, in: de Jure Imperii editus Theophilus Hogersii Binae Posthumus. Deo vindice digna scelera prore divina facta, homines impios & religionum contemptuores efficere potuerunt; cum omnis natura Deum ostendat, eumque colere omnis ratio jubeat. Tedarnus, Tragedia: Legge spoglia lungi dall altrui vista in loco occulto, e qui fra noi rinova il barbaro costume de Neroni; the law that fears to be seen, parades the most in costumes. Compare here, especially to the former, Titus Martinengus Casinates, in: Theotocodia sive Parthenodia; Opus Eximium, for God hath his design, to crush the pride of the warrior only with war, while the poet were more subtley admonished, and the pride of the tempter crushed with an better eluded temptation, the pride of the philosopher with wisdom, etc. Omnibus vitae imminere, quae mala impendent suis virginem admonere clamat virginalem spiritum; exserens fortem lacertum contudit mortalium impiorum fastum, & acrem spiritum ferocium.] we must, as Proust says, endeavor to keep always a patch of open sky above our life, al celo eruditi Uraniae in poesia salir ali celesti non mortali, [Poetry, that gives wings to powerless knowledge. Carrettus de Corte Monferrato, in Comedia Tempio de Amore: gloria e laude immortali che a poesia son destinati, quei laltra e Urania: che fa con forte ali salir al celo i spiriti eruditi tal che celesti sono, e non mortali.] ever borne in vestra dolor praecordia tangit mortales, [Mortales, si quando alto vidistis Olympo undique tot rutilas ire redire faces; vestra dolor praecordia tangit, mortales. The stars, whose light from on high stirs all mortal things and touches their sadness beyond the veil of our ‘Olympiaca clauditur in arce bonum’ and 'Jove de labyrintho le stelle’. (Pamphilus Sassus Motinensus, in: Sonetti, Capituli, Egloge. Non satu se la mia gloria: el mio lume solo: e constuit sempre piu fiero: e fraco a volar alto con le aurate piume. Equinotio sencia le stelle: e sencia i lumi soi dogni spirto immortal & ogni celo far: O Iove io te canai de labyrintho e tutti gli altri dei celest, come omnipotente quel che uoi. Angelus Phagius Sangrinus Cassinensis, in: In Die Palmarum Paraenesis Prima de Triumphali Domini. O vana, o insulsa voluptas, o fallax mundi gloria, vilis honor; tam illustris pompa triumphi o munde immunde est, quae su per astra beet, quod olympiaca clauditur arce bonum?) Iacobo Iardinius, in: Sacrarum Elegiarum, P. 68. To the same point, we have Caleb Trygophorus, in: Orationum Posthumarum. Nisi temporis obstaret angustia, densa nox coeli splendore nitesceret: angeli ab hominibus segregati cum hominibus congregatentur Deo.] or as it were no less poetically injuncted of this ‘amor che in sapienza il cor accese’,- [Qui fuor d ira, di speme, e di paura all are delle muse e di Sofia daro culto; che le mie voglie sieno ognora intese a dritto fine, e in me nonm mai s estingua l amor che in sapienza il cor m accese. Ignatius Borzaghius, Odes.] studio facit et vita ut referat sydereo, [Roilletus, in Varia Tragoediam. Conuentus hominum cum placeant diis, quos vitae probitas, iuraque copulent tum multo magis hi qui bene legibus sanctis instituunt, dissimilem ut chorum coelesti penitus non faciant choro. Est gratus superis qui studio facit et vita ut referat sydereo in polo quae coetus celebrat deum.] lest Memory, in Astrea tra ceppi il lor fallir corregge Daemone, [Gelinus Albespinus, (Rollius) * in: Idasio Cillenio Insigne Arcade; Tiresia Demosteniano.] in intercipiat vitium momenta iter quae immortalem Musis, satis in Iovis est musis petas super aethera cursus fallaces,- [‘The vitiations of the moment upon the course of the immortal Muse’. Petrus Scholerius, in: Diogenes Cynicus sive Sermonum Familiarum; p. 28. Paraph. Fors quae immortalem per strenua solidis exercita Musis, non securum virtutis, iter ni intercipiat vitium momenta. O steriles aerum, resipiscitur umquam? Mox crescet vitium specie virtutis; non succedunt animante negotia Baccho. Here we have both another variation of Mantuan’s ‘semel insaniuimus’, (the poor soil and poor seed) and the symbol of the immortal rose choked in ash and earthly dust. Of these vitiations, we have also Aegidius Periandrus Ommae, in Noctuae Speculum; Tylus Saxonici Machinationes Complectens: Nunc iterum mea musa petas super aethera cursus, vestraque fallaces dextra propinet opes. Iam satis est Iovis officium strinxisse tabellae, errantem repetant carmina nostra virum. This were a course vitiated ‘in solis cerni cursu dubias laborat et fatuos mores pectora vulgi’. (Hactenus cursu dubio laboras? Siste iam tandem trepidos tumultus. Iam datur puri radiosa solis lumina cerni. Balduinus Cabillavius Iprenses, in: Phosphorus, ad Mundum Sapphicam. Secondarily, Harius, in: Sicambri Icti Tristium Libri Curante Cannegieterus; Elegia XVIII. O fatuos mores, o delirantia vulgi pectora: discite, de superis in manat spiritus astris vatibus.)] choke the fire of the rose in the beaten ash, even with the bones of our ancestors,-- terreno pulvere flammas mundus, in rebus tumulavit corda caducis, [Petrus Vachetus Belenensis, in Poemata; Bella Sacrae. Secondarily, Justus Deculeonis Cortracensis, in: Orationes, Epistolae et Carmina; P. 324. Natura trahuntque insita naturae semina chara soli. Non eternim solus pater est mihi originis author, principium est Phoebus sideraque ipsa poli. Et patriae genius nostris insevit amorem ossibus, aetati sit comes ille mea: as the most prized of seeds shall not grow in poor soil, expect nothing from the bones of a fallen nation’s ancestors. It were a ‘beaten ash’ known in reddit morti ignes amor, in ignes mens inocta bonis. Paraphr. Josse Rycquius, in: Civis Romani Heroicorum Carminum; Encomium Theatino. Aetnao juvenes intexuit ignes amor ligavit est reddit morti; mens incocta bonis, & pulchro foetus honesto spiritus obscura sprevit palmaria terrae, mens coeli manet arce repostum quod sequeiris nostros fugiunt tua pramia sensus.] terram labuntur semper dubitando senescunt, in puro memori pectore sobrios muneribus,-- [Nessoelius Moravus, in Sacrorum I: qui se tollunt sublimius aequo, ultra quam par est, terram labuntur in imam, atque inter lites semper dubitando senescunt. Iacomotus Barrensis, in Musae Neocomenses; Viginti Quinque Precationes de Variis Rebus Compositae: Maturas segetes agricolae metunt, distendunt que suis horrea messibus: pleno gestit opes fertilior suas cornu fundere copia. Sed tu, sancte Deus, numine qui tuo agros ferre iubes tot bona providus, da puro memori pectore sobrios missis muneribus frui.] that were a ‘nobilitas gravitatis tenax arcanum dolorem’, [The secret grief of noble hearts, endured ‘in renuisti augere naturae bona ornamentis fortunae’, (See Fortunatus Maurocenus Tarvisienses, in: Oratio qua Exceptus Fuit.) or secreted beneath our ‘aperto segno infonde petto Apollo, con pellegrino ingegno il indegna’, ** (See Gregorius Roverbellae, Poemata; Incomincia.) that were thoughts of empire, and Ambition beyond that accompted by our Stars,- in desire ingordo quel fero covi mortale immedicabile veleno,- (Zorastrus Pacuvius, Canzone: Ah qual rissieda desire ingordo in quel verace seno quanto me, che lui a l altrui spese il provi, sallo quel fero covi mortale immedicabile veleno la vostra Ionna, e l Reno, oltre al mio Tebro, ove de l empire brame mira anto il peregrin vestigio infame.) ex virtutem amplectitur.*** See Christian Rohrenseus, in: De Ethicis, Non Ethicis.] like that known to all who presseth their mortal gamble to its utmost, aperta et piu sublime quanto maggior Amor, [Crescius Crescimbenus, ad sonneto dedicatio Bettinus Tricius: perche da la virtu procede la vera gloria, che se mostra aperta et piu sublime, quanto e maggior l erta, Amor de ley sol nostro cuor possiede.] that were the measure of the world as much as man were the measure of man, and stars borne from stars the measure of some common luminancy, velut stella differt reputant bona nisi animae, qui inaequali virtutu generis claritate illustrantur. [Arevalus, in: Tractatus Theologico-Politicus de Officiis Hominum Circa Jus Naturae Londi. Scanorum; Lib. I. Cap. VII.] ****
[size=85]1. [i]Legerat hunc Samius qua nescio forte libellum Pythagoras veteris grande decus Sophiae. Miratusque sales, virae & documenta feverae, et lepida urbanis scommata carminibus, Plautinas, inquit, Veneres agnosco jocosque; et Latium Thuseo vatis in ore decus; scilicet haud quaquam nostra est sententia mendax, quis namque huic Plauti spiritum inesse neget?
- Paraphr. La crapula, e il riposo non acquista quella virtu, che ne folleva in parte dal vulgo ignaro non saputa, o vista. Sparger conviene di sudor le carte, e trar dal rintralciato laberinto cio che reca sapere a parte a parte. Non scende la mia legge su i volontari figli d ignoranza, Astrea tra ceppi il lor fallir corregge, ma pur fia pena di sua tracotanza quanto Daemone scrisse, e in odio fia del rapitor plebeo la rimembranza, ne percio scemi lo splendor di pria l inclito stuol, che sul alberga diletta stanza delle muse, e mia.[/i] Here we have a combination of the two main themes in this passage, those being the ‘star-wisdom’ (Astrea tra ceppi il lor fallir corregge Daemone: the stars shall correct the mistaken furies of our Daemon. Note this is a perfect doubling of Aegidius’ ‘super aethera cursus Iovis’.) or Olympian tract, and the maturation of poetic genius as it moves from remembrance to futurity: odio plebeo la rimembranza,- remembrance is the thief of time, something for the lesser poet, while we must dedicate ourselves to a still higher Muse.
** In full, from Gregorius’ poems, we have: “Pregoti adunque, o pellegrino ingegno, da poiche Apollo nel tuo petto infonde la dolce lira con aperto segno, e poi che gustato hai de le sante onde che non mi facci di tal grazia indegno, che tu mi copri con tue verdi fronde.” Note the several doublings we have in these quotations: the ‘peregrin vestigio infame’ of Zora. (the vestige of infamy in a stateless pilgrim) and the ‘pellegrino ingegno grazia indegno’ of Gregorius. (the pilgrim genius, who must not sit still lest he lose the muses’ grace.) Note also, the doubling of Gregorius’ ‘aperto segno infonde Apollo’ and the ‘aperta et piu sublime’ of Cresc.
*** On the rarity of those who embrace Virtue for its own sake, and avoid the traps of the thirst for fame, the ‘immedicable’ mortal poison. Mortalium credo nullus est, qui ad virtutis atque honestatis famam non adspiret, nisi belluae instar solis deditus corporis gaudiis per luxum atque ignaviam aetatem agere decreverit. Ast quod multi praeclaram magis ambiant famam, quam ipsam virtutem, ideoque saltem honestati studeant, quod sine hujus opinione amplum consequi nomen desperant, res aperta est, omniumque prudentum oculis exposita. Nam major famae sitis est, quam virtutis. Quis enim virtutem amplectitur ipsam, praemia si tollas?
**** Here we have another passage concerning the pursuit of ‘virtue for its own sake’. One soul differeth little from another, as star from star, and the distinction of men is guaranteed solely by a common light, namely in their practice of virtue for its own sake, and the good of the soul against all other worldly goods. Hinc in Ecclesiastico sapiens ait: gloria hominis ex honore patris. … mortales homines natalibus aequales simus, veluti filii excelsi omnes, adeo, ut unus fons omnium sit: ipsa tamen generosa nobilitas aliis praefert. … Velut stella differt: sic gloriosa ingenuitas hominem discernit ab homine, qui inaequali virtutu & generis claritate illustrantur.[/size]