Santa Ana

Biblia anagrammatica, or, The anagrammatic Bible: a literary curiosity gathered from unexplored sources and from books of the greatest rarity, Rev. Walter Begley, Privately Printed for the Author, 1904

I. ANAGRAMMATIC DIALOGUES COMPOSED ENTIRELY OF THE LETTERS OF THE SALUTATIO ANGELICA: “AVE, MARIA, GRATIA PLENA; DOMINVS TECVM”

After considerable research, I have only discovered two writers who have attempted this excessively difficult literary device. One was the eccentric Pierre de St. Louis, a Carmelite, whose book is dated 1672, and the other an Hungarian priest, who gave his contribution to the public in a work published as recently as 1869.

Luc. i. 28.
Ave, Maria, plena gratia; Dominus tecum.

Anagrammata.

Pierre de St. Louis, Carmelite, 1672.

Nigra sum. At Janua Coeli demum aperta.
Amica pia et Rosa grata, Lumenve Mundi.
Gemma Vitis in ea clara Domu pure nata.
Virgo clemens pia miranda, Eva mutata.
Regia summa Patrona, Clientem adjuva.
Virgo meum lumen, pia et sacrata Diana.
Ira placata rigidum mutas Evae nomen.
O Musa, jam ad te levia carmina pergunt.
Area mea totiusve Mundi ampla Regina.
Mater Carmeli. In eo, pia, munda, augusta.
Magna diu semper, Carmeli o Janua Tuta.
In Te valida via, magna sperat cor meum.
Amate prodigium naturas sine macula.
Semper inviolatam, argute canam. Audi.
Gemma tuis pie cara, in Domu Lauretana,
Jam tum via miranda per angelos vecta
Permagna Domus aurea in alta emicuit.
Vera, Alma Domus Agri Piceni tuta mane.
Amica ad te unam, jam Peregrinus volat.
Tu Dia, quam Pia, ore angeli arcanum sume.
Sanctuarium a Dei mei Angelo paratum.
Eia, Pia, Caram Mundo genitura salutem.
Ea pia, edita Regula omnium sanctarum.
Virgo casta Diana Emmanuelem rapuit.
Alma Porta jam antea Decus Virgineum.
Summa Diva ac Virgo plane intemerata.
Tam magna Deipara, una te jure colimus.
Via mea, Paradisi gratum Lumen, te cano
Intus a gaudio camera impleatur. Amen.
Mater cujus amaritudo ei plane magna
Elucens Virgo, tu jam pia Mater amanda.
In Amanda vivam ego. Petrus Carmelita
Mea Virago Lauretana est prima mundi.
Mira simul et pia, erga Numen advocata.
O Luna magnum a Dei pietate sacrarium.
O Unica sanave Margarita, Dei templum.
Summa Regina Poli, tute ac jure amanda.
Tu Regia, non Eva prima, sed Immaculata.
Sum Luna Picena amata, Virgo Mater Dei
Tu mea ardua ara, olim in Picenum gesta.
O veri Dei Munus, Palma, caritate magna.
Alma vere Integra, Pudica. Nos jam muta.
Due Regina et viam tutam sine malo para.
Num pia amata, et sacra Virgo de Lumine.
Eva intacta Deum jam paris angelorum.
Ita amata parens miraculo Deum genui.
Ardua sancta pia meum Genitorem alui.
Tu pia amica Mundo. Salve Regina Mater,
O augusta mire pia. Nunc Dei Mater alma.
Ipsa ter magna aut nimium decora. Vale.
Optima, cara Mater Numinis. Vale. Gaude.

This very eccentric Carmelite who framed the above fifty-one anagrams, and the first anagrammatic dialogue in Part I., some pages back, has been presented entire, and not tithed. The reasons of this special privilege are that he is rare to a degree, an “original” here and always, and the specimens above have been picked out, for the first time, from different parts of his work, for which, and for more about him, see the Bibliography.

Biblia anagrammatica (1904)

Verbum Volat

• καθῐλᾰρ-εύομαι c. gen., and —ύνω c. dat., sine expl., Suid. — Liddell & Scott’s Greek-English Lexicon

Russell in Your Head-Roe

Mathematics, rightly viewed, possesses not only truth, but supreme beauty — a beauty cold and austere, like that of sculpture, without appeal to any part of our weaker nature, without the gorgeous trappings of painting or music, yet sublimely pure, and capable of a stern perfection such as only the greatest art can show. The true spirit of delight, the exaltation, the sense of being more than man, which is the touchstone of the highest excellence, is to be found in mathematics as surely as in poetry. What is best in mathematics deserves not merely to be learnt as a task, but to be assimilated as a part of daily thought, and brought again and again before the mind with ever-renewed encouragement. Real life is, to most men, a long second-best, a perpetual compromise between the ideal and the possible; but the world of pure reason knows no compromise, no practical limitations, no barrier to the creative activity embodying in splendid edifices the passionate aspiration after the perfect from which all great work springs. Remote from human passions, remote even from the pitiful facts of nature, the generations have gradually created an ordered cosmos, where pure thought can dwell as in its natural home, and where one, at least, of our nobler impulses can escape from the dreary exile of the actual world. — Bertrand Russell, “The Study Of Mathematics” (1902)


The title of this incendiary intervention is of course a paronomasia on these lines from Led Zeppelin’s magisterial “Stairway to Heaven”:

“If there’s a bustle in your hedgerow, don’t be alarmed now:
It’s just a spring-clean for the May Queen…”

And “head-roe” is a kenning for “brain”.

Performativizing Papyrocentricity #59

Papyrocentric Performativity Presents:

Mobile MetalBattleground: The Greatest Tank Duels in History, ed. Steven J. Zaloga (Osprey Publishing 2011)

Allum’s Album – The Collector’s Cabinet: Tales, Facts and Fictions from the World of Antiques, Marc Allum (Icon Books 2013)

Aschen PassionDeath in Venice and Other Stories, Thomas Mann, translated by David Luke (1988)


Or Read a Review at Random: RaRaR

Tott ist Rot

• Lautlos und fein rann der rostrot gefärbte Sand durch die gläserne Enge, und da er in der oberen Höhlung zur Neige ging, hatte sich dort ein kleiner, reißender Strudel gebildet. — Thomas Mann, Der Tod in Venedig (1912)

• Silently, subtly, the rust-red sand trickled through the narrow glass aperture, dwindling away out of the upper vessel, in which a little whirling vortex had formed. — “Death in Venice” (translated by David Luke)

Noise from Nowhere

• Es war, als ob er irgendwohin horchte, auf irgend ein unheimliches Geräusch. — Thomas Mann, Der kleine Herr Friedemann (1897)

• He seemed somehow to be listening, listening to some uncanny noise from nowhere. — “Little Herr Friedemann” (translated by David Luke)

Performativizing Papyrocentricity #58

Papyrocentric Performativity Presents:

Diamond in the DirtDirty Story: A further account of the life and adventures of Arthur Abdel Simpson, Eric Ambler (Bodley Head 1967)

Spin DoctorateGossamer Days: Spiders, Humans and Their Threads, Eleanor Morgan (Strange Attractor Press 2016)

Kid ChaosStill William, Richmal Crompton (1925)

Permission to BlandSomething Fresh, P.G. Wodehouse (1915)

Succulent Selections – for Sizzlingly Serebral Splanchnoscopophilists…

Tempting a Titan – a further exclusive extract from Titans of Transgression (TransVisceral Books, forthcoming)


• Or Read a Review at Random: RaRaR

He Say, He Sigh, He Sow #46

“… for comic effect he also drew on neglected Arabic words, including buldah, or ‘freedom from hair of the space between the eyebrows’, and bahsala, to ‘remove one’s clothes and gamble with them’.” — Christopher de Bellaigue, The Islamic Enlightenment: The Modern Struggle between Faith and Reason (2017), writing of the Lebanese Christian Maronite novelist Ahmad Faris al-Shidyaq (1805-87) (ch. 5, Vortex, pg. 167)

Feel the ’Burne

The Poets at Tea […]

3.—(Swinburne, who let it get cold)

As the sin that was sweet in the sinning
Is foul in the ending thereof,
As the heat of the summer’s beginning
Is past in the winter of love:
O purity, painful and pleading!
O coldness, ineffably gray!
Oh, hear us, our handmaid unheeding,
And take it away!

Barry Pain (1864-1928)


A Melton-Mowbray Pork Pie

Strange pie that is almost a passion,
     O passion immoral for pie!
Unknown are the ways that they fashion,
     Unknown and unseen of the eye.

The pie that is marbled and mottled,
     The pie that digests with a sigh:
For all is not Bass that is bottled,
     And all is not pork that is pie.

Richard Le Gallienne (1866-1947)