
French author (1866-1944)
Missing: 4, 5, 7. Present digits repeat to show how many times they occur.
Thirty-three is the rarest of the master numbers and the least agreed upon — many practitioners do not use it at all. Where it is used, it is read as the care of 6 raised to instruction: lifting people by teaching rather than by carrying. Its named risk is the same as 6’s, one size larger.
The 8-1-6 row complete. Read as follow-through — the traditional marker of someone whose plans reliably become events.
A complete line in the grid.
A complete line in the grid.
A complete line in the grid.
Concentrated responsibility. Read as care that has trouble finding its own edge.
Read as impatience with structure and maintenance. Associated with starting well and leaving the scaffolding to someone else.
The centre of the grid, so its absence is weighted heavily. Read as difficulty adapting mid-course — a preference for the plan already chosen over the plan now indicated.
Read as reluctance to sit with an unresolved question. Associated with wanting the working answer rather than the true one.
Moolank 2 comes from the day of the month alone; Bhagyank 6 from the whole date. They differ, which is the ordinary case — the two numbers answer different questions.
The Moon. Mind, mood, reflection. Read as receptivity and changeability.
Bhagyank uses the same arithmetic as the Western life path, so the two will always agree. That is not two traditions confirming each other — it is one calculation under two names.
Theatre supposes lives that are poor and agitated, a people searching in dreams for a refuge from thought. If we were happier and freer we should not feel hungry for theatre. ... A people that is happy and free has need of festivities more than of theatres; it will always see in itself the finest spectacle.
There is only one necessary condition for the emergence of a new theatre, that the stage and auditorium should be open to the masses, should be able to contain a people and the actions of a people.
I find war detestable but those who praise it without participating in it even more so.
Are you descendants of Goethe or of Attila the Hun?
What I especially love in Lefebvre is this intimate alliance — which for me makes the true man — of pessimism of the intelligence, which penetrates every illusion, and optimism of the will.
In politics, he has always been a republican with advanced Socialist sympathies, and internationalist at heart, and, as they said in the eighteenth century, a "citizen of the world." He has always fought social injustice. In art, he loves, above all, Beethoven, Shakespeare, and Goethe...Rembrandt is the painter dearest to him. But his chosen country is Italy.
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