To me, the reason you have included any bit of an explanation on physics in the discussion (without physics being at all elicited as confusing) is because you have not clearly comprehended the explanation I provided on language (or linguistics), which was the only and primary subject I explained in my post.
Blue:
Perhaps; indeed that's not only plausible but probable. You write all sorts of things that I have no idea of what you are talking about. Once in a while you write something that seems to me clearly stated, but not often. I'll note that I do not mean your posts don't in fact make sense for the may, but rather that given your contemporary-ish Elizabethan writing style, a style that strikes me as at once Faulknerian and
Miltonian, I don't much attempt to discern whether they do or don't. Once in a while you write something that's syntactically modern, and I'll read it, but when I see that archaic diction, I stop reading, which, of course, usually also means I won't respond either.
Red:
I am sure that was your intent.
I can say only that when I hear/see folks raise "past is prologue" idea in a literal way, that is they aren't discussing
The Tempest theme of the past's irrelevance due to the future's grand promise, -- or even the modern evolution of that theme (know history so as not to repeat it) -- my mind goes to to physics not linguistics. Your language on the matter -- "only
within the perspective of the persons in that past perfect that their future is still undecided,
a future that already happened, therefore
not the same future we will yet experience as persons living in the present moment (possibly to be described in any verb tense at any
moment in time" -- is one such example.
I have highlighted the phrases/terms that drove my thoughts to physics, not linguistics, in spite of the fact that I was well aware that I'd asked for a linguistic/grammatical reply. I even considered your comments and tried to apply them to something grammatical. For better or worse, I will remain mired in the modern mode of English composition that mandates one adhere to the fundamental conjugation conventions that allow the greatest number of audience members to distinguish WTF I'm trying to communicate. I'm going to hope that your metacognition allows you to understand the meta-linguistic implications of the preceding sentence. <winks>
You see, yes, I'm capable of deciphering your prose; I just don't feel the impetus to do it because it's a nuisance to do so when your entire post's style is that of the 16th and 17th centuries. It's one thing for you toss in an unfamiliar term; I can look up terms, and it's no trouble to do so. It's entirely another matter when the entire structure of nearly every sentence is of another era and I have to read it as though I'm reading Hooker's
Of the Lawes of Ecclesiastical Politie. (For those who are not familiar with the Elizabethans to whom I refer, see a few excerpted passages at the end of this post.)
You wrote:
[Y]our insistence on the verb conjugation and its syntax is not considering the continuing and layered narrative of "living literature" (Trump's, or any endeavoring politician's speech), beyond the fundamentals of modern, scholar acting and educational meta-linguistics (both acting and linguistics fully comprehended and applied for a non-restricted number of public citizens interested in participating politically through televised, online broadcasting or local events).
Following the verb conjugation and syntax of modern English, I interpret (rewrite) that passage as:
You've overlooked the multiple layers of meaning found in Trump's statement "we're gonna build a wall." There is, of course and unquestionably, the denotational message that Trump will in the future build a wall. There is also, however, the implied message that reminds the audience of the past and extant ills the wall, once built, aims to end.
I don't think I misunderstood what you wrote. Do you? I just don't feel like sifting through Elizabethan forms to make sense of it. That's why I asked you what you were talking about. I had some hope that you'd explain yourself, or even just rephrase your ideas using modern syntax, so that I could participate in a conversation with you.
Passages by a few Elizabethan writers:
Richard Hooker:
Of the Lawes of Ecclesiastical Politie (spelling adjusted to modern standards)
It is both commonly said, and truly, that the best men otherwise are not always the best in regard of society. The reason whereof is for that the law of men's actions is one, if they be respected only as men; and another, when they are considered as parts of a [body politic]. Many men there are, then whom nothing is more commendable when they are singled. And yet in society with others none lesse fit to answer the duties which are looked for at their handes. Yea, I am persuaded, that of them with whom in this cause we strive, there are whose betters.
John Milton: "Paradise Lost"
The first sort by their own suggestions fell,
Self-tempted, self-depraved: man falls deceived
By the other first: man therefore shall find grace,
The other none.
Christopher Marlowe: "Dr. Faustus"
Within the bowels of these elements,
Where we are tortured and remain forever.
Hell hath no limits, nor is circumscribed
In one self place, for where we are is hell,
And where hell is must we ever be.
And, to conclude, when all the world dissolves,
And every creature shall be purified,
All places shall be hell that is not heaven.
Philip Sidney:
An Apology for Poetry
The answer is manifest: that if he stand upon that was —as if he should argue, because it rained yesterday, therefore it should rain today—then indeed it hath some advantage to a gross conceit; but if he know an example only informs a conjectured likelihood, and so go by reason, the poet doth so far exceed him, as he is to frame his example to that which is most reasonable, be it in warlike, politic, or private matters; where the historian in his bare was hath many times that which we call fortune to overrule the best wisdom. Many times he must tell events whereof he can yield no cause: or, if he do, it must be poetical. For that a feigned example hath as much force to teach as a true example (for as for to move, it is clear, since the feigned may be tuned to the highest key of passion), let us take one example wherein a poet and a historian do concur.