By Ludwig B. Larsen
In September, 1919, the writer released "The Key to the Bible and
a ebook describing what the Bible truly comprises, yet this ebook
did no longer clarify the explanations of the historical occasions similar within the Bible. It additionally
contained a few unavoidable mistakes that have been corrected during this book..
The item in writing "Ancient Prehistoric knowledge" is to give an explanation for of what
the legislations of the heaven is composed, in addition to to offer the cause of the reasons
and results of the occasions recorded within the Bible because the legislations of creation..
The writings often called sacred books comprise descriptions of the astro-
nomical legislations of the heaven and the normal legislation of this earth. those writings
have in earlier a long time been thought of sacred, and are referred to as holy through the races
who have preserved them. The contents of those books originated in prehis-
toric time, centuries prior to grammatical written language used to be invented. In
transcribing and translating those writings from the primitive documents, a
personal interpretation of the legislations used to be hired. The language used and
the approach to describing the legislations is recorded in a unusual demeanour and is
The historic writers recorded the formation of races, time, area, and the
astronomical legislations because the phrases of a God spoken to guy, that have led stu-
dents of those writings to deduce that there existed a private God who spoke
the phrases written in those books. it's the legislations and the misinterpretation of
the writings that are defined during this publication, and that's what in B.C. time,
was known as historic knowledge.
Portland, Oregon, 1921-1927. LUDWIG B. LARSEN.
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Additional info for Ancient Prehistoric Wisdom
At a date around 463. See TGF 1 (Snell) 44; Garvie 123 (1969) 1–4; Kitto (1961) 1–3. See de Jong (1991). 36 Escape-Tragedies wonder why hardly anything happened on stage. One reason might have been the technical limitations of the theatre of Dionysus. 124 Nor was it usual to show deaths on stage, perhaps for reasons of delicacy (although Ajax, for example, does, so it must not have been unknown). Nevertheless, it would have been possible to show much more on stage; and some of the actions which did make it into the theatre—divine epiphanies, ﬂying horses and suchlike from the mechanical crane (mhcan&)—were faintly absurd and (literally) creaky.
142 Therefore, if tragedy really has something to do with Dionysus, it will have to be found ‘beneath the surface’, on the basis of a metaphorical, allegorical or structuralist reading. ’143 This corresponds very closely with his own interpretation of tragedy as an ambiguous, questioning genre, but is it correct? Can it really be maintained with certainty that Dionysus stood for all of that in classical Greece, or that there was a widely held notion of something called ‘the Dionysiac’? 144 141 Plut.
But another man says, “No, wait a minute. I want to ﬁnish my coﬀee,” and the audience groans inwardly and yearns for them to leave. 117 115 Compare Burian (1997) 181–91 for a ‘typology of plot’ in tragedy. 2 below. 117 Alfred Hitchcock, ‘A Master of Suspense explains his Art’, Life, 13 July 1959 (repr. in Gottlieb  45–9). An interesting discussion of suspense (die Spannung) in tragedy is given by Fuchs (2000). 116 34 Escape-Tragedies Hitchcock might almost be describing the reactions of the audience sitting in front of Oedipus the King or Medea .