Akhilleus stumbles into a mistaken theatre - stumbles in the sense of erecting a sign, stumbles as in striking, striking to stutter. Having discovered that every stumble/stutter is a process to a sign1, Akhilleus stutters into new theatres.
A theatre here, consists in the mode in which a sign is stuttered - the stage presented by the mode, a modal stage. Here, a forest - thus, the natural mode, the forestial mode. The sign 'lymne', then, is said to be natural, more specifically, forestial. A sign, being composed solely of stutters - an essence that is stuttered, an existence in stutters - and those stutters in out-flow and in-flow (again, see: 'resinance'.), the mode of the sign, its theatre, is only another stutter adding to the composition of the sign.
The forest, the particular theatre, has its own set of signs that constitute it as a mode - as strikes to a name, a process of integration. Sign here, not just what is written in a technological sense, but any case of differentiation - what Locke might refer to as a 'simple idea'. Except here the idea is not constituted by sense experience, but by an experience of stuttering.
The theatre, then - a chorus of stutters.
Mentioned on the mountainside, where Akhilleus stuttered his name - strikes. Where a strike is the particular case of stutter said to compose the letter. A case of micro-succesivity - a case of history which is nearly impossible to recount.
At a glance, then, strikes - a letter is a strike, the strike becomes the letter. The strike is the becoming-letter. An action - a strike most adequately compared to an action, in that it might constitute a rising, a falling, rising into a ripple. The air ripples in response to the strike. Most constituent of action, because of the causing to ripple in the air. Not its own action, but the product of the action - the first passage of the strike into the sign. Centered around action, the strike becomes the sign. A family of strikes, constituent of the letter. Strike into letter, that is the action which causes the air to ripple.
In closer examiniation, strikes -
As strikes are constituted in a kind of action - can only be stuttered in and through mechanism, creative motion - they can be recounted as action. The components of which - rising, falling, rippling - then constitute not only the action of the strike, but also the action of the theatre. But whereas the action of the strike occurs in a case of micro-successivity - hence, the action is compressed - the actions of the theatre are elongated, become more fully apparent as stumbles, stutters.
Rippling is that constituent interaction of other stutters in the process of rising and falling interactions - taking the form of lateral movement, chance, a strong gust, quakes, the hammer to pound in the paper, the variables of the mechanism of the strike, the paintbrush fibers.
If only rising and falling actions are permitted, every 'y' would etched the same, every instance of 'lymne' would be taken as exact. Even with only these two actions, the strike, the name, the theatre, would all still occur in time, would all still be stutters, but the action of ripple allows for an even greater degree of variation, a further stuttering. To return to Locke again, although he might not articulate variations in sense experience as a stutter - and there is a fundamental difference between Locke's simple idea and Akhilleus' stutter he does allow for individualistic variations in the conception of simple ideas. From a distance, one person's may gather the simple idea of a square, while another, a circle. This constitutes naration - of strike, saying the name, the theatre.
Rising, falling, rippling, occur in the enunciation of any stutter - the strike, name, or theatre. Yet, Akhilleus differentiates these stutters from one another. To distinguish between these actions - to establish classes of stutter - is to establish a currency. That is, in the play between theatre and name - a stutter composed in the stuttering of the two - there is a current, a necessary transfer of valu4.
Currency is also that which is emergent, which is too a stutter, too subject to the same rippling of the strike, the play shifting as a ripple. That what is emergent is the performance.