Charlotte Stant felt the see-saw pendulum of aristocracy bubbles of champagne writhe inside her frame like a river network of uncomfortable tickle-sensations against the inward lining of her sinuous throat.. like a rushing ocean of giggling foam inside her chest cavity like a gentle rubber foam breathing of high sensibilities for everything vast and powerful in nature and society.. she felt the rivers of society inside her soul, Charlotte Stant did.. she felt like an industrial revolution was in her bloodstream.. and bringing torrents of warm blood rain to her flushed face of splashing purple-gray complexion.. her face had a pleasant white glazed marble complexion presently and this was the surface reach of her feelings inward and sensations corpuscular for all that society promised in the way of high finance and the very margins of high finance that were econometrics.. a man she thought of as both her husband and her father-in-law, Adam Verver, had acquainted her with many, many terms of econometrics but she had blimey sense of what any of them could possibly mean.. terms like.. multicollinearity.. heteroskedasticity.. stochastic disturbance terms.. covariance matrices.. Cobb-Douglas Function.. Gauss-Markov Theorum.. endogenous and exogenous variables.. maximum-likelihood estimaters .. least-squares estimaters.. seh had memorized all these terms that Adam Verver had taught her in the personal course he had given her in econometrics.. in the new-burgeoning financial science of econometrics.. but she was woe-blotted in her very sensibility for hopeless self-despair as to what a single one of these econometrics terms actually meant, what the definition of any of them was.. she had no idea.. none whatsoever what multicollinearity was.. or heteroskedasticity.. or stochastic disturbance terms.. or covariance matrices.. but she could spell and pronounce these terms.. so taht was something, she thought, I guess..
Charlotte Stant had then done something precious with these econometrics terms.. seh had developed a peculiar numbering system for them.. where every single one of these terms, of these econometrics terms, would be dearly and endearingly associated with a number, with a number in the mystical, supernatural, symbolical, even allegorical sense of number.. so "multicollinearity" meant "1".... she wasn't sure what the number "1" meant but she would work on it.. heteroskedasticity meant "2"... oh.. wait.. Maggie Verver had inquired spectrally whether multicollinearity could meant telepathy.. could mean telepathic science.. "2".. what did the number two mean.. Charlotte felt the number two meant something mystically architectural.. that "2" meant Gothic and Baroque architecture.. perhaps "1" meant Romanesque.. finally.. her most beloved number of all.. teh number.. "3".. "stochastic disturbance terms".. means her beloved.. "3".... the number "3" means "persecuted hero".. means.. "martyred hero".. "3".. means...".. hero martyred into villainy..."..".. hero persecuted into status of villainy".. all of that was what her beloved number of "3" meant to dear Charlotte Stant... and "3" meant.. to her personal, idiosyncratic, charmed fancy.. "stochastic disturbance terms".. the number "4" meant the organic, physiological, transformative, the transfiguration into kalleidoscopic sculptural forms.. all of that was the number.. "4".. and Charlotte Stant had decided that "4" meant "covariance matrices"... "5" meant to her, succintly, "Cobb-Douglas Function".. the number "5" meant fifth tonic.. "5" meant Romanesque clear contours of musical shades within shades of teh deep smokes and mists of soul.. shades within shades of the music of Chopin or especially of Debussy or Faure.. or especially Chopin as well, that most excellently underrateable of composers, and Chopin meant the musical number "5" of the fifth tonic of musical theory.. and "5" meant.. to her deliberations and intellection and deep cerebration.. meant.. "Cobb-Douglas Function"...
No comments:
Post a Comment