Ho, Ho .... it hasn't been a very good day of responses to my comments / messages. Here's another one received today:
"Dear reader, thank you for your kind comment! In "Iconostas", Robert Sharon courageously regresses English toward its correct and classical roots (his etymological scope can extend, and has extended, further back in time than the Exodus). For in "Iconostas", he has successfully defended his tongue against the contemporary, market-driven scourge of "creative writing" ie. (1) the annihilation of vocabulary, (2) the minimalisation of sentences into profane join-the-dots, object-subject, sequential-dependent phrases that make the language in modern literature a laughing stock among such reading peoples as German and Russian, (3) the senseless purge against the passive voice and past perfect tense (the latter noted by Quigley in "Tragedy and Hope" to have provided such a significant lexico-cognitive basis for the early logistical growth of Western civilisation).
In Hamlet, the Bard had Kent remark to the effect that "My master calls me. I must not say no." To the student of "creative writing", this is double negation blended with "needless words"; the individual would seek to "edit" towards "Oh my God! I'm going to die!". When the Moor of Venice laments with "Methinks this must be some huge eclipse of sun and moon", "creative writing finds "huge" an "unnecessary" adjective. He therefore rebels against those who are the etymological and anagrammatical Liliputians!
And to those who have been enraged by the complex tapestry of his organically liberated and groundbreaking prose, he says: "first return to Aeschylus and Euripides! In mother tongue! Then, revise your intemperate and minatory diatribes against him! In the cryptic, revolutionary text of "Iconostas", both he and the etymological irridescence of English literature are once more irradiated and vindicated!"