Green Leaf Invitation
Through the primary forum for literary expression and by the development of copyright law, spurs the emergence for a cultural conception of the author. Where an agreement for authors to come together and form a people, as a collective which by definition is more than and different from a mere aggregation of individual interests and wills, as like a covenant for the social pact, is where individual author as a person, become a people as within a ‘Real‘ Foundation of society.
Understanding laws governing property rights through the discipline, as like copyright laws, are where foundational legal-economic institutions are established. By creating a ledger upon property-rights law is where the community can determine the technical possibilities of and limitations on a joint economic action: it defines the rules that set the conditions of ownership and control over the means of production as well as over economic products themselves. But by creating property-rights law, the aspired community also shapes culture by giving rise to new cognitive schema’s about the roles economic actors play, novel understandings of their power vis-à-vis their exchange partners and innovative conceptions of the nature of their exchanges. Thus property-rights law constitutes both the technical and considered environments within which economic actors operate: A Foundation that ‘holds‘ the property-rights determines both what is feasible and what is acceptable.
Prerogative, Measurement, and the Social Pact
What is acceptable as a common law right is through the Prerogatives of the Crown patronage, that can occur outside Parliament administrative functions. A Prerogative of an expressed Grace can premise the rule of Lex Fori, that can operate for the innovation of a Measurement Verification, to become upon register. (Verification simply means confirming the existence of a property interest. Measurement means determining the relationships of various property interests to one another (i.e. the priority of interests). The property involved has to be filed in an office designated by applicable law. When property law works, it does so because its rules signal to all of us in a clear and distinct language, precisely what our obligations are and how we may take care of our interests; I know where I stand and so does everyone else in relation to any given item of property as one’s ESTATE.
Thus, cultural and economic considered ‘Offices‘ are constructed in the minds of both legal actors (lawyers, legislators, and judges) and economical actors (owners, peoples, artisans, and customers) within a social pact, is to be with understandings of what kinds of things can be owned, who can own them, and under what conditions. It is through the vigilant respect, regard and educational learning of property-rights law, copyright law and its reciprocal relationship with cultural conceptions of the literary property rights and authorship of the development of and use of copyright law. When a core legal and (Celtic) cultural background is in place, it offers the redemption grounds for legal protection of literary property. Moreover, a Natural Right arises from the common law, rooted in the idea that the author as creator has ‘perpetual ownership‘ rights over his or her literary property. It may also be conceived as a temporary monopoly financially granted by the corporate state to the author as being justified as benefiting the public by motivating him/her to create literary works. Though in essence, the emphasis is to demonstrate the impact of conceptions of authorship is upon the common law itself.
Thus Natural Right was originally enacted…
WHEREAS Printers, Booksellers and other Persons have of late, frequently taken the Liberty of printing, reprinting and publishing, … without the consent of the authors or Proprietors of such Books and Writings, to their very great detriment, and too often to the ruin of them and their families: For preventing therefore such Practices for the future, and for the Encouragement of learned Men to compose and write useful Books… (Statute of Anne 1710).
Historical Precedents and the Legal Evolution of Copyright
It is of interest to note the history of the conflict with the common-law philosophy of copyright as an author’s Natural and Perpetual Right in his or her creative property, as opposed to the temporary monopoly of the State services; this conflict was not resolved for six decades – not until the House of Lords issued their decisions in Millar v. Taylor (1769) and Donaldson v. Becket (1774). The starting point for the legal treatment of copyright is a question of the rights of an individual – the author – and not for the act of publishing (printing and disseminating) texts. Copyright is as rooted in the creative author who writes a text rather than in the printer or bookseller who publishes it. It was argued that their writing deserved protection because it would unite the new nation and promote a national or (NATURAL) cultural identity.
The Rule of Lex Fori
A defining difference to note is within the Wheaton v. Peters decision (1834); to establish that after publication, there is no common-law copyright because the Copyright Act pre-empts all common-law copyright claims. Though the Supreme Court recognised the existence of common-law copyright for unpublished works, and later courts recognised other state-specific claims to protect unpublished works and works not covered by the federal statute. The Natural Right copyright is afforded to authors to recognise their property interest in their creative work; on the other hand, copyright is designed to benefit the public and promote learning by granting limited monopolies to authors (social pact), so they have economic incentives to publish their work. i.e., as for the authors to adhere to a joint communal pact venture towards a Prerogative of Grace, that can premise the rule of Lex Fori for the purpose to operate for the innovation of a Measurement Verification.
Status, Authority, and the Nature of the Person
To be an author today means to write and own what you write. It offers the claimant of a special status for themselves using the term auctor to signify their ‘Right to the Title‘ of laureate or literary master. But this status did not confer ownership of texts because until the eighteenth century, people generally thought of texts as actions rather than things; they valued texts for their ability to move people to think or act. As actions rather than objects, texts could not be owned.
Actors, Actions & Fictions
So in context, a person is an actor where he/she whose words or actions are considered either as his own, or as representing the words or actions of another man, or any other thing, to whom they are attributed whether truly or by fiction. When they are considered as his/her own then he/she is called a Natural Person of a Natural Right; and when they are considered as representing the words and actions of another then he is a feigned or artificial person. Of persons artificial, some have their words and actions owned by those whom they represent -ie. one becomes the strawman of a national identity, as then the person is the actor; and he that in possession and owneth his words and actions is the AUTHOR- ie; the State Government- in which case the actor acteth by authority. For that which in speaking of property goods and possessions is called an owner, the author; and as the right of possession is called dominion; so the right of doing any action is noted as AUTHORITY.
Note: Chattel vs. Estate Tenant: Redeeming the Persona
As a citizen you are an owned possession as chattel by the dominion authority of the State. Your strawman artificial persona acts out for the states contextual legal fiction. As a Subject of the Crown of an ESTATE (not as a possessed chattel) you are considered as a tenant not as an owner. As an ESTATE tenant of free will subjected to the laws of the Crown, you have a right to redeem the artificial persona by understanding laws governing property rights so to discover where new foundational legal-economic considerations can be established.
By Natural Right every man has an ESTATE property in his own person: by this fact, no-body has any right to it but himself! The labour of his body and the work of his hands are properly his ESTATE… Whatsoever then he removes out of the state that nature hath provided, and left it in, he hath mixed his labour with and joined to it something that is his own, and thereby makes it his property (Locke 1690: Chapt. V, Sec. 27)… His own ESTATE!
Patronage and the Role of the Estate
Most historical British writers depended for their livelihood on patrons either wealthy aristocrats or powerful printers who claimed ownership of the texts produced by their writer-clients. Aristocrat-patrons received honour and status through their writer-clients’ service, while printer-patrons received from their writer-clients goods they could sell for a profit in the developing marketplace; in return both kinds of patrons offered their writer-clients cultural and material rewards. Such a modern economic system is akin to the situation facing staff writers of newspapers and magazines now: they work for an entity such as a publishing company/corporation that pays them a wage and, in return, claims ownership of the texts they write.
Prerogative of Grace and by Royal Assent
Within the Prerogative of Grace and by Royal Assent, the Office of Estate, is of service to patronise and to respect the centred property-rights claims to literary work of the author, through one’s ESTATE, with respect that becomes from the statement…
All mechanic artisans are allowed to reap the fruit of their invention and ingenuity without invasion; but he that has separated himself from the rest of mankind and studied the wonders of the creation, the government of his passions and the revolutions of the world, and has an ambition to communicate the effect of half his life spent in such noble enquires, has no property in which he is willing to produce but is exposed to robbery and want, with this melancholy and just reflection that he is the only man who is not protected by his country, at the same time that he best deserves it. Addison (1709: 41-42).
Author of Your Own Reality & Acquired Title
The Office of Estate, accords with the belief of the genius of authorship and of the argued right for copyright law to protect authors’ rights to their literary property and of a way protecting their species of property which is otherwise open to every invader, towards a mutual benefit of nurturing literary genius to a establish a new ecclesiastical society at large, which might serve to elevate the sentiments & dignify the manners of a Country… To regard the treatment of literary property in the legal literature and to conceive the writer as an exalted figure whose ownership of his work merited protection in the common law… To incorporate the notion that individuals could be the authors of their lives and thus of all the artistic works they produced… To assert one’s ownership of original creations was to assert one’s self, one’s unique character and personality… To acknowledge the conception basis of literary property rights: as a shift from effort to personality, which was revealed in originality, where every man has a mode of combining and expressing his ideas peculiar to himself.
That the same doctrines, the same opinions, never come from two persons, as a literary work really original as like the human face, will always have some singularities, some features to characterise it, and to fix and establish one’s Acquired Title upon.
The Office of Estate: Protection from the Vociferous Rabble and Customary Law
The Office of Estate, acknowledges that writers often demanded anonymity in an effort to preserve their dignity and privacy. That it is of the characteristic of a genius to sequestrate itself from the impudent gaze and slanderous tongue of the noisy throng: than to risk exposure to the envenomed shaft of the critic whose name carries a greater dread, even if it is vociferous rabble, since it is the banal critics profession to spy out every blemish while he ingeniously conceals one’s beauty. So to avoid vociferous rabble evils, an offering will be made to attain a concentration of authority labours. A method in which it is supposed this object may be affected is to allow a Lex Loci Verification and Measurement appropriation to those who contribute to the pages of the proposed work. To make such appropriation is not only necessary, but Just. Those who will thus labour for the public good are not riches, but for the reward of wealth to which they are entitled. It is for the artisan to become aware that though you may write with an angel’s pen yet your work will have no mercantile value unless you are known as an author.
The Office of Estate, acknowledges and honours customs as best interpreter of laws: optima est legum interpes constuetudo and as when a custom is public, peaceable, uniform, general, continued, reasonable and certain and has lasted time whereof the memory of man runneth to the contrary, it acquires the force of law… Customary law can become as a Valid source of common law title to land when an author has…
The Green Leaf of Custom
The Acknowledgement of Will, Spirit and Story
It is of the free WILL that is the sole wealth of the human being, and it is of the Will and Spirit of the encouraged, that will influence how one’s customary story unfolds. When acknowledged the WILL has received by those certain obscure powers of the five elements that guide our actions on earth and with assurance that our encounters with certain figures are never a matter of chance. Moreover, that we all necessarily correspond to a stage of the “Quest we pursue” through our lives acting independently of any dogma, preconceived ideology or political and philosophical obligation, that a starting point emerges to launch one existence into an adventure.
Here, a customary digression into the relationship between an exploration of myth and one own history is not purposeless: It allows people to measure both their own distance that separates a historical event that actually took place and the tale subsequently told about it, however objective and the “Goodwill” of those who assumed responsibility for driving such a story. Because myth of the mind is pure potentiality, it’s only recognised existence can be capitulated in the expression of an epic, tale or legend that becomes into a concrete reality and accessible to the imaginations of those who hear or read it.
The Role of the Estate in Myth and History
It is the same for the consideration of one’s own history, as it is de facto, that it is no longer measurable save through the consent of memory, makes it appear in the same position as myth. To make either myth or history of one “Self-venturous Quest” concrete and accessible to all, it must be given a body, an ESTATE that will guarantee the authenticity. It is to understand that an ESTATE as a pure objectivity is only an illusion; that our perception of the past is completely depended on our present viewpoint, which is loaded with the most varied motivations and the most excessive interpretations.
Be it so… An ESTATE also holds latent wisdom that exists within the exploration of past stories of myth, that which heals culture through customs, and is here through the Celtic Theatre Group, encourages one’s “Self-venturous Quest” to be expressed into the present, accorded as a potential solution for today’s modern related problems. For such invited truths are welcomed to help redeem, re-establish the foundations for the gentle rights and liberties of one’s belonging, with encouragement to create for the visionary future of the precepts and principles of a new communal ecclesiastical circle. It is for the discovery of such latent myths to be innovated and transferred into an accepted Immemorial custom, common to the realm and induced into maxims, for the purpose of an offering to the common law its wisdom, strength, flexibility and continuity, as, such past customs grew to perfection by continual usage from time out of mind (Leges non Scripta) and was more “perfect” and “excellent” than any written law.
Customary Liberty and the Regenerative Constitution
The Celtic Theatre Group honours that our ancient lawful and vital liberties are reinforced by the ancient laws made by our ancestors, as by setting such a stamp on them as no foreign licentious spirit shall dare hereafter to enter upon them. That a truly immemorial constitution could not be subject to a sovereign: since a King/Queen could not be known to have founded it originally, as the King now reigning could not claim to revoke rights rooted in some ancestor’s will. But as through a Royal Prerogative, laws ratified by custom are generally the most ancient and esteemed highly sacred having been approved by the experience of ages. It is to acknowledge that custom quietly passes over obsolete laws which sink into oblivion and die peacefully but the custom law itself remains young, always in the belief that it is old. Yet it is not old; rather it is a perpetual grafting of new on to old law, to emerge a fresh stream of contemporary law springing out of the creative wells of the subconscious of a community.
So when one has laid hold of such truth and presumed in favour of the law’s rationality, one will of course begin to see it. The old safety of customary liberty today is fast losing ground to the capricious rationality of law by legislative command by the conclusions of philosophy or political speculation. If thought is given to the question it should be evident that the concept of a self-restoring, self-healing, regenerative constitution could be more useful to radical reformers than to political or constitutional conservatives defending the status quo. That the timeless constitution can be regenerated itself by “recovering” customary rights. As like through the emergence of latent wisdom that exists within the exploration of past stories of myth, that which heals culture through customs, to be required to be expressed into the present for solutions of today’s modern related problems.
The Eleven Considered Tones of Narrative
As expressed that a mythical story that can wander into many diverse tendrils requires a disciplined approach for the assurance that adventure captured can become a utility, than to become depressed into a lost cause. There are eleven considered tones of narrative that can help navigate through the search of myth that can produce a relative story line/charter for people to comprehend upon…
- First consideration: requires a Valid/Potential; that will magnetise an audience acknowledgement.
- Second consideration: to is describe its Origin/Birth; portray its origins, location, territory.
- Third consideration of story: is Relative/Status; express the integrity and characteristics of the subject.
- Fourth consideration: is to make it Comprehensive/Believable; of something people can observe in their meditative state.
- Fifth consideration: is Localise/Custom; make it relevant where people could accept the facts in the wisdom of the myth.
- Sixth consideration: is to Divine/Inspire; create the universal aspect as beyond time, where people sense a belonging to myth.
- Seventh consideration: is the Productive/Culture; demonstrate the love, art and play through the sense of memory by tradition.
- Eighth consideration: is to justify its Accepted/Values; open up a realm of venture for people to embrace the story.
- Ninth consideration: is Objective/Ethos; develop an intellectual dialogue for the myth to become existent in modern mentality.
- Tenth consideration: is Sole/Identify; establish the basic rationale ethos of the story.
- Eleventh consideration: is to Being/Transform; leave a conclusion that emphasis your subjective Truth, Beauty and Goodness; the enlightenment of the story!
The Holographic Will and Testament
When the mythical story is complete and assured as a final expression in written word format, there is a process where the myth can become considered by common law as a Holographic WILL. When it becomes registered as a part relating to one’s own personal property, it is factored as a Testament. It’s requirements is to be registered by acceptance of mutual agreement and understanding through a Celtic Theatre Group holding. When a consideration is assured between the artist and the Celtic Theatre Group Holding, the artisan will be on register as the Executor of the Estate of the myth/testament, to be negotiated into to become part of a joint communal pact venture by an ecclesiastical Prerogative of Grace.
A meeting can be arranged to discuss such registered acceptance upon motions of ESTATES.
Avenue of Copyright
A simple procedure exists in the avenues of Copyright. The artist is requested to print four copies of the written expression of the myth. The artist is to keep one copy for themselves. Another two copies are to be sealed in a registered mail envelope. The artist then mails one envelope to their own address, and on receiving the registered mail, it is not to be opened but left sealed indefinitely. The other sealed registered mail is to be sent to the mailing address of the Celtic Theatre Group Holding. On receiving this sealed letter, it also will be left sealed indefinitely. The fourth copy of the written myth expression is to be regularly mailed (or handed over) to be opened, so the office can then Market their story there upon. The reason for not opening a sealed mail is for protective measures. This application will need to be explained in person and in detail.
When the mythical story is registered mailed, the Post Office grants them a tracking number and a date upon the sealed information. Under the maxim of ‘first in time first in law’, the Post Office offers a global copyright law protection for the mythical story, through its Common Law time signature jurisdiction. By sending a copy to the Celtic Theatre Group Holding, the mythical story will be on ledger within its Ecclesiastical Charter, with the direction for the story to established as an artist equitable interest to be formatted.
Summary
A Critical Overview of Authorial Sovereignty and Customary Jurisprudence
Cultural Conceptions of Authorship and The Green Leaf of Custom establish an intellectual, legal, and spiritual framework for protecting literary property and emancipating the individual creator.
Cultural Conceptions of Authorship traces the evolution of copyright from a common-law natural right into a mechanism of state-sanctioned monopoly, exploring how the author transitions from an anonymous agent to a recognized owner of intellectual property. It critiques the modern legal fiction of the strawman, where citizens are treated as owned chattel under state dominion, and contrasts it with the status of an ESTATE tenant who exercises free will and self-ownership under common law and ecclesiastical patronage through the Office of Estate. Key concepts include the Prerogative of Grace, Lex Fori, and the acquisition of legal title through personal labour and original expression, prioritising personality over mere physical effort.
The Green Leaf of Custom acts as a manual or charter connecting personal myth-making with immemorial custom and common-law property protection. It introduces the Self-venturous Quest as an epic exploration of the unconscious mind and the universal myth of mankind. It guides creators through an eleven-step narrative framework to transform personal myth into a concrete, objective utility. Finally, it outlines the practical mechanism of establishing a Holographic WILL and executing a dual-mailing postal copyright strategy, relying on the maxim first in time first in law, alongside registration within the Celtic Theatre Group Holding’s ecclesiastical charter.
These writings present a fascinating synthesis of legal historical jurisprudence, common-law counter-theory, and esoteric romanticism. By weaving together disparate legal traditions, such as Locke’s labour theory of property, the Statute of Anne of 1710, historical copyright litigation including Millar v. Taylor and Wheaton v. Peters, and ecclesiastical customary law, the texts construct a robust alternative paradigm for authorship.
Instead of viewing copyright merely as a commercial utility granted by the state, the framework repositions the author as a sovereign creator reclaiming their work from the vociferous rabble and the bureaucratic fictions of corporate governance. The integration of structural methodologies, such as the eleven narrative tones and the postal registration ritual, demonstrates a deep commitment to giving abstract philosophical ideas tangible, operational utility. The material serves as both a philosophical manifesto for the emancipation of artistic genius and a practical blueprint for securing intellectual property outside conventional corporate channels.
