Masr or Mitzraim to the Ostyuden disambiguation

Dylan's Mr. Tambourine Man, though conditionally not theist bent, brings me into the fold of memories about a tambourine man, an Arab, Muslim as much as one would consider any one body sentient within Arab lands (...that includes animals--according to the Qu'ran, and the characterization of the T. Man==More, animals, as I've read, have already "submitted"--define "islam" here, but Man must take upon himself the Shariah, therefore identifying himself as an adherent--I think the word "witness" is appropriate, here, in his forebearance). But to expand upon the poetic nature of confliction over theism, tremendum and fascinans, the adult playing the tambourine down the butcher's street, on the way to the train station--in Luxor Egypt--Just his giving voice and weird credence to the pity borne of ritual/religion--his music, like mine: vanquished! -- animated the dust coloured walls to chaotic fly-ridden meat (halal-!)--laterally his domains--into tacit moments otherwise not warranting this Westerner to get all that close. The man was clearly transcendent (the local masjid in vicinity, by the way, its door let out upon that dirt road) to typify his insanity (=majnoon in Arabic, one posessed by a demon, a jinn), probably not to the nether regions, but more closely toward disease & propriety in his next breath. Now we see the Mumin's or Musselmanner's treatment of his kithe & kin or my misunderstanding of it, along w/whatever we'd see in the following. (Muslim detractors called Muhammed majnoon, inappropriately--I reflected on this word working construction in Southern Israel, amongst the other Palestinian laborers, unknowingly, & got punched hard in the shoulder over & over again for my indisgression. I had only thought of its similarity to the Hebrew word Meshugga=same meaning--words aren't cheap to some!!)--Covering all bases, to continue: In Visions of Joanna, Dylan uses the lyrics about the empty sheet that now corrodes, the Fiddler who walks to the road, says everything is returned that is old, & Dylan's conscience explodes as the back of the Fish truck loads. In what seems to be his telling of unique histories, the fiddler is he--the so-called fiddler of E. Europe, On the Roof...it has to be. And the whole Judeo-Christian ethic, New Jerusalem (from maybe the Jerusalem of the east--think Litvak) on trial--is of One product, as he tells it from its report, meaning his conscience exploding--the fish is emblematic, Rt? If anything I'd bid his perspective at the equilateral-ness of the monotheists. It wouldn't be conceptually, except in some very essential ways, but definitely socially/politically--as Downpressors? (a Marley-ism). We could take the whole context time-line of the last 2000yrs & brandish its beginning as a deliverable context in itself. Called the Axial age, we now see, and the impetus of the degrading human condition thereafter. **See Unripe Walnuts below for schizophrenic allusions--my take on the supra-normal, short & sweet.