Composition, music-mathematical theory and the surnames of major European figures are not often deemed important in the so-called post-historical, post-modern or post-patriarchal era. In spite of this, I persevere with two things: a slow-paced, philological study of the doctrine of Jacques Lacan and the composition of non-octave music. As a young man, Lacan received a Catholic education that was hostile to Enlightenment philosophies. As an elderly man, Lacan declared himself an anti-philosopher and a non-progressive. He never let go of the Trinity or philological notions of the Letter qua mystery material or severe threat to common understanding. Unlike the tragedian Sigmund Freud, Lacan considered his work comic-pathetic, hence the incessant parade of insults and mockery. This is frequently overlooked by Anglophone academics. To correct this, I place an emphasis on the comic-pathetic Father figures that Lacan composed at the Panthéon from 1972 to 1980. Of secondary interest are Lacan’s four discourse-schemas from 1969 and his schema of capitalism from 1972.