12 may 2023

12 may 2023

John Bjarne Grover

This continues from the discussion of this poem as well as the discussion in this file.

Yet another correlation between chinese radicals and egyptian hieroglyphs can be read from another illustration in Breasted 1964. It is the photo of a sculpture in Kairo Museum of Ramses IV leading a captured libyan with a dog at the feet. I immediately recognized my own Kinderhilfe #74h = DDS I:74h which tells of the book falling down into another reality while yet remaining in the original one. It turned out to be absolute enumeration #97 - which has a mirror poem #332 in Unter Gesellschaft #37 = DDS II:37 - which is chinese Kangxi radical #97 - the KUA sign 瓜 which I have described in this file interpreted on background of a Schimmelbild on the bathroom wall. There are two transforms of this:

For once the Ramses IV photo applies to the lefthand part of the Schimmelbild - for the outlines of a woman sitting with crossed legs:

The lefthand side
of the Schimmelbild
The sculpture of Ramses IV
with captive libyan
The outlines of
a sitting woman

secondly the KUA sign across the entire Schimmelbild applies across only the lower part of the Ramses IV photo:

The chinese KUA sign
Lower part of the Ramses IV sculpture
The combination of the two

It seems that my two poems interpret these two transforms:

Kinderhilfe #74h = DDS I:74h interprets the upper and lower half, including the 'Lattenzaun' in the lower, while the mirror poem Unter Gesellschaft #37 = DDS II:37 has four parts which seem to interpret the four parts (or heads) of the Ramses IV sculpture successively from top to bottom.

Most interesting are the last two lines of DDS II:37 which seem to describe the dog ('der eine breite Fuß') - corresponding to the hammer of the KUA sign which combines with the sickle of the woman's head as for the emblem of communism - plus the bottom text (a 'seal'?) it walks on:

It is not so easy for me decipher this but I could recognize from Wallis Budge's dictionary (by some lax leafwork) the signs for 'sept' = 'lip', 'fekh' = 'to untie', 'to unloose', 'sepeh' = 'to tie with a rope', 'to fetter' - plus perhaps even a 'bent' = 'incarnation of the spirits of morning', 'divine monkey' - in combination 'sept-fekh-bent' = 'septuagint[a]'. Could be an egyptologist could read "ein fetzen-eingebundelt' Kuss" out of these signs?

However that be, the upper text applies to the second stanza with the lines "Mein Leben ist ein großer Leinen-Umschlag. / Ich lebe hoch und fern und gut und weit".

The first stanza could be about the puppeteer's control with the 'doll' through the two green pins of the front page illustration to TEQ - described in this file.

Sources:

Breasted, J.H.: Geschichte Ægyptens. Deutsch von prof.dr.Hermann Ranke. Deutsche Buch-Gemeinschaft, Berlin, Darmstadt, Wien 1964.

Wallis Budge, E.A.: Egyptian hieroglyphic dictionary. A hieroglyphic vocabulary to the theban recension of the book of the dead. Kegan, Trench, Trübner, London 1911. Printed by Adolf Holzhausen, 19-21 Kandlgasse, Vienna. Issued by Book Jungle, PO Box 2226, Champaign, IL 61825. Reprinted by Lightning Source UK Ltd, Milton Keynes UK on 02 December 2010.

My thanks to the dove who tipped me about the Ramses sculpture relative to my poems.