14 july 2023

14 july 2023

John Bjarne Grover

The yellow metre studies how TEQ (1997-2008) as 'prophetic language' alters the cultural state of the society in such a way that it leaves an imprint on events. When I wrote DDS = 'Der Dornenstrauch' (2009-2015) on coffee points around town, I used to take the events of the immediate surroundings as poetic inspiration - and would as the author of TEQ be in the position to recognize its imprints. That is when it is interesting to observe how closely the resulting poems could approximate artworks - here two examples from the italian renaissance:

Correggio's "Jesus says goodbye to his mother" (another reproduction here) is well interpreted in my DDS III:18, including the 'accordeon' of the pillar. It seems that Jesus is playing the violin.

Tizian's "Saints Mark, Cosmas, Damian, Rochus, Sebastian" is interpreted in my DDS II:37. Ich bin[d], du bist, er ist. The poem seems to tell that this is hieroglyph FOOT (as in Correggio's 'Noli me tangere') in which case the black-dressed writer (as on a clay tablet) inscribes probably around element 8 of the 1-step series: "eHonaipsihdeleets" = "a hand I psychedelits". If not element 9 - "saWhtebsiLh" = "saw the psil-".

Clearly this is probably not the same as just sitting down anywhere to write down what is going on, like some surveillance camera. The events are apparently steering towards an esthetic object because of some inspiration in the TEQ.

Assume that Tizian's artwork could be taken to tell 'ich bind, du bisst, er risst', the 'rissing' man makes a 'renne', as it is called in norwegian - like that earthquakes of clay-tablet Turkey on 6 february 2023 which seems (see 9 may 2023) to have told about my SNEEFT COEIL chapter 1 poem 7, starting:

Seele, du wartetest bei diesem Strand
der Wagen im Kreisverkehr.
Ein kleinäugig' Rennfahrer hielt bei dir an
und ließt dich hinüber das Meer.

Looking up the chapter on event studies, this is in volume 4 on page 1027. The 'Rennfahrer' is element 123 "pulpit" - "Man cleans his spectacles at third counter".

The 'gong' (of brief comments 11 july 2023) could find its explanation in DDS III:21 (long on my internet page under this link) relative to Correggio's 'Nativity'. Gongora, zongora.

It was this work with the yellow metre which met certain problems. (The poems are not about the one serving the coffee, though). I managed to complete DDS, ending it at the time of the earthquake (for whatever reasons) of Mount Everest, but the last parts were written most of it outside Austria.

Did the society feel my poetry as a competing power factor? It is important to understand that the poet of 'prophetic language' is not any power factor at all - rather the opposite - it is language for the human beings as they really are and not as what they can be changed into by power. The problem could rather be that if the prophetic language conceives of humans as they really are in a sense which is not pessimistic, a downdrift-burdened society (e.g. as imbued by secret intelligence logic) could perhaps come to feel somewhat nervous thereby - if it should mean that the downdrift is not necessary at all.

As another example, see Correggio's 'Madonna di San Girolamo' which continues the book/scroll mysticism. My DDS II:44 interprets this artwork: The 'Löffel' = 'Löwe' divides in two (scroll, lion, bevor Wir) when the page is turned by the angel. That means that 'die Zeit ist krumm' like the woman curvingly lying at Jesus' leg in front of the curved lion-brown matter.

Search this article for 'maya-zugoted': If the new computing technology is situated inbetween the left- and righthand parentheses of TEQ (inner poetic articulations) and DDS (outer poetic observations), it is only the poet who can understand where that is. Then why so little support to me and my work?

The power games are solved by telling the truth of history. They are not solved by dumping the problem on the poet. I am only a private person who has nothing to do with all that game but believe I am doing decent and important work. If the world feels that it is not sufficient that somebody else tells the story of Hitler and Himmler after the war but should wait untill it is told by Norway (if that is where the two war criminals went - which would not mean that they are my genetic parents, as a logical short circuitry could suggest), the world can of course help me in the mean time. Nothing is gained by involving me in the power games or couping this role of mine.

16 july 2023:

In the article 'Some notes on text and image in 'The Endmorgan Quartet'' I mention 'the angel Abraham' with a link to the discussion in the article 'Comments on some poems and their parallel texts in 'The Endmorgan Quartet''. It is the three first volumes of my collected works (these three were published in 2013) which constitute this angel - vol.1 = the left wing, vol.2 (TEQ) = the body, vol.3 = the right wing. A good example of this 'angel Abraham' in the DDS version (qua 'righthand parentheses' - or his wife Sarah - cp. vol.4 publised in 2019?) can be added here: Andrea del Sarto's Sacrifice of Isaac (from this source) - the Dresden version - has an interpretation in DDS III:24 (the third part, associated with the possible 'lapis philosophorum') with counterpoint in DDS II:24 (the second part, associated with the 'magic graphic'). One notices the apparent dark face at the root of the lefthand tree in "schwarzer Glanz aus blauem Kobalt / sich flach auf Boden wirft", suggesting that the 'Spiegelvogel' is a reflection not only of Isaac but also of the tree wherefrom it looks as if Abraham has just detached the knife directly out from its surrounding bark. It was the 'Spiegelvogel' who suggested for me the title to DDS part IV - 'Die Schönheit der Welt': This consists of 16 poems of 20 lines each (plus title = 21) and hence 24 out 64 means the last 5 lines of DDS IV:6. Considering DDS II:24, it is #25 out of the 66 poems in part 2 and hence 25/66 * 16 comes to include the title of the next poem as well - see this detail in the righthand side of the artwork (reproduced from 'I maestri del colore' #53). Is it a righthand counterpoint to the 'ground' at the knee of Abraham - even with a mid component inbetween - in a triadic formation? See the story of the vision of the schoolbus-sized meteoric object coming in from outer space after having entered the gravitational cyclicity of DDS parts II-III.

It may be important to observe and not bite that hook of the 'gong' in the difference between 24/64 of part III against the 25/66 of part II: The difference is in the fallout of "am Strand der Ewigkeit. / So steht der" replaced with "So lebn wir heute / Der", inviting to not bite the hook of the 'lip-blowing' 'ancestor' in the righthand margin of del Sarto's artwork qua 'rauter' = 'lowing' (like a cow) of the Klipra dialect. This potential primitivism compares also with vol.1 p.157 "crashes into the asphalt" with a precise counterpoint in vol.3 p.157 "coronality". Clearly the idea could arise or 'land' in certain heads of a correlate to 'Edward V' vs 'Henry VIII' by the 'primitivity' in the opening of a newborn infant's head with manual ('henry') removal of a part of the occipital lobe 'compensated' with a spurt of semen onto its cortex. This would rather be like the 'mean flat' (see 'Newton') of the mid poem of TEQ: It is just the 'temptation' which should be avoided for a positive updating of the history. Likewise, the title to DDS IV is 'Die Schönheit der Welt' and not the capsizing of 'de sjø-night der velt'. (Cp. also 'ich bin, du bist, er ist'). If one credits the true source of one's ideas, it is not necessary to do what such borrowed ideas could suggest for you. That crediting of the source (cp. the three 'ancestors' of del Sarto) is just when history can be updated in a positive way without the downdrift which otherwise could follow.

Finally, another Tizian - his 'Venus with mirror'. It has an interpretation in my DDS III:9. The 'angelic child' to the right is a winged being with mirror and can count as relevant for the 'Spiegelvogel'-in. This 'Venus' is shown in somewhat 'abstract' format - in such a way that her downreaching forearm really is conceived as her thigh and her upper arm as her calf. It is this calf which is shown in the mirror ('wo die Luft sich teilt') with the other 'angelic child's hand resting on her 'triceps'-calf in what could look like a spot of 'rash' = 'Ausschlag'. The 'Kirchenglocken-Klinger' of my poem is here the same small angelic child lifting the 'churchbell' up in the air over her head. I wrote originally 'Kirchenglocken-Ringer' but lost the courage by this apparent 'norvagism' since it was not really a wrestler or 'physical body' I had in mind - but the present artwork could suggest that it really was the right word after all. The 'yellow chances' could be in her hair, under the 'index finger' of this small angel's churchbell. What is the 'rasche Linien' of the poem's title? It could be - with an anglicism - that 'rashes' on her triceps, including the index finger of that small angel. The mirror is probably the framework around her, though, so that it is the spectator who has a sexual intercourse with Venus. That explains also the 'index finger'. The 'rash' in the mirror - 'wo die Luft sich teilt' - is mirrored in her own hand on the lefthand side. Die Wirklichkeit 'zerblasst' in that grey surface behind her head.

(DDS II:9).

Sources:

'I maestri del colore' #53 'Andrea del Sarto', Fratelli Fabbri Editori, Milano 1964

Kennedy, I.G.: Tizian. Taschen, Köln 2018.