22 december 2021

22 december 2021

John Bjarne Grover

I read Anna Akhmatova's poem "Es sind deine Luchsaugen, Asien" (found here) and then I opened my own 'The Endmorgan Quartet' on poem #549:

In terms of most of the praktisk text,
west is cross-sectioned in a way which is tell.

[another 13 lines here]

It is probably the opposite: The Jesus Passé. 11.09.99

Felicia Bartin

24 december 2021:

Akhmatova's 'Midnight verses' are interesting in light of the 8 poems by Su Shi which I translated some days ago. See ('lyrics' = russian, 'song translation' = english) the first 'Instead of dedication' compared with Su Shi's #4 - it is in both poems four lines corresponding to the four parts of the stone I found - 1) the absent 'metaphysical' half, 2) the broken condition, 3) the 1 mm thick white enamel-like sole and 4) the normal almost nose-shaped stone matter - only the order of these is reversed in Akhmatova's poem. Are the rest of Akhmatova's 'Midnight verses' comparable to the other poems of Su Shi? See e.g. her "5. Call" compared ('on reverse') with Su Shi #6, or her "1. Pre-Spring Elegy" with Su Shi #7, or her "7. And the last" with Su Shi #1, or her "6. Night visit" with Su Shi #5. Following this logic of quasi reverse order even of the poems and not only the lines, should her quasi #8 "Instead of an afterword" be comparable to Su Shi #3? It seems that Su Shi #8 with its 16 lines finds a reverse echo in her "4. Thirteen lines".

Since there is a gemmological society in Pelzgasse/Goldschlagstrassse, I let the stone remain on the ground in case an aspirant could have made it on a first course evening and carried it in the pocket as the stone of fortune since then - but alas, it fell out. It would therefore be right to leave it there for a few days in case the proper owner returned to look for it. However, when I went back the day after - or were it even later in the same day - to see if I could find it, it was gone - but a group of gymmers - a 'gymmological society', so to speak - were active with having fun running in a circle (a 'funological loop'?) and doing the 'pick-the-pebble' exercise (leaning forwards, alternating left and right hand to the ground, the other hand up behind the back). Had somebody seen me on surveillance and gone to pick it up after me or were it this sort of coincidence?

I started making the translations of Su Shi from 14 december 2021 onwards and then the curve for new covid-19 infections in England (UK) (see source) went dramatically up from the 15th onwards. I published the 8 poems by Su Shi on 20 december 2021 and the global curve of new infections (see source) went equally dramatically up from the 21st of december. It could mean that chinese (maybe in particular Shijing) is something in this story and that there could be an administrative 'spell' on me relative to chinese (Treblinka/Botticelli and Shijing #90 is the guess) - and it could be added perhaps also that if the stone were an ex nihilo result of my own chapter 'Die Steine' in my 'SNEEFT COEIL', 6 poems about such things, an interesting matter could be the question whose 'territory' is such a stone really? Dont blame me and my humble attempts to translate from chinese poetry for the dramatic rise in the covid infections - it is of course the administrative intrigue that must carry the responsibility for such a 'spell' if that is the story.

Some days ago there were news of a woman who had been found naked on a basement floor in USA - which could mean 'ei naken ratova' = 'a naked ratova' = 'Anna Akhmatova'. My guess is that this newspiece in principle could have been made on basis of secret longitudinal surveillance of the PTRSIM PIK for making 'intelligent guesses' on future encoding - before I make them even myself - which surfaced today in the above study. Whether such surveillance had guessed the name of Akhmatova or if it could have been only about rudimentary phonological tendencies I dont know. This could anyhow tell of the 'clam poll' of such surveillance abuse and exploitation of poetic logic and could be telling of the massive rise in the global curve of covid-19 for 22-23 december. Whether it could have been a case of 'natural surveillance' = phonological redundancy as a 'typological' phenomenon in the collective consciousness I dont know - that is of course also a possible explanation. Would the newspiece have gone through in international media if it had not this sort of function? Could be it fills in a redundancy in the phonological substrate of the media world and that is why it was a newspiece - but it is also possible that it could have been interesting news on basis of surveillance. The newspiece could anyhow be telling of a culture on the wrong tracks of development - where a sensible poetic-phonological logic should have been in development and not such tragic news. The pandemic could perhaps well be understood in such a light.

The breakthrough issue

Added 26 december 2021:

The following is also found at the end of this file.

Anna Akhmatova has three poems that constitute a unit and are presented as '3 poems' even if they are written in 1944-50, 1960 and 1946. The three poems are reproduced in translation on this internet page - the last three it is, called 'Три стихотворения' = 'Drei Gedichte' translated by Sarah Kirsch:

1. Zeit nun die Kamelschreie zu vergessen
2. Und suchtest im dunklen Gedächtnis
3. Und er hat recht

The interesting word in the first line of the first of these is the russian word for 'camel':

'верблюд' = 'verblud' = 'Kamel' (gr. καμηλα), 'Schiffstau' (gr. καμιλα = 'a rope')
'vér' = 'blood' (hungarian)
'Blut' = 'blood' (german)

for which reason the 'blood-blood' entails an inherent reference to the Burgenland border and the hungarian and german 'ethnological parametres' as seen from an anglophonic viewpoint.

'вера' = 'véra' = 'Glaube', gr. 'πιστις'

Hence 'верблюд' = 'Kamel', 'Schiffstau' can also echo 'Juden-Blut'.

See also this discussion of the 'etymological aspects' of the coronavirus pandemic relative to my prose - search for 'Dagestan' where one finds this quote from Vasmer's etymological dictionary of high relevance for the same 'верблюд' - here called 'дагликс'. Frisk tells that καμιλα could mean 'Ankertau', 'Schiffstau' (= probably 'hawser'), while Liddell & Scott tells that it means 'rope' probably of the kind which can go through the eye of a needle.

While consulting Vasmer on 'вера' I came across also the immediately preceding word 'вепрь' = 'Wildschwein, Eber' with reference also to latin 'vepris/vepres' = 'Dornstrauch, Dornbusch'.

Sources:

Akhmatowa, Anna: Gedichte. Russisch und deutsch. Nachdichtungen von Heinz Czechowski, Uwe Grüning, Sarah Kirsch, Rainer Kirsch. Herausgegeben und mit einem Nachwort versehen von Ilma Rakusa. Suhrkamp Verlag, Frankfurt am Main 1988

Frisk, Hjalmar: Griechisches etymologisches Wörterbuch. Heidelberg 1960.

Liddell, H.G. & Scott, R.: Greek-english lexicon. Oxford 1890.

Vasmer, M.: Russisches Etymologisches Wörterbuch. (3 volumes). Carl Winter, Heidelberg 1953, 1979.

Walde, A.: Lateinisches etymologisches Wörterbuch. By J.B.Hofmann. Carl Winter Universitätsverlag, Heidelberg 1965.