7 september 2024

7 september 2024

John Bjarne Grover

A quote from the article 'Palma il Vecchio and a theory of grammar ', here with extra photo added - about the relevance of my TEQ #584 for the leap-out of the bricks from the gate in Vilnius - discussed under example 1-2:

See also this study of the art of the San Lazzaro church in Venice which in total seem to adhere to the element in my TEQ #584 - and one observes notably also the two photos:

The gate in the 'frontier' to the street

The face behind the bricks

Photo from Mandelstam 2001:
Mandelstam in a quarry in Armenia

It is clear that when 'Lenin' is contained inside the brick wall, he looks into the bricks he is behind - but when 'what a man sees escapes description' it means that the bricks leap out from the wall in the moment when I passed. That would be something resembling the phenomenon of otoacoustic emissions from the ear? (Trygve Madsen told me that Goethe's colour theory includes the idea that the human eye also issues light). This is contained also in the photo of Mandelstam from the quarry in Armenia - and hence the isomorphies (= 'phrase structure thought') in the relation between these two photos. It is likely that the leaping bricks in Vilnius are telling of such 'phrase structure' mysticism.

See also Caravaggio's Martyrdom of Saint Matthew which likewise finds an interpretation in this TEQ #584 of mine. According to the scheme in this study, this work of Caravaggio is aligned with my DDS III:10: It contains most of the essential elements in this event, including the parked car and 'faltets mit Wasserstrahl' in the wall. It is probably the dependency of the old drinker when he sees (with his visual faculty) the 'Vinoteque' that interprets the fundamental theorem of logic.

See also element 34 in this study - and notice how the chinese signs could be telling of the circumstances for how the leap-out of bricks took place in Vilnius in the moment when I in a hurry (it was already getting late) passed the corner of the gate.

This 'frontier gate' event is interesting in light of the opening line in Shijing #1, the very first 4 signs in the first poem in the ancient book of poetry - could be 3000 years old:

關雎 = guan-ju

關關雎鳩
關 = guan = frontier gate, osprey (fish hawk), connect, implicate, (correspond?) etc
雎 = ju = to gaze at = at 'what a man sees'
鳩 = jiu = the turtle dove

A part of the last sign is
鳥 = niǎo = bird, Kangxi radical 196, dialect: to pay attention to, (intensifier 'damned', 'goddamn')

Hence even this contains an element of 'to gaze at' - that is, to gaze at the bricks flying like birds through the air when they leapt out from 關 = the 'frontier gate', a sign which also means 'fish hawk', 'osprey' - and other things which perhaps can include 'correspond [with/to]'.

The sign 雎 = ju = 'to gaze at' could in its graphic form resemble the gate in Vilnius - cp. also the sign 關 = guan = 'frontier gate'.

The relevant part of the poem TEQ #584 contains also the following lines which seem to be of relevance for this leap-out of bricks:

So that what a man sees, escapes description
and farming, too, such as 'kvass'
orange brand, he told me
weeks on after they lost their correspondence

The sign 關 = guan is pronounced 'kwan' or 'kuan' - which invokes the 'kvass' - a word which otherwise is associated with the beer-like drink from north-eastern Europe (mainly Russia, I think - could be Lenin drank some 'kvass'). The 'orange' fruit (used in orange drink) is

柑桔 = gān jú = 'orange (fruit)'

which is close enough to 'kva(n)ss-u[range]' to be interesting for a reinforcement of this idea. Adding the 'brand' which could be e.g.

标 = biāo = mark, sign, label, brand - or
种 = zhǒng = seed, species, kind, type, classifier for types, kinds, sorts = brand

these share the radical element 木 for 'tree', 'wood' as twice in the orange. Likewise with the word 'farming' - I find (among many alternatives) the following:

种 = zhòng = to plant, to grow, to cultivate = farming
植 = zhí = to plant
种植 = zhòng zhí = to farm

The second half of the sign 种 is 中 = Zhōng which is the normal word for 'China'.

All these could invoke the idea of a lefthand half = 木 = mù = tree, wood etc (Grover?) gazing at a righthand part of the frontier gate.

Now what for the lower part of the leapout - that which looks like a boot? 關雎 = 'guan-ju' is the first poem in Shijing, in the first chapter - from the region Zhounan. The 11th and last poem in this chapter is the one called 麟之趾 = Lin Zhi Zhi wherein the first sign 麟 is analyzed in this article and in this - apparently a sort of chinese unicorn - but my interpretation is, I think, a little better in the form of a 'lightbeam'. I translate the poem as follows - rather freely, as usual - I follow the poetic logic more than the philological - the title sums up the three stanzas and gives the rationale for the 'boot' in the wall:

A lightbeam is an invisible boot

A lightbeam/unicorn is an invisible foot
that swings in the metric shame
and groans in the neighbour's pulse.

A lightbeam/unicorn is an invisible put
that swings in the family name
and groans in the neighbour's pulse.

A lightbeam/unicorn is an invisible butt
that swings in the honorable claim
and groans in the neighbour's pulse.

Clearly this could be about the lightbeam that a man sees and that escapes description - which even could be the theme of the poem since unicorns are said to exist but they are hard to get a glimpse of. It would, tells the poem, be the lightbeam that sends or 'kicks' the bricks out of the wall at the frontier gate.

Interestingly, the 'wellington' in the lower righthand side of the gate seems to be present in the second last sign of Shijing #10, that is, immediately before #11: That is the sign 孔 = 'kong/kung' = hole; aperture; opening; classifier for cave dwellings, oil wells, etc. - and it seems to be used for 'Confucius'. The sign indeed resembles the 'wellington' in the gate wall.

Now the interesting idea comes up whether these leaping bricks in the entrance to the house are the same as described (qua crickets) in Shijing #114:

Shijing #114

Two leapers in the entrance room
came through half-open door
and we were not so happy, though
the sun and moon restore
my posture's equilibrium
I wondered as I saw
one of them pick my pocket's loom,
the other struck with awe.

Two leapers in the entrance room
left through the opening door
and were not very happy for
this sun and moon withdraw
my posture's equilibrium
I pondered as I saw
one of them pick my pocket's loom
and let me downwards fall.

Two leapers left the entrance room.
Police took up pursuit
and were not very happy for
this sun and moon's recruit.
My posture's equilibriun
I pondered mournfully:
One of them picked my pocket-loom,
the other set/let me free/flee.

The last line doesnt want to make it here - it was the two leapers that fled, not I. 'The other could but flee'. In fact the story told in this poem seems to be the same as the two avatars that came in the entrance room in 2017. I still do not know if these were people paid for the performance (the 'entertainment' of my arms) or if they were 'archetypes' of some sort. The 'leapers' in the Shijing #114 are 'leapers' in the sense of crickets, not really lepered outcasts.

This Shijing #114 is the first from the chapter of poems from the feudal state of Tang - discussed in the article on Palma and the grammars. Clearly it could constitute yet another aspect of the 'grammars' under consideration in that article.

I worked a little with these things on 7 and 8 september 2024 (I discovered it on 7 september and considered the data but may not have written anything about it untill 8 september) and this morning 9 september 2024 I read the news of a shooting of three agents at the jordanian frontier gate, so to speak. See also these news. A 'Jordan/Car-Bond'? Had my work been under surveillance and used for organizing the terror?