Ablikhos, Yeats and thresholding

Ablikhos, Yeats and thresholding

John Bjarne Grover

The theory is that the poetry of greek poet Mikelis Ablikhos (1845-1917) can be described in terms of my 23 photos: These lend substance to the idea that Ablikhos is prophetic language, evidenced in these photos. Husserl could have been into a similar (however subconscious) project - showing the prophetic lefthand parentheses of Ablikhos receiving a righthand-parenthetical interpretation in Husserl's phenomenology. These find an expression in terms of a 666 in Panini backwards: Husserl's full name is in Panini #434 and Ablikhos in 434 / 0,666 = #652, the same as for Grassmann and Cantor divided with 777. The article suggests that Ablikhos is essentially concerned with the thresholding from colour to black-and-white in my 23 photos - and that Yeats' poems can be considered to deal with the same thresholding. Ablikhos is 21 years older than Yeats, and although Yeats' father was a painter with probably chiaroscuro interests, the article takes it that this phenomenon is much more likely to be classified as a coincidence than that the 23 photos are - and hence that the 21 years interval is more 'coincidental' than the general conclusion that integrity and truthfullness is the explanation to these correlations, not some strange causality-driven 'social function' from Ablikhos to Yeats/Husserl. Could be it also means that the 23 photos constitute a sort of new 'hieroglyphic' alphabet. The discussion of the relevance of the poems with these 23 photos can also be followed with a comparison with the chinese film.

In the following I discuss some examples from Ablikhos' poetry against the theory that they relate essentially to the thresholding in my 23 photos - and list some Yeats poems that seem to be concerned with the same.

This page is my source for the greek text. I have not found any translations of the greek poet and with both my knowledge of modern greek and the dictionaries and other linguistic material available to me being of a rather modest level, I have translated the poems as well as I could for making my analytical observations apply with relevance, but a literary translation could probably find alternative solutions.

Example 1

Χριστούγεννα

Στη φάτνη των χτηνών Χριστός γεννάται
χωρίς της επιστήμης συνδρομή,
η θεία φύσις κάνει για μαμή
κι? ο δράκος σαν αρνί, Θεός κοιμάται.

Αύριον, άντρας, σα ληστής κρεμάται,
– νέα του κόσμου θέλει οικοδομή -
σταυρό του δίνει ο Νόμος πληρωμή,
πλην άγιο φως στον τάφο του γεννάται.

Διάκοι του Βάαλ, δεν είναι δικός σας
αυτός της φάτνης ο φτωχός Χριστός,
που εκήρυξε για νόμο του τη χάρι.

Εσάς τιμή σας μόνη το στιχάρι,
πομπές, θεοπομπές το ιδανικό σας,
κι? είν? ο Θεός σας σαν και εσάς, μιαρός!…

0. Christmas

1. In manger of the beasts was born the Christ
2. without support from science empirical.
3. The aunt of nature was his sole midwife,
4. and bloodthirst like a lamb put Christ to sleep.

5. Tomorrow, man, like criminal withheld,
6. the world is new and wants its construction -
7. its cross gives what the law fullfilled is for
8. without the holy light in tomb of dawn.

9. Deacon of Baal, it is not truly yours
10. over the crib of the animal Christ
11. who had announced by law the final grace.

12. Your honour, and your monastery, your verses (?)
13. wicked, godwicked, what's ideally yours
14. and is the God like you and yours - profane!

(The last word μιαρός means 'profane' but it is possibly intended as related to µιasµ- in the sense of the mystery of a child born from a manger being alive in and with its blood - see also my DDS IV:12. For the word 'dawn', it really should have been 'birth' but it is seen how Christ being born from a manger makes sense for this word - and how that makes sense of the english rhyme).

Lines 1-4 seem concerned with photo #17 - see also the chinese film for the idea of the 'bloodthirsty' military cast in a geometric mystery which makes him look like an abstract fullgrown 'manger'.

Lines 5-7 are #8 - the chinese film could show the relevant photo as a nature's abstract and withheld form of the mangerous man - here with 'criminalities' running down the mountainside like the triadic shadows of the photo 17.

The most impressive presence of my photos in this poem is in line #8 for photo #23 - in which one can decipher with much clarity φως στο[ν] τάφο in the 'landscape' of my photo. See also the chinese film.

Lines 9-11 is photo #13 wherein the 'burning raft' in the upper lefthand corner can be seen to tell of at least 2 forms of 'A', could be with differing crossover line, plus a greek 'Λ'. When this is #13 there is the 13AAΛ = BAAΛ. Cp. Rembrandt's base 13. See the 'crown of thorns' in my photo and in the chinese film.

Finally, lines 12-14 can be recognized in photo #2 - the dentist Dr.Hitcotch and his Janus brother could be the 'wicked and godwicked' - a pair of words which could apply to the black and light of the 'wick' of a candle as the border of thresholding. The monastery in Ablikhos' poem could be the confinement lines of the quasi 'window' of my colour version.

Is there a special emphasis on the thresholding conversion from colour to black-and-white? I notice line 5 for photo #8: If 'man' is recognized in the genital formation of the B/W, the colour version which this originates from shows a bowing line. Ancient greek 'λιάζομαι' = 'bowing out' etc is phonetically similar to modern greek 'ληστής' = 'criminal', for which one can notice the 'riminal k' in the lower righthand corner of my photo, phonetically similar to 'κρεμάται'.

Is there a poem of Yeats for this thresholding phenomenon - as contained in Ablikhos' poem? Without having pondered so many of Yeats' poems, I stopped by 'The stolen child' - see the introductory lines comparable to the relevant photo of the chinese film - and noticed how the refrain seems to tell of photo #2 and #23, the first and last in the listing for Valery. The last line of the refrain goes "For the world's more full of weeping than you can understand". For the role of #23, it has its rationale in φως στο[ν] τάφο which here can be recognized as "φως τά φο-rld's more full of weeping than you can under-στον", while the rest of the refrain could apply to the Beachy Head mystery of photo #2 - the coastline cliff of England going out to sea at the border of the window frame. For the rest of Yeats' poem. it seems that stanzas 1 and 2 apply to photo #2, particularly the area around the mafioso with red cherry eyes and the hip-bone down towards Rome. His stanza 2 has, though, much relevance for my photo 21 - which is hard to see in Ablikhos' poem. Stanza 3 could apply to photo #17 and partly also #8. In the chinese film it looks like the mountain landscape with the 'mangerous' mountain lines - although the 'slumbering trout' would be rather frozen there. Then stanza 4 should be about photo #13 - is it? Could be. Or is it photo 8 from the chinese film? Could be this stanza 4 of Yeats brings something which is not in my photos or Ablikhos' poem. See also Yngvar Larsen's "Troyan horse" (element 40) in the exhibition 'Brudd' discussed in my PhD dissertation in volume 3 on page 411. Is the L-shaped floor brush in Larsen's work for 'a world full of sweeping'? See also the following example with potential mention of 'toy-horse' - rather than 'Troy-horse' - but the greek word (γιωμένο) is hard for me to make sense of - could be a word like γυρομενος or something like that could make more sense - via this artwork of Larsen.

Example 2

Ο μοχθηρός ψευδοφιλόπατρις

Το πρόσωπό του εκείνο το γιωμένο
που της καρδιάς του δείχνει τη σκουριά
το γέλιο το κρυφό, το λυσιασμένο,
που η δυστυχία των άλλων του γεννά,

το φθονερό του μάτι το σβημένο,
που δείχνει βουλιμία για συμφορά,
μας εξηγούν γιατ? είναι διψασμένο
το αχείλι του και πόλεμο ζητά.

Διψάει να ιδή στα μαύρα φορεμένους
πατέρες και μανάδες που μισεί
να τους ιδή στα δάκρυά τους πνιγμένους,

θάναι δροσιά στην έρμη του ψυχή.
Για τούτο υπέρ Πατρίδος σκούζει ?κράζει
όρνιο, που για κουφάρια αναστενάζει!

The evil pseudopatriot

A person demonstrates a toy-horse (?)
whose heart is showing signals of rust,
a hidden laugh, a tinge of real madness
for the misfortune in another offspring,

the envy of a visionary tiredness
shows bulimia for calamities,
explaining why the thirst is our enigma
in silence of a war's conspiracies.

The thirst was just to see the dark attire:
The fathers and the mothers of hatred
to see them suffocating in their tears.

The cooling death is principles of psyche.
For this to scream and yell at fatherland
is where the bird of prey is a sighing carcass!

Clearly this applies with much precision to photo #17. I could not find out what 'το γιωμένο' should mean - so I lent to it the meaning of the toy-horse seen in #17. Is that what the chinese soldier is thinking of? The enigma of thirst is in the opening of the bottle (the man seated in the sofa in the mid part of my 'triptyk') in front of the dark-attired TV screen. The colour version has a magnified bottle opening around the mid of the photo with a bottleneck extending down from it - it seems that the conversion of this into the B/W version is contained in Yeats' "To an isle in the water" - apparently mainly about the lefthand third of my photo. See also my TEQ #656 where there are traces of the same 'carrying in the dishes' as in Yeats's poem - and here one can also see in 'ending his flight' the traces of the big bird of the colour photo - the apparent 'quail chick' or something like that. This poem is the last in the mid third of TEQ book 10 - and the relevant theme folds over also into the following first poem of the last third.

The distichs of Ablikhos seem to be concerned with the principles of thresholding.

Example 3

Σε γιατρό:
Για το γιατρό που πέθανε, ολίγοι στην κηδεία του
Την έστειλε για υποδοχή μπροστά την πελατεία του

About the doctor:
Because the doctor had died, there were not many in the funeral
of Knock: He had come to Heaven's door before the ceremony took place.

Photo #2 is the interpretation. It shows England or London as the doctor in the upper left, holding a lighthouse organ out for inspection - it extends into the window framework. The Madonna revelation of 1879 in Knock in Ireland (from this source) is then outside the photo margin where England is at the brim - like the doctor here is outside the window frame.

A husserlian window (or bracketed framing etc) opening in the colour photo could here be Heaven's door. This window = παραθυρα could be the πελατεία of the poem. Dr.Boldog (the word is hungarian for 'happy') would be boxed up left and the funeral would be the other persons that could be spotted in the thresholded photo - the cancan dancer, the czech proletariat novelist, the widow Mrs.Boldog, the cherry-eyed mafioso (adjusting his tieknot) - see Yeats' 'The stolen child' stanza 1, Mr.Wolfe (-d!) waiting for a consultation at the dentist Dr.Hitcotch, his brother Janus Hitcotch and others.

The Lamb on photo 2 - leaping forwards with its knees around Rome - could be the same as the lamb on the altar in Knock. There seems to be a mythology around which assigns to the group of people in the sculptural format of the revelation a role of the evangelist John (with the open book) of stepping forwards in between Josef ('how stupid of me') and Mary (showing the left-right parentheses, the distances) - as in that '1823' formed from the '123-8'. It is of course very misunderstood to take this to be about child abuse (the '1-2-3') - of course it should rather be understood in terms of a symbolic function in the human semiotic reality.

It is the frames of the window that make the colour photo:

The frame on the righthand side is a mirror to the window that looks like an open book. It is seen that the upper frame has the outstretched 'object' which the lefthand 'boxed' character is looking at and has in his hand. The main frame is just being kissed by the dentist Dr. Hitcotch who takes up most of the window surface, drinking from Frau Boldog's wine of the mirror image. It seems that these aspects are well contained in Yeats' poem "A drinking song":

Wine comes in at the mouth
and love comes in at the eye;
that's all we shall know for truth
before we grow old and die.
I lift the glass to my mouth
and look at you, and sigh.

It is possible that a mutual juxtaposition of persons takes place in the last two lines - as if the window frame is transgressed somehow. The window or 'open book' is more clearly visible in the colour version than in the B/W - could be that is because the B/W version lets an inventory of mythological characters step forth and occupy the human attention.

Example 4

Άλλο:
Κρίμα για σε, για δίστιχο, να χαλαστεί μελάνι
Γατόψαρο, ποιος φρόνιμος το βάνει στο τηγάνι;

It is gone/done for you, this distich, and ruined for the darker
catfish whose obedience went in the frying pan.

This seems to be photo #5 - where a catfish (source) can be spotted in the colour photo but not so clearly in the B/W.

The catfish is this:

It is this cochlear form which goes in the spectral frying pan.

I quote Yeats 1996 ('The wind among the reeds') for a similar prophetic function of this fish:

The fish

Although you hide in the ebb and flow
of the pale tide when the moon has set,
the people of coming days will know
about the casting out of my net,
and how you have leaped times out of mind
over the little silver cords,
and think that you were hard and unkind,
and blame you with many bitter words.

However, this poem of Yeats calls for recognition in other of my 23 photos: Notably one can see his lines 1-2 in my photo #7, his lines 3-4 in my photo #13 but only for the colour version (where the casting of a net is seen), his line 5-6 in photo #4 as emerging from the colour version, and finally lines 7-8 in the mirror to this in photo #20. The colour version of photo 4 could show a face of bitterness - as a janus-head to the jocular one (see next example).

Example 5

Σε μεγαλομανή ηλίθιο:
Τ’ αστεία του πατέρα σου θα μείνουν φημισμένα
απ’ όλα ως αριστούργημα μας άφησεν εσένα!

On the megalomaniac fool:
Your father's entertainments will remain celebrated
and then he will release you as a masterpiece of ours.

Photo #4:

The B/W emphasizes the dog which throws an 'offspring' back over the shoulder, and the 'father's big face to the right brimming over with jocularities.

Notice the two trails - like tramlines - after the 'offspring', showing its trajectory, in the colour photo. These are not really visible in the thresholded one.

A series of three poems of Ablikhos on the principles of law or praxis of lawyers all seem to be concerned with photo #14 - in particular how the dry rod (the Snake?) which dominates the colour photo is invisible in the B/W:

The law is here rooted in the foetus stage of the humans - and the phenomenon of law as something distinct and extraordinary will be emphasized here by the peculiar phenomemon in #14 that the dry rod which is so clearly visible and prominent in the colour version is so totally absent in the thresholded B/W version. Then one should expect to find that it is the thresholding which defines the field of law.

Example 6

Στους δικαστάς

Οι δικαστάδες είναι Κομιτάτον
κάθε Παρασκευή των Αβοκάτων
και δίνουν τα βραβεία με φρονιμάδα
σ? εκειούς που κάνουν πρώτη μασκαράδα.

On the judges

The judges are the committee
preparing the avocado
to give me the prize/award of wisdom
that makes the first mascerade.

'Αβοκάτων' really means 'avocado' but if an N be inserted it turns into 'δικαστης' = 'αβοκάντων' = an 'advocate', a 'lawyer' - on 'kant'-en.

The avocado is the 'palette' form with a hole up in the righthand half on #14.

The 'πρώτη μασκαράδα' = 'first mascerade' is then the foetus shape with an invisible dry rod as τα βραβεία before the face of φρονιμάδα.

For a relevant poem of Yeats, see "The heart of the woman" from his 'The wind among the reeds'. It seems to emphasize just this thresholding function in forms resembling my photos.

Example 7

Στους δικηγόρους

Πονόκαρδο μου κάνετε καϋμένοι
που εμπρός στο δικαστήριο δειλοί
στέκεσθε σαν μαμούρια μαζωμένοι,
σώματα δίχως πνεύμα και (ψυχή) ζωή.

Κ? ενώ φρουροί της Θέμιδος βαλμένοι
είσθε και σεις με τους κριτάς μαζί,
όμως σ? εσάς για δόξα τώρα μένει
η φήμη του Δετόρου μοναχή.

Υποτελείς σε κάθε ζωχαδιάρη,
δέχεσθε ρομαντζίνες και προστίματα,
που αν ήθελε ένας ξένος σας ιδή,

ως υποδίκους ήθελε σας πάρη
κ? ήθελε την Ελλάδα λυπηθή…
Και τα λοιπά… Και τα λοιπά… βλαστήματα.

0. About the judicial spinelessness

1. Tenderheartedly comes before me the 'cover/membrane' (poor maidenhead?)
2. before the court of spinelessness
3. You stand like marble collected (?),
4. bodies without spirit or soul (life)

5. and although guardians of the fairly drafted (?)
6. you are and will be judging with me
7. as if you were the opinion/sentence - now remains
8. the saying of the Monday/2nd alone.

9. Submitted all over ill-tempered
10. take romance and a fine
11. whenever is wanted the single alien of your idea.

12. As responsible you want the company/cheek
13. and to make Hellas feel the grief.
14. And the rest... and the rest... is vegetation/sprouting.

Some of the words I have not been able to decipher - such as the assumed 'marble' etc. This poem is about the connection between arbitrarities 1 and 2 - according to my semiotic model in this article - here the theory is that justice is about maintaining the needed link between these two forms of arbitrarity. Is it a quail chick hieroglyph (as in example 2)? It is invisible for the normal black-and-white mythological reality.

Some comments:

0. The hidden dry rod in the colour version, the spine of justice

1. Could be the dry rod is 'the same' as the umbilical cord for a foetus
2. before the wall behind the cord, or the placenta
3. Black-and-white together, could be it means the colour version
4. wherein only the dry rod is visible, the surroundings are nothing

5. A blurred thresholding appears
6. where the judgement of black-or-white tells the new form
7. 'You' = the otherness = the umbilical court decides on
8. the phonetic form with 2 metaphysics reduced to 1 referent

9. Truth is a matter of entropies ('fundamental theorem of logic')
10. isomorphically joined and reduced with the linguistic nucleus.
11. Desire for truth identifies the alien matter derived from your ideas.

12. The single rod connecting arbitrarity 1 and 2.
13. 'Greece' = 'Grief' - Greece on the map resembles the black-and-white
14. The semiotic mystery - βλαστήματα = the sprouting vegetation

Example 8

Στους δικηγόρους

Οι δικηγόροι έχουν Καρναβάλι
κυρίως όταν είναι κακουργήματα,
γιατί καθένας τότε παραβάλλει
να πη τα πιο πολλά μωρολογήματα.

'Καρναβάλι' is the same mask story.

The judges are having carnival
divine (of the masters) when they are deciding (are criminal)
because each of them then mix up
the PE with the PI / 'even more foolish talk' = to say the most foolish talk

πη vs πιο could be the other important element. I refer to Yeats' "Down by the Salley Gardens" which in these photos has a reflex on the form 'salley/sallow gardens' - it is the 'sallow' which dominates the colour photo. The foolishness and her snow-white hand are relevant.

One could speculate on Yeats as being concerned with poetic mysteries of Ablikhos qua prophetic language which opens the window. Yeats is then 'the second coming'.

See also the Θέμιδος βαλμένοι of the previous poem as 'Salley Gardens'.

Example 9

[Χωρίς τίτλο]

Ο έρωτας, η αγάπη κ? οι φιλίες
αδυναμίες είναι της ψυχής.
Η δύναμί της είν? η αναισθησία.
Κι? ο αναίσθητος, Θεός είν? επί γης.

Eros, love and friendship
are the weaknesses of the soul
whose strength is the un-/sub-conscious
that is the God on earth.

Photo #12 interprets this - with eros, love and friendship as the characters from right to left in the B/W form, while the strength = δύναμίς is in the colour version:

Yeats "The second coming" tells of this mid point - including the lion beast with human head which could be the leftmost character in the central cluster of 4. This poem tells of the same Θεός επί γης = 'God on earth' that in the last line "slouches towards Bethlehem to be born". The greek spelling of Bethlehem is ΒΗΘΛΕΕΜ - which can be recognized quite clearly in the colour version:

The final M seems even to be surrounded by a hebrew form.

Example 10

(Το αίνιγμά μου:)

Είμαι στο μέσον του παραδείσου
κι? είμαι το αντίθετο. Για συλλογίσου!

(My enigma:)

I am in the middle of the paradise
and I am its antithesis/counterpoint. What/For a syllogism!

The greek συλλογίσου should probably have been συλλογίσμου. Why is the '-m-' lacking? I dont know if it could have been due to transcription errors in the publishing (I have observed something like that in the french quotes of his from de Musset - such as 'seul bein' for 'seul bien'). I notice that το αινιγμα = the enigma could be compared with ανοιγω = to open. Could be the poet intended something resembling my opening of the informational subsets of humanity.

Photo #12 is a likely interpretation even here - and then it could be the paradox of a flagellante - the second character from right - in paradise which is the theme. The 2 twigs coming in from the left transforms into the 5 (or so) twigs standing upright. The photo #12 is otherwise conveniently compared with the socalled 'man-on-wagon' (but seen from the other side) and hence the movement of the wagon is the movement of the logic.

Example 11

[Χωρίς τίτλο]

Ενός παπά παρέμβαση τα πράματα τ? αλλάζει
κι? αυτό που λεν αμάρτημα το χέρι του τ? αγιάζει.

The one father/priest meddles with the matters of another
and this, they say, is the wrong hand sprinkling the holy water

which is photo #17:

The papa (priest) watches TV and has a child with toy horse playing over the back of the sofa - the father follows the TV screen in the righthand third - which seems to show a graffiti sort of program with a slanting unit therein. Or is it a program teaching children how to brush their teeth? Or even a generalized representation of the basic linguistic nucleus? He may perhaps be meddling with another person's matters - his own wife is seen in the lefthand part nursing a child which rests like a carrot-eating rabbit on her lap. The 'father' is just in the process of opening a bottle of 'holy water' - and the poem tells that this is the wrong hand doing it due to his interests in what is on the TV screen. (Notice the finger-similarities). Interestingly, there seems to be a nose monkey hiding in the darkness of the TV program, visible only in the colour version:

Example 12

Της δράσης μου το κάδρο θες να ιδής;
Πήγε σε σφυριξιές ο ατμός της μηχανής.

On basis of poor knowledge of the greek, I try the following translation:

The frame will make the image of my actions.
The ghost in the machine wandered your hiss.

The first line seems to refer to photo #2, the last to #23.

The distich of Ablikhos can be compared with Yeats' 'The scholars' - the first line is the first line and the last is Yeats' last. Yeats' poem could thereby tell the logic (quasi 'xyl-logistics') that unites the two lines. This again could allow for the idea of the last line to be read into the landscape of photo #23 in such a way that it reads the 2-branching twig the other way compared with the colour-version of photo #12:

Could be this is the logic of SKYLLA & CARYBDIS and how to steer inbetween on the xyl-logistics.

Some concluding remarks

Clearly to invoke causalities for explaining these matters is rather futile. One can fancy that Ablikhos has been abused by power interests perhaps as badly as Holm or even worse. These could probably tell themselves that the reason for the reflexes of Ablikhos in Yeats would have been a 'copycat' phenomenon which perhaps could be traced to Yeats' father being of the same generation as Ablikhos, and then one has searched for a 'rule' steering the copycat and found it in e.g. Panini spelt backwards.

A good number of Holm's poems are still unpublished - and one can fancy that these are used for political power purposes. I dont know how that is with Ablikhos.

How did I find Ablikhos? By computing it. Here follows first a quote repeating the initial observation from this article. The story is that Grassmann had published his Ausdehnungslehre in 1844 - which today seems to be the solution to the modern computational problem of the qubit, but he was not really understood in those days - and he sent a copy to Cauchy who was into differential mathematics. It seems, by Grassmann's report, that Cauchy instead of answering could have tried to plagiarize a part of it, and my theory goes that History took an unfortunate detour by installing an aspect of Grassmann's theory for a potential solution to the qubit by lifting it further on from 'Cauchy' to his name-similar 'Saussure' who has been credited with the idea of advanced semiotics. Grassmann in the mean time had lost interest in mathematics and turned to studies of sanskrit, and he translated Rig-Veda and wrote a dictionary for it. Then the only thing which lacked was a grammar for this translation - and therefore Panini was found for filling in the empty slot - and Cantor was selected for making the diagonal theory to Grassmann - which was called the theory of the diagonal and expanded to cantorian set theory. A rather farcical development of mathematics could have been the result of all this. Clearly what Saussure called 'arbitrarity' is rather the present phenomenon of Ablikhos, Yeats, my photos and the chinese film - and the secret is contained in the phenomenon of thresholding, which invokes ideas of my fundamental theorem of logic. Now philosophers of abuse of Ablikhos' poetry could have been reasoning along the lines of a phenomenon of backwards-spelling of Panini's sutras, starting from the puzzling behaviour of the number 1966 observed in my story of the computer glitsch that was hung on this number before it leaped onto 1968. The reasoning, based on the names of the essential people, then goes:

Hermann Günther Grassmann's 'Ausdehnungslehre' was published in 1844 and Georg Ferdinand Ludwig Philip Cantor was born in 1845. The above discussion of 'CONTAIN' showed that the incrementation was hanging for a twice recording of #1966, skipping #1967 - hence a 'magic' point there. The mathematician Grassmann was also a sanskritologist and published a dictionary of and a translation of Rig-Veda. Now the sanskrit grammar of Panini has - by the enumeration of the sutras in this source of Panini's 'Asthadhyayi' - the following sutras on these numbers:

#1965 5-1-81 masad vayasi yatkhanau
#1966 5-1-82 dvigor yap
#1967 5-1-83 sanmasan nyac ca
#1968 5-1-84 avayasi thams ca

Now 1966 / 0,777 = 2530

#2530 6-1-91 uatahd its dagrasapu (backwards)

Now it seems that these fragments - separated by the factor '777' - contain just the names of these two mathematicians (backwards for Grassmann):

khanau
Cantor

[au] dvig or yap
Ludwig Philip

sanmasan nyac ca
Ferdinand Georg = #1965

= #1966

= #1967

#2530

6-1-91

uatahd itr
what a diter
Her monkey
Hermann Gün da
da
tear
ther grasapu
Grass-apu
Grass-ape
Grassmann

Now from this account of Grassmann and Cantor and 777 in Panini I reasoned that if Husserl's (full name is Edmund Gustav Albrecht Husserl) ideas of bracketed conception which could be subjected to a similar sort of thresholding would have a similar counterpoint by the factor 666 - which also is the ratio of 'squeeze' and partition between my Treblinka photo and the egyptian eye hieroglyph - I could search Panini spelt backwards for variants of 'husserl' and I so did - and found 'husan' on 2-2-11 = sutra #434 = anenarakihdanamasayvatayayvadasahtratihusanuganarup:

anenarak ihdanam
edmund asayvatay
gustav ayvadasahtrati
albrecht husan
husserl uganarup

But who would be his counterpoint - for finding the 'Grassmann' of 'Cantor' to 'Husserl'? Should the austro-german philosopher then have an 'otherside' counterpoint in Italy? Or would latin not be sufficiently faraway - so rather greek? Not a philosopher either - but a philosophical or scholarly poet could be the parallel, I reasoned. I leafed in some greek collections and found Ablikhos as the first in an alphabetically ordered collection of greek poetry called 'Anthologia Neoellenikes Poieses' edited by Spyros Kokkines, Athens 2004. I bought this book in Athens in 2008 and took the 23 photos in Vienna in 2010. (Ablikhos is represented in the greek book by the three first examples above). Ablikhos was born in 1845, the year after Grassmann's 'Ausdehungslehre' was published - and hence a potential candidate for this role of being credited by 'intrigue philosophers' as the unknown source of Husserl's philosophy - and Yeats' poetry. This turned out to be an interesting theory - and when 434 / 0,666 = Panini sutra #652 backwards is 'itel maluhabbis', this 'Mitel Aluhabbis' is close enough to 'Mikelis Ablikhos' to allow for recognition. That is how I found Ablikhos for the purposes of the present study.

Rounding Panini off not up to 652 but down to 651 = 'hotulrl isatays' could invoke memories of a family trip to Liseberg amusement park in Gothenburg in the early 1970's, I think it was. 'Ho tulr' is norwegian for 'she is joking / having fun' but in swedish it would be 'she works in the customs services'. My younger sister worked for a while with checking imported toys in a ministry. In my 1994-95 diary novel I tell at 10.9.94 of my official mother being on my door - of course I could not let her in but she had just the time to tell she had brought father's anorak and plums from the garden if I wanted. These are easily recognized in the 'anenarak' and the 'uganarup' that frame the name of Husserl at Panini #434.

Would even the Oslo terror have found a rationale in this construction? (The man who shot so many people on Utøa had been in the king's guard called 'Garden', and his reasons could perhaps have been associated with 'anenarak'). I recall a norwegian politician on TV making jokes about swedish 'kul' = 'fun' which in norwegian is 'moro' - he was talking of a hypothetical norwegian-swedish union called 'Morokulien'. 'Kule' is norwegian for 'bullet'. If this was before after the murder of Aldo Moro - probably in the same night as Apenes was murdered - I dont remember. Are muslims conceived in the west as 'terrorists' for reasons of this 'Aluhabbis' = 'Ali Baba and his 40 comrades'? Michael Gorbatchov is a heavy-weight name. It is possible to see his family name as being in some reference to 'oblique'-ness. Could be, therefore, that it contained enough secrecy of the western world to have allowed for a dismantling of the Soviet Union.

If my official father was replaced with a copy in 1969, he remained in this role for 21 years - untill his official death in 1990 - cp. the two John Grovers of British Library - 1823 and 1843. The Oslo terror took place another 21 years later. These 21 years are the interval between Ablikhos and Yeats. In 1970-71 I had a school dentist called 'Aulie' who drilled up most of my teeth - even if they looked fresh and fine in the mirror. 'Kos' is norwegian for 'cosiness', 'having a cosy time'.

Hence, tell these 'coincidences', and I have not much more data for such an assumption, it is well possible that Ablikhos has been frozen down into high secrecies reserved for that sort of power abuse. Ablikhos grew up in Lixouri where he also spent most of his life, but it seems that he is not even mentioned on this internet page among the interesting historic names of the small town. Gadaffy is known to have had a swimming pool made of pure gold, probably as part of the national gold reserves being under constant surveillance - I would guess that the 'revolution' there was not (only) for getting the man from Lixouri up in daylight - but the idea could perhaps be interesting. Hungarian for 'windowed', 'with windows', is 'ablakos'.

This phenomenon could furthermore have been extended to a similarly suppressing explanation to Yeats' poetry - that he should be a copycat surfing on the waves from such a combined 666-777 effect from Ablikhos, Panini and political intrigue. Which would be nonsense, of course: Yeats' poetry is a result of poetic integrity, not the opposite sort of copying. My photos are not a result of Ablikhos, Panini or political intrigue: They are a result of what is called 'arbitrarity' - which has nothing to do with rules or power intrigue but which perhaps best can be conceived in terms of a phenomenon of thresholding - and hence my fundamental theorem of logic - and that poetic integrity, of course. It is by telling the truth that this phenomenon comes to daylight. My MA thesis and the concluding part of my PhD dissertation can be seen as relevant to the phenomenon of 'thresholding'.

The catfish of example 5 above could be enough for showing the phenomenon in Ablikhos' poetry.

Immanuel Kant is an important name in philosophy. Is it all about that thresholding of the 'kant' - for seeing that 'Ding an sich' more clearly, more thresholded? There is something strange about names which must come to some better clarity.

The account continues with a discussion of another 6 poems of Ablikhos.

Sources:

The greek texts of Ablikhos are from this library source

Κοκκινης, Σ.: Ανθολογία νεοελληνικης ποιησης. Βιβλιοπωλείον της Εστίας. Αθήνα 2004

Yeats, W.B.: 'The Poems', edited by Daniel Albright, Everyman, J.M.Dent, London 1996