The arbitrary lamb
John Bjarne Grover
In the article Chiesa di San Lazzaro dei Mendicanti I discuss "the 'window' of 'The calling of Matthew'". The idea being that each poem in TEQ has a mirror poem in the other half (around the mid point), and each of these two will tend to have a mirror poem in its own half, that is, around the mid of the half. These four make for a 'window' of Caravaggio, so to speak, in his 'Calling of Matthew'. While the two main mirror points will tend to be work-internal, it seems that their mirror points within each half tend to be referential and concern the real historic world. To the extent that the 'divine' source of the inner poetic articulation allows for an updating of the history, such as seemed to be the case with the brick gate of Geliu Gatve 6 in Vilnius, this 'window' phenomenon can be seen to describe the poetry's interaction with History.
I here discuss such a 'window' of four quadrants in TEQ: With primary observation on #1322, its main mirror quadrant is in #398 (= the poem Nay, it was just that I) in the other half, and each of these two have mirrors in their respective halves in #1258 and #462.
The first quadrant
The primary observation is in an apparent butterfly reference of Paul Celan's 1968 'Fadensonnen' to the back page of TEQ except for the single poem 'Der Hengst' which is a perfect reference to the front page, and Nelly Sachs' 1961 'Fahrt ins Staublose' which is for the front page except for the single poem 'Mund, saugend am Tod' which is for the back page. The combination of these again has a relevant correlate in 'Shijing #145' which seems to tell - 3000 years ago or thereabout - about just the cover to my book with impressive precision. In vol.3 'Poetic semiosis' chapter 23 I discuss Celan's 'Fadensonnen' as a case of local function 14.
These two literary works have both of them a poem #2 which enters into a 'window' structure with my TEQ. In Celan's book the poem #2 is the one called 'Frankfurt, September' which has a perfect parallel in my own TEQ #1322 = book 14 poem #75 'The concept'. In fact the parallel is so precise that it can be used for detailed studies. I had, as far as I remember, not read Celan's book when I wrote my poem in 2003. The parallel reading goes as follows - lines somewhat adjusted for showing the parallelism:
|My poem||Celan's poem|
|Book 14 poem 75 לספירות דברים בעלמא הוא דאתא|
|The concept-Ernst||Frankfurt, September|
|that I ewe you nothing,||bärtige Stellwand.|
|leuchtet sie aus.|
|tut sich Freud's Stirn auf,|
|yes our son,||die draußen|
|the five pint.||schießt an mit dem Satz:|
|Let's go,||Zum letzten-|
|When she just let him out the door,||Psychologie".|
|all over the isles,||Die Simili-|
|we had some trackal system.||frühstückt.|
'The concept' is the title to my poem, 'Ernst Hedwig' is the first line - here broken up for showing the parallelism with Celan's poem. 'Let's go, shall we' likewise is one line. The [door] is repeated from the preceding line for showing the relevance of the 'Dohle' - the rest is as it is.
The interesting observation could be that the secret of poetic-phonological concept formation (here) is contained in the equation:
the five pint = schießt an mit dem Satz
Could be this is due to the phenomenon of logical order interacting with semantic assignment in this suggestive way:
|schießt an||mit dem Satz|
|mit dem Satz||schießt an|
'five p[...]' occurs on the following dates:
14.12.97 which is 25 days before
08.01.98 which is 356 days before
30.12.98 which is 92 days before
01.04.99 which is 1509 days before
20.05.03 which is 1982 days in total
'Satz' occurs on the following dates:
10.02.99 which is 458 days before
14.05.00 which is 2523 days before
11.04.07 which is 425 days before
09.06.08 which is 0 days before
09.06.08 which is 3406 days in total
'five p[...]' distributes over 1982 days
'Satz' distributes over 3406 days
The sum of these occurrences is 1982+3406 = 5388 days
The defining ratio is then 1982/5388 = 0,367855 which multiplies with the number 207 of poems in book 14 which gives poem #76,1459.
This is in poem 77, a ten-liner - and hence it goes 0,459 into line 2 which gives the words 'marionette impulse'.
It should have been not poem #76,1459 but rather poem #75 'The concept' for being the perfect analysis. If so, the defining ratio should not have been by the 1982 days but rather it should have been 75/207 * 5388 = 1952. That is a difference of 30 days = 1 month.
There is a basis for this in the first occurrence of 'five p...' on 14.12.97:
come sammen untill
August-pay in normal.
which is one month before the September of Celan's Frankfurt.
However, the 10 first lines of 'The concept' was written on 19.05.03 and 20.05.03. Subtracting 30 days = one month from this takes it to 19.04.03 and 20.04.03 which contain only these lines:
"On how to... to update texts". 19.04.03
In a small [pair of shoes] - 20.04.03, 21.04.03
If 'on how to update texts' can mean 'hand', followed by the 'shoes', this suggests the german 'Hand-Schuhe' = h-an[d]-schießt = schießt an mit dem Satz - plus the Kehlkopfverschlußlaut [h] initially. A 'Verschlußlaut' is really a plosive, which here means a glottal stop and its release, but a [h]-sound is also a constriction in the same region of the famous controversy of protestantism vs catholicism. See also the story of the 'Eisgrotte', the fridge - which contained both an amorphous 'puré-like' mass and what looked like rice that had been shot out onto walls and ceiling as if from an 'explosion'.
Mit dem Satz = mitteryltes - sikker
Five pints = worpie jems
Norwegian 'syltet[øy]' = english 'jam'.
This mystery is in the poem TEQ #1313 called 'The arbitrary'.
Is there a basis for 'Schuhe' = 'schießt'? Hm, intuitively perhaps. 'Schuld in Schuhe schieben' = to blame somebody for something. Anschießen = to come in great speed, to crystallize (chem). It can also mean 'Probe-Schiessen', 'ein-schiessen', such as when a new gun has to be 'test-shot' before potential use. (See this file).
Marionette's impulse = SATZ - FIVE-Pulse
= marionette cymbals = SATZ of the FIVE Pulse
Concept formation is when there are more than 2 and only 2 occurrences, tells this idea. Here there are three poets.
Arbitrarity in signification could be this phenomenon: I had found (from inner intuitive source) before I started this function 14 analysis (counting days etc) that 'it is called Handschuhe'. When I thereafter make this analysis and find this 'Handschuhe', that is when the classic signifiant and signifie meet with arbitrary signification in the linguistic sign - a deep inner articulation meets an outer distributional fact of articulation.
It is likely that such arbitrary signification contains knowledge that lets the human species retain 'consistent and coherent' knowledge of the state of the art in the metaphysics outside the confinements of existence in History - while we are on a trip outside heaven/paradise .
The 2nd poem in the work
I mentioned above the relevance of Sachs' and Celan's 2nd poem. If my poem #75 'The concept' (parallel to Celan's 2nd poem 'Frankfurt, September') is supposed to be the 2nd poem in a cycle (with 'wrap-over'), then #74 must be the first - and the mirror poem = the poetic-phonological correlate to this would be the '2nd last' poem #72 (and #73 would then be the 'last). The mirror poem to #76 (by 76,1459) would then be the story of the storming of Capitol Hill in Washington in late 2020 (the following is about function 14):
|Book 14 poem #71 אף כל דבר שאין בו רוח חיים ואינו אוכל|
Did it exist with any above thirty?
|The deepest structure outside Capitol Hill||F|
|entered the Pakistan's hus, and they called the live-doctor.||A|
|For example, you need an email-address.||I|
|No, help you||V|
SATZ-FA[iv]-IVP = IMP-pEACH-FA/IMP-FA-ment = IMPEACHMENT = the sentence that assigns the concept.
'Satz' in the sense of 'Did it exist with any above thirty?' is syntagmatic, while 'Five P...' is paradigmatic - a piece of poetic-phonological logic.
But, strictly speaking, the 'marionette impulse' to this (qua foldover for 2nd poem from beginning vs 2nd poem from end) is even not in this #71 but into #70 - which seems to contain the esthetics to this story. The exact mirror point to the 'marionette impulse' (in line 2 of poem #77) would then be into the mid of the second last line of poem #70: If the signature ('Yesterday') is included, that is the line 'He gave the ship a commanding signal and we fled' - which is what the impeachment was about: Trump was accused of having given a 'commanding signal' to the masses of people who stormed the Capitol Hill. The mirror to 'marionette impulse' is then 'a commanding signal'.
The second quadrant
is the correlation of my TEQ #398 with Sachs' poem #2 from 'Fahrt ins Staublose':
|My poem||Sachs' poem|
|Exodus 15:2 עזי וזמרת יה|
|Nay, it was just that I,||Du|
|with money-hay: It was solved,||in der Nacht|
|and his exquisite guitar is unbanishing.||mit dem Verlernen der Welt beschäftigte|
|von weit weit her|
|Nay, honestly, were out to blame.||dein Finger die Eisgrotte bemalte|
|You remember me?||mit der singenden Landkarte eines verborgenen Meeres|
|Many have bounced to mansion in nineteenfortythree.||das sammelte in der Muschel deines Ohres die Noten|
|Just borrow his tip||von Hier nach Dort|
|for all the garfish:||diese haargenaue Aufgabe|
|It is not the same.||deren Lösung|
|den Sterbenden mitgegeben wird.|
If every three lines of mine correspond to every four of hers, that is when the three extra lines
von weit weit her
den Sterbenden mitgegeben wird
tell of the space of jewish Weltharmonie - the sounds in the other end of the universe are the nearest to you (a xylophone'?) = the arbitrarity in signification.
Mit dem Verlernen der Welt beschäftigte = the opposite of concept formation
See also the story of the 'Eisgrotte', the refridgerator, in which the finger painted 'mit der singenden Landkarte eines verborgenen Meeres'.
This Landkarte is likely to be about the map of Europe with the arbitrary lamb - see also The chinese sign 'WO' - with the 'purkinje' face at Gryfice/Natolewice in northern Germany/Poland.
This is when this significational format which I discuss here in this article has a loud echo in modern politics: What I conceive as traditional royalist politics tells that Gryfice is the defining origo because it is in the middle between Riga and Nassau. In my TEQ poem #1300 it can be compared with what is called 'The Real Historical Grip' - but it is rather the enumeration of my TEQ (which lands this poem on #1300) which is this grip - there is exactly 1300 kms from Riga to Nassau. I did not know that when I made my enumeration in the summer 2012.
This lamb is what Rilke calls 'das Lamm mit dem redenden Blatt' cp. Celan's counterpoint in 'Der Hengst mit dem blühenden Docht'.
How did this lamb take shape on the map of Europe - as photo #2 (but indeed it swaps order with #1 now and then!) in a series very comparable with what is found in this chinese film? By sheer arbitrarity - see the account in this file - although it must be admitted that I may have prepared this completely arbitrary photo series mentally through some years. There are also some traces of it in my TEQ - but indeed what gave the series such high precision was not anything consciously directed by me - but maybe some 'inner poetic articulation' guided the movement of the camera lens and the focus of the 300mm lens. It is a level of arbitrarity higher than a royalist interpretation who may be tempted to recognize the arbitrarity as a matter of 'royal volition'.
For the number 5 of the pint, see also the Zifferblatt.
The third quadrant
The second quadrant showed a case of remarkable 'entelechies' in the formation of black and white graphics on the thresholded photo from the grove. The third quadrant can be seen to extend these 'entelechies' into the formation of ex nihilo matter. The window extends with the third quadrant in TEQ #462 (a 3-4 liner) with its first line "Spikes in Sandals" - which could be the ex nihilo 'spike' that occurred in my shoe soon after I had completed the study of 'harmony' called 'Stillhetens åndedrag'. 'Hand-Schuhe' will suggest that this is about the nails of Jesus on the cross.
Line 3 = 'Bellona is Mr.Gang'.
The nail occurred in my shoe probably as I was on my way from Szolnok (where I had found the second white stone - same length) to Vienna. I thought it was a small pebble that had come into my shoe and tickled me under the footsole, but whenever I tried to get it out with a finger it was gone - and I walked around with it for a few days before I undertook a closer scrutiny of the 'structure' and found that it was inside the sole and surfaced only when my foot pressed the sole down - but disappeared when I took the shoe up. A 'Hand-Schuh'? For the flower under the shoe, see the study of Caravaggio relative to the 64 poems I wrote when the first white stone took form. The flower resembles the butterflower 'Ranunkel' of the 'purkinje' phenomenon.
The archaic nail is 3 cm long
The archaic nail in the shoe
The second white stone is also 3 cm breadth
The flower under the shoe
Closeup of the same flower
The fourth quadrant
in the window is TEQ #1258 - the poem called "Venus" - including title and signature it is 14 lines. It contains the mid line 8:
"I'm blost. I'm just as well blost"
'Blåst' (pronounced like 'blost' - could be I should have used the norwegian spelling for my line in this poem) is norwegian for 'blown' - such as the tree that was felled by the storm in Vilnius, giving the back page photo to my TEQ - or the branch that was blown off its tree in Paris in the storm of the night - when I passed the place in the early morning and could take the photo for the front page of TEQ. The two stories are contained in the discussion of the chinese sign CHOU in Shijing #81.
These two stories of the tree and the branch of the tree is when History moves forwards in Weltharmonie with the poetry.
The poem #1258 contains also the line 'extremely parallel to Chomsky' - who is famous for his trees and branches. Cp. also the 'Chopin' of poem #398 in the second quadrant. There could be traces of 'Satz' and 'five pint' in these. (See also this study). Indeed it seems that most of this fourth quadrant poem points diagonally back to the first concept formation. See also Caravaggio's big diagonal in the 'Calling of Matthew' - the shadow line on the wall behind. See also the high relevance of my first white stone which took form at the end of the writing of the 64 poems in the third part of 'Der Dornenstrauch' - compared with 'The calling of Matthew': The face to the right can resemble the 'prophetic poet' alongside Christ on the right of Caravaggio's work, the sitting posture and thighs of Matthew can be spotted in the leftmost part of the stone, the man with spectacles will be around the eye of the 'eagle' (or is it a 'lamb'), the man with the beard and pointing finger and naked legs under the table is the woman on the stone etc. The diagonal is the prominent aspect for this comparison.
Concluding remark on the historic reflexes
Finally, one notices that the face of the lamb of arbitrarity in the area of northern Germany/Poland (around Gryfice or thereabout) and patellas around Rome seems to consist of just four quadrants. The royalist possession around the Channel could rather be about PTRSIM PIK interpreted in the sense of the mid point between Riga and Nassau. It is this which seems to be transcended by the new arbitrary lamb - and that is likely to be the reason for the story with the 'republican' (non-royalist) storming of Capitol Hill and the following impeachment of Trump. But it must be noticed that this story seems to have some potential motivation in my poetic work - and what I have suggested is a potentially major step forwards in knowledge by the evidence which my TEQ provides for the existence of a poetic-phonological logic in human cognition. Then of course it is important that my work be not 'diagonalled off' from the history - like some quasi-mystic source providing the 'marionette impulse' to the historic reality. It is extemely important to avoid the development of such mythomania.
Celan, P.: Fadensonnen. Suhrkamp 1993
Rilke, R.M.: https://de.m.wikisource.org/wiki/Die_Sonette_an_Orpheus
Sachs, N.: Fahrt ins Staublose. ('In den Wohnungen des Todes', 'Sternverdunkelung', 'Und niemand weiss weiter', 'Flucht und Verwandlung', 'Fahrt ins Staublose', 'Noch feiert Tod das Leben'). Suhrkamp 1988.
Schulte, J.: Ludwig Wittgenstein. Suhrkamp BasisBiographie 2005.
Simon, R.: Shijing. Das altchinesische Buch der Lieder. Chinesisch/Deutsch. Übersetzt und herausgegeben von Rainald Simon. Reclam Bibliothek 2015.
© John Bjarne Grover
On the web 26 march 2021