The blue metre once again
John Bjarne Grover
I here sum up the fundamentals of the blue metre in a refreshed and more pointed version. It is basically the same logic as earlier expositions but presents the matter in a quite convincing way. See also the article on the refugee crisis for the question whether global politics now is all and only this blue metre and the problems of letting it through.
1. The dating of texts
It was in the year 2009-2010 that I wrote my book of poetry called 'POLAKK English Bloggi' (henceforth 'PEB'). It contains 366 poems - 365 'sonnets' (14-liners with sonnet end rhymes) and one leapyear poem - all of which were drafted in the year 2008-2009 when I lived in Venice - not far from where Petrarca once lived. It was in the summer after the book was completed in may 2010 that I discovered the peculiar (and indeed essential) aspect of it that it makes it possible to date in principle the authorship of any text on basis of its semantic contents only. The precision is quite good - down to about plus/minus one year. The principle is this: Take a text and divide it into 366 equal segments, then compare these with the 366 poems in the book and decide which displacement is the optimal one. That defines an 'offset' from segment 1 in the text to poem 1 in the book and this 'offset' defines the interval in time from the year 2009 when my book was written. If the time interval is 100 years (1909 the year of authorship of the text), then you multiply this with 0.366 and get poem #36.6 = #37 in the PEB. Conversely, if you find that the optimal match of displacement gives poem 37 = segment 1 in the 1909 text, poem 38 = segment 2... wrapping over from poem 366 to 1 untill poem 36 = text segment 366, then you can conclude that the text was authored in the interval 1908-1910.
This is what I call the blue meter of time. It has a cycle of 1000 years. It is my book which defines this cycle. I cannot exclude that other works can be written which define other time cycles - if that should be found it clearly could increase the precision of computation quite much. With my 1000 years cycle you must know the millenium the text is written in - but as soon as you have guessed this, the precision is quite good. It is an empirical question whether the phenomenon of 'optimal mapping' exists and the theory is very easily testable.
The principle seems to hold good for most or all of prose, drama and epic texts. (It is possible that poetry goes the other way - that it takes its reference in the future and not in the past such as prose does). It means that I can conclude that Sophocles' Oedipus Rex was written in 431 BC or Shakespeare's Love's Labour Lost was written around 1589. Flaubert's 'Un coeur simple' starts on PEB #50 and ends on PEB #49 - with its line 11 "Library Zhikorsky Mourner" for the famous parrot in the last lines of the story - here is PEB #49:
A bulky barge, a ferry
glides in mystery out
the harbour basin, very
red, black, white and stout.
This the movement dodgic
that sympathize the fall.
I says: Here's the logic.
He's the marine call.
Hidden on the corner
there's a stainless ring:
Library Zhikorsky Mourner.
I write on poetic Mecca.
I will write something
for the bridges of Giudecca.
What happens if a text takes more than one to three years to write? The Odyssey is an optimal example. It clearly has offset 58, that is, it starts on PEB #58 with nearly 33 verses per PEB poem (and #49 above will land on Od.22:460-493), which suggests year of writing to be around 1150 BC if it counts as epic prose genre, or 833 BC if it counts as the genre of poetry (although I must admit that I am not certain whether poetry is computed forwards in the same manner as prose backwards), but since it is likely that it took form as oral poetry throughout a longer period of time, it is clear that there cannot be a trivial one-to-one mapping. The effect of this is found sporadically here and there in the text - when e.g. two 'sonnets' seem to have swapped order - and in the main indication in terms of the odd story at the end where it seems that the last 665 verses have been moved from an original position between songs 18 and 19 - that is, that they once belonged, in the original version, at the end of song 18 - but, since the work would have gotten buckly relative to the blue metre in the course of the decades of its oral formation, they had to move these 665 verses to the end to restore the authorship of it adjusted to historic time. This tells of how long time it took to make it since its first conception - 665 verses would correspond to about 55 years - and indeed it should be possible to restore not only the original version but also the history of its rewrites. Indeed the Odyssey can be seen to be the blue metre itself - while the Iliad will be the red metre, the 2 seconds' time span of subjective human consciousness (which I have verified empirically in another work of poetry).
The PEB shows also a peculiar property relative to the indian Bhagavadgita. I have not had access to the computer program necessary for finding the optimal phonological - and could be semantic - match but I have noticed a certain redundancy of semantic correlation starting around PEB #121 - although I have not tested this in more detail. If it were written in 3102 BC, which is the tradition, it should have offset 41, which in fact makes some sense (see e.g. nos.136-143 in Bg.IV, 17-31). If tradition is not right, the offset could be anywhere and that is a lot of work to test. What is remarkable is that if the semantic correlation should start at #121, it is 1/3 through the PEB and 80 poems later - or one third is 122 minus 80 = 42 - and indeed it seems that a phonological correlation starts at 2/3 - at PEB #242. That would be something - and it suggests that the Bhagavadgita is the indian counterpart to the greek Odyssey as far as such historic metre is concerned. The phonological parallelism - which, it must be admitted, I have only superficially considered - can be exemplified with the beginning and end of the Bhagavadgita, here the last two indian verses in parallel with my PEB #242:
18.77: tac ca samsmrtya samsmrtya rupam atyadbhutam harehvismayo me mahan rajan hrsyami ca punah punah
18.78: yatra yogesvarah krsno yatra partho dhanurdharah tatra srir vijayo bhutir dhruva nitir matir mama
A boy walks up the stair
over a bridge. His trip
is crowded with the spheres
and on his forehead 'GLIPP'
is on his knitted cap.
His father follows him
like some extended flap
or as a forehead brim.
A choir sings: "Mama
and pa[pa]". It is the
voices of the high
angels all among
humans and the sea
that sing the evensong.
This wraps over from 242 to 243 at the end and beginning of the Bhagavadgita - which hence starts phonologically on PEB #243:
1.1: dhrtarastra uvaca - dharmaksetre kuruksetre samaveta yuyutsavah mamakah pandavas caiva kim akurvata sańjaya
1.2: sańjaya uvaca - drstva tu pandavanikam vyudham duryodhanas tada acaryam upasangamya raja vacanam abravit
What's written and what's heard
is hung up in a church.
It tells in paper words
the program you can search:
The time when things are on,
a schedule for the grace
under this glass. Around
there is a blackwood case.
I overtake this board
by walking past, my shirt -
as white as I can afford.
A woman dressed brown-dark
towards me: "Mein Auto wird
hier lange stehn".
How could I write such a work of genius - that its english follows even the sanskrit phonology of the ancient Bhagavadgita? It is not a joke. It took nearly 20 years of work - from I started in 1992 with the study of the parallelism of the history of linguistics with the history of information technology and found the not so surprising phenomenon that information technology goes in steps of about 1000 years and so does the development of the formal description of language - from the one level to the next, assuming that Apollonius Dyscolus had a mastering of the formalities of the morphological level (at a time when the elemental 'phonological' philosophy was fading out) and that scholasticism reached a clause level (that the printing press was invented in 1000 AD can perhaps be read from the scholastic-poetic logic of Wei Yingwu's poem to the taoist hermit of Chuanjiao mountain). This study provided me with a theoretic basis for the continued poetic work. Next I wrote from 1997 to 2008 the 16-volume poetic work "The Endmorgan Quartet" (= TEQ) that understands in its 1719 poems the formation of historic time in terms of a complex compositionality of time by 16 poetic functions that interact both locally and globally. Book 14 ("If you're going to Křbenhavn") is an excellent example: Each of the 1719 poems in the 16 volumes are annotated with date of writing, which means that one can study the distribution of a certain word temporally across the 11 years of writing. Book 14 contains 207 poems (plus some motto), and if there is a notable leap in the distribution of a word, at ratio x/y in temporal intervals, the semantics to this word finds its definition in the poem at x/y * 207 through book 14. Example can be the word 'swiss' which occurs 4 times in the corpus:
10.11.99: ...and then the clocks would open for the documentation on Swiss.
18.09.01: as a Swiss annual kind
13.10.01: To a Swiss gentleman who had Cern -
31.03.02: swisstalking on the eve of Sunday.
Intervals are 678, 25 and 169 days, a total of 872 days. The most significant interval is 678/872 = 0.7775 which multiplies with 207 for 160.9 = poem #161 of book 14, which indeed contains four lines (for the four occurrences) plus headline and 'signature':
That either would be
(10.11.99) Is there anybody aufzuwaken/aufzuwuken [here]?
(18.09.01) To Jungen:
(13.10.01) As I said in the beginning: I just can,
(31.03.02) hasn't got a chance in his memory back.
It is a matter of empirical verification that this correlates with the four occurrences and that the whole poem can be seen as relevant to the semantics of the word. There seems to be a good correlation - in my book "Poetic semiosis" I bring 29 examples which all seem to confirm the hypothesis. It seems that the theory can be expanded with a subtheory saying that all the intervals, not only the major one, contribute to the formation of its formal semantics in this 'function 14'.
The 'Bhagavadgita' phenomenon is found in the apparent semantic-phonologic mirror symmetry of book 14 - which tells that the phonology to the word will be found in the other end of the 'rainbow' of book 14: That means that the semantics to poem 161 will find its phonological form around poem 208-161 = #47 - 5 * 2 lines telling of S-W-I-S-S#:
if it's passible. (= s)
it's the pollities: (= w)
if there has been sturgeon. (= i)
Göteborg - I do it for you
or that the priority focus is not a warm. (= s)
It looked like some of them was a father of reach
on your speedcom. (= s#)
Even poems 48 or 49 could do if one insists on 4-5 lines for the 4-5 sounds. It is a matter of discussion, of course, whether language really distributes in this way. This is the global function, distributing over all the 16 books. Empirical evidence for the theory can be found in the local function of book 14 which defines a certain poetic form which can be attested in many important poetic works of notable parallelism - such as Celan's "Fadensonnen", .... etc
I have conjectured that each of the 16 books define a distinct poetic function which contributes to the formation of historic time - which thereby is far more complex than just the linear chronologic metre.
It was at the end of these 11 years 1997-2008 of work with the poetic formation of historic time that I could write the PEB in the years 2008-2010.
2. The hebrew alphabet
Clearly this theory proposes some fundamental and radical presuppositions for what a text is and that necessarily has to do with the alphabetic technology. It suggests that a form of absolute time exists which is not the same as the relative time of the alphabetic technology. (This clearly can open up new perspectives also for information transmission). The 366 poems of PEB are divided into 23 chapters (really 24 but one of these is a dubious subdivision) which seem to correlate well with the 22-23 letters of the hebrew alphabet. The theory is that each chapter defines one essential and necessary 'function' of the alphabet which is radically different from all the other 22 functions. The AIN is chapter 7 ('The Endmorgan Trolley') and seems to be about the relation between the poetic order of conception of elements in the process of writing and the chronologic order of elements in the text itself. The relation between the order of the drafts and the eventual order of poems of the PEB took on a scorpion shape - leaping from one series of drafts to another - the y-form of the hebrew letter. Even the serifs of the classic quadratic font can be found in the story of the formation of the book. The mirror letter is the ALEF of chapter 18 ('Nufr and Nufrcay') which in my book is conceived as being concerned with the phenomenon of genre conversion - that prose takes its reference in the past while poetry takes it in the future.
The 366 poems of the PEB are put up in parallel with the 366 first verses of 'Genesis'. The letter NUN is contained in the section called 'The calle of lots and mille' from PEB #311 to PEB #322 = 12 sonnets in parallel with Genesis 12:12-13:3. The example could be sonnet #314 which is in parallel with Genesis 12:15 in such a way that the 12 hebrew words follow the 14 sonnet lines from beginning to end quite well and there is a partwise phonological and semantic correlation with the lines of the sonnet. For the first 8 hebrew words, following lines 1-9, the correlation is mainly phonological in the end of the poem lines and semantic in the beginning. This turns at line 10 and the rest of the lines and words have an opposite correlation principle: Phonological match in the beginning of the line and semantic in the end. These two principles - semantic-phonologic match above and phonologic-semantic match below plus the vertical turning at line 9-10 can be recognized as the reason for the graphic form of the letter. This same principle obtains with some variation in the PEB 311-322.
The ZAIN looks like the two vertical parts of the ALEF, including the top serif, when these are put together, plus a diagonal, and indeed it seems that the displacement of the two halves of the vertical line is a part of the defition. ALEF = PEB 254-267, called 'Nufr and Nufrcay', while the ZAIN is the immediately preceding PEB 241-253 called 'SMT - adventure bottle'. The relation of the hebrew to the contents of the ZAIN looks reasonably fluid, while it seems that each hebrew verse in the combined ZAIN-ALEF 241-267 applies to the mirror poem in the group - that means hebrew to 241 applies to the poem 267, hebrew to 242 to poem 266 etc. Hence the inherent graphic relation between ZAIN and ALEF - including the genre-conversion aspects of the ALEF.
This genre-conversion could also suggest that the ALEF has its form from the form of a 'lapis philosophorum' - genre-turned around:
It is assumed that the complex formation of the blue metre of PEB goes through 22-23 essentially necessary and different - probably also sufficient - semiotic functions in the relation between graphics and historic time. I drafted the PEB and wrote most of it in Venice where the more than 100 churches distribute on the map in ways which are quite interesting for an understanding of the forms of the latin alphabet.
It is the form of visual writing more than the form of acoustic oral speech which is the theme of the PEB. This means that the blue metre should be able to detect time of first or early occurrences of words in writing, whenever they could have been formed in spoken language. One can go via the phenomenon of visuals of art history: Take a central work of art and figure out the word that best describes its essentials - then look up in some etymological dictionary this word for first attested occurrence in writing and find the corresponding poem in PEB, computing by interval to 2009. The poem you find should then, tells the theory, be a relevant description of some essentials of the artwork. This seems to be the case - not only for indoeuropean languages. In "Poetic semiosis" I discuss a series of such artworks. Examples: Rafael's works seem to have been a little much for history and his "The holy family" is one of his works which have been subject to edition when the original puttis above were overpainted. The word 'putto' entered the english language in 1644, tells Oxford, which means PEB #134, which is a quite interesting comment:
The art of poetic philology
was hurled up in the air
by standard mythology
and landed there:
What does your hand
tell you? 't'is true
this Adamenta and
and was taken into the catholic
by Jams Arbercra
and the novices of the bucolic.
Hey ho, the verse still lives among
us, and one naturally asks:
When comes to us the divine song?
Poussin's "Apollo and Daphne" shows Daphne being transformed into a bayberry tree in the moment when he reaches for her. The word 'bayberry' is recorded as having entered the english language in 1578 which means PEB #158. However, since #159 seems to be much better for this artwork, one can speculate that the word really entered written english around 1575. Picasso's "Guernica" is a title which has entered the language as a concept in its own right - and indeed that can be seen to be the contents of the artwork itself. Assuming that the word was introduced as a concept in the year when he made the artwork, which was in 1937, one finds that (2009-1937) * 0.366 = PEB #27 which indeed tells of important elements in the artwork itself:
Walking down the stairs
in the Hotel Berlin
it's ninety degrees off where there's
the stairs you're walking in.
stands down on his knees,
under his own knees he is bent,
under vaporetto he sees.
Herald shouts: "Schnapsenbataille!"
looking at the winner
who is greek in his reply: "Nai!"
And, eh, I have also ordered
some things on the inter-
net, ticking boxes sorted.
The phenomenon is not restricted to indo-european languages. Botticelli's 'Fortitudo' from appr. 1470. The italian word 'fortitudine' is first attested in 1294 - if 1293 it means PEB #263 which makes sense. The hungarian word for 'power' is 'erö'. It is dated to 1130 for the first attested form - which gives PEB #322. The interesting aspect of this is the last line 'laughs with the teeth of a monkey' which is visible in the foldings of the textiles over the belly - they look like monkey teeth. Botticelli had probably tried to paint precisely the concept of FORTITUDE and that is why the word meets the PEB in hungarian as well. For his 'Annunciation' I try hungarian 'kihirdetés' which is not mentioned but 'hirdetés' is from 1405. That means PEB #222 which is quite good. Caravaggio's 'The calling of Matthew' (1599-1600) suggests 'calling' = hungarian 'hivás' first attested in 1416 which means PEB #218, indeed very good. Here is PEB #218:
She said: "I'm a psychologist".
She had a bag of flower-power.
She'd visited a telegraphist.
"I was there for an hour".
We were more desolate than any man.
I saw the seaside with a single boat,
the darkness in the air, the strand,
a raft was coming in afloat.
It turned into the blackest
night in our secludedness.
We were by bed and breakfast.
The cone of light under the lamp
shone on us two deluded guests
and cunnecun the camp.
Caravaggio's 'The doubting Thomas' (appr. 1600) suggests 'doubt' = hungarian 'kétség' first attested in 1372 = PEB #234, which hardly can be better. His 'Cheating cardplayers' is, like 'hivás', attested first in either 1416 or 1450 - in this case it is the latter year which applies for 'csalás' = 'cheater', 'swindler', for PEB #205 - written on 1 february 2010 - perhaps even more optimal:
A glass of Nescafé
is on a shelf of shop
next to the shelf of tea.
The customers reach up
their hands to grip around
the body of this glass
that holds the contents brown
when in the shop they pass.
The extension of the palm
covers the label writ
about the powder's realm.
The glass is left there, though
the colours about it
are lifted down and low.
4. Political theory
There are 16 poetic functions in TEQ, divided 'vertically' - and there are reasons to believe that there could be 14 historic functions in PEB, one for each line of the poems, divided 'horizontally'. I have studied only line 4 which seems to be concerned with political government. Generally, finding a good approximation to the name of a state chief in line 4 of a poem of PEB, the name of the previous state chief will tend to be in line 4 of the preceding poem. The trend is that one can follow the series of names of chief of government backwards in lines 4 through a considerable number of decades. Even more impressive: There seems to be a compass or coordinate system function - such that if the british state chief is in poem PEB #227, the french will be in 227 - 183 = PEB #44, while the belgian and spanish chief names will be found in a 90 degrees axis to these, that is in 227 + 92 = #319 (Spain) and 44 + 92 = #136 (Belgium). Here are the 4th lines of these:
44 = 'to reinvigorate the life of youth' = Francois Hollande
136 = 'it is a good time' = Yves Leterme
227 = 'of distant friction, joins the packet' = Gordon Brown
319 = 'and all that lived on in their brain' = Mariano Rajoy Brey
('Elio Di Rupo' of Belgium could be #137 - 'and those are dear to me') - There seems to be a tendency for british names to lead attention to the buttock region, and one can follow the names from Brown backwards in this form, with one single exception in 'Harold Wilson' = PEB #222 ('and pull them from the book'). From Hollande one can follow the french presidents back to Charles de Gaulle ('points chopsticks in the air' = #38). Current 'David Cameron' would be #228 = "in 'Wechselstub'". When british Labour changed leader from Gordon Brown to Ed Miliband in late september 2010, it was after the 1000 cycle of my book had been discovered but probably before this 4th line phenomenon had been found. PEB #229 = "She hurries on running feet".
Denmark's Helle Thorning-Schmidt on #177 ('the suffering of the flesh') relates in a similar coordinate system to Norway's 'Jens Stoltenberg' = 177 + 91 = #268 ('and watch its dizzy roll') with Sweden's 'Fredrik Reinfeldt' = #85 ('aboard a vessel of the celibate'). And who is #360 = 'and closing of the door'? Surprise: It seems to be Bulgaria - apparently having made a major leap, could be to get out of an unfortunate maelstrom. Austria / Hungary likewise follow this pattern of 180 degrees balance - with the series of austrian chancellors from current 'Werner Faymann' = #104 ('behind the crises') back to 'Karl Renner' = #77 ('the patience of the medicinal'). Adding +183 or 184 to this series takes it to hungarian state chiefs from current Viktor Orbán = #288 ('theatre: You're soft inside') back to István Dobi #268 ('and watch its dizzy roll').
If Syria's president 'Bashar al Assad' is #264 ('terminates in grief' - an excellent concept for a president but should not be mistaken for the presidency), Israel's 'Benjamin Netanjahu' could be 264-183 = #81 ('through the rest of the wall') and indeed the israeli state chiefs follow line 4 backwards to Ben Gurion at #65 ('stepwise to ground') - which confirms the hypothesis of 180 degrees. Turkey's Recep Tayyip Erdogan comes on #172 ('because it is the text').
Clearly these are likely to be similar effects of this puzzling phenomenon of absolute vs relative time. I have not studied the other lines - for example, whether the names of the ministers of the governments tend to be in the rest of the relevant poems - but have observed some cases of major progress in scientific history (apparently with some priority disputes with the discovery distributed somewhat geographically) in line 14 - cp. the mention of TEQ function 14 above.
5. Concluding remarks
These phenomena open up new perspectives in most fields of study, and not only every student of political or literary theory could need a copy of the book in hand, but also e.g. students of theology who want to verify the theoretic basis for the result that e.g. Acts was written in 67-68 AD - which also means that the various parts of it can be assessed for its authenticity. Linguistic theory, art history, could be informatics and transmission sciences - there is hardly a field of academic study which could not need it, and then it is not enough to have a copy in the university library. Then why isnt the book published yet - more than five years after it was completed - beyond the few copies that the author has made of it himself and distributed to some libraries? It is possible that politics has made grandiose plans for the coming centuries - not the least in the hope of finding the blue metre, which now already is discovered - and could feel these plans disturbed by the 4th line phenomenon. When the top 100 military and governmental leaders of Poland died in an aircrash during landing in Smolensk on 10 april 2010, it is of course possible that it could have been sabotage for the concept of the title of the PEB - the title page was written, drawn and called 'title page', with annotation of the blue colour and yellow lettering, in my handwritten manuscript on 8 february 2010, for poem #228 (!) and on 10 april I had just completed poem #295. The UK general election 2010 took place some 2-3 weeks later - after the rig disaster in the mexican gulf (maybe somebody believed that I would go for 424 rather than 366 poems in the PEB?) PEB #211 (written on 1 february 2010) tells: "Blue is the label, / and yellow the letter: / '80' or 'MS' / or something better". (See also Tiepolo's 'Il trionfo di Flora' - and the above notes on the hebrew letter ZAIN). I gave by personal presence a copy of the (selfmade) 3-volume 4400 page collected works of mine, including this PEB and the TEQ, to Zürich Zentralbibliothek, but the massacre on the mountaineers high up in the Himalayas 2-3 days later could have reduced the interest of the library. My study of the history of linguistics and information technology was included in my PhD dissertation 'A waist of time' which was rejected at the university of Bergen in late july 1998, and it was while I wrote my appeal that the US embassies of Dar-es-Salaam and Nairobi were bombed along with the bombing of Omagh in Ireland (in sum, "rejected on a political basis" - which could, even if it was not, have been the contents of my appeal). If I myself should submit the work and with trembling hands give it over to the fate of your assessment as a publisher, it is certain that the phone will ring before the package is there and the rejection will be tough and the progress of certain politics (surveillance and plagiarist 'rebels'?) correspondingly, and long they can ride the wave from success to success thereafter. But science - always on the quest for truth before power - should not give in to such vain interests of power - and as soon as the truth is out of the sack, there is not much sense in continueing the power games anyhow. If the blue metre is proven, then there is no purpose in continueing suppressing the knowledge of it since that sooner or later would have to be a lost game anyhow. Therefore the scholars of academic study should stand together shoulder by shoulder in their uncompromisable quest for truth. Ideas that modern science is nothing but propaganda networks for power must be considered the purest nonsense. Power that faces the blue meter may hope to integrate it into their total control as a tool for cheating or 'governing' the public, like preventing the publication of the law of gravity since it could be an excellent tool for convincing the public that the apple falls because the governments wants it to, not to speak of the revolutions of the sun, the moon and the stars. Such totalitarianism is not the future - as told perhaps the aircrash of 'Germanwings' on 'Les trois eveches' while science was to the toilet (cp. also Wei Yingwu's poem). The work should not be 'rejected on a political basis' and exploited by violations of the copyright law, and neither is there any solution in altering the ways of the copyright law. If politics after 2010 is no longer what it used to be, that means that there could have been breaches of that law - since I personally have made only a few dozen copies, and if a political party wants to have it in their bookshelf, not to speak of every party member who wants to study the historic mechanics in detail, they must of course buy the copies from a bookseller. It should be possible to find a publisher for such a potential million-copy seller.
I had just made the theory on my home computer and found the 1/3-2/3 correlation with the Bhagavadgita when Narendra Modi a few days later visited Obama - and got a copy of the Bhagavadgita as a gift from the american administration, told the news I read on the internet. Could have been about an 'asian' correlation in that peak of perfection?
The response from those who want to reject it is likely to be that there is no significant redundancy. I dont think that is right and it is very easily testable - I have reproduced a few of the poems from the work here - nos. 27, 49, 134, 205, 218, 242 and 243 - and the reader can use those for testing texts. It is true that I have not tested for all combinatorial possibilities - I have tested mainly works for which the year of authorship is roughly known and verified it thereby by 'testing around the hole'. I have also dated the old norse sagas of 'Heimskringla' (allegedly written about 1225) to about the years in the life of Alexander Pope (I found the sagas to have been written from 1688 to 1761), which means that their value as historic source could be meagre and could derive from anti-catholic and somewhat anti-hebrew interests - although it must be added that Pope lived about 500 years after 1225 and it is not impossible that such a half millenium also could leave a slight furrow in the landscape - cp. the political 180 degrees, like a sine wave, sort of. It is a question whether computers will be able to give a relevant assessment of the redundancies and therefore can test all combinatorial possibilities - could be they can, could be not. Could be the groove, which can be very notable, really exists in the innate linguistic competence somehow - like linguistic wellformedness evaluations of innate speakers. Another response could be that the work is swindle or stolen - it is neither of these. It could have been 'swindle' in the sense of backwards construction from a database - it is not and I dont think that would give very interesting results - such as these political 'coordinate systems'. A third could be that the poetry is 'not goodenough', which is irrelevant of course if the work cannot really be otherwise without losing its explanatory force. A fourth could be outright media war with plagiarisms for demolishing the foundations of it. One of the fundamentals of such a warfare could be found in the peculiar role of the english relative to the Bhagavadgita - if the above theory on the thirds applies, then clearly it is possible that not every language could reach the same level of sophistication in a political strategy of suprematism for a third millenium. However, on the other hand, if the theory suggested by the data on the hungarian etymologies are right, then it is possible that this global role of english is not as godgiven as it could appear at first sight, and it is not likely that attempts to turn german and hungarian languages into variants of ancient greek and hebrew - with a syrian crisis inbetween - can mend this potential problem for the enthusiasts of the english language.
See PEB line 6 for a theory of line 6.
See the article 'The magic of the flesh' for a theory of lines 1, 5, 14.
© John Bjarne Grover
Sources for the etymologies:
The shorter Oxford english dictionary, on historical principles. Oxford 1978
A magyar nyelv történeti-etimológiai szótára. Akademiai Kiado, Budapest 1984.
On the web 20 september 2015
Last updated 24 may 2017
© John Bjarne Grover