The blue metre in the political history

John Bjarne Grover

The historic background

The principle which the history rests on is called 'lapis philosophorum' - the philosopher's white stone formed ex nihilo - assumed to be essential for making SOMA in the ancient rigvedic rites of hinduism and many think it is the basis for the holy communion of christianity - that Jesus Christ is a 'lapis philosophorum' from heaven, the consumption of which counts as the same as the consumption of SOMA in rigvedic times.

The 'lapis philosophorum' probably always looks the same and is assumed to be the form of the human psyche - it probably always has a fixed form and size and contains a diagonal of fix length: When the centimetre was to be defined as an international unit of length in the mid 19th century, it seems that one chose a unit of length which made the white stone be exactly 2,718182... cm long - this unit of length is called Euler's constant 'e', the base of the natural logarithms. (When 'Al Qaida' is arabic for 'the base', it could mean this 'e'). It seems that the white stone was quite well known earlier but that International Secret Intelligence Services seems to have tried to purge the archives and general knowledge of any information on the stone, making it a high-level secret used for principles of government or power-making only. How many people know today what it looks like? I myself made probably such a white stone (a 'lapis philosophorum') in 2014 and it looks like this. It contains a big main head which looks like a sleeping eagle or a lamb, with a naked 'Eve' at the cheekbones, a diagonal to the smooth half and a face looking right at the end, apparently pondering something. In the article 'Egyptian hieroglyphs, lapis philosophorum and 'Stillhetens åndedrag' I show how the egyptian hieroglyphs find their rationale in the white stone.

Adolf Hitler and his government were made by these principles, as is my assumption. It is believed that the 'lapis philosophorum' is constituted by the three chemical components salt, mercury and incombustible sulphur - and that is the three streetnames Selzergasse, Gstaltmeyrgasse and Wurmsergasse near Johnstrasse in Vienna - the three sides of a rectangle to which the fourth side is Hütteldorferstrasse (cp. 'Hitler-Adolf-Strasse'). When Golda Meir was israeli PM in the 60's, it could have been for telling of the essential role of Gstaltmeyrgasse = the 'mercury' in the constitution of Hitler - meaning that one should perhaps not do the same error once again. (When Jens Stoltenberg became chief of NATO at the time of Obama, it is not impossible that there are certain links to this historic streetname). It may be that Selzergasse, Gstaltmeyrgasse, Wurmsergasse are considered a 'Bermuda triangle' which opens up the fourth side.

Zinckgasse is parallel to Pelzgasse and there seems to ve the program of 'the beast of the revelation' (Revelation of John chapter 13) on my person. (There are also appr 666 metres from my flat in Zinckgasse up to Wurmsergasse). In Rev.13:17 there is mention that the second beast required all to have a mark ('kharagma') on the hand and forehead to be allowed to BUY and SELL.

SELL = koine greek 'πωλεω' (Rev.13:17) which derives from indoeuropean 'pel-no-s' which here is taken to tell of Pelzgasse. In modern greek the word is 'πουλω'.

BUY = greek 'αγοραζω' (Rev.13:17) - the same as in modern greek - which relates to indoeuropean 'ago' = to drive, lead, typically yoked oxen ploughing a field etc. The word really means 'to do business in the marketplace' and can mean 'buy and sell'.

SELL-zergasse is then the link to the 'Bermuda triangle' - and for this a certain SPOONerism of BUY and SELL could be needed - via SIGH and BELL, such as 'Isabelle' etc. It is possible that the civil war in Syria 'is a bell'. Zinckgasse is reinforced politically via this Syria crisis - Zinak-gasse = SYNA = Syria as well as KINA.

I also bought a house in Sziget Utca in Szolnok in 2015. There have been some problems with the garbage off there. The greek financial crisis could be seen as related to the issues of BUY & SELL.

My personal history includes probably a history of 8 cases of child abuse (1957-1975) reflected in the 8 Kennedy sibling names as well as 8 cases of complemetary 'triangular' stories (1977-1982) of my adult life - with names of the 8 females possibly reflected in the 8-9 points (including 666 of me) of the Eisenhower doctrine. It is my theory that these 8 females could have been linked to the program since the time of my birth. The classic example which is easy to check is the work of Sylvia Plath whose poetry seems to encode the name of 'Tonje Aanonsen' (Eisenhower #7?) in each and every of her poetry lines. They were even somewhat similar - whether it was the same person I dont know. The work of Anne Sexton, likewise from Boston, seems to encode the name of 'Tordis Skjærven Søderlind' (Eisenhower #2?) in the poetry lines. Now the fourth 'octogon' name is 'Ayo Jardar' whose first name correlates with the indoeuropean 'ago' = 'αγω' in greek (for 'αγοραζω' of Zinckgasse/Pelzgasse), and the spoon of her name 'Jayo AR-dar' tells of 'me and AR-there' - wherein AR is the new car number ('kharagma' of Rev.13:17) of 1970 taking over after the former T-262 of my childhood: This 262 is the year 1957 of my birth in a cycle of 389 from the year 529 of the authorship of Regula Benedicti - and thereby an encoding of me as the centimetre from the mid 19th century. Ayo Jardar has two sons called Kim and Espen - which could invoke the role of Joachim von Ribbentrop in Hitler's cabinet - my guess is that this name encoded 'Öttevény' in Hungary already then for the 2 'octogon'-s after the war. An octogon on my person qua Eisenhower #5 is the name 'Kirsten Ribu' - and the proof that the 8 female names of the octogon constitute a logic for new political thinking after the war is found in the step from #4 to #5 which took place when in 2014 my 'pension' ('Wilhelm Ohnesorge' in Hitler's government) was redefined to 'benefit' ('på trygd' --> 'trop-bygd' --> 'trop-Ribben', the 8 Evas) and I collapsed like a 'cursed on rib-you' - including wabble eczemas on the righthand underarm. Of course this eczema could have had other reasons - but it correlated with the redefinition of my economic income.

The proof that seems to have been prepared by history that this account of my 'octogon' (here via the Eisenhower doctrine) relative to Hitler's government is relevant is in terms of a school on Hvaler outside Fredrikstad. Ayo Jardar had been married to (and probably had her two sons Kim and Espen) with Jardar, a teacher at the school called 'Åttekanten' = 'The Octogon', a children's school which in the beginning had an 'open solution' without inner walls separating the 7 classes (grades) from each other - they all shared one big room - which means that some 'cross pedagogy' was inevitable. The school later raised some inner walls and expanded to 8 or 9 classes but is now reduced to 7 classes (grades) again. For the relevance of a comparison of 'Octogon' with 'Öttevény', I notice that the school's front web page lists Øystein Dolve as its rector, while Øystein Dolmen is a wellknown child entertainer - one half of the duo 'Knutsen & Ludvigsen'. (However, on another page they tell that Rita Wiborg has been rektor at the school since the school year 2007/2008, so I don't know what it means). 'Åttekanten' is on the island called Vesterøy in the archipelago municipality of 'Hvaler'. 'Feste-røy' = 'party-røy' could perhaps be taken to mean something like 'around-the-clock røy', partying around the clock. 'Røy' is 'capercaille hen'.

The archipelago Hvaler consists of 830 smaller or bigger islands with a total area of 86 square kilometres, the four main islands when coming from Fredrikstad are (in this order) Vesterøy, Spjærøy, Asmaløy og Kirkøy. Bridges were built to unite the archipelago with the land, and now it is only Kirkøy left who requires a ferry to be reached by car. 'Sziget Utca' in Szolnok means 'Island Street', 'Øy-utca', cp. 'Utøya'.

I think Ragna Grøver mentioned this 'Åttekanten' school once, in some context which could not suffice to link it to me, and it is said to have some affiliations with Rudolf Steiner pedagogy - Vibeke Grøver worked for a year at a Rudolf Steiner institution for disabled children near Aberdeen in 1975-76. Of course this does not suffice as information to me about historic links to Hitler's administration - but for the question of a 'cursed-on rib-you' effect in 2014 it is possible that it could have contributed to relate it to me. It was only by 14 january 2018 that I was able to decipher the rebus code - and nobody has ever told a word to me about any links of Hitler's administration or this school on Hvaler to me. To make claims that I should have been informed about a systematic historic role of the Zinckgasse street in Vienna to me - such as e.g. via Hitler - would be totally erroneous.

This much about a 'proof' of the relevance of Ayo Jardar as 'octogon #4' for the historic account. Next there are some further observations for the idea of the same for #5:

Kirsten Ribu had been married to a bulgarian when I met her - a role of Bulgaria via SOFIA could be seen in the possible role of the letters which Rilke's mother Phia Rilke - born Sophie Entz - had sent to him. These letters, probably about 1000 or so, seem to have disappeared from his belongings and it is easy to see today how these letters could have been used to engineer a conflict leading to or springing forth from a cabinet a la Hitler's from 1933 onwards. A couple of her letters to Hertha König have survived and are published and show the great musicality, esthetic sense and humility in her personal communication - and one quickly leaps to the conclusion that her letters to her son could have had an important role to play for his own poetic achievements and language. If the letters were stolen and landed in a foreign secret intelligence, it could have been a heavy tease on Germany if foreign intelligence/administration organized arrangements which served to tell that her letters to him correlated with terror and disasters and that these were his source of inspiration. I don't know if it is generally assumed that such organized 'tease' or 'mobbing' could have been a background of the war.

It is also possible that this could be the background of my own role in the politial construction - to be a 'Rilke' whose poetic work was 'controlled' by the letters from my official mother Ragna Gröver and that these letters also were correlated with terror. (I dont think there is such encoding or cueing in my work). On the background of the 'evidence', this is a possible understanding of the historic background.


The blue metre as the essential crux of the story

My personal view is that the whole story since the early 19th century is a little bigger than this and that my role was to write the 'blue metre' for solving the problems which had to be solved for the global community to be able to move forwards: Without this blue metre it seemed impossible to get ahead with positive solutions which escaped conflicts - and my view is that they made me for this purpose - with Hitler's administration as the reminder which made it urgently important to find the solution. I have written the blue metre (PEB = 'POLAKK English Bloggi') in 2008-2010 and it does solve the fundamental problems. I outline the solution in the following.

I wrote 'The Endmorgan Quartet', a work of 16 books of poetry, in the years 1997-2008 - and it turned out that each and every book contains one essential poetic function constituting (the poetic) reality. It is a work of 1719 poems in total.

Thereafter I wrote 'POLAKK English Bloggi' (2008-2010) which contains 365 'sonnets' (poems of 14 lines with sonnet line end rhymes) plus a 366th leapyear poem of 25 lines. This new book differs from the preceding TEQ in the sense that each and every of the 14 lines correspond to the poetic function of TEQ of same number: Line 1 in all the poems of PEB is the poetic function dealt with in book 1 of TEQ, line 2 of PEB of poetic function of book 2 of TEQ etc - up to line 14 of poetic function 14 in TEQ. This must count as a hypothesis which so far has been empirically verified although more work could be done to settle it. This means that PEB is not read in 'snowball' fashion - like packing line 1, line 2... line 14 into a tight snowball of meaning and that is the poem - but rather each and every line will serve to update the cloud of meaning of corresponding number as one reads through the work.

Now it seems that the history of England, Germany, Adolf Hitler and the holocaust can be explained in terms of these lines of PEB and functions/books of TEQ. This is what I show in the following - discussing in successive order line 4, line 1, line 14 and line 11. As one can conclude, it explains what Hitler was.


Line 4: This is the line which proves that the PEB is of high salience for understanding political history. The discussion in the article The blue metre once again" under the section "4. Political theory" is sufficient for showing that political history is interpreted by PEB. I repeat this section here:

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.

I add that this line 4 seems to be corroborated by political history.


Line 1: The essential crux of the story is in line 1 which I discuss in the article 'The hungarian evidence'. It shows that the english language contains a certain property which serves to lend to national languages a certain 'taint' or character which probably is contained in the english term for the language. It is likely that if a mock of Phia Rilke's letters to her son were vestiged in the language and style of english, for example organized by british secret intelligence, it could have constituted a substantial punch of mock on the german self esteem. Line 1 seems to be about that linguistic property for which the english language is particularly suited - and it would have been for responding to the 'mock' in a similar way that Hitler designed his cabinet in a maximally 'english' way.


Line 14: The crux of the story is that if line 1 is 'english logic', then line 14 is the poetic logic of Rilke's german language. To find the character of line 14, one can search for the character of book 14 in TEQ - and book or function 14 in TEQ is the distributional semantics based on historic time which describes a 'rainbow' from the beginning of book 14 to the end of it - comprising the 207-208 poems in that book: See the explanation to TEQ under the article on my work (search for the string 'Function 14 is a good example') - this function 14 is of such a kind that if the semantics to an item is given distributionally in time at a point x on this rainbow, the phonology or acoustic form of the same item (word) will be given at the mirror point on that rainbow, that is in poem 208-x. In the article, the word 'guitar' is used as example - it has its semantics described by poem 10 "Living" and its acoustic form consequently in poem 208-10 = poem #198 "It's love". Now my TEQ containing 1719 poems seems to be somewhat exact - and if the bold hypothesis which is contained in this semiotic model on the human language should hold good for this work, it is what can allow for a new theory on human language and a new logic springing forth therefrom. The data from my studies of my 'fundamental theorem of linguistics' tell the same - such as the 1344 words occurring twice and only twice in the books 13-16 receiving their definitions in the 1344 lines of the white metre book 'Stillhetens åndedrag'.

Now for the conclusion on basis of this hypothesis: The traditional old aristotelian logic and way of reasoning is based on the semantic contents of words - but clearly if there exists such a necessary systematic connection between words and their historic distribution as in the rainbow of function 14 of my TEQ, then it follows that there has to exist a corresponding poetic logic contained in the acoustic form of the words. It is likely that this is the 'poetic logic' which one can experience in Rilke's poetry - it is the logic of line 14 of the PEB. (It is also likely that my own work functions by a combination of these forms of logic).

Clearly this new formal 'acoustic logic' of line 14 would be the knowledge of the new millenium.

It may perhaps be commonly agreed that Rilke's poetry could be written in german language but something similar would be hard to think of in english language. The english language has its own qualities which can be attested in e.g. the poetry of John Keats - but Keats is quite different from Rilke.

The hypothesis is therefore that PEB line 1 = what can be called specifically english-language logic while line 14 is about the poetic or even acoustic logic and way of reasoning attested in Rilke's poetry.

This explains the history with Rilke: The germans felt that the new millenium would be this new acoustic logic of their language in terms of a line 14 - and Rilke had a high star thereby - but then came the british mock in terms of line 1 logic which tried to show that line 14 was nothing but terror - and Hitler answered with nothing but terror in terms of a design of his administration in terms of line 1. This completely crashed the german hopes and aspirations and after the war the world has been totally anglophonic - totally line 1.

What can be done to understand how and where this crisis can be solved? A sonnet is characterized by its 'turn' in line 11 - then it turns from the logic of line 1 to the logic of line 14 - and a study of line 11 could therefore be the solution to the historic crisis.


Line 11: With some philosophical contemplation, one finds that the theme of line 11 necessarily will have to be in 'The fundamental theorem of linguistics' - see also the article on 'The beast of the revelation and the fundamental theorem of linguistics'.

I therefore decided to find the words that occur twice and only twice in the set of 366 line 11s in PEB. There turned out to be 94 or 95 such occurrences - the data are given in the file PEB line 11 - the data. As I notice at the end of that article, the mid entry of these 95 occurrences will be #48 - in the first list that divides 'light' from 'lights' (by the half if only 94 entries are included, without #95), in the second list one finds '8' on this mid point - that is the last entry in the first list and it is #9 in the second of the second list. Notice that entries 1 and 4 are the same in the two occurrences of the second list - and that this lends to the first 8 entries in the second of the second list an interesting observation - followed by the digit '8' as #9. Entries 1 and 4 in the ascending orders are 'ear' and 'hair' - and this invokes TEQ book 1 'Hammerfest' poem #50,which starts as follows:

The hair and the air is nowhere to be framed,
in particular when I nowhere give up a damn
when it is as far
women chart
etc

Following this #50 is #51 in the same book, containing these lines:

She had both articulatorily and definitorily features,
the Richmand and Porterous,
to keep up to the range
Facial 46,
the bell of sofa,
the burden of the existential level,

purrison on the coast.
etc

The poem is signed 'Twentyfour'. Now it is this underscored 'Facial 46' which is the evidence - it points to entries 46-47-48 with the 'light' in the list of double occurrences because of the air/ear and the hair which also has been the theme of much discussion in recent french reality about the muslim headscarfs of women.

The bell of sofa = is a bell = the syrian civil war.

The burden of the existential level = (mistakenly) the beast and the pension gone benefit.

Greek for 'sofa' is 'καναπες' which resembles 'Kavafis' - the greek counterpoint to Rilke - rather contemporary but quite different, but perhaps as greek as Rilke was german.

Purrison on the coast = the navigare of history to prevent shipwreck against the coast of eternity - and which perhaps even can be attested in the streetnames of Rudolfsheim in the form of the BAL-RI-AN.

There is much that can be said about this example from poems 50-51 - for the signature 'Twentyfour' see e.g. entry 24 on the alphabetic list - it is the word 'far' which receives special attention (boxed) in poem 46 in TEQ book 2 - that is TEQ poem #106 when there are 60 poems in book 1. (In the ascending list it is 'call' - hence 'as far / women chart' - see also the 'Myshkin' in that poem 46 of book 2). In fact the 'Facial 46' seems to be about the value of the poem 46 in many of the books in TEQ. In book 15 there is the poem 46 which seems to run the lines backwards to 'Ketchup' as 'Facial 46' in poem 47 - and in book 16 poem 46 the 6 * 4 = 24 lines can even be read as 8 groups of three lines each, thereby telling the 8 graphic symbols of 'Facial 46' in their proper order. TEQ book 1 poem 46 tells contrariwise of the acoustic logic with the vibration which is not present in the graphic symbols with which the work is written. "But why couldn't he say it with vibration?" But this would be just an example of one minor detail that runs through the work - it is not that every poem 46 is just this. But the example can tell that the blue metre PEB - here by line 11 - has sprung out from my work with TEQ = 'The Endmorgan Quartet'. Could be I should add that in Schnack's Rilke-Chronik I find under the date 18.8.08: "Da ich die Gedichte ordnete, hatte ich den Eindruck, als ob der neue Band sich recht passend an den früheren anschließen könnte: der Verlauf ist fast parallel, nur etwas höher, scheint mir, und an größerer Tiefe hin und mit mehr Ferne. Wenn sich an diese beiden der dritte Band anschließen darf, so wird noch eine ähnliche Steigerung im immer sachlicheren Bewältigen der Realität zu vollbringen sein, woraus ganz von selbst die weitere Bedeutung und klarere Gültigkeit aller Dinge sich einstellt" (From Rilke's letter of 18 august 1908 to Kippenberg).

Now the essential observation is that these poems 50 and 51 are in the book 'Hammerfest' which is book 1 and hence poetic function 1 and hence line 1 of PEB and hence the english solution - that which Hitler crashed Germany into.

Purge is on on the coast = hol-o-caust?

Will a political comet have its appeal from the apparent ability to take the place of a holocaust - even if it runs into function 1 instead of the desired function 14? But will that really take the place of a holocaust? Clearly a holocaust could arise from the dumping of line/function 14 (acoustic logic) down into line/function 1 (administrative logic) - probably not from administrative logic being recognized in function 1. The optimal solution is found if the political miracle goes into function 1 while the esthetic miracle goes into function 14 and gets the optimal chances to develop there. What must be developed is that a function 14 crashes (or annihilates) into a function 1.

There are mirror poems in TEQ on the other side of these TEQ #50-51 - that will be in book/function 16, in nos. 1720-50/51 = poems #1669 called 'Wute-O' and #1670 called 'O'. It is not impossible that this relates in some way or other to the two 'kites' of the semiotics on the 'indian' crystallized from 'The Joyce of reading' (via 'the Joyce of reading' mirrored - and here colourturned):

(See the article on Delitzsch for further details). I notice also that the 'indian' is the illustration to my white metre 'Stillhetens åndedrag' which exhibits a certain symmetry - each poem being a sort of 'negative' of the mirror poem in the other end of the book - whether that relating to these 'kites' or not.

The mirror structure of The Endmorgan Quartet - branching across 1719 poems - is indeed a little impressive - in particular if one thinks that the poet had to keep all these things in mind while writing. (Probably it is a matter of the acoustic of line 14 rather than the aristotelian logic of line 1 that guided the poet in these ways - and of course it could be that the metaphysical reality has such a crystal mirror structure - more than the poet remembering every little morph and detail through all those years). Evidence of this - and relevant evidence it is - can be found in the title poem called The Endmorgan, including the russian handwriting of the form 'Ruskoie' or better 'Russkoie' - in russian (curly) handwriting that comes out much closer to the form 'Zinckgasse' than e.g. the civil war in Syria can do. But that is just what is going on - it is the russians who have assisted and rescued Syria! (And there was this malaysian airplane that fell down just before the russian border). Now the 'evidence' of the mirror format of TEQ can be found in the butterfly on the hebrew fragments that accompany this poem TEQ #309 = 'The Endmorgan' and its mirror poem 1720-309 = TEQ #1411 called "I have a north-west expanse": The hebrew to #309 recounts the contents of #1411 with much precision and the hebrew (from Talmud Erubin) of #1411 tells of the contents of the poem #309.

Clearly the mirror structure comprises book 16 - but if one counts only 14 books, like the 14 lines of PEB, then the two mirror poems to #50 and #51 will be TEQ #1404 and #1405 - that is book 14 poems 157-158: These are two of the three poems in the section called 'Tod der Farpi', poem 158 (TEQ #1405) is called 'The Beast Role'.

The interested reader can continue the studies of the data from line 11. I point to a certain interest in dividing the list of 94-95 entries into 23-24 classes - which can interpret partly the 23-24 chapters of PEB - on the semiotics of the hebrew alphabet - and partly they can follow the 23 photos from the Danube island - see e.g. how the two first photos swap order in a way which corresponds to the 2 * 4 = 8 first entries in the second list of ascending order. Generally there will be 4 entries in each class or group (photo), with perhaps only 3 in the two mid ones, and with some displacements and transpositions such as by photos 18 and 19.

The conclusion is probably that logical order and semantic assignment are one and the same thing for PEB line 11: See this photo of the branch that fell down from a tree next to a 'semiotic'-looking traffic sign. The Eckstein is called 'Fleischhauer'. I have referred to birds flying thousands of kilometres without landing as evidence that there exist realities beyond the grasp of human reason - but some could perhaps argue that the birds live from 'fly-showers' while they fly and hence the proof does not hold. Is that the reason for Hitler's 'Fleisch-hauer' holocaust? To prove that 'angelic' or 'english' does not exist? If the logical order (tree branch) falls down along the semiotic traffic pole, it is the same as if the bottom falls out of the garbage bin: This is the photo I took some years ago of such a garbage fundamental in Rotenturmstrasse in downtown Vienna. What it means seems to be just that logical order and semantic assignment are one and the same thing. If so, it could mean that the digits of the PEB poem numbers (see e.g. entry 4 'ahead' with 2 and 222 or entry 51 'lust' with 3 and 123) in the line 11 data could be in some correlation with the meanings of the words, but I do not have the facilities for exploring these things.


Conclusion

Clearly a popular conception could have been that the britons were envious and jealous on the germans because they could not make a Rilke themselves and therefore they stole the letters from his mother and mocked the germans untill they attacked and the german bull lost the 'bullfighting'. However, it is only with my blue metre PEB that one can see it clearly what it was - and it is natural to guess on the poetic logic as the logic of a new millenium and a heavy inertia from the preceding millenia trying to stop it. In addition, there is the probable need for a global lingua franca which could have been an alternative explanation to the 'suicidal' stategies of the germans under Hitler.

The story suggests that even the world wars could have been about this one and single desperate need for the world to find the blue metre - without it, the world would just run into conflicts over and over again. I found it after my 11 years walk up to the peak of the Mount of Transfiguration - whereupon I could marvel the stars before I started the descension and found the blue metre there, in the uppermost steps down from the peak of the mountain. Rilke describes this as follows - here from his 9th Duino elegy:

Bringt doch der Wanderer auch vom Hange des Bergrands
nicht eine Hand voll Erde ins Tal, die Allen unsägliche, sondern
ein Erworbenes Wort, reines, den gelben und blaun
Enzian. Sind wir vielleicht hier, um zu sagen: Haus,
Brücke, Brunnen, Tor, Krug, Obstbaum, Fenster, -
höchstens: Säule, Turm ... aber zu sagen, verstehs,
oh zu sagen so, wie selber die Dinge niemals
innig meinten zu sein.

The reason why even the world's strongest computer cannot find the blue metre is that it amounts to the problem "compare anything with anything" - that means the universal matrix and that means Rilke's mother Phia Rilke - Sophie Entz, the enzian - and her letters. (It is a puzzling phenomenon in my life that many or at least some of my friends and aquaintances from my youth seem to have became either university folks - professors etc - or rectors - while my career was more humble). Hence the blue metre cannot be found by computer but requires a poet - and if there is a political program on my official mother Ragna Grøver having sent me letters through many years, it could be for imitating this relation of Rilke to his mother Phia. There came such a letter from Ragna Grøver in my PO Box some months ago - along with the news that the editor Howard Hughes of the magazine 'Playboy' had died. It is of course possible that there has been much terror accompanying those letters (returned to sender, destroyed or forwarded unread to police since 1988) - in which case the purpose would have been to repeat the success from a hundred years ago. Terror is quite uninteresting for and totally irrelevant to my poetry. Clearly to continue such letter-writing of Ragna Gröver to me could be very wrong against the global community.

The solution for avoiding another Hitler is to get administrative intrigues out of function 14 and allow for a cultural blossom without control from the 'services'. Downgrade the secrets that are needed for the people to understand the philosophical basis for cultural development.

The blue metre is written and terror has had no impact on it.

It should, finally, be observed that it is in a rare act of generosity that I have brought these data to the human community - and it may be critically important that I be credited for my work and that one does not go for another round of Hitler and exploitation and terror instead.





Added on 6 february 2018: 'Phia Rilke' in curly handwriting looks like curly russian handwriting of 'Russkoie' and hence 'Zinckgasse'. There were 13 years between Phia Rilke and her husband, who died in 1906, and there were 13 years between Ragna Grøver and her husband. Why that heavy cross to carry and why finance minister Lutz Graf Schwerin von Krossigk? Could be there were people with such roles assigned to them - assumed to be in the story - could be an assumed 'octogonist' with extramarital affair with Phia? If the Grøvers were 'imitating' the Rilke couple, it could suggest that 'Zinckgasse' means 'Ragna Grøver'? I notice the 'spyder' case against Arne Treholt etc. The conclusion is that it may be that the germans tried to get line 14 up by imitating the bio of Rilke - while this made them an easy target of 'bullfighting' strategies. Could be they believed that Phia Rilke's hymen or at least fidelity was the story - and that there were finances therefore? But that was to misinterpret line 14 (the poetic or acoustic logic that can be recognized in Rilke's way of thinking and writing) into line 1 (the hungarian evidence). To continue with Zinckgasse in that sense of it today cannot be smart. Is it that an 'octogonist' had raped Phia? Clearly all these things are very irrelevant compared with the linguistic platform of english line 1 and to try and get line 14 up by struggling with these human story things is futile indeed.



König, Hertha: Erinnerungen an Rilke und ein Porträt seiner Mutter, Insel 2000.
Rilke, Rainer Maria: Sämtliche Werke, Bd.2. Insel Werkausgabe 1976.
Schnack, Ingeborg: Rilke-Chronik. Erweiterte Neuausgabe von Renate Scharffenberg. Insel 2009.
Tamud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48.




© John Bjarne Grover
On the web 4 february 2018
Last updated 7 february 2018