A note on Böhme's 'Aurora'

John Bjarne Grover

Jakob Böhme's (1575-1624) 'Aurora' chapter V paragraph 19:

Nun ist die Frage: Was denn ein Engel für Qualifizierung habe? Antwort: Die heilige Seele des Menschen und der Geist eines Engels ist und hat eine Substanz und Wesen; und ist kein Unterschied in diesem, als nur die Qualität selber in ihrem körperlichen Regiment, die von außen in den Menschen durch die Luft qualifiziert, die hat eine verderbte, irdische Qualität; hingegen aber hat sie auch eine göttliche und himmlische, den Kreaturen verborgen. Aber die heilige Seele verstehet das wohl, wie der königliche Prophet David saget: Der Herr fähret auf den Fittigen des Windes (Ps 104,3). In dem Engel aber qualifizieret die göttliche Qualität ganz heilig, göttlich und rein.

Böhme appears here to have mixed up Seele (soul) and Geist (spirit) - since it rather would have been natural to believe that the human spirit can be compared with the soul of an angel. But this is probably just the point and the reason why humans are recognized as 'double' by Böhme: Since the following paragraphs of his chapter deal with the senses, which traditionally belong to the realm of the soul, it means that if the soul of the humans can with its senses observe what the angels with their spirits do, then the humans have the chance to see the divine.

The five stanzas of the last poem in my 'Der Dornenstrauch' has an appealing parallel with the following five paragraphs 22-26 (of Böhme) in that order - about the visual and auditive faculties of human sensation. How could that make sense if it should be about seeing the burning thornbush? It would be so in the framework of Böhme - that these human senses in a mystic state would experience what the spirit of the angels can experience. Or that this vision and audition are mixed into the human vision of a thornbush.

However, that is if it be about the 'heilige Seele' of Böhme and not what is 'eine verderbte, irdische Qualität'. The holy soul in a human would see the divine presence in the thornbush (the fire and the voice) while the earthen soul in the same human would see the thornbush itself.

This point seems to be a favourite peace of terrorist philosophy a la Hitler - whose specialty seems to have been to sniff up the most precious and beautiful mysteries of the human existence and turn them into terror - that maximizes nazi power. Sobibor, Treblinka and Belcez seem to be examples - the fallen tree in Vilnius with its Venus motive of Botticelli would be an example of 'Treblinka' in a mystic sense of it - but the version which Hitler gave it with his death camp was not very mystic: That was terror on the mystery because he believed that this maximizes nazi power. (See also the cat in Vilnius - how the first - in the 'Treblinka' mystery - seems to sit next to a 'Bjarne Eidsvig' while the second (years later) looks more akin to an 'Adolf Eichmann' - if it is not simply the opposite order of these two.

The recent news of terror from Indianapolis could be a telling example of how this hitlerish philosophy seems to be installed via possible 'international secret intelligence services' - it was released that the name of the shooter in the Fedex firm seemed to have been 'Brandon Scott Hole' - in norwegian that sounds like 'brann på skudd-hold' = 'fire on range of fire' ('branne' is also a word for '[big] human male' of a certain roughbuilt kind) - while in english 'brand on hole' could be telling of the business brand for or rather when making holes - like that idea of the visual drill. What would have been the philosophy in this? Could be an attempt to try and turn the 'verderbte, irdische Qualität' into the 'heilige, göttliche und reine Qualität' and vice versa by 'cognitive' theories on the gunfire and the 'firelight' in the eyes and things like that.

That could be an attempt to get into heaven by way of swindle - as if St.Peter had grown a little old and shortsighted.

It is probable that the terror would try and mix roles with the judaistic conception - including the role of the biblical Jacob. It could be at the root of such systematic antisemitism.

The terror in Indianapolis could perhaps, by Böhme, be said to be 'eine verderbte irdische Handlung'. Kluge's etymological dictionary tells that 'verderben' (after some etymological derivations) can be related to lithuanian 'darbas' = 'work' - cp. the socalled 'ergative'. Is this 'darbas' the background of the Donbass conflict? Eine 'verdammte irdische Handlung'? But these are only some dictionary examples.

However, it is of course possible in light of the theory that Ragna Grøver raped me with my own penis contents in puberty times, including the idea of a sanitary towel soaked in menstrual blood before my respiration, that this lithuanian 'work' was meant to serve to turn the roles (including the 'angelic spirit' in my respiration) for the swap of the 'verderbte, irdische Qualität' with the 'heilige, göttliche und reine Qualität' - here of the technical Messiah in the PTRSIM PIK construction. It is perhaps possible that the entire idea of a 'perverse madonna' in this sense of it is based on that single little expression of Böhme. 'Ergative' could also be a category thought of as being capable of turning roles - 'action' vs 'patients' etc. (Could be this philosophy would take it that the terrorist has to shoot himself at the end of the action). This complex could have developed into a tradition which is the background of the Donbass conflict.

Would the murders of the Gandhis be evidence of a role of an expression a la 'verdammte indische Qualität'? Like a 'Kennedy curse'? Simply mixing up two alphabetic letters and that was the whole story? Irdina Pniyadanshini Gardhi? I notice also the news from Indianapolis.

One notices also - if this excerpt from Böhme is being assigned that much importance - that the expression 'die Fittige des Windes' ('the wings of the wind' - the word 'Fittich' is poetic-biblical for 'wing') could have been a background of an 'octogon' construction - but that is speculation only. Would even homo philosophy be about this?

Terror is probably that simple - that the terrorist (could be for various cultural or other reasons) has given up the hope of getting into heaven but gives it a last try in the hope of swapping roles a la the jewish Jacob and thereby be accepted by St.Peter. Therefore Hitler tried to do terror on the mysteries. Of course such terror is not a piece of mysticism - it is of course the very opposite. Some 'intelligence services' may perhaps claim that 'mysticism is our field of work and study' - that can probably often be a very wrong conception of what mysticism is. It is likely to be based on the idea that 'if Böhme swaps human soul and spirit with angels, why shouldnt we?' The difference is that 'monkey business' could add 'terror' for a lasting swap, and that is the difference from Böhme. 'But isnt the fire in the thornbush the same as gunfire?' I would believe that such gunfire from human hand would be an attempt to make the human initiative in the shooting appear as divine fire in the bush.

The christian church hands out forgiveness - that is perhaps the only thing which can help against such despair.

Notice the appealing similarity in Böhme's conception with my 'fundamental theorem' - the limitations of the human psyche taking it that 'die heilige Seele des Menschen und der Geist eines Engels' are one and the same thing (in the sense of 'Substanz und Wesen'). This could be the reason why the political tradition of PTRSIM PIK seems to be associated with a terrorist inclination - such as when Hitler seems to have organized his holocaust on basis of the rejection by Jahoda & Siegel of PTRSIM PIK Wittgenstein's first book submission. But that means that the 'political' conception of PTRSIM PIK will feel threatened by the nature of the fundamental theorem and therefore this PTRSIM PIK tradition will serve to suppress the development of the fundamental theorem - since otherwise they could come to feel that the grounds they had gained could come to be lost again.

A strategy of attempted swapping of 'irdische' with 'heilige Seele' could also be based on the need for finding something to swap with - and of course it would be unfortunate if that should come to be a basis for the conception of an east-west difference. The cold war was an aftermath of Hitler's work.


As mentioned above, the last poem in my 'Der Dornenstrauch' (that is poem #440) has 5 stanzas that seem to follow Böhme's 'Aurora' chapter V paragraphs 22-26 quite well. An interesting observation is that the volcano that erupted at Geldingadalur near Reykjavik on Iceland on 19 march 2021 could be compared with paragraph 27: "Der dritte fürstliche Rat ist die Nase; da steiget auf der Quellbrunn aus dem Corpus in dem Geiste in die Nasen, da hat er zwo offene Porten". The white metre 'Stillhetens åndedrag' is in parallel with Luigi Nono's string quartet 'Fragmente - Stille, an Diotima' - the parallelism starts in the second quarter, on poem 17 which is a quite impressive encoding of the main semantic components of the sumerian cuneiform sign 𒈦 = MASh. This poem tells that the ground on which Moses stood when he saw the thornbush was divided in two - the one half was holy with fresh grasses, the other half was also holy but there was a lot of weeds there. The line 19 MASh tells 'i den grånende kikkerts rasjon' = "in the graying telescope's ration". It is of course quite possible that the terror in Indianapolis was made for administrative hijacking of this german-language poetry of mine - could be for the functioning of the Auschwitz machine. If that is instead of a publication of my book, or even for turning it into terror, it is very deplorable indeed. Why dont they tell me about these things?




27 april 2021:

Does my book 'Der Dornenstrauch' include a vision of the burning thornbush?

Background material in this file and in this - in particular the end of the file.

The story with the voice and the drill is from the time when I had just completed 'Der Dornenstrauch' - the book was completed in late april 2015 and the voice-and-drill was probably very few weeks later. Böhme's 'Aurora' could be telling of relevant concepts if one thinks of the drill and the voice as the fire and the voice in the thornbush - in 'Aurora' chapter VI paragraphs 2 and 5-6 there are some reasons to recognize this. I here quote from 2 to 6 since 3 includes aspects of syntax which makes the christian trinity relevant for understanding the situation:

2. Nun merke: Die ganze göttliche Kraft des Vaters spricht aus, aus allen Qualitäten das Wort, das ist, den Sohn Gottes. Nun gehet derselbe Schall oder dasselbe Wort, das der Vater spricht, aus des Vaters Salniter oder Kräften und aus des Vaters Marcurius, Schall oder Ton. Nun das spricht der Vater aus in ihm selber, und dasselbe Wort ist ja der Glanz aus allen seinen Kräften. Und wenn es ausgesprochen ist, so steckt es nicht mehr in des Vaters Kräften, sondern es schallet und tönet in dem ganzen Vater wider in alle Kräfte.

3. Nun hat dasselbe Wort, das der Vater ausspricht, eine solche Schärfe, dass der Ton des Worts augenblicklich geschwind durch die ganze Tiefe des Vaters gehet; und dieselbe Schärfe ist der Hl.Geist. Denn das Wort, das ausgesprochen ist, das bleibet als ein Glanz oder herrlich Mandat vor dem Könige; der Schall aber, der durch das Wort ausgehet, der verrichtet des Vaters Mandat, das er durch das Wort hat ausgesprochen. Und das ist die Geburt der Hl.Dreifaltigkeit.

4. Nun siehe, also ist auch ein Engel und Mensch: Die Kraft im ganzen Leibe, die hat alle Qualitäten, wie in Gott dem Vater ist.

5. Nun gleichwie in Gott, dem Vater, alle Kräfte auf steigen von Ewigkeit zu Ewigkeit, also steigen auch alle Kräfte im Engel und Menschen auf in [den] Kopf; denn höher können sie nicht steigen, denn er ist nur eine Kreatur, die einen Anfang und Ende hat. Und im Kopfe ist der göttliche Ratstuhl und [der] bedeutet Gott, den Vater, und die fünf Sinne oder Qualitäten sind die Ratgeber; die haben ihre Einflüsse aus dem ganzen Leibe aus allen Kräften.

6. Nun halten die fünf Sinne immer Rat in Kraft des ganzen Leibes. Und wenn der Rat beschlossen ist, so spricht es der zusammengefügte Richter aus in sein Centrum oder in die Mitte des Leibes als ein Wort in das Herze; denn das ist aller Kräfte Quellbrunn, von dem es auch sein Aufsteigen nimmt.

The earthquake of Mount Everest: I had completed the last poem of DDS on 24 april 2015 and on the following day 25 april 2015, at 6:11:26 in the morning, Mount Everest trembled - 'denn höher können sie nicht steigen', and the event with the drill and the loud voice from a close neighbourhood was only very few weeks later.

The 'mechanic' aspect of the voice could compare with what Böhme calls 'Schärfe'. I notice also that the first time I discovered this, I was sitting in the hotel room and heard what I believed was a flock of geese flying by some distance off - I went out on the balcony to look at their V-shape but saw only this drill turning around - with slightly mechanic and somewhat irregular sounds. (Interestingly, or maybe not, the earthquake of Mount Everest was at 6:11:26 - the 11th word in paragraph 6 is 'ganzen' - while the 26th word in the 11th paragraph of chapter 6 is 'unter').

It could mean a resurrection symbolism - if each voice-emission from the 'Vater' is the creation of one human life - the Word of Christ as human being - and each up-and-down of the drill is the same - say, their enter into history. But since each voice-emission is much shorter, a matter of a second or two only, while one down-and-up of the drill was a matter of at least 10 seconds or more, the voice takes pauses now and then (an hour, four hours etc) while the drill goes constantly.

The drill could perhaps have been an angel in Böhme's conception - or the thornbush itself - while the voice would have corresponded to the voice in the thornbush described by Moses.

The drill could also possibly be recognized in the chinese script sign for the national name ZHONG = 中 for 'China'. I notice Hitler's 'Sobibor' death camp - another of those most precious mysteries of the human existence turned into terror by Hitler. Those who think of angels as 'terror' (being 'schrecklich' by Rilke's elegy) could then perhaps find a pretext for such in Böhme's philosophy.

The voice in the hotel was so loud that I had no chance to fall asleep. I closed the open window and that lowered the volume a little, but not enough to sleep, and I put on a sound protection headset which also lowered the volume but it was still very audible. I did not go down into the reception for telling about it since of course they heard it down the stairway.

There must probably be some electricity ('fire') in the drill for making it turn around. There was also an electric transformer or maybe weather observation station of some kind just across the street - it was surrounded by a fence or maybe Stacheldraht. It could associate with the photo from Warszaw - although of a different type:


30 april 2021:

Böhme's 'Aurora' and my DDS III:21

I mentioned above the high relevance of Böhme's 'Aurora' chapter V paragraphs 22-26 for the last poem #440 of my DDS. Here I can make this point more explicit with another strong parallelism - with the poem I have already published on this homepage - that is, DDS #381 = DDS III:21 in the same 'Aurora' - chapter VI paragraphs 20-25. The relevant paragraphs are the following, quoted from the internet source - here quoted from this source in parallel with my poem:


Von der holdseligen und freudenreichen Liebe der Engel gegen Gott, aus rechtem Grunde

20. Die rechte Liebe in der göttlichen Natur rühret her aus dem Brunnquell des Sohnes Gottes. Siehe du Menschenkind, laß dirs gesagt sein: Die Engel wissen vorhin wohl, was die rechte Liebe sei gegen Gott; du darfst derselben in dein kaltes Herz.
    =
    the title "Unter dem Marmor-Bund"

21. Merke: Wenn der holdselige, freudenreiche Glanz und Licht mit der süßen Kraft aus dem Sohne Gottes in dem ganzen Vater leuchtet in alle Kräfte, so werden alle Kräfte mit dem holdseligen Lichte und süßen Kraft entzündet, triumphierend und freudenreich.
    =
    Die großen Schönheiten reifen
    in waagerechtem Raum
    als Lichterwellen Streifen
    schimmernd in großem Traum.

22. Also auch wenn das holdselige und freudenreiche Licht des Sohnes Gottes die lieben Engelchen anleuchtet, und schimmert ihnen in ihr Herz hinein, da zünden sich alle Kräfte in ihrem Leibe an, und gehet ein solch freudenreich Liebefeuer auf, daß sie für großen Freuden loben, singen und klingen, und das ich, noch keine Kreatur, aussprechen kann.
    =
    Wie gingst du in das Zimmer
    um dieses Licht zu sehn?
    Im Traumes rechten Schimmer
    die Welt ist ausgedehnt.

23. Mit diesem Gesang will ich den Leser in jenes Leben zitieret haben, da wird ers selber erfahren; ich kanns nicht schreiben.
    =
    the principle of turnaround of the sensation of the earthen existence - for the second half of the poem

24. Willst du es aber in diesem Leben erfahren, so laß ab von deiner Heuchelei, Finanzen und Betrug, auch von deiner Spötterei und wende dein Herz mit ganzem Ernst zu Gott und tue Buße für deine Sünde in rechtem ernsten Vorsatz, heilig zu leben, und bitte Gott um seinen Hl. Geist und ringe mit ihm, wie der Hl. Erzvater Jakob hatte die ganze Nacht mit ihm gerungen bis die Morgenröte hatte angebrochen und auch nicht ehe nachgelassen, bis er ihn gesegnet hatte (Genesis 32, 26). Also tue du ihm; auch; der Hl. Geist wird wohl eine Gestalt in dir bekommen.
    =
    Die Menschen sind von Mengen
    erleichtert als sie gehn.
    Verlassest du die Engel
    verlassest du das Sehn.

25. Wirst du aber in deinem Ernst nicht nachlassen, so wird dieses Feuer plötzlich über dich kommen und dich anblicken. Dann wirst du wohl erfahren, was ich hie geschrieben habe und wirst meinem Buche wohl Glauben geben. Du wirst auch gar ein ander(er) Mensch werden und wirst dran denken, weil du lebest. Deine Lust wird mehr im Himmel sein als auf Erden. Denn die heilige Seele wandelt im Himmel; und ob sie gleich auf Erden in dem Leibe wandelt, so ist sie doch allezeit bei ihrem Erlöser Jesu Christo und isset mit ihm zu Gaste; das merke!
    =
    Die Engel tragen ein großes Schwert -
    so ist die Farbe.
    Im Erd-Bereich ist es umgekehrt
    in dieser Narbe.

Of considerable interest are the two lines "Verlassest du die Engel / verlassest du das Sehn": This is where the human psyche is relieved of the matter when Jacob in the 'Morgenröte' is leaving the angel or god with whom he has been wrestling: Then the principle of turnaround of the sensation in paragraph 23 applies and Böhme's "gesegnet hatte" turns into my "verlassest du das Sehn" - 'sehen' is historically related also to 'Gestalt' (e.g. by gothic), it seems (Kluge).

The last word 'Narbe' seems to be historically related to 'Nahrung' = 'nourishment'.

"Umgekehrt / in dieser Narbe" is seen in the Caravaggio correlate to my #21 (towards the end of the file) - which is the 'Salome and the baptist's head (1610)': The 'Narbe' is the wound that is just touching down onto the circular plate = 'umgekehrt' - as the LO variant of the HI in the title of my poem for Caravaggio's 'Jupiter, Neptune and Pluto'. It is the 'Erd-Bereich' in the out-reach of the head down onto the plate - of the man with a sword at his side: This sword is in the other Salome artwork of Caravaggio replaced with the intense colour of red.

"Plötzlich über dich kommen und dich anblicken" = the head that peeps/surveys over the shoulder in Caravaggio's artwork - as for borrowing the intention of Salome.

"Deine Lust wird mehr im Himmel sein als auf Erden" = "Im Erd-Bereich ist es umgekehrt"

What is the reason for these parallelisms? Böhme counts as an authority on 'lapis philosophorum' and one can see his book as being concerned with the mystic circumstances of just that - like Caravaggio's work seems to be as well. It is the same mystic path.

I had not read Böhme when I wrote my poem - that is not the reason for the parallelism. It is because the mystic reality is something as far as the limited human constitution of the historic reality is concerned - and the understanding of how this reality is constituted is the basis for the decomposition of it - tentatively via the 'fundamental theorem of linguistics': If two items in different metaphysical realities are recognized as the same in the human spirituality and they thereby reduce to one material being and one meaning attached to it, the mystic path is the de-construction of these back into the originally two different items in two different metaphysical realities - which is when the human spirit searches inwards instead of outwards. But clearly it is the assumption that all humans are constituted in the same manner, in this sense of it, that is the basis for the assumption that it is this constitution that explains the parallelisms of my work with Böhme's text - and Caravaggio's work. Of course there can be interesting observations to be made from a study of these parallelisms - such as the paragraph 23 in the above fragment relative to the turnaround = 'umgekehrt' of the 'Sehn' in my fourth stanza.

In fact the mystic quest in this sense of it is conveniently contained in the range of meanings of 'verlassen'. Grimm lists some meanings of this word (type 'verlassen' in 'Stichwort suchen') which I quote here:


1) sinnlich, allein lassen, zurücklassen.
    a) mit sächlichem objecte: auch die engel, die jr fürstenthum nicht behielten, sondern verlieszen jre behausung, hat er behalten. Luther 2, 419;
    b) mit persönlichem objecte (lebende wesen): darumb wird ein man seinen vater und seine mutter verlassen und an seinem weibe hangen. 1 Mos. 2, 24
    c) zurücklassen: man sagt Pfalcz, Trier und Hessen sollen wieder heimgezogen sein und uber 200 pferde zu Creutzheim und andern orten umb Eberberg verlassen uff Franczen zu streuffen. Weim. ges.-arch. 1522;
    d) mit personification lebloser begriffe: es haben mich meine sünde ergriffen .. und mein hertz hat mich verlassen. psalter 40, 13

2) der abstraction sich nähernd:
so sol einer gewitziget werden, der gott verlesset und dem teufel folget. Luther 4, 30b

3) abstract, aufgeben, dahingeben, abrenunciare
Dief. 4b; weltliche priester .. jren stand verlieszen und in die müncherey liefen. Luther 6, 23b;

4) einen verlassen, mit der nebenbedeutung 'einem seinen schutz entziehen, im stiche lassen, preisgeben, unbeschützt zurücklassen':
    a) mit persönlichem objecte:
    b) mit sächlichem objecte:

5) zahlreich sind die participien und participialconstructionen, welche sich an diese bedeutung anschlieszen. die participien sind entweder ächte participien (tragen noch verbalen character)

6) verlassen, überlassen, mit objectsaccus. und angabe des, dem man etwas zukommen läszt: hingeben, überlassen. einem etwas (dat. d. person):

7) verlassen, hinterlassen, übriglassen.
mit persönlichem objecte (weib. kinder):

8) verlassen wird ebenfalls, wenn auch abstracter, vom hinterlassen eines befehles, einer abrede, einer meldung u. ähnl. gebraucht
(ein accusativ ist gewöhnlich zu ergänzen oder in form eines satzes beigefügt): sprach der engel: Tobia, mein bruder, du weiszt, wie wir mit deinem vater verlassen haben. Tob. 11, 2; und am thor fand sie Osiam und die eltesten die jr warteten wie es verlassen war. Judith 10, 7;

9) einem etwas verlassen, erlassen:
also lange sind wir sünder und müssen sagen: verlas uns unsere schulde, bis das der leichnam sterbe und untergehe. Luther 1, 32a;

10) reflexiv.
    a) sich verlassen eines dinges, sich einer sache begeben, etwas von sich lassen:
    b) sich verlassen, vertrauen. die bedeutung von verlassen ist hier die von niederlassen auf etwas. vgl. sich überlassen.

The purpose with this 'verlassen' is that it contains the meaning of dissolving the recognition of two metaphysical items as one and the same - the one is 'verlassen' from the other. This explains the phenomenon of a 'missing' mid stanza in my poem compared with the paragraphs listed by Böhme.

The two examples mentioned by me - the last poem #440 and this example #381 - could be suggestive of the idea that all the poems in DDS part III and IV, could be also II, could follow Böhme in a similar way. I have not made much studies of this but have guessed that #21 maybe is exceptional in its precision - cp. also the title to part III ("Linien die prägen die Sternen über uns" with undertitle "Aufgestellt in tiefem Staube") relative to the underchapter title of Böhme "Von der holdseligen und freudenreichen Liebe der Engel gegen Gott, aus rechtem Grunde". It is, though, likely that most of the latter parts of DDS can be fruitfully understood by way of Böhme's mystic-conceptual apparatus.



30 april 2021:

Political abuse of Böhme

Martin Luther = 1483-1546
Henry VIII = 1491-1547
Jakob Böhme = 1575-1624
Alexander Pope = 1688-1744

Böhme lived in protestant Germany and his mysticism, which is not political in its religious conception but can be endorsed by catholics as well as protestants, talks warmly of the 'englische Könige' - by which he means kings of the angelic sphere and not the kings of England. But it is possible that England couldnt take that but took it as jocular schmeichel on their own monarchy and the anglican church, a co-protestant organization.

The last poem #440 in my 'Der Dornenstrauch' ends appr in parallel with Böhme's 'Aurora' chapter V ('Von der Qualifizierung eines Engels') paragraphs 22-26 for my stanzas 1-5 - and it stops (in this parallel) just before paragraph 27 = 'Der dritte fürstliche Rat ist die Nase; da steiget auf der Quellbrunn aus dem Corpus in dem Geiste in die Nasen, da hat er zwo offene Porten" etc. It is well possible that this was the reason for Hitler's 'nazism' - that it was an attempt to re-hijack the german spirituality of Böhme by outmocking the britons. There is (as it seems to me) a healthy jewish-philosophical basis for the christian conceptions of Böhme - and the deep british mock could have reached its peak with the PTRSIM PIK intrigue. If the drill and the voice-emissions which I experienced in Szolnok are the modern pendants to Moses' thornbush, a british mock that became nearly invincible could have been in the idea that the drill = continuous HISTORY = the church of PETER and the discrete voice-emissions should then be the divine PIK: This is a mock which can be difficult to understand if you have not heard the sounds - because it can be natural for a human to speculate if there could be some sort of sexual activity going on in the neighbourhood, as if each new voice-emission could be from the situation of a person who tries to get the head of the body into the rectum of another person, but naturally remaining unsuccessful in spite of many repeated attempts. The sound could make such associations possible but a sensible mind has to understand (from the sounds) that it cannot be the explanation - not the least because it has a böhmean 'Schärfe' which contradicts this idea - but if you cannot take it seriously but want to 'compete in mock' by taking the neighbours unseriously, you can establish a 'protesting' view with the interpretation that it is about a sort of sex. This would mean that the PIK is a man who is a god - and hence the jewish Jesus in the PTRSIM PIK matrix. It could also be used for making a perverse madonna who is that person with repeated attempts to get into the rectum - and if one tries to make this perverse madonna divine, that would be to be in the 'service' of this assumed british program. It may be such british mock - which in its derivation could be considered blasphemous like the dirty beast in the revelation - which is the problem in Germany and which made them endorse Hitler's attempt to take the britons.

From the above quote from chapter V for the end of my DDS: "...die Qualität selber in ihrem körperlichen Regiment, die von außen in den Menschen durch die Luft qualifiziert, die hat eine verderbte, irdische Qualität [...]. In dem Engel aber qualifizieret die göttliche Qualität ganz heilig, göttlich und rein".

Humans & angels = germans & britons?

The murders of Aung San in Burma ('Böhma') and Mahatma Gandhi in India could have been for establishing this reference (to 'verdammte indische Qualität') to Böhme when England pulled out of Burma and India. The Engel-schen may - with Böhme - have considered themselves 'ganz heilig, göttlich und rein'. This 'holy land' could have been furthermore mocked by the Bhagavad Gita 'Kuruksetra' of king 'Dhritarastra' as a basis for the construction that let England take the place of the jewish-philosophical basis for Böhme's mysticism by way of the probable construction of 'Heimskringla', the document which tells of the existence of a long series of norwegian kings in the glorious golden time of the vikings and thereafter. It is possible that this document was the basis for the idea that 'such a grandiose kingdom needs to be reopened after the centuries of oblivion'. However, if the stories were pure fictions which the norwegian fishamends and farmers were invited to believe in, it could have been stories constructed on basis of word pairs in norwegian and hebrew - similar phonological form but different meanings - in hebrew meaning excrements and other smelly things, in norwegian elements that formed the basis for the stories of the glorious past - which means that when the norwegians celebrated their great kingdom in the past, there would tend to arise a bad smell if they started thinking of hebrews - and hence the new state of 1814 was defined to be antisemitic: No jews could be admitted to the kingdom. The fact that Heimskringla is a basis for the new kingdom is probably evidenced in the first norwegian king in modern times - Haakon VII who could have been Haakon I if it had not been for this 'Heimskringla': Haakon I-VI were in those golden haydays of medieval times when Norway was believed to have ruled the seas around the world. (There were certainly fishamends along the coast who knew how to build a boat and these probably travelled around and needed something to eat now and then).

In this way, the socalled 'Klipra connection' to England would let the britons (the british mock of Böhme) take the place of the jewish- and hindu-philosophical basis, in particular as far as the spiritual involvement into the earthen, like a smell from heaven. (The name of the Gandhis could mean something like that).

A good example is Aurora VII:15-18 on the 'englische Porten' (= 'Per Borten'?) - which could have been the basis - after the triumph of Wellington against Napoleon - for Hitler's Beer Hall putsch by this file with 'Pfordten, Theodor von der, Rat am obersten Landesgericht, geb. 14. Mai 1873 = dig hole for dead' after they had made Jungholz at Pfronten in 1919. ('Föl se' = 'see in the pfront of you by feeling the pimple on the nose' = 'fölestjal' = 'feely-pensen' = 'prince Philip'). This 'englische Porten' is likely to be the nose.

My blue metre PEB can probably be used to evidence that Heimskringla is not authentic but comes from the time of Pope and hence all this old ridicule (and the antisemitism following from it) could be thrown off the norwegian reality. It may cost the glorious viking past and the museum mayby would have to close on Bygdøy - but could be it is worth it after all. Did vikings and old norse language exist at all? There are a number of allegedly old manuscripts told of on the web but I have searched in vain for the combination of these with 'carbon 14', 'C-14' etc. It is likely that many of the documents are like the important 'Fagrskinna' which is old but was lost in a fire in 1728 and only copies survived. There is much research going on - but of course there should have been a catalogue of carbon-14 dating of all the eldest sources. I dont know if that exists. Is it possible that everything taken for granted about the proud norwegian medieval times are only british jokes?

This whole story with the 'englische Porten' and Wellington etc could have its rooting chapter VII #6: "Allhier erhebe deinen Sinn und Geist in die Tiefe der Gottheit, denn allhier wird eine Tür aufgetan!" This tells that the mystery is in 'the opening door' in the parallels (in my book DDS) between sanskrit and hebrew - ultimately with chinese radicals as the semiotic 'synthesis' on which this doorway hinges - which find their deepest mystery origins in the difference and identity of the discrete voice-emission being 'the same' as the continuous drill going up and down - as the modern correlate to Moses' thornbush. It could be this which Hitler turned into the terror of Sobibor - as for scaring the britons off. It would have been an attempt by Hitler to complete the british coup of the jewish basis for the christian enlightenment by way of the Klipra connection - and therefore Hitler's nazism used the 'sanskrit' swastika as its emblem. Why it went wrong? Because the brute solution was to turn it all into terror for making more power out of it than the britons had done. Therefore Hitler could look like a secret agent for England.

People must understand that this could be the norwegian background problem of me as PTRSIM PIK. If Norway had hoped to solve their problem of being ridiculous by dumping it on me, that cannot be the right solution. The state should be able to solve the problem without having to dissolve.

My DDS solves maybe the problem of nazism by a distributional principle resembling function 14 - which could be at the covid-19 story.

Conclusion: The whole history of conflict between protestantism and catholicism could be found in this abuse of Böhme's unpolitical mysticism which functions equally well for both parts and therefore bridges the gap.

What is the new brexit about? Is it flatulent gases squeezed sonorously out from sitzfleisch-balloons for ridiculing some other text or what is it? Balloon-chair = sitdown-chair = sedan-chair? Paul Pessach Antschel = sedan + Leonie Sarx = sitzfleisch on the chair? Is it my work which is conceived as such a fartballoon? These innermost secrets must be published now so that the democratic people will not have to be pulled by the noses for centuries before the pathetically trivial secret is discovered. A serious politician should downgrade these matters so that the public can get to know them in time. If it should be about the 'sedan' + 'chair' in the sense of 'in the Seine' and the 'sitdown', it is not impossible that it be about the 'sehen' and the 'verlassen' in the sense of Caravaggio's Narbe down onto the 'umgekehrt' - for precisely reasons a la my #21.



27 april 2021:

The apparent terror-and-monkey-business

There was an indonesian submarine of type KRI Nanggala-402 that sank and imploded near Bali just off Goa-Daja on 21 april 2021. In the photo of Krarup Nielsen p.112d of the girl from Bali there is a little detail up right:

This could perhaps be called 'gåa-daja'? The character hiding behind a 'Financial Times' (= 'gåa-daja') or is it a shoesole or a gloved hand seems to be 'han med skjerfet' = 'the one with the scarf', cp. Böhme's 'Schärfe' in the sense of the holy spirit in the trinity. (There is also the danish author 'Hans Scherfig'). The 'Waldhorn' could resemble the front page of one of the four issues of Poetry Review I acquired in London 1997-98 - I do not have many 'blader' = 'magazines' but I have these four (and some issues of 'Poetry' from the same times) - here in their order of appearance:

The reason why I concluded that this could be of some interest was in the Oscars this year - the film 'Nomadland' won a lot - cp. the 'rover' scene of #3. (These Oscars were around the time of the news of the sunk indonesian submarine). It was told in the news that the Oscars had been planned to be a couple of months later but had been organized before schedule because of the coronavirus. This sounds like the burglary of my house in Szolnok in the spring 2019 - when the election in Steiermark in Austria had been planned for 2020 but was organized a few months before time - on 15 november 2019 - which was appr 6 months after the burglary. ÖVP won. The historic first case of coronavirus was diagnosed 2 days later - on 17 november 2019 in China. This could lend some reference to the 4th issue of these magazine front pages - the one on 'aspects of Brecht and Lorca'. If the 3rd were about my name g-Rover without a slash, the 4th could perhaps be seen to be about the same with a slash. It is this which perhaps could lend some interest to the apparent similarity of the 'Waldhorn' with 'Schärfe' on the photo from Bali. (As concerns Lorca, see also this file).

I notice also the 'Handelsman' cartoon of New Yorker 8 february 1999 - with what in the mid part could resemble Teresa May in conversation with what could resemble Boris Johnson - and is she circulating the nipple under his jacket? Cp. the 'perplexed' look in his eyes. If this scene be about the two nipples in the mid part of the cartoon, the detail of 'gåa-daja' in the Bali photo of Krarup Nielsen could correspond to one of the two 'sisters' in the Handelsman cartoon - could be it would correspond to the one with the 'to-ne hele-ne grow-hair'.

Then what is the 2nd issue about? I refer to the sinking of the submarine KRI Nanggala-402 and the KAR-KAR-KAR and the CRA-CRA-CRA. In Venice there is a CREA traghetto and in Vienna a KRIEAU U-Bahn station - not far from Stadlau.

The abovementioned 'ZHONG' is a sign which has two basic meanings in two different 'tonemes' (cp. the issue of 'toneme' in this file): 1) 'Mid' or 'China' is the one toneme, while 2) 'hit', 'fit', 'be hit by', 'be fit by' = 'to fall into' is the second toneme. There seems to be an inherent agent-patient swipswap a la the ideas of 'ergative' employed ('the submarine sank', 'they sank the submarine') which perhaps could apply also to the KRI/KRA such as in Zinckgasse, sank-kasse - 'senke' is norwegian for 'to make to sink'.

It is of course possible that Aung San and his new government were assassinated in 1947 because british pronounciation of 'Birma' or 'Burma' is almost like 'Böhme' - differing only in A/E - and that the thereby derived 'verdammte indische Qualität' was the reason for the murder of Mahatma Gandhi in 1948 - including a socalled 'Kennedy curse' onto the following Gandhis.

In my Sonnet 30 in volume 3 page 1013 there is mention of a 'Bakhterior airport' behind bushes - which perhaps could be relevant to the idea of the 'staff' of Moses by the burning bush or the tall drill of my vision. There is also mention of 'Poetry Russel' in New York - with corresponding line from Rilke ('Die Sonette an Orpheus' 2:11) being "taumelnden Tauben ins Licht Aber auch das ist im Recht". In the 'B-Recht'? Alas, could be the intrigue plans to try and lift the authorship from me to a 'sister' by way of a decision in a corrupt case in court? Could be they had studied the chinese script and made a smart plan. But that is very easy to avoid - it is just to publish the plans of such and tell the truth in advance.

To let other people work a lifetime and then come and grab the results of decades of work just before publishing - that is too bad. The marathon runner is just about to turn into the stadion at the end of a long run when such a bizzevov jerks him out in the roadside and runs in to be received by the cheering public - is that the dream?

But clearly these potential terror-and-monkey-business elements are not the interesting aspects of the Böhme philosophy.




Sources:

Böhme, Jakob: Aurora - oder Morgenröte im Aufgang. Herausgegeben von Gerhard Wehr. Marix Verlag, Wiesbaden 2013.

Grimm, J. & W.: Deutsches Wörterbuch. (33 volumes). DTV 1991 Nachdruck von Ausgabe Leipzig 1985.

Kluge, Friedrich: Etymologisches Wörterbuch der deutschen Sprache. Berlin 1957.

Krarup Nielsen, Aage: Mitt livs eventyrreise. Translated from the danish into norwegian by Arthur W.Gammelgaard. Gyldendal 1964.

Rilke, Rainer Maria: Die Sonette an Orpheus. Insel, Leipzig 1923.



© John Bjarne Grover
On the web 18 april 2021
Last updated 30 april 2021