Some notes on a perverted quasi-political misinterpretation since Yeats 1889

Some notes on a perverted quasi-political misinterpretation since Yeats 1889

John Bjarne Grover

This file is made to support the discussion in this article.

The above study of the distribution of the '0' or '3' in the valuations for 'Stillheten' relative to Yeats' 'Crossways' reveals a systematic tendency as far as concerns certain apparent problems of humanoid concentration on genitalia and the bottom of the human body in the program that seems to have developed since Yeats 1889 and could have derived from a limited understanding of the deep structure in the poetic material:

Studying the correlations of '0' conceived as a linear representation of the stanza or poem of Yeats seems to correlate with a tendency for the phonetics of 'o' (low back rounded vowel) - and semantically for concepts associated with the anus, including a possible border phenomenon (in the subdivision of the poetic text) which could constitute a 'crack in the heart' of the 'o' - for the norwegian letter 'ø' - which also seems to have had a significant role to play in the constitution of WWII. It seems that some of the syntagmatic borders cross over a phonetic 'o'`.

'1' could be seen to suggest the alternative 'penis' which lifts in historic discontinuity = divine authority the water up for the jews to cross the Red Sea.

It is likely that this cracked border was the secret of the COVID-10 pandemic in its spread, at least detectable in its early phases. The pandemic served to restore the integrity of the borders - could be for preventing a spread of a 'monarchic' conception based on these genital-anus quasi-spiritual parametres. Global panic it could have been. Would a Black Sea Loop postulate the Black Sea as the celestial eye (anus) and England as the divine erection? The pandemic could have broken out when it became clear that the attempts to provoke a war in Ukraine would come to succeed in obtaining just that.

The summa summarum (in such 'perverse' interpretation recognizing everything as related to genitalia or bottom) is given in the last four lines of Yeats poem #16 which are '03' in both enumeration columns.

The blind hound with a mournful din
Lifts slow his wintry head;
The servants bear the body in;
The hounds wail for the dead. = '0' = celestial eye pouring excrements outwards
= '1' = the erection pouring its ejaculations outwards
= '0' = the excrements being pushed into the 'o' again
= '1' = the 'dog' pushed wrong way - hence GOD

Example of this philosophy can be seen in e.g. the terror against the Okhmatdyt ('mat' = 'food', 'dytt' = 'push') children's hospital in Kiev on 8 july 2024 - it could be a perfect example for this summa summarum. (The missile seems to have been produced in the west - it was probably not a russian missile but rather a 'shy-Nile-ich' one from the west). It happened just when I started on my old age pension in july 2024.

The last four lines can be analyzed as presenting a coordinate system which suggests the divine pederast raping the small Jesus infant - but it must be admitted that this emerges with much more clarity when one has found it as a swastika system underneath the surface of the entire Crossways. It is difficult to label Yeats' book as 'bad poetry', on the contrary most people are likely to conceive of it as being among the best ever written, but it may be that the 'pedo' problems arise by way of an interpretation which can be established with more firmness when it is based on the dodecaphony of the Vienna school of Schönberg. See also the ABC - the chapter on 'british spiritualism'.

A closer study of the poem #11 'To an isle in the water' is telling: The valuations for 'Stillheten' (the summations in italics) are the following:

Stanza 1: 112111 112132
Stanza 2: 211221 211222
Stanza 3: 122211 211222
Stanza 4: 220022 121133

Zeros are found only in the mid of the last quarter = the last stanza - the mid third that will be - which comes out as roughly 'fool and shy to an isle in' which likely is interpreted in line with the '3' in the first quarter/stanza which is at the beginning of the last third, hence approximately '[th]e firelight / pensi[vely]' which here probably tells of 'a firelight penis' = 'the ejaculating penis' in the sense of 'a faulty penis' meaning the historically discontinuous organ when the Nile lifts the water up for the jews to cross over (in their exodus crossways?), which means that 'fool and shy to an isle in' will come out as something like 'faulty and shy/sky a Nile in'.

'[Th]e firelight / pensi[vely apart]' is also likely to be an origin of the role of Adolf Hitler, born in 1889. 'A failait' = 'A tailaif' = 'Adolf'. 'Pensively apart' = 'Fitler'.

This could suffice for making the theory that the feature valuation of the binary notation employed here makes sense for this poetic complex.

I emphasize that the binary features I outlined in the article on Tintoretto's Scuola Grande should be conceived as far from what some perverse philosophy could have associated with excrements in and out and all that. The features I tentatively outlined should serve to open up a new philosophical landscape of constructive thought, potentially even what could serve as an antenna for the interface to other realities otherwise unreachable for human perception - and not for being contained in a gloomy power philosophy.

It is also likely that the probably mainly british installation of Yeats' poetic ideas in practical political ideology has been motivated not the least by a wish to conquer italian culture traditions and catholicism: It is very possible that Tintoretto's 'Scuola Grande' is a major landmark in cultural history around which much philosophy and reality-construction has taken place - a lighthouse left to remain through the centuries after the renaissance had to be halted due to international resistance. (See also this story about that lighthouse). If the politics that were constructed on basis of Yeats also had managed to give the impression of being in extension of Tintoretto, it is possible that much of the political history since 1890 has been sailing under somewhat false flags - and that the real intention could have been to derail the renaissance inheritance from Tintoretto - but it may have been difficult to counter this in the lack of adequate description and understanding of its inner structure.