Correggio

Correggio

John Bjarne Grover

On background of the theory articulated in this study, the present article considers the theory that Correggio is function 15 (which means in accordance with book 15 in my 'The Endmorgan Quartet') and that this consists in logical order by way of the converse directionality of phonetic and logical form shown by Rembrandt's 'Nightwatch'. The logical form is read left-right and the phonetic right-left - hence the inner ear bones for the phonetic. Function 15 for logical form means that some things must be able to change order - and that means that logical and phonetic forms go in opposite directions - see the discussion under 5. and the conclusion.

The theory is that the phonetic reads right-left from the ratio point which the poem has in the span - untill the beginning of the form and then wraps over and continues from the end untill the ratio point. I here delimit the discussion to only this ratio and mainly for the signatures only, to the extent that they are present in the poems - but clearly much more extensive studies can be made on basis of these limited observations.

It means reading another order of the phonetic elements. That means 'corregging' the order - and hence this epithet added to the name of 'Antonio Allegri' → 'divine grail'.

For the present study I make the observation that the backwards reading can be interpreted in norwegian language - and hence be a link to the white metre in my work. I emphasize once again that the poems of TEQ are primarily poetry and should be read as such and the phenomena studied in this and similar articles are secondary effects only. What are the 'forty doors' of TEQ #454 (= volume 2 page 536) towards the end of this discussion? Correggio can perhaps give a hint but it is not certain that it is the full answer.

Example 1.
An example of a global function 15 can be the mermaid theme of 'Jupiter and Io' (from this source). It seems to be a lump of foam she carries under her arm down there in the wave (it is not really a submarine theme but clearly that could seen in it). I search TEQ for 'foam' and come to TEQ #270 (= volume 2 page 337). The mirror poem to 270 = 1720-270 = TEQ #1450 (= volume 2 page 1579) for which the signature 'Jean Gargantua' can be read from appr 1/4 = the first name backwards to the beginning, wrapping over and reading right-left from the end to the beginning of the second name - the appropriate reading for this artwork would then be 'nautic naufrag' which requires very few corrections - those seem to be explained by "place and Farlyle".

Now the method of computation suggested for this heuristic exploration of this specific theory of the global function 15 is this: Between (and including) 270 and 1450 there are 1450-269 = 1181 poems.

Now the principle is to compute the ratio of this span and compute the same ratio for backwards reading of the relevant poem. 1/2 will always land on the mid poem with this way of computing and that is not so interesting but the other ratios will yield more interesting results:

1/3 = 269 + 1/3 * 1181 = 662,666 = TEQ #663 (= volume 2 page 753) for which (in the absence of signature) the last line is 'every second month' which then reads 'i revet snur med dnokis' ('in the reef it turns with dnokis') which looks meaningful except for the last word 'dnokis' - however, if this could mean the lump of foam under her arm ('knokis'?) it makes sense.

1/4 = 269 + 1/4 * 1181 =564,25 = TEQ #565 (= volume 2 page 657) for which the signature 'Nuts Alexijafs' reads backwards in this manner 'amphora ske[v]-last' ('amphora biased burden') which is hyper-precise for the biased burden on the amphora. In addition, the imaginary shadow that kisses the 'mermaid' from out of the blue can probably be called a 'Nuts Alexijafs'. The 'last' can be read in the same way from the first line in the form 'royal whale roy(al) is there/dear' for the ship she could be looking up into - corresponding to the vessel of the amphora behind her, while the 'ske[v]s' could be the second line for 'towed in whether/weather' for the lump of biased burden on it.

1/5 = 269 + 1/5 * 1181 = 505,2 = TEQ #506 (= volume 2 page 597) with signature 'Bruce Warne, a film reporter' which could rewrite in this fashion to '(s)ur bretter opp erme-lif av en rav' ('sour/aboriginal folds up the sleeve-lif of an amber') which could be about the 'amber' under her arm.

1/6 = 269 + 1/6 * 1181 = 465,8 = TEQ #466 (= volume 2 page 549) signed 'Tuovo' which the suggests 'to-vou'. The lower toe is appr 1/6 from the left of the canvas.

In my PhD dissertation 'A waist of time' (vol.3) there are the outlines of an aspect of universal grammar linked to the idea of a universal tendency for parallel developmental exposition of grammatical/social person along with the same development phonologically. In "Chapter 4: Personal pronouns" page 137, specifically on page 142 there is the suggestion that phonological distinctions develop in the child in the following order: 1. Vocalic/consonantal, 2. Nasal/oral, 3. Labial/dental, 4. High/low, 5. Front/back. If this follows a universal tendency for development of social distinctions, there should be universals in exposition of personal pronouns, which this chapter seems to prove - see the conclusion on pages 172-175. The interesting corollary or rather hypothesis for the present study is that this could obtain to similar ratios of the kind discussed here - for the question of logical order in logical form relative to phonetic form. This would naturally be an interesting issue when it comes to 'Book 5 - A waist of time' page 583f. - the question of definition of acoustic features. I worked at that time with ideas of such features defined by 1/2, 1/3, 1/4... in the acoustic window gliding over the speech signals, and this should be in conformity with the results from my MA thesis, but it was at that time premature to land on any conclusion since it would be futile without a solid basis in studies of poetic functions - such as the present one. However, the simplicity of the hypothesis is appealing that the developmental (= 'universal') order of the acoustic features could correspond to the ratios 1/2, 1/3, 1/4.. as discussed here.

Example 2.
A good example for considering the relevance of this hypothesis is Correggio's 'Abduction of Ganymede' (from this source) which seems to be a paraphrase on just this theme of the role of the velum in nasals relative to the rest of the oral space in such assumed universal tendencies of articulation. This artwork can count as a hallmark of Correggio's conception of global (or 'universal'?) function 15 since the word 'eagle' occurs in fact only twice in TEQ - that is in poem #1 and in poem #1713 close to the end. Here I consider the ratios computed from the whole (wing)span of TEQ - the 1719 poems from #1 to the last #1719 which also could be taken to refer to the rudimentary tree trunk and the universality of young folks.

1/3 = 1/3 * 1719 = TEQ #573 (= volume 2 page 661) which has signature 'Lumstreet Bloom' → (s)mulmul/murmur på dyret(s)' ('murmur on the animal's') which perhaps could be suggestive of the 'fricatives' or noisy din around the snout of the dog - or the eagle - or even the white shark of the tree trunk.

1/4 = 1/4 * 1719 = 429,75 = TEQ #430 (= volume 2 page 511) which has not a clear signature to the poem (about alphabetic letters?) but ends in plus/minus 'Copenhagen' which then could suggest 'boken er gane' = 'the book is the palate' - here suggesting that the book is the body which is lifted by the velum eagle - the book has a spine. This would not be the nasal feature but rather the labial/dental. Would 'Copenhagen' then come out as 'tatt en hedning' = 'taken a heathen' with undertones of somebody who has 'vandret heden' (= 'has died') = 'wandered the heath/[highland] plain'? (Or would it have been about 'gentile'-men?)

1/5 = 1/5 * 1719 = 343,8 = TEQ #344 (= volume 2 page 414). Again, there is no signature here but the last line could serve: "And I say: I have not" could start 1/5 = 3 letters into the line for 'det er natt og kne var hia sia' for appr 'it is night and the knee is the other side' - which could refer to the knee almost touching onto the levels of 'murmur' of the sea or mountains in the background - and the shin likewise - for a potential HIGH/LOW featural valuation. Applying this HIGH/LOW to the line could take it to not so far from 'Endmorgan'.

1/6 = 1/6 * 1719 = 286,5 = TEQ #287 (= volume 2 page 353) which follows up just this idea. If the signature 'Bébé' should be divided in 6 it would invoke the theme of Rembrandt for the B = base 13 etc.

'Royal gas war' etc could add the rudimentary wooden trunk (sharky) to the corresponding reading of TEQ #565 above. Is that even where one finds a Louisiana ('towed in whether')? This phenomenon - that this reading of one artwork of Correggio seems to invoke or refer to another of his works - could be an essential aspect - see discussion of examples 4 and 5 below.

Example 3.
An excellent example of both local and global function 15 is 'The mystic marriage of St.Catherine' (from this source) which finds a very precise - surprisingly precise - interpretation in the first poem of TEQ book 15 'Gentlemen' - that is TEQ #1455 (= volume 2 page 1586). St.Catherine shows Jesus her con-ditio-ns and the apparent ex-act-ly sword at her side is referred to in the following line. To this there follows the finger of his mother Mary against his behind - but not critically into it. Her pointing finger is his attention as he marvels at St.Catherine's finger. The 'back-ground' then seems to take over the attention for the rest of the poem and the signature 'Theater' is seen in the background up left - there is even a little stage or balcony out from the housewall. The mirror poem to this in book 15 is the last poem TEQ #1520 (= volume 2 page 1652) could concern not only the events on the lea in the background but also the secret that Jesus seems to have just lifted a ring from his mother's finger which he plans to put on St.Catherine's finger. This shift of 'back-g-round' could also be spotted in the background - and one could speculate that the reason for the title of the book could be what is in the mind of Mary.

Book 15 contains 66 poems and if one is supposed to do the same computations on this local scope, the local function 15 goes as follows:

1/3 = 1/3 * 66 = TEQ book 15 poem #22 (= volume 2 page 1607) for which the signature is 'Fattersen/Pattersen': 'Tap nese-rett' = 'lose nose-right', while 'taf nese-rett' would be the tougher version.

1/4 = 1/4 * 66 = 16,7 = TEQ book 15 poem #17 (= volume 2 page 1602) for which the signature 'John' rewrites to 'øyne' = 'eyes'.

1/5 = 1/5 * 66 = 13,2 = TEQ book 15 poem #14 (= volume 2 page 1599) with signature 'Sirius' suggests '(i) sewer/suer' ('suer' = 'sucker').

1/6 = 1/6 * 66 = TEQ book 15 poem #11 (= volume 2 page 1596) suggests 'war/our/var Steiermark katalog'? (See also Brief comments for 14 march 2023).

Now the global function 15 could be equally interesting for this poem - if one considers this TEQ #1455 the one endpoint on a global scope for which the other endpoint will be 1720-1455 = TEQ #265 (= volume 2 page 332) ('nirvana' → 'in a navel?') - the scope is then 1455-264 = 1191.

1/3 = 264 + 1/3 * 1191 = TEQ #661 (= volume 2 page 750) suggesting "it's my numer up on the Bethl".

1/4 = 264 + 1/4 * 1191 = 561,75 = TEQ #562 (= volume 2 page 654) - the signature 'Orpeucter' → 'rore/røre[t] til keup' (the rudder/pipe/touch of keup') or 'berøre[t] til keu' = 'touch for keu'.

1/5 = 264 + 1/5 * 1191 = 502,2 = TEQ #503 (= volume 2 page 595) = 'Gørmemanich Aniselich': 'Med rø[g] skilles/kiles i naken amme' = 'with red/smoke is parted/wedged in(to) naked breast-nurse'.

1/6 = 264 + 1/6 * 1191 = 462,5 = TEQ #463 (= volume 2 page 545) = 'Peter Sharp' = 'a proud shredder', in norwegian 'eplet så rett' = 'the apple saw (it) right/just[ly]/appropriately' - the apple was right.

9 april 2023:
There exists a proof for the relevance of this global function. The ratios 3-10 of the global function 15 for this example follow the 5-step cycle of Caravaggio (column 3 in the table). I made the discovery via 1/5 = 'with red/smoke is parted/wedged in(to) naked breast-nurse' when I recognized the Salome motive as strikingly relevant - and it followed that the rest of the ratios applied with equal precision to the adjacent works in the 5-step cycle which I traverse here - the discovery is the order 3-4-5... for the ratios and 28-29-30... for the Caravaggio works in the 5-step cycle:

1/3 = 264 + 1/3 * 1191 = TEQ #661 (= volume 2 page 750)
'I am still the best up on the moon' →
'it's my numer up on the Bethl'
#28 Sleeping Amor.

1/4 = 264 + 1/4 * 1191 = 561,75 = TEQ #562 (= volume 2 page 654)
'Orpeucter' →
'rore/røre[t] til keup' (the rudder/pipe/touch of keup') or 'berøre[t] til keu' =
'touch for keu'
#29 Peter's denial.

1/5 = 264 + 1/5 * 1191 = 502,2 = TEQ #503 (= volume 2 page 595)
'Gørmemanich Aniselich' →
'Med rø[g] skilles/kiles i naken amme'
'with red/smoke is parted/wedged in(to) naked breast-nurse'
#30 Salome and baptist head (1609)

1/6 = 264 + 1/6 * 1191 = 462,5 = TEQ #463 (= volume 2 page 545)
'Peter Sharp'
'a proud shredder'
#31 Birth w Lorenzo & Francisco (for the idea of Christ as the arbitrary morpheme level)

1/7 = 264 + 1/7 * 1191 = 434,1 = TEQ #435 (= volume 2 page 515)
'The Americans endorse also Eutheia' →
'aeth aiethue osla esrodne snacirem'
'a seizure is like erodnes snake-rem'
'a seizure is like erotic snake-rem'
#32 Annunciation.

1/8 = 264 + 1/8 * 1191 = 412,8 = TEQ #413 (= volume 2 page 492)
'Dr.Angle' = 'Doctor Angle' →
'delgna rotco'
'jerken erotico'
#33 Maffeo Barberini (by chinese 'public' and '6, six')

1/9 = 264 + 1/9 * 1191 = 396,3 = TEQ #397 (= volume 2 page 470)
'North Zen of Stemmer' →
'on remmets fo nez ht'
'honour a metre's phonetic'
#34 The martyrdom of Matthew

1/10 = 264 + 1/10 * 1191 = 383,1 = TEQ #384 (= volume 2 page 454)
'Not here, but in that narrative' →
'ton evitarran tath ni tub ereh'
'to never tire and touch need to bear it'
#35 Regretting Mary

11 april 2023:
The global function described here is likely to be what I call 'A waist of time'. There is a suggestive similarity of Correggio's 'The mystic marriage of St.Catherine' with the 'Treblinka' photo (discussed here - cp. the TEQ entry of 06.11.01 with the 1/3 ratio above - the line was written appr. 02:57 at night, could have been when the tree fell) - see Catherine's ring in the water knee - in particular when this is compared with the hourglass butterfly form of 'The holy night'. It is seen that the blue coat over the shoulder of Mary in the 'mystic marriage' - which corresponds to the erotic scene (discussed in this file) at the 'amphora' on the waterknee of the Treblinka photo - corresponds to the 'printed Josef' in the example discussed in this file.

Clearly the 'waist of time' will let only a thin stream of sand through the narrow opening - and it is here that the fundamental theorem of logic will apply for a truth function without negation. This information flux is on the border between eternity and history. It is possible that this narrow opening is the ring of Catherine. The symbolic function will apply with meaningfulness by the assumption that the meaning is the same every time. When function 15 applies to the logical order of the names on an event level, the corresponding phonological component will create an arbitrary discrete linguistic unit boundary which hence will serve to establish a function from the observational (referential) component of 15-16th century italian renaissance to the phonological component of my 20th-21st century poetry - accounting for the parallisms between my TEQ and the renaissance artists. This is in line with the assumptions on the functionality of the blue metre with a millenial span - discussed in book 2 of 'A waist of time' (in the collected works volume 3) (see e.g. page 230f. etc). The truth function - for the 'semantic assignment', also for a larger arbitrary sign of a phrase or sentential level - will then apply to the 'stream of sand' of a corresponding span. It follows that it is likely that corresponding 'acoustic features' - say, for a model of grammar resembling the one I discuss very tentatively in book 5 (pages 584-612) of the dissertation, can be postulated to be of type 1/2, 1/3, 1/4.... in line with the above ratios - also for a tentative hypothesis on a universal order of acquisition of such acoustic features. It is seen how all books 1-5 of this dissertation contribute to an explanatory account for this particular issue. See also the conclusion to book 2. (It should be expected that this dissertation now could be accepted for the PhD degree).

The following two examples 4 and 5 contain the solution to a mystery of potentially considerable importance: Both are 'diagonals' and they possess a mutual reference in the ratio 1/4. It was because of an error of computation that I discovered it: The error was that I wrote for the following example 4 the poem number 484 instead of the 454 which it should have been - it seems that I must have added the diagonal which the artwork is to the digit form. I present the comments which I first made before I discovered the error:

Example 4.
'Noli me tangere' (from this source) looks like a clear diagonal. Searching for this word in TEQ there is only one instance of it - that is TEQ #49 (= volume 2 page 89). The global function 15 would then suspectedly be by the interval (1671-48) = 1623:

1/3 = 48 + 1/3 * 1623 = TEQ #589 (= volume 2 page 677) which contains no signature and therefore is not so interesting for the present inquiry. However, the poem seems to balance on the edge of distinctive phonological categories and could perhaps relate to the tools in the lower righthand corner.

1/4 = 48 + 1/4 * 1623 = 453,75 = 454 (discussed below) - initially entered for these comments as 483,75 = TEQ #484 (= volume 2 page 570) for which the signature 'Stille Flømann' could suggest 'litt sna-møl fel' or rather 'litt snu-meg feil' = 'a bit/little turn-me-around (is) error' which is quite precise for the title 'noli me tangere' = 'do not touch me'. This poem was also discussed for Rembrandt's 'Nightwatch' - the idea that logical form (for the base 10 vs base 13) reads left-right and phonetic form (the bones of the inner ear) right-left. The turnaround would here correspond to the idea of the wrapover.

1/5 = 48 + 1/5 * 1623 = 372,6 = TEQ #373 (= volume 2 page 443) has no signature but the theme of the poem could perhaps relate with adequacy to the artwork.

1/6 = 48 + 1/6 * 1623 = 318,5 = TEQ #319 (= volume 2 page 390) which likewise has no signature but it is not impossible that the telling tree structure in the (semi-trimmed?) background is a juniper.

Example 5.
'The holy night' (or 'Nativity') (from this source) has some peculiar traits of 'sunnmørian' kind: Not only has she who looks up to the man on the left what could be called a 'sunnmørian' look, but the one behind her could be seen to embody in her facial expression what is encoded in the donkey with the strongman behind Jesus on the form 'det var da fole så sterkt lys da' - 'what a foally strong light that is' - or simply 'fole kor sterkt lys det var'. Searching for 'Sunnmøre' there is the poem TEQ #1612 (= volume 2 page 1745) which seems to have some relevant contents. I try this against the mirror poem 108 for the interval (1612-107) = 1505 poems:

1/3 = 107 + 1/3 * 1505 = 608,67 = TEQ #609 (= volume 2 page 697) which has no signature.

1/4 = 107 + 1/4 * 1505 = 483,25 = TEQ #484 (= volume 2 page 570) which is the same poem as for 1/4 of the previous (which is an error - see below). It is interesting to observe that both artworks have notable diagonals - and that if the 'Noli me tangere' work is about a phonetic form, this 'Holy night' could be seen to concern Rembrandt's 13/B be preposing this B for a 'Blitz na møl fe[i]l' (with undertones also of something unnormal about the 'beer') - this being encoded in the form of 'litt snu-meg feil' = 'a bit/little turn-me-around (is) error' shown in the 'avoiding' attitudes of the people as if they dare not face the fact right away, shown also in the angels or 'airors' above, apparently one for each person below and all of them looking aside somehow. Could be Mary is the 'B' that does not turn away.

Clearly the error of turnaway which this artwork is about is also the error which I made for the discussion of the 'noli me tangere' work of example 4. The right poem of 1/4 for that artwork is not #484 but rather #454:

1/4 = 48 + 1/4 * 1623 = 453,75 = TEQ #454 (= volume 2 page 536) which has signature "England and Furious" which by the normal procedure turns into 'elgen er sur/svir av den nåden' = 'the moose is sour/joyous from that grace" - the 'horns' are a bit sour on normal human basis but filled with heavenly joy by the grace. The expression 'en sann svir' is probably the main context for norwegian 'svir' in the sense of immense joy - or perhaps immense enjoyment/pleasure is more precise. But this interpretation is not appropriate for the 'Noli me tangere' image but rather about the 'Holy night' - which could suggest a butterfly relation of the two 'diagonal' artworks - alternating on phonetic and logical form. Poem #454 describes the 'airors' above - the metaphysical beings/angels - rather precisely: "The crimson is packed. The card is green with thirty-nine" = the red and green textiles on the angels. "How I are a tilfelle of sins" would then tell of how humans reduce two such metaphysical observations to one substantial reference and one linguistic item thereto - and if this self-understanding of humans apply to one of the angels above, it tells of the divine nature of the child below. "I have seen én converted to shower" - if human reality is formed by the collapse of two and only two metaphysical items, the christian creed postulates that in the divine reality the metaphysical origins can be not two but three (the holy trinity) - here, however, it could be about not only 3 but a 'shower'. See also the surroundings of Jesus' uplifted hand and arm in the 'Noli me tangere' work. The rest of the poem 454 seems to interpret the same angelic concerns in the human realm below. A little crimson is packed on her shoulder and there is green on the others. It is the angelic sinner which gives rise to the optimism of being able to continue below.

But does this butterfly between 484 and 454 make sense? The 'errors/airors' of 'Holy night' suggest that the error makes sense. The solution is quite simple: If 'Noli me tangere' should have had 484 as its 1/4, it means that the 1/4 is the ratio of the interval (484-48) = 436 which one then can multiply with 4 for the total interval 1744 which transcends the number of poems (1719) in TEQ - and hence there is no offset to count. 1744 / 2 puts the mid point at 872 and not 860 as for the normal corpus of TEQ. But this is exactly what the story is: TEQ book 12 was written in historic time from 28 november 2000 to 11 july 2001 - and thereafter I made the exceptional organization of it when I moved the last poems (from 19 june to 11 july) from the end to the beginning - that makes the poem written last land on the position #861, which means that it is poem #12 counted from #850 as the first poem in the book (the two motto poems 848-849 looked apart from). But that means that these 12 poems can be added to the mid point 860 for creating a 'virtual' mid point at 872 - which is what makes for the error which seems to provide for the butterfly relation (mutual reference) between these two 'diagonal' artworks. (If you feel that it should be 13 and not 12, that could resemble the old story with Judas). The 'virtual' mid point at 872 could resemble (or compare with) the phenomenon of base 10 vs base 13 at Rembrandt - when one number of base 13 is read as if it should shave been base 10 and vice versa.

1/5 = 107 + 1/5 * 1505 = TEQ #408 (= volume 2 page 485) with the signature "Seymoor & Seymour" which reads correspondingly - assuming that the fine orthographical difference is telling of the chance to divide the 'm' into 'nr' - something like 'nisser hvor (nye) gjesten er roy' = 'elves (house spirits) where the (new) guest is roy' - a comment on just this relation between the people and the angels.

1/6 = 107 + 1/6 * 1505 = 357,8 = TEQ #358 (= volume 2 page 428) which has no signature.

See also the example in the second half of this file - a continued elaboration of the relation of Correggio's 'Nativity' with my TEQ - and DDS.

Conclusion

The examples discussed here support the conjecture that Correggio can be consulted for the empirical exploration of function 15 in both local and global version: The few examples have focussed on a very limited aspect of the poems (signatures, backwards reading starting on a point determined by the ratio of the interval where the poem is found) and it is not probable that this empties all aspects of the character of function 15. The theory is that function 15 is concerned with 'logical order' and the discussion has shown that one possible interpretation of this is that phonetic and logical form read the line in opposite directions and then a change of order can possibly be obtained by way of imposition of a virtual mid point.

(Most of the artworks discussed above are selected by their presence in 'Correggio' in the series 'I maestri del colore' #5 on Fratelli Fabbri Editori, Milano 1963)