U = 10 ShAR/HI = 31
Cuneiform, the fundamental theorem of linguistics and 'Stillhetens åndedrag'
John Bjarne Grover
For the same document with the better cuneiform fonts of ELLERMEIER/STUDT's Sumerisches Glossar, CD-ROM zu SG 3,3, but without links to other articles, see this document.
The article discusses some ideas related to the hypothesis that there exists a common basis for hieroglyphic and cuneiform scripts. The discussion makes use of empirical data from own poetry but it is obvious that the discussion is very tentative and preliminary.
In the article "Egyptian hieroglyphs, lapis philosophorum and 'Stillhetens åndedrag'", I showed how the 24 basic alphabetic letters of ancient egyptian hieroglyphs can be traced to aspects of the white philosopher's stone as well as to a cyclicity in my poetry book 'Stillhetens åndedrag' (2016) - the relevant aspect (for each of the 24 symbols) of the philosopher's stone finding its description in every 56th poetic line of the book - in total 1344 lines which each give a description of the 1344 words that occur twice and only twice in my other poetry work "The Endmorgan Quartet" books 13-16 and thereby contribute to an understanding of the socalled 'fundamental theorem of linguistics'.
In this article I show how the same poetry book 'Stillhetens åndedrag' can be seen to contribute to a principled description of cuneiform.
The hypothesis I discuss in this article suggests that the socalled 'fundamental theorem of linguistics' (as defined by me) is the heart of the cuneiform script: The theorem tells that two and only two items can be recognized as the same when they have the same distribution in two different realities. The classic story is the relation of humans with the divine: It is supposed that human reality is restricted and redundant and therefore turns symbolic - which also means that the relation to what lies beyond the restrictions of human reality gets hard to know. The story is the metaphysical constitution of this human reality. The fundamental theorem proposes that the different realities are the foundation of language - which means that what counts as the difference between child and care-taker in the process of learning the language is in imitation of the relation between humans and the divine. That is, it means that cuneiform describes the metaphysical constitution of the human reality in terms of differences and similarities between such experiential and metaphysical distributions. That is because the fundamental theorem of linguistics suggests that metaphysical distribution can be evaluated or conjectured by the innate linguistic competence.
The data in support of this hypothesis are from my own poetic work. It is only because (or if) my poetic work can be shown to have a sufficient degree of generality that the hypothesis can be tested or rather exposed in any interesting way thereby.
I mention some aspects of the hypothesis and deliberately leave many questions open. The study must count as preliminary.
'The Endmorgan Quartet' and 'POLAKK English Bloggi'
My poetic work "The Endmorgan Quartet" was written in the course of 11 years and contains 1719 enumerated poems in 16 books - the poems (generally) written successively, from beginning to end, from #1 to #1719, from book 1 to book 16. The poet thereby having reached the peak of the Mount of Enlightenment and marvelled the supernatural world beyond, he turns around and starts the descension which took another 8 years - through the same landscape. It is the downhill movement in this landscape which leaves to the resulting 4 works the character of 'poetic metres': The blue metre, the red, the yellow and the white. The blue ('POLAKK English Bloggi' = 'PEB') is what I wrote first on my way down again. It contains 365 sonnets plus a leapyear poem - it took a year to draft it and a year to write it - in total 2 of the 8 years of the descension. TEQ is 16 books of one 'poetic function' in each of the books, and it has turned out that the 14 lines of the poems in the PEB can be considered 16 lines (14 plus 2 virtual) in such a way that each line of each poem contributes to a poetic domain comparable to the corresponding function or book of TEQ. This means that PEB line 1 (the first line in poems 1,2,3...365) should be TEQ function/book 1, PEB line 2 = TEQ function/book 2 etc - and this seems to make sense. Now clearly the poems of PEB are written successively from 1 to 365, but the result nevertheless seems to be that each line 1 of each such poem pertains to book 1 of TEQ.
However, TEQ is symmetric and it is very interesting to read the contralateral poem #1720-x in conjunction with poem #x. It seems that political history is hooked on what exactly happens there on top of the mountain when the ascension turns into descension and it seems that the end of TEQ corresponds with line 1 of PEB. The virgin Mary was human - but maybe her virginity was divine? Or at least the conception was?
However that be, PEB is the blue metre written while I descended the first quarter of what thereby corresponds to the upwards TEQ books 13-16, and the white metre is the last of the four metres - thereby correlating with TEQ books 1-4. Now the phenomenon of mirror symmetry in TEQ gets a very special interpretation in the final white metre:
'Stillhetens åndedrag'
The white metre is the book 'Stillhetens åndedrag' ('The breathing of silence') written in norwegian language in 2016 (the writing took approximately 256 days). It is a work of 64 poems each of 20 lines + title - a total of 1344 lines. 'Stillhetens åndedrag' studies the relation between faith and knowledge - and the high relevance of the final 64 poems for quite disparate forms of knowledge proves that the form of these 64 poems has a basis in the human semiotic constitution of reality. The procedure was this: I wrote 105 poems of 12 lines each based on a relation of faith with the historic reality I lived in: I wrote a poem, put it aside and waited for the response from 'history' or 'reality' or whatever one likes to call it - a blink of light, a bird passing by - whatever gave the 'echo' cue of inspiration to a new poem. Poems 4, 5 and 6 were of 20 lines each, the 102 others had only 12. Poems 1-60 had titles, the titles to 61-64 were taken from the 4 last lines of poem 105. There is a natural border after the first 34 - a natural group which I called 'Bjelleklang'. The poems were written as stanzas of 4 lines each. When the 105 poems were completed, I took the 41 poems 65-105 minus the last 4 'title' lines - that is 488 lines = 122 stanzas - and used them for constructing 2 end stanzas to poems 1-3 and 7-64 in the following way: I used the gap 34-3 = 31 (the number of poems in 'Bjelleklang' of only 3 stanzas) and interlocked uneven lines from poem 65 with even lines from poem 65+31 = 96 untill I had reached the second stanza of poem 105 which then interlocked with lines from poem 105-31 = 74, then I wrapped over and continued with even lines from poem 65 interlocking with uneven lines from poem 75 in intervals of +10 untill all the poems 65-105 were emptied and I had 122 stanzas to be appended to the 61 poems that had only 3 stanzas - for reaching the uniform 5 stanzas plus title on all 64 poems. I started appending these 122 two and two from #64 and backwards down to #1, the first half in normal order and the second half in reverse order of the two stanzas I added. This gave me the final collection of 64 poems which is about the knowledge of humans - and it is an empirical question to what extent it really models the form of human knowledge. My study of the egyptian hieroglyphs, the work of Vermeer, a string quartet of Luigi Nono and many other things prove the relevance of the final form - which means that the work had found a secret path between faith and knowledge. The most important such correlation (proof of relevance of the form of the final 64 poems, scrambled from the original 105) was with the list of words that occurred twice and only twice in each of the 4 last books of my 16-volume 'The Endmorgan Quartet' (1997-2008) - taking the 413 words that occur twice and only twice in book 13 and listing them alphabetically, next the 359 such words of book 14 in alphabetic order, thereafter the 141 such words of book 15 and finally the 432 such words of book 16, one reaches a list of 1345 words which turn out to apply with good precision to the 1344 lines of 'Stillhetens åndedrag' - there is only the single word 'å' (the infinitive marker in norwegian) as the 1345th left - to an extent which even allows for the conclusion that each of 1344 words of the alphabetized list, when this is aligned exactly against the 1344 lines of 'Stillhetens åndedrag', receives a lexical definition from each of these 1344 lines - of sufficient precision to call for recognition as a relevant definition. (See also my study of the definitions in various languages that result from the line 1 function of PEB). It amounts to a lexicon of human language - and one has thereby reached yet another result of high explanatory force for understanding the form of human language relative to the form of human faith.
It is important to notice that ther exist many clay tablets with cuneiform script that seem to be exercises in alphabetic ordering or words and phrases - a puzzling phenomenon which is perhaps not yet sufficiently explained. Why does it look like the telephone book for Babylon North? Could be the present study could explain why.
What is interesting is that this result obtains to the white metre which I wrote at the end of the descension corresponding to TEQ books 1-4 on the way up - but it is the 1345 occurrences of twice and only twice in TEQ book 13-16 that apply to the 1344 lines of the white metre.
It is the fundamental theorem of linguistics that applies to the white metre thereby, and my hypothesis is that this fundamental theorem of lingistics is at the heart of the cuneiform script. It tells of the relation beween the human and the divine - or what is beyond the restricted human reality.
It is likely that this also tells of the relation of line 1 in PEB relative to the end of TEQ: Considering the blue metre line 1, the function selects the poem in PEB by the age of the word, then rewrites the beginning of line 1 of this poem to the word in question and rewrites the rest of the line correspondingly - that leaves one lexical item and one phrase that serves as a definition of it - plus rewrites. The idea is that the lexical item will be a horizontal wedge, the definition the vertical wedge and the rewrites will be the slants according to the reduction algorithm. In this way the cuneiform technology will be in constant interpretation of the relation between humans and the divine on the peak of the Mount of Transfiguration. That makes sense.
The test of the hypothesis
The test I am telling of here is the experiment I made of testing the 1344 'lexical entries' of TEQ books 13-16 (those that have their definitions in the 1344 lines of the white metre) against some poems of TEQ book 2. The white metre naturally subdivides the 1344 'lexical entries' of TEQ books 13-16 into 64 subgroups, alphabetically and successively ordered, and it turned out that these 64 subgroups - each of which contains 21 words which are defined by the 21 lines in the correspond poem of the white metre - seem to have certain properties of the following kind: The title poem "The Endmorgan Quartet" is poem #198, in book 3 of TEQ. I tested some poems around #97-101, approximately half way to this, and found that the 'lexical entries' to subgroups #25 and #50 applied with high precision to poem 99. In addition, I included subgroup #37, mid between these, for various reasons.
In the following scheme, the words in the columns under #25, #37 and #50 are the alphabetized list of words (in enumerated subgroups) that occur twice and only twice in books 14-16. The list under #37 wraps over from twice-occurring words in book 14 in the beginning to twice-occurring words in book 15 - from 'zum' to 'across' - and that is another such 'wrapover' phenomenon which cuneiform seems to be concerned with. In addition, the rightmost column contains the poems #98-99 - the end lines of poem #98 go down to 'asender' and the poem #99 starts with the line of 'memorabilia'. The line ending with 'of the story' was written on 31 december 1997 and the following 'You only have to change opportunity' is written on 1 january 1998. That is yet another form of 'wrapover' which makes this fragment from TEQ interesting.
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#25 exactly exchange exist expert explain extremely eyes fair family fast fat feeling feet fell felt fenster film folk follow force forever |
#37 wa wait week wie wife window wir within woman womb work working worth yet yourself zum across affair africa alcohol also |
#50 eternal everything existence express extremely eye f face fair falling family fate fear feature feeling fell file fire five floor flur |
TEQ #98-99 from thinking as I looted the first manuscript. The first manuscript, the first poet overbit drive, represented the real, while I turned asender. When I came from the memorabilia I was immediately struck [by], and when she was reading her hand was figuring the vainer dust of the story. You only have to change opportunity and Juan Luacan the cottage outside Luacan fell feather like a house twelve so as to TENGE. You'll need a Bækkelund. Acroft gave vidunderlig away. |
What is particularly interesting is the parallelisms of subgroup columns #25 and #50 with the poems #98-99 from TEQ - such as the word 'fell' which occurs in both subgroups #25 and #50 and in the poem #99 - and this occurs just at the change from 'zum' to 'across' in subgroup column #37. This phenomenon seems also to be the theme of the corresponding lines in poem 37 in 'Stillhetens åndedrag' - here stanzas 3 and 4 which correspond to the wrapover from 'womb' to 'across':
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I det kalde nord er sneen hvit som pudder på din karm når du åpner vindusveden med din overjordiske arm. Vil du støtte kontekst i vertsekolltiden på tjuesjuende-tjueåttende vogn som åpner seg mot et hulrom i den på den sekstende og siste perrongen? |
In the cold north the snow is white as powder on your sill when you open the window wood with your supernatural arm. Will you support the context in the vertsekoll time on the 27th-28th wagon which opens against a hollow space in it on the 16th and last platform? |
The word 'vertsekolltiden' is new - and could point to 'work' and 'worth' in the words of column 37 - while the 'context' could apply to the wrapover circumstance.
The tentative theory or hypothesis on the character of the cuneiform script which I have established on basis of some preliminary studies is the following:
The HORIZONTAL wedge refers to one of the 64 columns (subgroups) of 21 words of such twice and only twice occurrence each - which means that the horizontal wedge refers to an aspect of the (four) end books of TEQ.
The VERTICAL wedge refer to the lines of poems from the beginning books of TEQ - each poem being one such 'column' of lines. It means in reality the same as the status of the 1344 lines of 'Stillhetens åndedrag' relative to these 1344 words of double occurrence from the end books of TEQ.
The SLANTING wedge means the phrase structure that arises from the reduction algorithm when 105 poems reduce to 64 (there exist other reduction forms, such as 78 reduced to 64, but I here discuss only the 105-64 one). This is apparently the concern of the mid books of TEQ. It means that when going through TEQ from book 1 to book 16, ascending to the top of the Mount of Enlightenment, it turns from vertical to slanting to horizontal wedge, like a clock going backwards.
The BIG wedge is probably a variant of the slanting wedge - it is often difficult to tell if it be about a slant or a big - here it seems (and I repeat that the empirical basis for this assumption is quite limited) to mean the specific interval that is used for interlocking lines in the 65-105 poems when constructing the two last stanzas of 1-64. The traditional value of the big wedge is '10' - the sign 'U' then means the gap +10 of interlocking in the poems 1-3, 7-50, while the sign 'ShAR' or 'HI' will here mean +31 for interlocking lines in the poems 50-64. The poems 4-6 have +0.
U = 10 ShAR/HI = 31
Example: The sign group RI, containing one horizontal, one big and three vertical wedges, will then expectedly apply to one column of double-occurrences with interlocking gap +10 that can apply to three different poems or fragments from TEQ.
The meaning of the title 'The Endmorgan Quartet' can be related to this essential aspect of cuneiform qua the fundamental theorem of linguistics - that means where the end meets the beginning in the wrapover from 105 to 65 and things like that, or simply this role of occurrences in two different realities. In my alignment with Luigi Nono's string quartet "Fragmente - Stille, an Diotima" in the LaSalle Quartet recording of 1983, that means the 100-105 seconds into part 2 - with that very special form of harmony which can be found there - aligned against this wrapover in poem #50, in the lines corresponding to 'fire-five-floor' in the subgroup 50 above. The title of this poem 50 is 'Tabitha (Dorcas)' - see also poem #50 in TEQ book 15 ('Gentlemen').
The hypothesis tells that the formal metre clock moves clockwise from horizontal wedge = the alphabetized lexical entries at 45 minutes, the slanting wedge for the grammatical phrase structure at 52-53 minutes, then vertical wedge for the resulting sentence or phrase (poetic line) at 0 or 60 minutes - this covers in total 25% of the clockdial. Whether the clock also can go backwards, with vertical and horizontal wedges swapped, I dont know.
I discuss very lightly and briefly some examples of this interpretation from my work - on basis of the assumption that the received interpretation or decipherment of sumerian is right. I use the interpretations of Hübner/Reizammer's 'Inim Kiengi' - Sumerisch-Deutsches Glossar as well as the graphs and their interpretations in Ellermeier's 'Sumerisches Glossar'.
The intention is to show that the internal logic of such a sumerian sign makes sense relative to my poetry - which then could mean that my poetry could be used also for proving certain formal properties of the cuneiform script generally. Clearly my poetry is written in neither sumerian nor cuneiform script, so it must be high generality and formal precision in it which provides for such possibilities. I leave it to the reader to make the conclusion to what extent one can allow for principled conclusions at all.
Example 1
I use the line 'You'll need a Bækkelund' from TEQ poem #99 (above) as first example: This word 'Bækkelund' is a normal name which means 'Creek-Grove' and it has a particularly suggestive character of presenting a visual quality: You can, in the context of my poem (and that could be a part of the meaning of the context of 'vertsekolltiden') 'see' the creek over and around the sandbanks under the branches of a grove. It is at the end of poem 99. At the beginning, there are the words for 'eye', 'vision', 'face' in columns 25 and 50 just at the turn of the poems from 98 to 99. This could call for the sumerian sign for 'eye', 'face', 'vision' - which is IGI and has this form:
According to the theory above, the big wedge should mean interlocking interval +10 - and there is one and only one poem which has both 10 and 31 as interlocking intervals and that is #50 (the poems 1-49 interlock with +10, 51-64 with +31): It has +31 in the fourth stanza and +10 in the fifth. That suggests the stanza with 'Bækkelund'. The vertical wedge should tell of only one poem from TEQ, not two or more co-aligned, and the horizontal wedge should tell of one and not two or more columns of double-words - here it should be #50. But clearly the example is special by having 'eyes' in #25 as well so the example is perhaps not optimal. Could be there should have been two horizontals for these 'eye', 'face'? But my poem is of course only suggestive - and the two words are not totally aligned.
Example 2
Now for another type of example - poem #100 which can be aligned in two different ways - I try first the trivial one (which probably is not the ultimately right one - see below for another alignment):
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#6 dog dress drop du dying early earth either el else em empty en england enough envelope establishing evening everyone evil |
#18 stoned store strictly strike strip struggle students suicide suspect swim swiss system taken takes tapped teargas technology telephone television test th |
#31 particular pas passage pepper petter platform police political position possibility premier press prey prince princess private process products project promise |
TEQ 100 Peter Brick "Gott", says Peter Brick, "honest get along, and when the ornamental signs begin to organisation to private hirers no, listen when I'm beginning. On platform early elephant varnt or hash, so that there is space enough, no echo. Photography knew yar you who creates Birmi wall. I'll give you 50 lag ascience, the first one or two hooks all, two of the human illustrasjonene, the motherboard. It's going to have a directionary file in one or a few days. I've move-to-move of that last fiftee poetry cards, that every plant is pure from harpsichord, the blicker you therefore thorough-stopping on 31st of December copying". |
Line 9 is particularly interesting: El + suspect + political of 6-18-31 could make for the corresponding TEQ line 'elephant varnt or hash'. ('Varnt' will normally mean 'hot' or 'warm' but it can probably also suggest 'warned'). According to the theory, this combination el + suspect + political of 6-18-31 should make for the corresponding TEQ line 'elephant varnt or hash' in such a way that it produces three horizontal lines for the three columns and one vertical for the fourth column. That should make for the sign MA:
The meaning of this is in sumerian (Hübner/Reizammer) either 1) Ausspruch, Geheiß, Erde, Land, or 2) (getrocknete) Feige. Which is quite good for 'elephant varnt or hash'.
There is a bigger complex which calls for explanation - it goes across three lines and three columns and has an interpretation in all three lines in the fourth:
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#6 england enough envelope |
#18 tapped teargas technology |
#31 prince princess private |
TEQ 100 the first one or two hooks all, two of the human illustrasjonene, the motherboard. |
It looks as if british surveillance has tapped a scene at a prince - it seems that he has been reading an 'illustrated magazine' and the princess has discovered this and does not like it.
How would the cuneiform sign look? 3 * 3? I first try the form LU:
It means various things, among them 'üppig sein', 'zahlreich sein', 'sich vermehren'. The form MIR can be read in various forms, including 'mir' and 'aga':
aga = Kranz, Krone, Tiara, Mondscheibe
mir = gut, schön, süß, ergrimmen, zürnen
mi-ir mir = Sturm, Ungewitter, Wogenschall, bedrohliche Wasserflut, Skorpion, mythologische Schlange, Gürtel.
Another complex in the same matrix scheme is in the title and first four following lines:
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#6 dog dress drop du dying |
#18 stoned store strictly strike strip |
#31 particular pas passage pepper petter |
TEQ 100 Peter Brick Gott", says Peter Brick, honest get along, and when the ornamental signs begin to organisation to private hirers no, |
In the title line, the word 'particular' is the phonology of 'Peter Brick' while 'stoned' tells of the petrification. In line 5, it seems that the TEQ 100 tells what is in the corresponding rows of the 3 columns: 'Dying' is the 'no', 'strip' = 'private hirers', which means that 'petter' is the 'organisation'. One thinks possibly of the death of Indira Gandhi when it afterwards was said that she had been on her way to an interview with Peter Ustinov - whether that be true or only telling of certain circumstances.
The last of these lines has a special status relative to the lower line 'elephant varnt or hash' which I analyzed above: However, the three forms 'dying', 'strip', 'petter' occur in reverse order relative to 'organisation of private hirers no'. I try to predict the sign from the above MA and could fancy that a sign for this could be a vertical wedge to the left followed by three parallel horizontal wedges - but I cannot find that in Ellermeier's sumerian sign collection (not in akkadian either). However, I find the sign KU:
which means 'hinlegen', 'niederlegen', 'werfen', 'ganz nah herangehen', 'sich nähern', 'klopfen/schlagen', 'Besitzer des Gesäßes', 'Körnchen', 'Pulver', 'ausspeien', 'gründen', 'schlafen'. A pitiful description of such an assassination - and one could even speculate that cuneiform of 'holy cow' could have been invoked in the construction.
Example 3
But there exists another alignment with poem #100 - by the role of the indentation of lines by which indentation of a line means that it belongs to the preceding line in one unit, and if one aligns with only unindented lines, the following obtains as an alternative to the above - and here I have added also poem #97 wherein I count all lines, a little adjusted (notice also that the title 'Peter Brick' is skipped for the reason that it was, as the poet can tell, not in the earliest manuscript):
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#6 dog dress drop du dying early earth either el else em empty en england enough envelope establishing evening everyone evil |
#18 stoned store strictly strike strip struggle students suicide suspect swim swiss system taken takes tapped teargas technology telephone television test th |
#31 particular pas passage pepper petter platform police political position possibility premier press prey prince princess private process products project promise |
TEQ 97 Cello & the cost (On the itemslist?) Concerning I had among students of thirty thar-broke the fact that I really - thar the equiminds - the fact that I know the president... It is supposed to be one globe. Hi! Because I haven't stated the real mood of my mind, the fact that I've not really seventythree ililam/ululam: 1. You think 'thou' is a good word? 2. Yes, I do Then I could tell th "FRASE: SALES AT HE" They could tell the president the two-dimensions of the text apart from the... ...the twain of what can be done to what can be seen. |
TEQ 100 Peter Brick "Gott", says Peter Brick, "honest get along, and when the ornamental signs begin to organisation to private hirers no, listen when I'm beginning. On platform early elephant varnt or hash, so that there is space enough, no echo. Photography knew yar you who creates Birmi wall. I'll give you 50 lag ascience, the first one or two hooks all, two of the human illustrasjonene, the motherboard. It's going to have a directionary file in one or a few days. I've move-to-move of that last fiftee poetry cards, that every plant is pure from harpsichord, the blicker you therefore thorough-stopping on 31st of December copying". |
Here the prince is interrupted by the princess and the concerns of you, thou, thee - when considering the motherboard. The sign ShA:
means 'to lay a swamp of reeds dry'. (It can also mean 'a being with 2 faces', 'chest/box', 'string instrument'). It looks perfect except that there is a horizontal and big wedge too much. But maybe one could have added the column 50, such as above? The prince with feelings, the princess with 'fell'.
Now there is the line of much interest "early / struggle / platform / the fact that I know the president... / early" - to which can be added the 'platform' on the preceding line. Sumerian for "early / struggle / platform" can be 'nim du KI.GAL':
Studying the relation between 'nim du' (the two signs to the left = 'early struggle') and 'KI.GAL' (the two to the right = 'platform'), one finds that there is only one substantial difference - and that is one vertical and one horizontal wedge - plus a big wedge and you have the sign KAD for 'king' - the president of those days.
Example 4
Poem 101 is too short for an alignment with a full subgroup but can be appended to the poem 100 for a displaced alignment - here with subgroups 19, 31, 44. Notice the mention of 31 december in the poem with 'year' in the subgroup 44 - the line with 31 december is the last in poem #100 and the one with 'satan' the first in poem #101. The poem #101 is one of the few poems in TEQ in which the poetic articulations are packed into fewer lines - the articulations are separated by slashes - and here they are spread out again on the original number of lines:
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#19 themselves theoretical theoretically theory those thousand tiger till tin took totally transformed trick true turned une unhappy upon usa use victim |
#31 particular pas passage pepper petter platform police political position possibility premier press prey prince princess private process products project promise |
#44 wall want wanted wearing western where while won write year across address adler africa age agents already anybody anyhow athens au |
TEQ 100-101 the motherboard. It's going to have a directionary file in one or a few days. I've move-to-move of that last fiftee poetry cards, that every plant is pure from harpsichord, the blicker you therefore thorough-stopping on 31st of December copying". 03.01.98 We would have stayed immediately if it were not for that 'satan'. The conclusion was extended longitudinally to take a long apple bit with you. I low her: AU 666 MAX CIRCUS. I want to have at least / four go, / is tired for / Turing-dog (they're one of these rare words with retroflexes), essays for Bermuda and shorts, / no E-quality. |
I make some remarks here on the horizontal alignment of 'tiger', 'pocket', 'while' with 'blicker you therefore'. BLICK is the condition of iridescence (brightening) at the end of the cupelling of gold or silver. If, therefore, the YOU is defined as POCKET, there is a relevance for the concept for this 'tiger'.
 tiger = UG |
 pocket = ShITA4 |
 while = MU |
In UG, there are the four slants which seem to suggest that it be about a linebreak function: The two slants are either (left) slightly displaced or (right) immediately juxtaposed - that is precisely the relation of the indented line 'blicker you therefore' to the unindented 'that every plant is pure from harpsichord, the' - the indentation means that the two lines are conceived as one single inner poetic articulation with a natural 'half-break', and in accordance with TEQ function 16 this means that they have a duration of 2 and not 4 seconds - wherein PLATFORM = 'plant is pure' and THOUSAND WHERE = the 'harpsichord'. The line 'blicker you therefore' is a part of the previous line and this is indicated by the indentation: That is what the four slants inside the UG means - that there is a half-break - which can be turned into a whole-break - and then 2 seconds will expand to 4.
And that again suggests that the MU can be turned around to a BU:
MU means Name, Wort, Nennung, Eid, schwören, Holz, Stab, Szepter, Penis, Erbe, Sohn, junger Mann, König, Gott, Berg, Gebirge, Feuer, Jahr, Himmel, Ruhm, Zeile etc.
BU means Glut, Licht, Helligkeit, aufgehen, aufleuchten, von astralen Gottheiten glühen, leuchten, Pflanzen ausreißen, ausrotten, entreißen, das Ziel erreichen, treffen, entwässern, überschreiten, vollkommen.
This suggests that BU as turned around MU comes close to the meaning of 'blick' in a goldsmith sense of it: The 'you therefore' would then be the turnaround function.
Two doves told me this.
The MU sign suggests a phrase structure or reduction form on one column of double-words, as suggests the horizontal sign. Could be MU tells of 4 instead of 31? In the column of TIGER there is also the word 'tin' - not the same as 'lead' or 'copper' but in the same group in the periodic system.
 URUDU |
 KID |
URUDU = Bronze, Erz, Kupfer
KID = ein Band; Rohrmatte; líl = Atem, Wind, blasen, Geist, Gespenst, Infektion, offenes Land, Steppe, zunichte machen, Oberseite, Rücken
In short, the KID is likely to be simply the dust that can assemble magically on spines of books under certain circumstances, like the water that swallowed pharaoh's army when they set after the jews who had crossed the Red Sea.
Is this about 'blicker you therefore'? Well, a bookspine is there for you to see it in the bookshelf. In fact I myself once experienced such strange bookspines - the miracle of which was that dust attached to only books of certain themes: Ancient languages, historical and comparative linguistics, or mathematics.
Example 5
Here is poem 98 in full - aligned against three columns (subgroups) which seem relevant:
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#14 pardon part particular partly pass pay permitted picture |
#1 above absolutely accused afghan age ahead airport alcohol |
#53 image independent individual intellectual interest interesting isolated issue |
TEQ 98 The dynamic pass Criticism of the will/main criticism, spacetime for the first time, spacetime revival and Tread House Ink. If it looks spurious elsewhere, that is because it is E 7333 try try try try major F improvements 
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plant plate plusieur poor position post pow pressing primary prime process produced progress |
allright almost america american animal anne answers anyone aoughh år aren atsudi attack |
issues itself jerusalem jews jim joseph kammer kampf keep kein keith king knitted |
catalogue. I saw that I was going to play my clay god in the window, so it's different styles with the greatest mackinbone. "Und jedoch ansing ich euch, fast tödliche..." Ehhh, but when I'm trying to get caught, and why, from that reason I abstain from thinking as I looted the first manuscript. The first manuscript, the first poet overbit drive, represented the real, while I turned asender. |
The theme of the poem is the 'dynamic pass' which is found in the boxed table of concepts - and one notices the high relevance of the first entries in the subgroups 14 and 53: pardon image vs. pass-dyn amic, dyn-amic pass, don-image par. It may even be that the boxed list in the poem means something seen. The cuneiform could support this 'pardon image' = 'dynamic pass' as well, with e.g. 'image' = 'šu-nir' and 'pass' = '[ú-ru] ùr', the relevance of 'nir' (NIR) and 'ùr' (ÙR) is interesting, and one observes the boxed list or table as the theme of the poem. Notice that even here there is the interval of 25 between 14 and 53 if one counts backwards from 14 with wrapover from 1 to 64. Here is NIR to the left and (ú-ru)ÙR to the right:
Subgroup 53 corresponds to poem 53 in 'Stillhetens åndedrag' - and that poem has two last stanzas made by interlocking lines from poems in the interval of +31 apart. Assuming that three columns of subgroups (14, 1, 53) are considered relevant to the one poem #98, and that +31 is the code for the reduction algorithm which defines the slanting lines of the phrase structure, the sign HAR could be relevant:
I looked up the list of meanings to this sign HAR in Hübner/Reizammer's 'Sumerisch-Deutsches Glossar' and tried to match them against the glosses in the column of subgroup #53 - it turned out that the number of meanings is about the number of items in #53 - I aligned the meanings in the alphabetized order of words in #53 - and the result turned out to follow quite well the boxed table in the poem #98 - the very theme of the poem:
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Cuneiform HAR funkeln Kette Ring Strahlenglanz scharren, einschränken Spange Halbanteil einengen, einfassen tröpfeln (diagonal) durchteilen bauen, schaffen sprossen kauen höhnisch lachen herumschwirren plündern, rauben sich neigen, vorbeugen Handmühle, Mahlstein durchstreichen Müller Stoff schlagen |
#53 image independent individual intellectual interest interesting isolated issue issues itself jerusalem jews jim joseph kammer kampf keep kein keith king knitted |
BOXED TABLE GLIMT UM UY PU HIGH |
What does this correlation mean? It confirms the hypothesis of 'meaning' of the wedges by this 'pardon image' boxed in a frame. (When Champollion deciphered hieroglyphs via boxed pharaoh names on the Rosetta stone, did the idea of 'shampoo-lion' have any role to play at all?
I add the peculiar political observation that hungarian for 'hymen' is 'szüzhartya' ('szüz' = 'virgin', 'hártya' = 'membrane') - which could be this HAR - even of the ShAh of the iranian revolution - framed or boxed within SÜ-RIA - the later syrian crisis. The above ShA can mean such a 'box'.
Concluding remarks
Clearly the examples I have discussed for the theory I have outlined are nothing more than illustrations, since the poetry is not written in or as cuneiform. However, it may well be that the phenomenon which I have discussed applies equally to my poetry as to the cuneiform script and therefore relevant examples are in fact interesting nevertheless - the reader can probably study the details of the tables I have given here relative to cuneiform graphics and semantics without the feeling of necessarily wasting the time too much: It may be that the poetry has sufficient generality (such as also the correlation of the 1344 lines of 'Stillhetens åndedrag' with the 1344 twice-occurrences of TEQ book 13-16 could indicate) to allow for some comparison with the cuneiform script - since this necessarily must be of a general cognitive format. The principle was suggested in the form of 64 alphabetized subgroups of words that occur twice and only twice in a text - in the examples I have discussed I have generally used 3 such subgroups in parallel columns, but clearly any number of parallel subgroups can be used (if relevant) and any number of relevant parallel poems, which means that the combination of vertical and horizontal wedges is in principle free. In addition, one must take it that the original cuneiform corresponded to some form of fundamental intuition that made it possible to 'feel' in those ancient times why a sign should be this or that - the script remained surprisingly invariant through a few millenia, if I have understood it right. Clearly it would not have been about two and only two occurrences in a corpus of language - it would rather have been about phenomena which set humans clearly off from the divine in such a way that the sole humanness faced the pure divinity in a restricted cultural conception and that counted as a 'two and only two' in the present sense of it. In fact it seems that cuneiform archives present quite a lot of alphabetized tables - that is alphabetized lists of signs or 'words', such as in my 64 subgroups. This meeting of the human and the divine could have a limited number of forms - there are a few hundred standard cuneiform signs, approximately (if I have understood it right) the same number as basic programming units for modern object-orientated programming languages. Informatics can probably tell that there is a limited number (5-600?) of program modules needed for covering all possible needs within the field of the human reality - that is probably what went into the categories of cueniform in those ancient days. What is interesting about the current hypothesis is that it makes this strong reduction of the reality even more strongly reduced by boiling it down to a few basic graphemes - in informatics that will probably be the few fundamental concepts such as 'nesting loops' and 'context' and things like that.
This means that if my white metre of 64 poems with 1344 lines are taken to serve as definitions of the corresponding 64 subgroups of 1344 words that occur twice and only twice in TEQ books 13-16 in such a way that it is a relevant modelling of the cuneiform script, since the same white metre also gives a relevant description of the 24 fundamental alphabetic letters of egyptian hieroglyphs (with intervals of 56 lines for 24 * 56 = 1344), it is well possible that the bridge between hieroglyphs and cuneiform is of a type as outlined in this article. The hieroglyphs seem to be based on the 'lapis philosophorum' as the essence of the human psyche and reality, and cuneiform can thereby be seen to be concerned with the form of the outlines of the same reality, in the borderlines where it touches onto the divine constitution of the human reality.
Although it is difficult to prove these ideas empirically for the time being, one can nevertheless assume that the phenomenon is probable - when considering the hieroglyphs on basis of the same material.
Added on 13 december 2017:
It seems that sumerian and babylonian tablets often contain lists of words in one or more columns that could resemble the ones of mine above. I quote from Wolfram von Soden: "The ancient orient" (Michigan 1994) p.146 commenting on these puzzling word lists:
"The Sumerians believed in a means of ordering the world which brought with it confirmation of the working of the gods [...]. The lists had the task of making this order manifest in connection with the main groups of objects and living creatures, including the gods. This could be accomplished, however, only by people who knew how to handle the lists. The Sumerians were unable to present their ideas in a connected fashion, either in the realms of nature, abstract matters, and theology, or in those of mathematics [...] or jurisprudence. Thus, Sumerian science lacked the conceptual framework of formulated principles (what in the West has been called 'natural laws'), and simply ordered nominal expressions one after the other in a one-dimensional fashion, without any kind of elucidation. Verbs in finite form and abstract terms are found only in those sign lists which are not topically ordered, but not in the lists which have been ordered according to systematic criteria".
I quote from two tablets reproduced in "Cuneiform texts from Babylonian tablets in the British Museum", Part 51. Miscellaneous texts, edited by C.B.F.Walker. Published by the Trustees of the British Museum, London 1972:
Click here for reproduction #82
Click here for reproduction #143
© John Bjarne Grover
Cuneiform fonts were updated on 20 december 2017 to ELLERMEIER/STUDT, Sumerisches Glossar, CD-ROM zu SG 3,3 - and returned to the present handwritten forms on 3 june 2018.
On the web 10 december 2017
Last updated 13 december 2017
