More on the distance 1823
John Bjarne Grover
This article continues from the discussion of the distances of 1823 km told of in this file - basically, about the distance of 1823 km from the icelandic volcano near REKAVIK ('Reykjavik') to the mystery object at REKVIKA at Troms in Norway plus the distance of 1823 km from the volcanoe of Nyiragongo in Congo to Harare in Zimbabwe. .
24 june 2021: I add the puzzling observation that if you go 18,23 km west of Hütteldorfer Station, you come to Rekawinkel. And what is it east? Ah, if I go 1823 meters east, I come close to the point in lower Mariahilferstrasse where I some years ago met Angelina Jolie (or her 'fata morgana') with small head and bodyguard crossing the street in direction Königsklostergasse - after I had waited for the bus at Lugner City and a man whom I believed was a small version of Brad Pitt crossed the street slantingly just in front of me. A precise measuring of the distance from the spot where I met her to the zebra where I crossed when I looked left and saw the woman-on-the-ground on 12 april shows 1857 meters. The fourth part of my Dornenstrauch ('Die Schönheit der Welt') contains 16 poems of 21 lines each, and there is the word 'Sateliten' in the 7th last line - which means that multiplying this ratio with 1857 meters takes it to 1823 meters exactly. 'Satelite' comes from latin 'satelles/satellitis' which seems to be a loan word from etruscan for 'bodyguard' ('sarco-fag'?). The appearance of Pitt seems to have other explanatory functions: I saw Jolie's first film in the cinema (alone in the room) at the lower end of Lugner City, and I think I saw a poster for a film Pitt had produced or made at the cinema a little further down the street - and I made the association to my own 3rd Danube Island photo upside-down. It can be said that I have a poet's university education (were her latin bodyguard a greek phylax?) - plus some calculus with polar coordinates etc. The kaw-kel-us? (There is also poem 48 in the 64-poem 3rd part).
30 june 2021: Since the distance (1823/1857 meters) between Angelina Jolie (or her fatamorgana) and me seems to be defining, the interesting question is: What are the 'wages' of the second title of my white metre 'Stillhetens åndedrag' - that is, the original title 'And wages we got the distance from', 'Og lønn vi fikk avstanden fra'?
At first sight it looks a superficious observation, but as it turns out the idea may be relevant anyhow: I saw her in (or quite near, in the direction towards) the intersection Mariahilferstrasse / Königsklostergasse - which could mean that her anglophone 'wages' to my norwegian ear could sound like 'veikryss' = 'road intersection'. Conversely, my name Grover could mean 'Lund' which to an 'angelophonic' ear could sound like norwegian 'lønn' = 'wages'.
Road intersection is the original meaning of the chinese radical #144.
This radical #144 is rel DDS I:107e with mirror poem in rel DDS I:181.
Rel #107e could be seen to tell why the hatched 'Laren' of older civilizations are merged (here a group of small 'Laren' merged like mythos to the body of the woman on the ground) like zebras under our feet - in what thereby can be conceived as a road intersection.
Rel #181 tells why the head of the 'Angel' (like the front page of DDS) looked small - as when a zebra is conceived as a horse - and this should also explain the 'Strassenmarkt Wasser, Erd, Luft, Feuer' - that is, an elemental level of cognition, a prechristian classic stage of civilization which could correspond to an archetypal level of being in Hütteldorfer Strasse. The rest of the poem #181 is about the WEIN.
Now if this be taken to be about EAR ('Ohr') and WINE ('Wein'), these two words meet in the chapter '20 Gedichte' on numerality in the synchronic 'SNEEFT COEIL' in the form of the constant of the 'golden ratio' dividing a line in two parts 'a' and 'b' in such a way that (a+b)/a = a/b for the value 0,6180339, or, as is the same, inverted in the form 1 / 0,6180339 = 1,6180339, tells of the 'golden ratio'.
Computing these points in '20 Gedichte' takes it to the end of line 10 (out of 16) in poems #1 and #2.
Das Essen ist das schnelle Licht.
Das Trinken ist der Wein. = line 10 - hence WEIN is the word
Deshalb ist sie Linde genannt
weil ihr stille Gehör in meinem Ohr = line 10 - hence OHR is the word
I wrote the poem #2 in the autumn under an old LINDE tree - and while I was writing the tree dropped one of its yellow leaves down over me - it sailed through the air and landed inside my hand. It could have been a 'golden ratio' leaf.
The Catalan constant
Now my theory is that there is in principle a correlation between the 7404 alphabetic letters (or, say, phonemes or something like that) of the 20 poems in '20 Gedichte' and the 7404 first decimals of the Catalan constant - for this theory see under this page the primary article 'SNEEFT COEIL and the Catalan number' but also e.g. this article). Now for testing this interesting hypothesis that there is a theoretic one-to-one relation between the alphabetic letters in my '20 Gedichte' and the decimals in the Catalan constant, I simply count number of alphabetic letters up to the (end of the) two words WEIN and OHR and look up the corresponding decimals in the Catalan constant:
WEIN = letters 224-228 --> Catalan decimal 224-228 = '0942'
*OHR = letters 661-664 --> Catalan decimal 661-664 = '2190'
The observation is that these are nearly mirror symmetric. What is the mid point between these two 'golden ratio' decimals? It is the series 76-1-05 (the '1' being the mid point). And what is the decimals for the end of poem 1, that is, completing the continuum from 0,999... to 1,000... and thereby poetic-philosophically defining the integer number '1'? That is the series 76-1-04. That is as perfect as can be - and it suggests that 'this hypothesis of a one-to-one relation between alphabetic letters and decimals is interesting'. Or at least there is something interesting about it.
It is called unity or integer 1. The 0,6180339 and 1,6180339 are the same 'golden ratio' (only inverted in definition - 0,618 relates to 1 such as 1 relates to 1,618). When are WEIN and OHR the same? Ah, that is the BALANCE which is updated once a month when the WAGES go in there.
1 may 1976 was just before my high school exam - a part of my education.
1823 as digit series
Is the digit series 1823 anywhere in the scope of the 20 Gedichte? It is in the Catalan number at decimals #6580-6583. This corresponds to the word FLOG in '20 Gedichte' poem 18:
Ganz plötzlich schien es durch die Wand
so wie Lichterwellen scheinen
von einer Lampe in der Hand,
von Quellen in den Beinen.
Von rechter Seite schien es her
von linker flog [die Schatten]
This was just the situation - as I crossed the zebras there would have been Jolie 1823 (or 1857) meters down to the right and the woman-on-the-ground a few metres to the left - in fact it seems she were appr. 32 meters to the left.
See also the mid #12 out of the 23 black-and-white poems from the Danube Island: This seems to show the two males at Wiener Stadthalle, one of them (the second from left) holding up his hand in the air for calling for a taxi, the other (first to the left) kneeling at the body on the ground - and in the mid of the photo there is what could be a case of FLOG or FLAG. Could be of the numeral '1'? To the right there is the passerby who really is two persons: Both the one coming down 'Hütteldorfer Strasse on the other side, and one observer coming up on the same side.
I tell this story: I had copied some Catalan decimals from the internet (the source 'Catalan's Constant to 1,500,000 Places'). I opened the data file and made a quick search for 1823 and the cursor stopped in the midst of an ocean of digits and an inner voice told me: 'It is called Larissa'. That is quite a good guess if one thinks of the body on the ground as a transform of a group of german 'Laren', of body height approximately like a female body lying on the ground, on its shoulder. Could be this was Rilke's first book 'Larenopfer'?
This book of his contains a poem called 'Sphinx', cp. the airport to Reykjavik at Keflavik ('rolling-pin-opening') - the sphinx could make for an egyptian/israeli dimension relative to Norway: Location A/B. The NATO bombing of 'bell-grade' could have been for similar reasons - as this 'Larenopfer' in Hütteldorfer Strasse (at Wiener Stadthalle) relative to Hütteldorfer Station. (The woman in the street looked also well 'gredd' = 'combed' on her blonde hair slanting down from her head).
(2/7-21: Is the sphinx a symbol that it is the international secret intelligence services who construct the global myth, under the four sphinx 'quality' labels of 'to know, to will, to dare, to keep silent'? Is that the reason why I am kept totally uninformed - that it means to construct the rest of the world in the form of a sphinx = quasi 'secret intelligence service'?)
But the distance to Jolie was not 1823 m, it was rather 1857 or so. There is one single occurrence of this number in the Catalan decimals within the scope of the 20 Gedichte - and that is in fact quite close - it is in the 'von Que-' in the above line 'von Quellen in den Beinen'. The 1823 is onto decimal #6583 while 1857 is onto decimal #6529.
In fact this is the only occurrence of the digit series 1823 and 1857 among the first 7404 decimals of the Catalan constant: There are 7404 alphabetic letters in the poems 1-20.
The incident as an archetype
The archetypes are assumed to be in the red metre ('My mention e Anna'), which includes male and female archetypes and 'dogs paradox' - plus the fourth part which is a quasi 'sonnet' version of TEQ book 5. (The female archetype is told in the part 'Labyrinth 101' of 'My mention e Anna' which could be seen as the inner or 'transcendent' monologue of the woman-on-the-ground, possibly including the zebras in #31-37). This TEQ book 5 in red metre version starts as follows on poem 3 (after the two first poems which are from the end of book 4):
"West is cross-sectioned in a way which is not
really - is not the thing, because I,
since sour will not be executed 105-
34, if you remember how the Black Sun - that's why...
(how to put that?) ...the intuition of
shifting back into its fire".
In the original TEQ format, not the red metre version, it goes
since sour will not be executed
if you remember how the
Black Sun -
that is why...
(how to put that?)
...the intuition of shifting back into its fire".
Searching the Catalan constant for 105-34, wherein '-' is a wildcard, there are two occurrences among the first 170000 decimals:
'105734' = at decimal #58148
'105834' = at decimal #157946
Now 58148 * 2,71628 = 157946
while 2,71828 = 'e', the constant of the natural logarithms
Searching for 'Black Sun' in TEQ, there is one in poem #290 - and in poem #964 there is the first line
E = blacksuper
Black Sup - er
for just that wildcard variable - defining the constant 'e'. Cp. also the TEQ version 10534/10538.
There is also one 'Blackstock' in TEQ poem #107 ('Blackstock' and 'blacksuper' are the only two 'blacks' in TEQ). Looking up 'Stock' in '20 Gedichte', I find 'warf es aus den Stocks' in poem 14 - that is up to alphabetic letter #5406. Looking up this decimal in the Catalan constant, the decimals following immediately after decimal #5406 (that is, decimals #5407-5415) = '10564405'. This latter would be about logical order = the syntagmatic axis, the first would be about the paradigmatic axis.
Is there cover of the line 'since sour will not be executed'? There is: Radical #144 (walk, do, originally 'road intersection') can also mean 'to execute' (in the sense of 'to act'). EAR and WINE are also radicals:
Ear = radical #128 = ⽿ where one also finds the form ⽿孫 = 'rengsun' = (literary) great-great-great-great-great-grandson (in a male lineage) = [[s]our] will
Wine = radical #164 = ⾣ which can mean 'rooster' (of Chinese zodiac) and the period from 17:00 to 19:00 - adding the 10th of 12 earthly branches, the conclusion is close to 'since hour'.
Is the rest of the beginning lines of TEQ book 5 present?
(how to put that?) ...the intuition of
shifting back into its fire".
'To put that' recalls to mind what happened in 2005 in Bratislava when I had photographed a wooden shed (made from red-painted planks) in a downtown grove used for recreational purposes - in the shed apparently serving beers there was a sign for the beer 'Topvar' of the firm 'Topolchany'. No sooner had I taken the photo, I turned and saw a man coming towards me with lifted finger, I started to move off the spot for avoiding dangers but he followed after and hit me strongly in the back so I fell to the ground, although I swung myself up again with only a hand touching the ground. This brief story tells of the lines in Rilke's 10th elegy:
... Oh aber gleich darüber hinaus,
hinter der letzten Planke, beklebt mit Plakaten des 'Todlos',
jenes bitteren Biers, das den Trinkenden süss scheint,
wenn sie immer dazu frische Zerstreuungen kaun...,
gleich im Rücken der Planke, gleich dahinter, ists wirklich.
Todlos, Topvar, Topolchany - 'to put that'. That's 'Y' - 'how much'. It happened that I observed a 20 and 50, which can be recognized in the 'U' and 'dr', including the 'M' suggested by 'm-uch' and the 2+5 for the '7' - to the decimal series 102057, which statistically occurs once in a million. It occurs in the Catalan constant at decimal #4845 - while there are 4846 alphabetic letters in the 12 first poems of '20 Gedichte'. This means that if the 'M' is considered the end of poem 12, the '02057' is the beginning of poem 13, the letters 'Die we'[ißen Pferde kommt von Erde] - hence 'DIVA' for the 0205. This means the INTEGER of 12, just like the 'golden ratio' tells of the integer 1. The 12 disciples were the grapes from which comes the 'must', Jesus the vine. Hence " ...the intuition of / shifting back into its fire" --> 'the integer of shifting back into its wine'. But that is just the 76-1-04 --> 76-1-05 from the above computation. But into its 'wine' - the chinese radical tells of this integer but hidden in the '12' earthly branches.
'Fire' is the title to TEQ poem #125 - a poem of relevance for understanding this complex. It is signed 'E-john'.
Isnt this quite impressive poetic intuition? It may be noticed that TEQ book 5 was written in 1998 and '20 Gedichte' 19 years later without any knowledge of any Catalan decimals. Cp. also the spontaneous intuition 'Larissa'. The question is 'where do the inner poetic articulations come from'? Is the poet a superbrain who overviews the first 170000 decimals with ease and computes the elegant ratio on the fly? Of course not - it is the assumption that the Catalan constant is the human-psyche definition of numerality - in such a way that a computer with this Catalan grammar installed should be able to understand 'das atmende Klarsein nach dem Gewitter' - the world of humans who think and feel poetically - and that is where they find numerality meaningful within the form of the Catalan constant. It is even possible that this has to mean that the human linguistic faculty is contained in the Catalan constant in some sense of it or other. See e.g. this article.
Now this fourth (entered first) part of 'My mention e Anna' is also analyzed in my vol.3 chapter 19 (pages 982-1031) in the form of 48 'sonnets' in parallel with the sonnets of Rilke (the Orpheus sonnets except the 7 first) and Shakespeare (17-48 followed by 1-16). This means that the exact parallel to the first stanza of my sonnet version of TEQ book 5 (given above) will be
Rilke Orpheus part 1 poem #10
Euch, die ihr nie mein Gefühl verließt,
grüß ich, antikische Sarkophage,
die das fröhliche Wasser römischer Tage
als ein wandelndes Lied durchfließt.
Shakespeare sonnet #19
Devouring Time, blunt thou the lion's paws,
And make the earth devour her own sweet brood;
Pluck the keen teeth from the fierce tiger's jaws,
And burn the long-lived phœnix in her blood;
The sarcophagus is in Rilke and the white stone tooth (of the constant 'e' - hence also the woman-in-the-street) is in Shakespeare.
1823 as time not space
If the 1823 is taken not as a measure of distance but as the year in the blue metre, it tells (2009-1823) * 0,366 --> PEB #69 which has its hebrew parallel in Genesis 3:13 - Eve explaining for God that it was a snake who suggested the apple. It wasnt a monkey who suggested it? No, it was a snake.
The white metre 'Stillhetens åndedrag' ('Og lønn vi fikk avstanden fra') = 'The breathing of silence' ('And wages we got the distance from') is aligned against the 1983 recording (by LaSalle Quartet published in 1986 on Deutsche Grammophon) of Luigi Nono's string quartet 'Fragmente - Stille, an Diotima' (1980) - the alignment is given in vol.4 p.1225-1252 - which is in two movements. The alignment starts on poem #17 out of 64 (that is, in the second quarter), just like with Shakespeare's sonnets, and runs to the end of movement 1 at the end of poem #47 'Adam', the movement 2 starts on poem #48 'Eva'. Now movement 1 is just 18 minutes and 23 seconds = 18:23 - and hence the 1823 is precisely on the border between Adam and Eva.
What is the word at poem #18,23 in '20 Gedichte'? In it is the german word 'Leich'. Or, strictly speaking, it is in the line 'in der [Er]leicht[erung]' but the final -t of 'Leicht' is only partly counted.
And what is the word at 18,57? It is in poem 19 - between 'ist' and 'Menschen':
Nach Gottes Wille und Schönheit
ist Menschen Herz zu sehen
which could be telling of the mystery object found 'by the sea' ('sjø-nigh-t') in Rekvika outside Tromsø.
What is the word in poem 18,23 in 'Stillheten'? It is in poem #19 in the line
av legemet på vår jord = of the body on our earth
which starts in Nono movement 1 at 01:18,0 and lasts untill 01:19,7. It has its counterpoint in 'Rosen' in the line 'that resembles a cat'.
PS Some people accustomed to think 'politically' will perhaps tend to put emphasis on the indexical fact that the earliest record in British Library of an author named 'John Grover' is from 1823. I personally do not see much importance in it but notice the fact.
Of more interest is the question whether the decimals of the Catalan constant are known at all, I mean, if a digital or continuous computer can compute more than the first decimals with any certainty. I would guess, though, that there is general consensus on the beginning of them.
Added 1-2 july 2021:
I have to add this most important aspect of the 'golden ratio' which I found today:
As I discussed in this file, there is also the 'bardun' (like zebraish blue-and-white-sectored roofs on small bathing huts on the beach, or on the cap of the lower 'Barmhertzige Bruder', the one with the bent nose) from Rekvika at Tromsø where the mystery object (here is one photo of it and here is another photo both from the source www.tv2.no) was found, going east along the same latitude as the volcano at Rekavik, landing on a small place in the Urals called 'Ust'-Malyy-Patok' which is just in the distance of 1823 km from Rekvika with the mystery object - that is, a mirror point east of Rekvika compared to Rekavik by the volcano in the west. Now computing the 'golden ratio' in TEQ book 14 - for the function 14 of distributional semantics - takes it (including 174a as separate poem - in addition to the 207 enumerated ones - to a total of 208 poems) to poem 129 in that book, which is TEQ #1376, a short poem of 3 lines:
Book 14 poem 129 המקרה סוכתו בשפודין או בארוכות המטה
Die Geld, die Arbeitsleute representieren
and the name 'Österup Aren': 04.11.03
Tonbandgerät abstammend [vom Affen].
Here it seems that the icelandic volcano in Geldingadalur 33 km off Reykjavik is found in the first line 'Geld...' while the corresponding point in the Ural is in 'Österup Aren' in the second line:
which leaves just the 'M' which preposes the Catalan 02057 on the integer (see above). And what is the mirror point to this on the 'rainbow'? That is the poem #80 called 'One'.
'Österup Aren' is in book 14 poem 129 (TEQ #1376), while the title to the next poem #130 (TEQ #1377) is 'Tromsø'. There are 5 words between them. There were 32 metres from me on the lower zebras to the woman on the upper zebras, and there are some 33 kilometres or so from Rekavik ('Reykjavik') to the volcano.
The poem TEQ #1377 'Tromsø' mentions 'Putin' (cp. 'Vladimir Putin' for the 'Ust'-Malyy-Patok' + 'Österup Aren') and "this Qvengele story / and the groppia". The 'QUE' was mentioned above, the 'groppia' could traced from italian 'groppo' which is first attested in 1313, which means PEB 255 line 11 letter 5 = 'that m...'. The 'M' above. The story in that PEB 255 could look like this? Chinese KUAI = 'express' could resemble '60' mirrored. There are 18230 british feet from the woman in Hütteldorfer Strasse until the spot where I took this photo for this file. 18230 british feet = 1823 'deka-feet' = 1823 'deka-meron'?
Could be the entire TEQ #1376 is a poetic articulation of the Catalan constant on the form of the integral from 0 to 1 of the formula arctan(x) / x. If 'arcustan' = 'arbeidsleu', the variable x is the representation, the 'Tonbandgerät' is the integration sign, the identity sign is the fundamental ability of the human spirit to recognize sameness among metaphysical realities giving rise to the accordances in the dependencies of the human psyche etc.
Poem #129 has the hebrew parallel from Talmud המקרה סוכתו בשפודין או בארוכות המטה which in the Mesorah edition (folio 15b3) is translated 'one who covers his 'succah' with spits or with the sides of a bed [frame]' which indeed could be telling of the mystery object found in Rekvika, apparently upon a very rotten old log that seemed to have drifted ashore. (A 'succah' is a small booth made of twigs for the festival of 'Succoth' - cp. the bathing huts mentioned above).
Poem 80 has the hebrew parallel from Talmud הואיל ואיתקש יציאה להויה which in the same Mesorah edition (folio 15b1) is translated "it would have entered my mind to say that since 'leaving' (= 'divorce') is compared (by the Torah) to 'being' (= 'marriage')". Jastrow explains that איתקש associates with
אסקוטלא = fingersnapping (thumb and middle finger)
אסקופתא = meat hanging on a crosspiece
אסקופה = yard of a ship; lintel, threshold, doorsill
that is, the possibly 'ex nihilo' object of Rekvika could have entered the 'mind' (here the immediate reality) of the one who found it as through a wooden doorway - as suddenly as snapping the fingers.
When I gave my TEQ to a jewish library in Venice, one of them stood looking at the back side illustration from Venice (notice the similarity of this 'rising sun' blowing botticellian on the female character on the wooden arc with the heartshaped mystery object apparently on a similar water-soaked wooden structure) when suddenly there was the sharp sound as of a whip or fingersnap (cp. heart valve?) in the air and a small piece of a broom fell down under the book - he bent down and picked it up. The idea could perhaps have been that a witch rode by and turned her broom in the air - but in fact the present interpretation is equally good.
אסקותא = 'burning', 'offering' could be added - that would be the light from the book, and hence the constellations of stars mentioned towards the end of Rilke's 10th Duino elegy:
siehe: den Reiter, den Stab, und das vollere Sternbild
nennen sie: Fruchtkranz. Dann, weiter, dem Pol zu:
Wiege; Weg; Das Brennende Buch; Puppe; Fenster.
Aber im südlichen Himmel, rein wie im Innern
einer gesegneten Hand, das klar erglänzende 'M',
das die Mütter bedeutet... -
It seems that the story is Odysseus reaching land at the end of the 5th song, making a hut and cover for himself by finding two bushes of twigs and leaves - the 'succah' - and falling asleep there, and when he wakes up again at the beginning of song 6, he meets Nausikaa. The border between the Odyssey song 5 and 6 corresponds - in the dating of the Odyssey which I made in volume 3 - to the border between my PEB #139 and#140. The poem #139 ends thus: "It cost you authorship / to all child's view, / sitting there on mother's hip. // A child is growing up from birth / drinking milk. Then why must you / forget all tremble of the earth?" while #140 starts as follows: "A breath within / the junipers / tells the gin / of blue knickers". This alignment suggests that the Odyssey - which is a sort of ancient blue metre while the Iliad is the red - could have been written (incepted or completed, the work of convergence could have been over 53 years) in 1149 BC. Inside the front cover of my volume 1, I wrote that it was 'written' (in this sense of it) in the year 833 BC. But that is just the mirror around the year 991 BC (= 3000 years before the PEB was written in 2009) - just like the place in the Urals and the volcano on Iceland. I had subtracted 158 years instead of adding, which is the same, sort of. But it is true that there remains a moment of uncertainty: Is epics computed the same way as prose? Doesnt the present 1823 complex tell that there is something about symmetries in this story? Subtracting the interval 158 years takes it close to the great fire of London, adding it takes it to the attempt on the pope.
Is there a construction of a 'secret intelligence sphinx' - that if you אסק it something, it does not answer?
Finally, it should be mentioned that it is well possible that the mystery object from Rekvika is a very precise representation of the form of my 'Stillhetens åndedrag' (where Adam meets Eve), with 105 poems reduced to 64 - the poems 65-105 subdivided and appended to the end of the 64 first such that each of the resulting 64 poems are composed of two parts, with a smaller lower part (2 stanzas) extending into a longer (3 stanzas) upper part. Are there just 64 such quasi 'syringes' or 'pumps' in the mystery object (photo 1/photo 2)?
It seems from the two photos that the mystery object had been attached to a water-soaked log that had driven in the sea. This calls to mind the quote which I have brought several times before from Seferis' 'Mythistorema' #8, here in Keeley/Sherrard's translation:
What are they after, our souls, travelling
on rotten brine-soaked timbers
from harbour to harbour?
Μα τι γυρευουν οι ψυχες μας ταξιδευοντας
πανω στα σαπισμενα θαλασσια ξυλα
απο λιμανι σε λιμανι;
Rilke, Rainer Maria: Die Sonette an Orpheus. Insel, Leipzig 1923.
Rilke, Rainer Maria: Sämtliche Werke (12 Bänden), Insel 1955.
Shakspere, William: The sonnets. Ed. Dowden, Edw. London 1881.
Seferis, George: Complete poems. Translated by Edmund Keeley and Philip Sherrard. Anvil, London 1995.
Seferis, George: Poesie. Griechisch und deutsch. Übertragung und Nachwort von Christian Enzensberger. Suhrkamp Verlag 1987.
Talmud Bavli. Vol.7: Tractate Eruvin. Mesorah Publications 2005.
Talmud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48.
© John Bjarne Grover
First part of this file on the web
as part of this file on 24 june 2021
The rest added mainly on 30 june 2021
Last updated 2 july 2021