'Stillhetens åndedrag' and 'Böhme's formula Epist.47.§.31

'Stillhetens åndedrag' and 'Böhme's formula Epist.47.§.31

John Bjarne Grover

It seems that the formula Epist.47§31 which is mentioned on page 11 in the book called Jacob Böhme's "Kurze und deutliche Beschreibung des Steins der Weisen", Amsterdam 1747 serves to tell in an esoteric way that the secret number of the white philosopher's stone is the same as Euler's constant e = 2,7182818284... - by formula 47,5531 / 17,5 = appr. 2,7182818284. The relation between 47 and 17 is contained in the year 1747 and the 'paragraf' = 'Amsterdam' - which suggests that this formula Epist.47.§.31 is the purpose with the book - for telling that centimetres and hence metres are defined from the white stone via this Euler's constant - and it is likely that the number was defined as 'Euler's around this time. It is this esoteric way of telling it that has developed into modern International Secret Intelligence Service - a phenomenon of freemasonish unconstitutional power that seems to have been the background of Adolf Hitler: If so, it can be assumed that the two world wars served to provide a basis for the unconstitutional power of the 'intelligence services' by way of this esoteric definition of Euler's constant as the basis for the lapis philosophorum.

Is the alleged 1747-printed Amsterdam book really written by Böhme (1575-1624), or is it written by somebody else who make use of some of his ideas? Is it even a postwar 'intelligence' fabrication on old paper - could be even for enhancing the esoteric secrecy by inducing fear and awe before the secret knowledge?

My 'Stillhetens åndedrag' of 64 poems contains all the values of this formula Epist.47§31 from 'Böhme's work - and it surfaces clearly in the relation to Luigi Nono's string quartet 'Fragmente - Stille, an Diotima' from 1980: Nono's quartet is in two parts (part 1 = 18 minutes 24 seconds, part 2 = 19 minutes 36 seconds, in total 38 minutes in the recording by the LaSalle Quartet) and these correlate with the 64 poems of my book in the following way:

My book
Poems 1-16
Poems 17-47
Poems 48-64 Nono's string quartet
Part 2 - time 10:05-19:36
Part 1 - time 00:00-18:24
Part 2 - time 00:00-10:05

As is seen, the two essential numbers 47 and 17 of my poems are contained in Nono's part 1 exactly. Where is the number 31? That is the essential interval for the plaiting principle when I reduced the originally 105 poems to 64: After having written 34 poems in 2016 I believed that I had reached a natural border, as it felt, and I registered these under the title 'Bjelleklang' ('Jingle bells') - before I continued with the rest of the 105 poems I needed for this project. Each of the 105 poems had 3 stanzas of 4 lines each - only poems 4, 5 and 6 were written as 5 stanzas of 4 lines each, and when I wanted to reduce the 105 poems to 64 by dividing the 105-64 = 41 poems of 3 stanzas each into lines that were organized into 2-stanzas to be appended at the end of each 3-stanza for a total of 5 stanzas in each of the resulting 64 poems, that meant that only 61 poems would be in need of such trailing material. That is the reason why 31 is such an essential number: It means the 34 poems of 'Bjelleklang' minus the 3 poems 4, 5 and 6. For making the trailing material, I plaited lines 1,3,5... from poem #65 together with lines 2,4,6... from poem #65+31 = #96 and continued progressively untill I had reached the end of the two remaining stanzas of #105 with the even lines (and the uneven had then come to #105-31 = #74) before I continued with even lines by wrapover to #65 (and the uneven ones ast #75) and continued like this untill I had emptied all the poems 65-105, for a total of 122 new stanzas which I thereafter glued in two and two in backwards order (64-63-62...) at the end of the 61 poems that needed it - in normal order of the pairs for poems 64-33 and in reverse order of the pairs for 32-1, untill all the 64 poems had 5 stanzas each (plus original titles and the four titles of 61-64 taken from the four last lines of poem 105).

When I compared the resulting 64 poems with Nono's quartet, there is no doubt that the above correlation 1-16, 17-47, 48-64 has high relevance and value - and the essential observation of Nono's near tonal harmony at 100-105 seconds into part 2 landed then on exactly the turning point at poem 50 where the plaiting of poem 105 (with 105-31 = 74) wraps over onto poem 65 plaited with 75.

This is why the number 31 is essential to the work in relation to Nono's music.

Where is the number 5? That is the other essential aspect of it: At the completion of DDS part 3 of 64 poems reduced from 78 I found the white philosopher's stone - and it was because I wanted to see if I could make another stone by way of another language that I wrote this book in norwegian language and reduced from 105 to 64. When I found a new white stone on this basis, it turned out that the stone was quite well described by the mid and third stanza of poem #5 - and indeed I wrote poem #5 of DDS part 3 soon after having seen a Caravaggio artwork. The mid and third stanza of poem #5 of 'Stillhetens åndedrag' is this - in the righthand column the words of twice and only twice occurrence that correlate with these lines:

Nono part 1
12:43,4
12:45,1
12:46,8
12:48,5 My book poem 5 stanza 3
Vi hører det når vi gjesper.
Vi ser det i mørkets lys.
Det er som spanjoler som lesper
når mulighetene bys. Translation
We hear it when we yawn.
We see it in the darkness' light.
It is like spaniards who lisp
when the opportunities are offered. Twice-words
defeat
delphi
des
described

The sensational discovery is that the stone seems to have got its form from this stanza of poem 5 - which I wrote many months before I found the stone, which shows clear traits of a yawn and a lisp:

The yawn
The lisp

This is why the number 5 is of such essential importance. In addition, poem #47 at the end of Nono 1 is called 'Adam' and the poem #48 at the beginning of Nono 2 is called 'Eva' - and hence the two could be seen to marry by a 'paragraf'.

Finally, the question is where the 'Epist' is. The crux of the book is that the 105 poems are written by 'faith' and when they are turned into the 64 poems that describe human 'knowledge', the work is a study of the relation between faith and knowledge. The political fate of Norway seems to be to be left with the role of 'Firma' as a counterpoint to tragedies all over the world: The Vietnam war, the Gulf wars, the Kosovo bombing campaign.... There seem to be many of these - and they may have the function of turning the country into a 'Firma' for this Hitler-postcard variant of Böhme's Epist.47§31. This could have been going on for a long time - and indeed it must be quite a burden on the norwegian cultural self confidence and self esteem to be left with the role of the essentially tragic counterpoint. This problem could, some would say, be felt in norwegian language and culture - and an important function of my book could be to reinforce a natural basis for self esteem and self confidence via the norwegian language by way of the 'Münchhausen' effect that makes it possible to lift the self esteem via reinforced faith in relevance of own subjective world simply by reading my book through. That is the essential EPIST: It says GNADE IST - and that helps against such terrible flagellantic self esteem which can bring almost any talent down to 'worthless' earth (see the end of the treatise on page 91 = page 95 out of 104 of Jacob Böhme's "Kurze und deutliche Beschreibung des Steins der Weisen", Amsterdam 1747 - does it say 'a-wer[th] Erde'?). But is it the secret intelligence services who should administer such grace? It seems that the christian church is in somewhat heavy weather for the time being.

Finally, and of large importance indeed - Nono 1 starts on poem 17 which means after 25% - and that tells of 'why' Norway as a 'firma' of '47' means the same as 25% - or 75% as it is normally called. That could be the reason for the destruction of Syria that has been going on since 2011 - simply to reinforce the 'Firma' of Norway.

But this FIRMA would seemingly be all and only for the sake of that 'formula' of 'Böhme' on the white stone. But there is no need for such empirical reinforcements when my book makes it possible to study the metaphysical semiotics which is the reason for the Epist.47.§.31 in detail: The Vietnam war, the Gulf wars, Kosovo and Syria conflicts could have been avoided, at least as far as their epistemological values are concerned, by way of the details of my work, also in relation to Nono's music: Look at that stone with its details directly from poem #5 - could there by anything more important to find out of? But clearly this is likely to be precisely the reason for the warfare and the terror - to try and find out of 'that important formula'.

Could be this is the reason why the book was written in norwegian language.

A few days ago, after an autumn storm, I took the following 'Münchhausen' photo which tells of the semiotic basis for the relation between faith and knowledge:

Clearly this is a much better way than global warfare.

But all this is what comes out of the artwork in the transfinite domain - the metaphysical semiotics relative to Nono's music. The 'Böhme' formula contained in my work is not primary at all - it is a very secondary effect of the art even if it tells the reason for the numerals. And that means that one can find the solution to the problem or 'phenomenon' by studying the art.

The political intrigue seems to have tried (by way of terror and warfare) to shoot down this high metaphysical semiotics in order to bring it down on the political kitchenbench for getting it under control there. That is called reactionary - while clearly the future goes the other way.

Is the 'Leopold Zechner Schule' at Zinckgasse near the intersection Goldschlagstrasse / Pelzgasse a name which tells of 'drinking and whoring' = norw. 'fyll & hor'? Some may believe that this is my story - which it is not except for that 'octogon'. Could be the name of Jens Stoltenberg (norwegian PM and currently chief of NATO) is a 'bottleneck' through which many political projects have to run with more or less necessity, and there was the norwegian PM Gro [Harlem] Brundtland (later chief of WHO) through many years - she arrested a spy called 'Arne Treholt' who worked in her administration, and two of her FM's died at their post. Could be these two in combination make for the name of the school (why all the modern ideas of 'leo-pold'?) - and thereby also the formula of Böhme Epist.47§31 - which, as I have shown, really is a part of the metaphysical semiotics which even could take it onto a technology for giving shape to matter by linguistic structure - and, for example, could be this could make it possible to send an email through the universe to be printed out on a pimpstone tablet on a planet in some distant galaxy. That could be of extremely large importance - but then political intrigue with terror and warfare and possibly a new devastating Hitler is certainly not the right way to go - rather, that would be bad abuse of what the human community needs for making progress in its knowledge - and, voila, in its self esteem.

Do you think my book is just some 'modernist scramble' because of the odd way it has been composed - with plaiting of lines 31 poems apart etc? I dont think so - in addition to this correlation with Nono's music and the second white stone, I have shown that it - in its finished form of 64 poems - correlates also with aspects of early egyptian and chinese writing, with the art of Vermeer and, most importantly, the 'fundamental theorem of linguistics' can be derived from the book's correlation with the alphabetized list of words that occur twice and only twice in The Endmorgan Quartet books 13-16. It seems that it can be proven in this way that the book is not 'modernist scramble' but rather says something essential about the form of the human semiotic endowment in the relation between faith and knowledge. And would mean that every human being plaits lines 31 poems apart in the everyday life - as necessary for understanding the world.

The formula EPIST.47.§.31 can be derived from my work in relation to Nono's music - but it must count as only a small detail in a much larger field of knowledge, from which one can show how this formula arises. I think this means that my book must be published - and it must not be reserved for the power intrigues of the international secret intelligence services. That is very important.

1 november 2017.