The falling cliff of Beachy Head
John Bjarne Grover
In this article I discuss the phenomenon that the cliff of Beachy Head that fell into the sea in 1999 could be put in relation to two poems of mine and the apparently largescaled political coup attempt that seems to have followed. Even 11 september 2001 could be a part of this.
Beachy Head and Heaney's poetry
I had wrapped 'The Endmorgan Quartet' books 1-4 in an envelope in the afternoon saturday 10 january 1999 and put it up on a shelf to wait for the opening of Bergen post office on monday morning 12 january 1999: I was sending it to Poetry Society in London. On monday morning I sent it and later in the day The Times arrived with the following front page illustration:
The slab of cliff had fallen off from the tall white cliffs of Dover called Beachy Head in Eastbourne in England - and reached out to a lighthouse in the sea: One could go on dry foot out to it. I quickly understood that this was my poem #197 which I had just sent off to London in 'envelopated' form, and I sent them another letter to make them aware of it. (I also talked with a nearby guesthouse and the Coast Guard on the phone and believed that I had reasons to believe that the cliff-fall was authentic of that day and not some old rubble turned top news because of my letter). Here are the last lines of poem #197 from my TEQ, the lines ímmediately before the title poem #198 (which is signed 'The Endmorgan Quartet'):
I think you passed. You were
thirtyone or thirtytwo.
As mirror mixes time and frequency
in a mo-memorable cap,
the problem is: How can 'far' people get out at sea?
I went out to the time and sea
in Brighton Rock, but I couldn't find no secret.
I've clarified conception of eternity. 12.05.98
However, there is an interesting factor in another poem of mine from 'The Endmorgan Quartet' book 6 ('Orphan and the angels'), the poem TEQ #373 (poem #38 in the book):
TEQ #373 (from book 6)
USING A HAT IN THE MAIN STREET
Heaney broke out:
"This means that this is quite a good place to look for a room.
I must have a look at Michelle
That should be written outside Estonia"
THE WAVES ARE WASHING THROUGH THE MAIN STREET
Here one can see the Beachy in the last line and the Head in the first, and inbetween one can see an interesting interpretation of an 'archetypal Heaney poem'. Are these four lines of mine describing the contents of Seamus Heaney's poems? I mean, will it generally be the case that an 'archetypal Heaney poem' starts in the first quarter with the meaning of a search for a room, in the next quarter the need for consider Michelle, then in the third quarter installs a name and finally in the last quarter it ends with something 'Estonia'? That is a daring hypothesis for which the empirical validity could be difficult to check before I had written my SNEEFT COEIL (completed and published 2018) wherein there is a chapter 6 called 'Die Verwandlung (Unter vier Wänden)' which is concerned with apparent national characteristics of european languages, including estonian, such as the concept of HYMEN for the hungarian language. The phenomenon is this: Take the excellent 3-4-volume etymological dictionary of hungarian which specifies for each word the year when it is earliest attested in extant documents, subtract this year from the year 2009 of writing of my blue-metre 'POLAKK English Bloggi' with its 365 sonnets + one leapyear poem, multiply this number with 0,366 and look the resulting number up in my PEB - and take line 1 from that poem and move the phonological features around untill the hungarian word appears on the lefthand side: Then the rest of the line is the english 'definition' (or 'translation') of that hungarian word - and the secret is that this english definition will often tend to be tainted with a certain obsession with the idea of 'hymen'. The example is the word 'család' which is earliest attested in a document from 1113 and hence selects the poem (2009-1113)*0,366 = 327,9 = PEB #328 which has its first line "Yesterday it was. I read that". The word 'család' means 'family' and the definition (after a proper and minimal permutation of features) comes to be 'család: rayed we sail a yacht' - the family lives in the rays from the young female onto the sail that drives their yacht, and the family is happy. The redundancy which points to such a 'hymen' in the anglophonic conception of every hungarian word is not very prominent but it is there as an apparent diachronic-synchronic phenomenon relative to the english language of my PEB. It is likely to be a linguistic phenomenon in all natural languages. In my SNEEFT COEIL (2018), the chapter 'Die Verwandlung (Unter vier Wänden)' contains what seems to be such tentative definitions for 16 european languages:
Die Verwandlung (Unter vier Wänden)
1. Das Licht
2. Die einsame Jungfrau
3. Die Lampe
4. Die Juden
5. Das kosmische Tier
6. Dunkles Gewicht
7. Der seltene Bogen
10. Venedig (im Herzen Berlins)
12. Das Rostige im Leben
13. Was früher
14. Die Verwandlung (Unter vier Wänden)
15. Das Firmungsfest
16. Die Nachtluft
english (?) / 'belgian'?
But this means that it is possible to test the 'Estonian' of the tentatively defined 'archetypal Heaney poem' (according to my TEQ #373) against 'Der seltene Bogen' of my SNEEFT COEIL:
Der seltene Bogen
Da waren zwei Krücken zum Zupfer
der Ecke der Dunkelheit
die spiegelten Rücken aus Kupfer
der Straßenkreuzung der Zeit.
Die spiegelten was von den Weissen
sich änderten auf dem Stroh
als Wille sich zog über Gleisen
in doppeltem Wessen und Wo.
Man zog einen Zweifel an Pelzen
die wußten was selten kam
und Niederschläge von Felsen
kennten die Stelle der Scham.
Die wußten es beide beiseite
wo Vogel vorüber es flog:
Die Hoffnung ausdehnt sich in Weiten
wo Hoffnung zusammen sich zog.
Venedig 20 Juni 2016
The hypothesis is easily tested against the end of each of Heaney's poems - to see if the end line (or end of last quarter) of his poems contains an element from this poem of mine. That is easily tested - and the conclusion seems (from my scanning of some of his many poems) to be that the hypothesis is confirmed. Consider his 'Glanmore Sonnets VI', for example, which ends "a wild white goose / heard after dark above the drifted house" which is recognized in my "wo Vogel vorüber es flog". Even if this example could be unnormally easily recognized, there seems to be a clear tendency for his poems to converge towards the end towards this factor (seen in a line from my poem) hidden deeply inside the anglophonic conception of the estonian language, as goes the theory. It could have been this which wriggled the empirical stone of Beachy Head loose.
Given this result, the hypothesis of the relevance of TEQ #373 for Heaney's poems can be tested also against the third line 'Heinous-Laten' which seems to suggest the rewrite of 'Seamus Heaney' into 'Shamy Heinous', with a mid 'Justin' element which could be the 'Laten'. It seems that many of the dedications of his poems conform to a similar phenomenon of applying to the elements immediately following the mid of the poems: His poem 'The King of the Ditchbacks' is dedicated to John Montague, suggesting 'jog you mountain'. The fourth of seven stanzas starts 'He lives in his feet'. 'Chekhov on Sakhalin' is 'For Derek Mahon', while 'there on mike' could be the code for the afterswitch mid way: "In full throat by the iconostasis" etc. 'In Memoriam Francis Ledwidge' suggests 'France is ledges', where 'ghosting the hedges like a bloom of hawthorn' is soon after the mid switch. The very short 2-line poem 'For Bernard and Jane McCabe' suggests 'bourbon my canard', where the second line starts 'Us, listening to a river'. From 'The spirit level' (1996), dedicated to Helen Vendler: 'The rain stick' is dedicated to 'Beth and Rand' and starts midway 'Then subtle little wets off grass and daisies' - as if 'band and reth' were for Mussolini's fascies collection. His 'To a Dutch potter in Ireland' is dedicated to 'Sonja Landweer' - it has an introduction and two parts. The introduction is two stanzas, the second starts 'and came away changed, like the guard who'd seen', the first part starts midway 'weird twins of puddle, paddle, pit-a-pat / and might have done the small forbidden things', the second is divided into two unequal parts but if taken as one it starts midway 'is worth it all, the five years on the rack'. This poem is signed 'from the Dutch of J.C.Bloem (1887-1966)', whatever that means. One compares easily his own 'Mint' of 16 lines with my own 'Der seltene Bogen'.
And what would my name be? Ah, Dover gone/ground - on the water. Which means that the name factor in Heaney's poetry could apply to my name - and in fact it could even be the reason for a hypothesis why my lines of TEQ #197 could be about my own name - and hence my poem #373 selects this cliff for the stone wriggled loose.
This phenomenon of the names applying immediately after the mid of the poem can be seen to be contained in my poem #11 from '20 Gedichte' - the 7th chapter of SNEEFT COEIL which seems to be about the nature of numerality - wherein the number 11 of this sample poem is particularly easy to understand. The chapter contains interesting interpretations of mathematical constants like pi and e, the golden ratio and other wellknown numbers. I have guessed that every part of the chapter tells of the nature of the number it is - running up to 20. An example: 64 divided in 6 = 10,666 which is 2/3 into line 11 of poem 11 by 0,666 * 16 lines = line 10,666 in poem #11 - for poem #10,666 - which is when poem number and line number are the same.
It is therefore possible or likely that the four lines of 'Heaney broke out' correspond to the four parts * 2 of my SNEEFT COEIL - as the synchronic correlate to the four parts of the diachronic 'Der Dornenstrauch' - which has last line of poem 42 in part 3 "Inmitten sind sie nachts geheilt" for the diachronic aspect. This poem 42 of DDS part 3 is poem #403 in the forwards enumeration and #27 in the mirror-symmetric enumeration that refers to the 214 system of chinese radicals. I refer to chinese radical #27 in Mathews' Chinese-english dictionary which gives entry #2016 = HAN = 'a cliff'. Ah, there is the Beachy Head.
In the Caravaggio correlation at the end of this file, this #42 of DDS part 3 tells of his 'Crucifixion of St.Andrew' (producing the line in the mind of one who sees it 'but he will fall down!') in the HI column and 'Matthew and the angel' (the divine revelation in the text, the inner poetic articulations) in the LO.
My SNEEFT COEIL presents a solution also to the first line of 'Heaney broke out' - "This means that this is quite a good place to look for a room". It is about 'telescoping into history' from a metaphysical space beyond - as in poem 4 of chapter 3 ('Schwarze Blätter') of SNEEFT COEIL. This has its correlate in chapter 6 - wherein the fourth last poem is 'Was früher' - apparently about the secret of the english language - in terms of three stanzas with 1) the female archetype, 2) an unknown archetype (or dogs paradox), and 3) the male archetype. This seems to make sense for some of Heaney's poems - that the first quarter is about archetypes - first the female and then the male. 3 examples: 1) The 8-liner 'Good night' starts: "A latch lifting, an edged den of light / opens across the yard. Out of the low door", 2) the 14-liner 'Oracle': "they / cuckoo your name / across the fields. / You can hear them" and 3) the 8-liner 'Song': "A rowan like a lipsticked girl. / Between the by-road and the main road". It suggests that the english language (the 13th in the list of european languages above) is the introductory theme in his poems - how to get the metaphysical object into the english language.
And what is the 'look at Michelle'? Could be it simply is the nature of the articulations, the lips in braille, the phonological logic adding to the introductory semantic logic - the two sides of the rainbow of my TEQ function 14.
Concluding for the theory on Heaney's poetry defined by my TEQ #373 written 23-24 days before the cliff fell down: Line 1 = metaphysics into the semantical logic of the english language, line 2 = metaphysics into the phonological logic of the english language, line 3 = metaphysics into the name of the poet of TEQ #373 (that is my name and Heaney's), and line 4 = the breaking loose of the stone going out to the lighthouse in the sea.
But is it really about the name of the poet? I personally am very sceptic to names in such explanations, but clearly it could be about a form of 'id-entity' indexation by way of my fundamental theorem of linguistics - representing the idea of an 'act of creation' by the spirit when it takes two different things in two different realities to be one and the same: The two different realities would here be 1) the semantic reality and 2) the phonological reality, and the id-entity is formed or located in the act of semiotic creation of an 'arbitrary' sign - which here is what makes the stone too heavy to remain on the cliff.
My poetic work constitutes a poetic-philosophical system in this sense of it. The Endmorgan Quartet is constituted by all and only inner poetic ('arbitrary') articulations which in my vol.4 is investigated for 'the revelation factor', and I conclude that TEQ probably contains a 'divine revelation' in a technical sense of it sufficient for providing data for the development of a metaphysical logic.
This means that my poem TEQ #373 is based on 1) inner poetic articulations that tell of universals in the semiotic constitution of the human psyche, but 2) it also necessarily has to have some empirical basis in my reading of Seamus Heaney's work. This is also likely to be the basis for Heaney's work - the study of these aspects of the synchronic bifurcations of poetic language.
Hence there seems to be an element of empirical basis in my poem TEQ #373 - otherwise experience is apparently not the primary constituting factor in TEQ - and hence the empirical cliff fell out in the sea. Most of TEQ is less empirical but vol.4 concludes nevertheless that TEQ probably can be used for constructing a metaphysical logic.
I bought the periodical 'TABLA' issue six 1997 (probably) when I was in London 1997-98 - it contains Heaney's poem 'The Fragment':
"Light came from the east", he sang,
"bright guarantee of God, and the waves went quiet.
I could see headlands and buffeted cliffs.
"Since when", he asked,
"are the first line and the last of any poem
where the poem begins and ends?"
This tells of why the HEAD comes first and the BEACHy thereafter in my poem. And it adds value to the idea that the title 'The Endmorgan Quartet' can mean 'a proof of God' - also for the idea of 'divine revelation in the inner poetic articulations'. Beachy Head is in Eastbourne - telling of that back side photo of my TEQ - a photo from Vilnius in the year 2000 or 2001:
It may have been this which 'broke out' from the cliff wall.
Conclusion on Heaney's poetry is that it is concerned with the human redundancies that blur the vision to the eternal matters and is an attempt to come around them for a clearer view. Every thought given a technological implementation (like script) is blurred a little - but the path around can always be tidied up again. I do not believe that my TEQ #373 empties the possible interpretations of Heaney's poetry, but it is likely that it is concerned with a poetic-semiotic structure of universal kind which I have noticed in my empirical reading of some of Heaney's poetry.
Politics since 1919
In the article Wittgenstein's reception history, I discuss the theory that Hitler's program and success was based on the rejection of Wittgenstein's work (in parallel - as I have discussed elsewhere - with an attempt to squeeze the third secret of Fatima out of Sister Lucia). This took place after the new borders of Austria had been determined in 1919 - including that 'Fischamend's tooth' which here is a photo from my own 'lapis philosophorum', the outer tooth which is in the the border at Pamhagen. This border is so constructed that when the austrian empire was reduced in 1919, the resulting 'lapis' came to lie on the hungarian side of the border - and the austrians would have to peep or outright spy across the border for seeing their 'own ground'. It is possible that it was this which led to International Secret Intelligence Services and to Adolf Hitler in Germany. These may be two sides of the same coin.
The Fischamend' is from the 'lapis philosophorum' (this photo is from the ex nihilo stone I made myself in 2014), and, alas, one easily finds reasons to assume that the 1919 border setting was made on purpose on basis of the rejection of Wittgenstein's "Logisch-philosophische Abhandlung" (as he then called it - the latinized version 'Tractatus logico-philosophicus' was suggested to him a couple of years later by probably Moore) which Jahoda & Siegel were the first to reject. Could be 'Ludwig Wittgenstein' was understood to be a name meaning a 'lapis philosophorum'.
|lapis||gill or so||phisch||amend||lung/lugg|
Haha, so funny they were. When Wittgenstein in 1926 had given a schoolboy a box on the ear (the 'Donner-Watsche'), that was after he reportedly also had pulled the hair of a schoolgirl - this is in norwegian called LUGGe, the act of pulling the hair, and can be recognized in this 'phischamend lugg' from 'phischabhand lung' (cp. the apparent phenomenon of 'aqualung' - a word I have observed a few times without knowing what it means - I think there was a record with that name by a music group called 'Jethro Tull' which in norwegian could mean 'I believe in nonsense'). The 'lugg' would mean the diagonal of the fisherman's hat. Is it likely that the 1919 agreement included the very specific creation of Hitler and the following International Secret Intelligence Services on basis of the rejection of the austrian Wittgenstein - who then would have to peep across the eastern border to see his own ground? Was even the typography of the 'Wörterbuch' made under the supervision of foreign powers - based on the principle of 2/5 and Watsche - and the Fischamend of p.9 = 'Fisch'/Fischer'? Could have been the 'lugg' - cp. the 'Kauz'. Was even the role of Vadsø and Jakobselv made already then - the 'Watsche' and the rejection by 'Jahoda & Siegel'? The later role of the Kennedys could have been designed as early as that - if the typographer were under international supervision.
The rockslide of Beachy Head may have been a pulling of that tooth. It was a cliff hanging like a 'phischamend lugg' over the 'phischabhand' or 'Fisch-Abhang' that fell down into the sea.
Wittgenstein had a cottage on an 'Abhang' over the water in 'Skjolden' in Sogn north of Bergen in Norway. It is interesting to observe that some confusion can have been thrown onto the 'arbitrarity' issue due to the 'sub-liminal' sense of 'thresholding' from the idea of 'tree-Skjolden' - as if the falling cliff of Beachy Head commented on that 'tree-Skjolden'. See also the beginning of Rilke's first Duino elegy: "Es bleibt uns vielleicht / irgend ein Baum an dem Abhang, dass wir ihn täglich / wiedersähen".
Why is it called 'legal deposit'? Could be that means 'le-gill deposit' for 'lapis gill or so phischamend lung'.
It was in 1993-94 that I wrote my first book 'Submorphemic signification' which I first sent to Mouton in The Hague - and to Stanford University Press where 'Pope' was chief. Soon after I had sent it, there started to appear people in the street with cups of coffee in their hands. Could be it was 'not my cuppa tea'. I got a reply from Mouton that they would consider it, and communication would go via 'Handwerker', I think it was, and I informed Stanford about this. They had been enthusiastic, it appeared, but cooled down with this message, and Mouton had an easy job rejecting it, after which Stanford was out of the game. I then sent it to Lawrence Erlbaum Associates in USA - who were specialized on child language acquisition - and although that should be an ideal publisher, it could have been to go in the trap: It is only today I discover that 'Lawrence Erlbaum Associates' is a name peculiarly similar to 'Libreria Editrice Vaticana', the publisher who owns the pope's copyright. This I discover long after Baruck Obama was out of the White House - and it is only now I discover that Obama even could have been launched by the US democrat party on background of his name-similarity with 'Lawrence Erlbaum Associates': 'Lårene søle-ba-om' could be taken to be the meaning of his name - in norwegian it means "the thighs' spillover asked-she-for", while "mi sjel" = "my soul", and 'ba-runk o-ba-ma' could mean 'asked-masturbation she-asked-me' - but by the 'runk' being 'ruck' it could mean the same as the editor's name. When 'Submorphemic signification' was the name of my book, it is easy to see how some semiotician could have informed them on the meaning of this title as the opposite of Saussure's concept of 'arbitrarity' in morphemic signification - and then the terror campaign on Syria which started at the end of the 5 'revolutions' of 2011 could have been for 'rejecting' the 'so-syrian' arbitrarity. (Such an 'expert semiotician' could also have told them that the script will go out of use and be replaced with abstract symbols - a puzzling idea that, as one could guess, could have contributed to make the new design of the Microsoft Word program difficult). A trivial observation could be that if 'so-Syrian arbitrarity' is rejected e.g. by the terror campaign from 2011 onwards, it could mean that the meaning of the names are not irrelevant - e.g. that the meaning of the name of the US president were not irrelevant to the history. But is the general phenomenon of arbitrarity in signification really that essentially tied up to the name of Saussure? Sounds strange to me.
However, there are also good reasons to assume that there is a historic basis for assuming the formation of morphemic arbitrarity in linguistic theory (formal grammar) around the time of Christ - some would call it Christ on the 'log' being that 'arbi'-tra-rity - when classic elemental theory gave space for more elaborate grammatical theories. Hence the issue of ownership to the copyright of the 'Pope' (also with historic problems of ownership to the authorship of 'Heimskringla'). It could have been this which was the background of the terror campaign on Syria - in extension from Hitler's rejection of Wittgenstein's 'Logisch-philosophische Abhandlung' for the later International Secret Intelligence Services.
If the terror in Syria really were a matter of islamic jihad (and the warriors were not only american agents from training centres turning americans into arabs), then it could be about just this 'arbitrarity' issue - if arbitrarity means 'divine origin' instead of just meaning from the conventions of 'human conspiracy and intrigue'. But then 'so-Syrian' cannot be the story.
The comparison with Wittgenstein is not farfetched: In fact the essential issue for his own Abhandlung in its historic context is in the matter of the source of meaning - whether it comes from a divine source or from human conspiracies, so to speak. See my discussion of this matter for my own poetry - such as that 'Estonia' above - what level is it on? Level 1, 2, 3 or 4?
Since then, since 2011 (that is after 1995), Sudan has been divided in two. It is possible that somebody wants SU-bmorphemic to turn into PA-bmorphemic - for a Sudania / Padania. Roman Jakobson wrote on the mama-papa-morph in various languages ('pab-mor-phemic' that would be), and I have a chapter in my book about personal pronouns in many proto-languages and the phonological tendencies therein. But clearly the 'mama-papa' phenomenon is not sufficient for what I mean by 'submorphemic signification', and a division of Italy for making a 'Padania' will not help me much. There is a parallel to Sudan/Padan in Sendai/Beiden: When I travelled to Budapest via Biatorbagy, I had first been sitting down to write in the early morning train when a man came and put a guitar box on the luggage shelf above me: I reasoned that there could be surveillance gear in it and therefore decided to move to another seat, and the only free seat in that wagon was next to this woman I then travelled alongside with. Like Seiden[gasse]/Sendai, 'Litteraturhaus' rewrites to 'lutt i guitarbox', like Brunerie Maxine on Jacques Chirac in 2002 ('Brunerie' had a gun in a guitarbox), and 'lekeplassen' to 'lassepreken', 'playground' to 'plowngray'. A new gym studio is called 'Getfit'. Hence the purpose with the disaster of Sendai (if it were a human-controlled bomb in the same mythos construction) could have been to dump much on my role via this trip with the train.
What is the 'arbitrarity'?
But is Saussurean arbitrarity really as simple as that 'conventional' labelling of the morph - how meaning and form are 'glued' together in the air? My view is that Saussure's arbitrarity rather is the opposite and hence that it resembles my own model of signification. If 'soeur' has not its meaning from the components of 's-ö-r' (this is Saussure's example), it must have its meaning from God, so to speak, whether on the Baum or 'log' or not. It is very simple, really: There are necessarily reasons for all parts of a word (historic, linguistic, psychologic) and therefore it is motivated. The question is really whether arbitrarity exists or not - that is whether the 'namegiver' ('nomothetes') of divine origin or revelation gives the ultimate meaning which therefore is not 'motivated' by human conspiracy. The question is whether there is a divine origin to names or signification at all. But probably this divine name-giving - if it exists - will not easily or necessarily apply to a morphemic level - but, as would be a natural assumption, the morpheme will rather be constituted by a complex matrix of such reasons - and Saussure (as is my interpretation) opts for the arbitrary version beyond human conspiracy and intrigues. He therefore introduces the diachronic-synchronic distinction for making this possible. See his 'Cours' pages 175-178 for the illustrative intuition of this. Therefore to say that 'saussurean arbitrarity' ('so syrian') is the opposite of 'submorphemic signification' is probably not entirely right - according to my view, that is.
After rejections by Mouton, Stanford, LEA and John Benjamins, I self-published the book when I came to Bergen in the autumn 1995 and included it in my 1997 PhD dissertation as part 1 out of 5. One can guess that a part of the reason why the PhD dissertation was rejected in 1998 was that the first submission was to 'Mouton' - a sort of 'sheepskin ' in The Hague.
It is now one hundred years since the 1919 Burgenland border was settled and one looks to Italy to see if there are signs of a new Mussolini coming up in extension from my work.
The 1919 austrian border was apparently defined by way of the 'gill-tooth' on the 'lapis philosophorum' = 'Ludwig Wittgenstein'. Is the same sort of intrigue planned on my book? Could be there are such plans:
This 'morasian' could be the 'moraine' which is defined as such by the 'Shorter Oxford english dictionary':
Moraine (morein). 1789. [- Fr.moraine - Savoyard. It.morena, f. southern Fr. mor(re muzzle, snout :- Rom. murrum; see MORION.] An accumulation of debris from the mountains carried down and deposited by a glacier
This arguably looks akin to the crumbling rock of Beachy Head, even if a moraine often moves slowlier. Could be it is permitted to take the name of chinese president 'Xi Jinping' as telling of a certain relevance of this analysis.
There was an earthquake in Norcia in Italy which perhaps could comment on this 'ior-knew-times'.
'Sub Femy Gnific' could also have been interpreted as 'sub trærne gnific' = the touch of the branches of the tree ('Föhren'?) against the ground - in the sense of Rilke's 'Advent'. What is 'under the trees' is poetically interesting - but to take it in the sense of 'gnific under or against the bottom' of the body is not interesting. However, it could be the reason for an intrigue a la the one of Austria after 1919. 'Tregrensen' is the norwegian name for the height above which trees do not grow - the 'timber line' in english. It is a border in the vertical dimension - and one can fancy that the political intrige has found such a border somewhere which resembles some matter a la the lapis - could be the lapis itself, or the Vollkornbrot or the potato peel filter?
There was mention of 'timber line' in the police station in Szolnok after the burglary of my house in early 2016.
The magic graphics
It was on probably 18 january 2014 that I stood over the bathtub looking down into it when I suddenly saw 4-5 black spots taking shape on its white enamel. One of the spots ran up the bathtub wall - it turned out to be a spider inside a water droplet. The other was as immovable as the first was movable - it could not be rubbed off easily, so I found a painter's palette spatula for rubbing it off and spread the wet mud on a microscope glass - this produced a number of strangely interesting images which I could photograph through a microscope. One of these was 'Joyce reading' in a sofa, with roller skates, unaware of the surveillance. When I one year later took the microscope glass out again for confirming the image, it had dryed and crystallized and eroded somewhat - creating a strangely clear view of what looked like an indian with hairtop. Here is the 'James Joyce', on the same day seen black-white from the other side of the microscope glass (mirrored, that is), and the reduction of it after crystallization and erosion one year later:
It is the black-and-white thresholded version of 'Joyce' which is interesting - and it seems to divide into an upper and a lower body: The lower body being what I call the black and white dogs of Siena, chasing Catherine into the cathedral, the upper body resembling the arctic timber line seen from above the north pole - here by Microsoft Encarta World Atlas 99 - map of the 'climate' which is not exactly the same as the arctic timberline - seen from above the north pole - but quite similar nevertheless:
This is the upper body of the thresholded Joyce - the magic graphics - compared with the north pole seen from above which resembles the potato peel filter apparently used in politics.
However, this line surrounding the upper body has a correlate in the line of the lower body - when this describes the black-and-white dogs (cp. 'dogs paradox') in an outline which resembles the line that can be drawn through the 16 national languages in the above list (of my chapter 6 in SNEEFT COEIL) - map source Microsoft Encarta Enzyklopädie 2005:
Dogs paradox in Siena: "I think Catherine ran into the cathedral" - but when they came in there, she was nowhere to be seen. This line runs through the countries in the list of the 16 countries above.
This means that the black and white dogs of Siena unite like two lapis philosophorums to a new unity of 'breadslice form' in the lower part of the ex nihilo Joyce graphics, while the upper part takes on the form of a potato peel filter when seen from above the north pole - with the latitudes and longitudes spreading out from the pole.
The indian can be approximated from the Joyce by thresholding and converting Joyce black-white and mirroring it along the vertical mid and rotating this some 30-40 degrees - this gives the following lefthand graphics - while the indian is a photo taken a year later when crystallization and erosion of the mud on the microscope glass had changed it - but this is not thresholded - it is as it looked in the microscope one year later:
It is possible or even probable that some aristotelian entelechies must be invoked for explaining how this indian (to the right) can take form from the mirrored Joyce (to the left) - since the hand/arm seems difficult to understand fully. Could be the hairtop (the 'Kauz') is a little strange as well. Were this the background of the terror on Sri Lanka on Easter day 2019 - the hand and hence the 'Kauz' of the Siebensterns? The hand - if it is difficult to explain by normal natural laws (and if it is not under the control of conspiracy) - will be found in Russia from probably about Moscow over Ural up towards Sibiria on the map of the north pole seen from above. I notice the second secret of Fatima. Would the hand of the indian be related to the 8th poem of the 6th chapter of 'SNEEFT COEIL' - the one for russian language or national identity? It is the idea of a (national) parametre in natural language interfacing with history which could make this somewhat interesting. The image of the indian can also be seen upside-down - then resembling a female archetype - something which could create an illusion of turning the lapis back over the austrian fields again. The Bush administration had toppled the iraqi president Saddam Hussein before Obama came to power.
It would be a pity if the mystic hand of the indian is explained in political intrigue as a western arm of a european swastika being turned from northern Ireland up towards Denmark instead. It may be that Heaney's archetypes in the first quarter of his poems have a tendency for exposing female archetype first and male thereafter - but to use this phenomenon as pretext for a policy of homo marriage, transgenders and male sellers in bakers shops and all that confusion is sign of an urgent need for terminating the 'Beachy Head' program in politics. Is it for scaring God off?
Why the apparent 'estonian' in Heaney's poetry? There are two dogs on the thresholded 'James Joyce': One white to the left and one black to the right, apparently chasing Catherine of Siena into the cathedral there. The snout (cp. the 'moraine') of the white dog is approximately at England on the map while the mouth of the black dog (who seems to comment on Catherine) is around Estonia. Could be there is some mystic logic there in the irishman's poetry.
Estonia vaguely resembles Ireland (turned 90 degrees) on the map - and the russian Pskov would then be a sort of Belfast of Northern Ireland in a comparison: 'Pskov' in cyrillic resembles '[r]uckob' and hence Ba-ruck Ob-ama, which means that the name of Pskov would be 'embedded' in the name of Belfast - cp. the earthquakes of 'Bam' and 'Banda Aceh'. One sees how this name could be an 'explanation' to the embedded name of lines 3-4 from the semantic-phonological origins of lines 1-2 of TEQ #373. Obama has a mid name 'Hussein'. Assuming Bel-fast = pel-cob and Hussein = hus-seH, this gives the nesting or embedding derivation
baruck oba ob
There is also a possible 'Bel-ze-bub' in this construction which could be used as propaganda against the literary explanation to the slab 'wedged off' the cliff of Beachy Head.
The 'arbitrarity' is in the thresholding of black and white, like the 23 photos of mine from the Danube island, and the overall moral is that this is Joyce reading literature (I think it is 'Rosens triangel' he is reading - if not simply his own 'Ulysses' or is it 'Ablysses'). But terror-driven politics seems perhaps to have acquired a feeling of rights to this by the terror campaign in Syria. It is possible that even the fire in Notre-Dame in 2019, if it were a case of deliberate arson (the 1000 year or so old oaken timbers that held the roof in the gothic cathedral burnt and the spire fell down), could have been about what was above the 'timberline' - the spire was above - and what was below - the cathedral of France/french. But clearly there is no purpose in putting fire to the magnificent old cathedral only because it 'feels right'. Of course that is not what is right - it is to understand that there is literature behind the forms of the thresholded Joyce of reading resembling the timberline around the arctic cap which is right.
In the case of 'Lawrence Erlbaum Associates', one could speculate whether the name-similarity with 'Libreria Editrice Vaticana' who holds the ownership to the pope's copyright is no coincidence in this story. One adds the puzzling fact of Mr.Pope as the editor of Stanford University Press to whom I sent the manuscript in parallel with Mouton in The Hague.
I have earlier discussed how the basis for the establishment of the state of Norway in 1814 seems to have been the idea that it once had been among the world's leading superpowers - that is evidenced in the document called 'Heimskringla' allegedly from 1225 - but by the method of dating by my blue metre 'PEB', I have shown that the document probably is a collection of stories written in the period 1688-1761 in parallel with the life of the catholic Alexander Pope in anglican England. When this was presented in 1814 as evidence of a golden era in the glorious past of Norway, it gave the basis for the opening of an antisemitic state chemically free of jews. It may be this which is the background of the rejection of the literary basis - and the real reason is perhaps that politics does not want to discover that these are things which seem to have been acquired by way of terror and that it really is a literary matter.
It must be emphasized that above/below the timberline cannot be of any interest if the 'sub föhren-i gnific' is the reason, even if the 'gnific' should be the rubbing branches of the trees in Rilke's 'Advent'. But a correlation of the magic graphics with a vegetation or climate border around the north pole could perhaps be - such as it here relates to the thresholded ex nihilo graphic of 'Joyce of reading' from 2014.
The conclusion is likely to be that this story of the cliff-fall adds an empirical value to the studies - and that this empirical element could be related to the 'national signification in language' - a parametre of natural language that relates it to the historic context.
The literary basis
It is seen how these discoveries could be made on basis of Heaney's poetry only via my own poem TEQ #373 with its 'Estonia' and the estonian factor in the chapter in 'SNEEFT COEIL'. That may have been the stone that wriggled the cliff off.
I wrote the poem TEQ #373 on 18 december 1998 and the Beachy Head cliff fell out to the lighthouse on 10 or 11 january 1999 - that is 23 or 24 days later. Not 31 or 32 (TEQ #197), but something like that. 24/32 = 3/4, like Fischamend-Pamhagen-Lebeny - cp. the earthquakes of Bam 2003 and Banda Aceh 2004. And the 'Pentagon' of 11/9-2001: This 'Pentagon' may be an american variant of 'Pamhagen' - which could be telling of the international interests involved in the Burgenland border.
The hebrew parallel from Exodus 14:18 to my TEQ #373 tells: "And the egyptians will know that I am JHWH". That could have been the leaping rock. ('That I am' is prononced 'key-any').
The poem is in book 6 and the four books 5-8 constitute the quarter that is called 'Birds to Saladin': I self-published this book 'Birds to Saladin' (with those four TEQ books 5-8) for the first time in june 1999, nearly half a year after the Beachy Head event). Then JFK jr fell down on 16 july 1999 and the Air Egypt plane crashed on 31 october 1999 - three and a half month thereafter. When the Air Egypt plane crashed on about the same place as JFK jr had done just outside Long Island, it looks like the jews (who survived) in the role of JFK jr being persecuted by pharaoh's army (who drowned) when crossing the Red Sea - as if the project were to pronounce divine status for JFK sr. "And the egyptians will know that I am JFK".
That is, as if JFK sr had been the source of the 'divine revelation' in the inner poetic articulations of my TEQ - the very matter of 'abitrarity'.
I certainly do not support any such ideas of 'divine status' of the US president JFK or secret intelligence generally.
Was it my book title 'Birds to Saladin' which had caught their interest? What did they intend to understand it as? I certainly did not intend the book title to be of relevance for any 'mirdsto' or the like.
As is seen, irish and portuguese are not here - but Heaney seems to take recourse to the estonian. I noticed a 'brink to drink' of Elizabeth Barrett Browning with her 'Sonnets from the portugese' - assuming that the falling slab resembles the burning bush, the flames in it.
My sample poem 'Halb offen stand die Tür' of SNEEFT COEIL chapter 4 poem #14 is interesting - since it tells of that poetic licence which is the same as the slab of cliff off the wall. Duden grammar calls for a dative 'ihrer jungen Kehle' where the poet prefers an accusative or even nominative form 'ihre junge Kehle' - and that is the whole story of the semiotic 'arbitrarity' lifted out from the sensory screen like a rucksack lifted out from a church bench. This 'arbirarity' is what the poem is about - and if the poet cannot be granted this 'poetic licence' of poly-ambiguity, he loses his rucksack under the pressure of social convention when it is lifted out from a church of salvation by somebody else. It 'seems right' for the society which also adheres to the postwar (1955?) rule of 'finitte verb in the end of dependent clauses, please', but it is a sign of quality society if they can be so nice as to return the rucksack to the poet who is the real owner of it. It contains my poetic work through the last half year and I cannot afford to lose that. There were two notebooks in it - one of them had a password on the last page, this half of the notebook was otherwise empty, the other had poems annotated with place and date of writing. I lost it in a church about 17:00 Vienna time on 3 august 2019, appr. 90 minutes before the shooting in El Paso and some hours before the similar incident in Dayton. One poem I had written just before I reached Udine by train and four military jets performed some scripture on the sky (resembling a piano string) as an apparent comment to the poem I was writing. Could be some surveillance had seen me go into the church with a rucksack and out again without it and called for somebody to run and fetch it - and when I came back a little later it was gone. Of course to abuse these notebooks for election campaigning would be strictly illegal and extremely unfortunate for me and the society - and such an election should not be accepted as valid. (The shootings in El Paso and Dayton, if related to my poetry notebooks, could also have been for associating my poetry with 'hate language'). I could, though, still have hopes that I could get it back and hope the best.
It is clear that the 'James Joyce' phenomenon is on a literary basis and that the upper and lower bodies tell of the two dogs uniting into one like a lapis philosophorum to a Vollkornbrot while the upper body is like the potato peel filter. This has been installed into the 1919 Burgenland border of Austria - and the norwegian border to Russia - in the political interpretation which also takes Obama's FBI chief James Comey to be a sort of variant of the James Joyce graphics. (The internet tells that Comey was appointed in 2013 - while my 'magic graphics' of James Joyce was in 2014). However, since it is clear that it is the literary basis which is primary and the 'political' very secondary, the political has apparently responded with a giant intrigue on Literaturhaus in the intersection Bandgasse / Seidengasse in Vienna, including (if human-controlled) the massive earthquakes of Banda Aceh, Bam and Sendai and the destruction of Syria for the idea of 'so-Syrian' arbitrarity. It is high time to realize that these things are not political but literary and that the national socialism which tries to take control with the poetry is on wrong tracks. Those national socialists must get out of the flowerbeds of poetry - and they have no right to walk around in the life of the poet via secret surveillance and abuse of the data therefrom. Administration is about distributing tasks and resources - it is not a quest for the holy grail in a mystic field called 'politics'.
The whole problem could be in the fact that the law considers rights to intellectual property (such as copyright to a literary work) to be commercial only: In a will, the rights can be transferred to an inheriting person but the will cannot allow for guarantees that this person will allow for a publication of the work (and not give in to threats or bribes for keeping it off the market). The only chance to ensure that the work can remain published is to put it in the public domain - but then the commercial value is lost and control with the original form can be difficult. It is in this gap that an intellectual work has mainly commercial value and only secondarily a spiritual or intellectual value. The problem can be solved by a national institution as part of an international umbrella to whom the copyright can be given and who guarantees the availability of the work and who guards the integrity of published versions and collects royalties to author and inheritors as long as the copyright lasts. This form of problem seems acute in the case of my work - but it is possible that there are enormous problems hidden in the phenomenon itself - since it means that legislation considers works of arts and science as being of commercial value only and not of any intellectual or spiritual value. This can have defined the whole world for a long time and led to a general decline in the spiritual life of the human society on a global scale. It is possible that this little tag is the whole 20th century with its Hitler and holocaust and all that - and more recently that the problem is tentatively solved by lifting all literary values from the field of literature into the field of politics. In the worst case, this little tag is the phenomenon of modern politics generally.
Some additional remarks
The study has suggested that the languages of Europe probably contain a national element that adhere to further elements of universals in human semiotics. This probably means that there exists in natural language a parametre interfacing with history - such that only some settings of this parametre will create a self-reinforcing culture (competing with other settings of it) and therefore nationalities have arisen in order to ensure growth instead of decay of culture. This could be called a national parametre. It is likely that this is the background of national socialism in Europe: The urgent need for understanding this parametre.
It must be understood that the cliff of Beachy Head fell down in 1999 not because of abusive politics on my book 'Submorphemic signification' of 1995 - and it is noticed that at least in norwegian 'Clinton' means just those white cliffs of Dover - but 'because of' the poetic logic of my poetry interfacing with Heaney's - that is, really, the cliff fell by a divine intervention or interaction which could be associated with a 'divine revelation in the text' which is the theme of vol.4 - the question whether there is a 'divine revelation' in my TEQ sufficient for the conclusion that it can be used to form a metaphysical logic. If politics tries to claim that it was because of the monkey business on my book (and monkey business is the twin of terror), then it leads to abuse and unhealthy magnification of the national parametre in language - and that leads to national socialism glorifying terror. Politics must try and understand that it is at most that single parametre which is their domain as far as control with the language faculty is concerned - and not try to get the entire language faculty under their control. (Probably politics has nothing to do with the language faculty at all, is my view).
I do not have the overview but I guess that abusive politics on my book title 'Submorphemic signification' from 1995 started only after the Beachy Head cliff-fall of early 1999. The present article has shown that it is possible that the name of Obama (US president 2009-2017) relates via publisher name ('Lawrence Erlbaum Associates') to my 'Submorphemic signification' such as the names of the Kennedys relate to Wittgenstein's 'Wörterbuch' - and the division of Sudan could then bring forth associations to a division of Padan-ia in Italy by the telescoping function of Obama's name as a 'magic wedge' of embedding straddling the borders of Ireland and Estonia. It is of course possible to see the political program as serving the role of being an explanation to the Beachy Head cliff-fall in terms of concepts such as besom/broom in the 'sub femi/ferny gnific' (cp. 'Joe Biden') and magic a la 'Belzebub' (cp. 'Baruck Obama') etc. (See also this illustration from Davidson's 'Dictionary of Angels'). That could be for offering the voters a chance to laugh the scare of God off.
That is also when it is permitted to wonder if the US democrat party plans further abuse of my SNEEFT COEIL. If so, the world should ask them to let that be.
However that be, the illusion that the political control with and abuse of my book title 'Submorphemic signification' was the cause of the fall of the Beachy Head cliff qua 'Pentagon tooth' (cp also the jet that allegedly fell down on Pentagon on 11 september 2001 - and could the twin towers of Manhattan be seen as falling cliffs that 'mirror time and frequency' of my TEQ #197 with man-hat-on of #373?) can probably be seen from the phenomenon of Österreichische Volkspartei (ÖVP) in Austria: Under the possible banner that the fall of Beachy Head means the pulling of the political 'Pentagon' tooth of the Fischamend at 'Pamhagen', their national leader 'Sebastian Kurz' (chancellor for a while untill the government was dissolved by inconfidence vote) is a name which can be taken to associate with the 'Sub Femi Gnific' while the names of the main candidates for Burgenland (where the tooth is) are launched as Gaby Schwarz, Thomas Steiner, Nikolaus Berlakovich und Christoph Zarits, wherein the Schwarz name (that is also the party colour) calls forth 'semantic' associations to the female archetype (as in the analysis above of the 'english' or 'anglophonic' nationalist parametre) while the other three names phonologically resemble the 'mor-csi-asian'. The demagogy would be that this is to pull the 'tooth' and hence to liberate Burgenland from the Pentagon power - but if the tooth that makes this landing in the Burgenland is the phenomenon of Obama's recursively embedded name from Pskov-Belfast, it is doubtful whether it would help much. The austrian Freiheitliche Partei FPÖ are the ones who have that liberation factor as their factual program - while ÖVP in actual fact could serve as the opposite by creating that national socialism (forbidden in Austria by the Staatsvertrag of 1955) which once called for the need for Pentagon to extend its powers onto the european area. Observing how the chinese leader's name can be seen to resemble just that 'mor-csi-asian', the difference will be that he is the leader and that his name is not 'sub femi gnific'. One can guess that plans for a new Hitler could be based on that principle of a leader of type 'Sub Femi Gnific' surrounded by sub-leaders of type 'Mor Csi Asian'.
Like Hitler seems to have grown out from the early rejection of Wittgenstein's 'Logisch-Philosophische Abhandlung' in the summer 1918 and the installation of this rejection into politics in 1919 by the 'Fischamend tooth' at Pamhagen on the austrian side of the border, in a similar manner it seems that Obama could have sprung from the early rejection of my first book 'Submorphemic signification'. This 'hitlerish' phenomenon seems also to have spread to other countries, could be more or less under the control of these interests of the US democrat party. I notice the ÖVP party in Austria and the Lega Nord party with its 'Padania' program in Italy as possible european offsprings of that Obama program. There are reasons to speculate that these political movements in extension from the rejection of my work get wind in their sails from terror (such as 11 september 2001 in USA). Of course I do not support such politics based on the rejection of my work - and it is important to understand that even if those movements could support the 'bubble' in public space that can arise from plagiarisms of my work and therefore look like me, they certainly do not thereby support me and my work. Rather the contrary - such politics can be a very tough rejection of my work and hence also the 'jewish genetics' therein. (Even Wittgenstein came from jewish origins). It should not be permitted in civilized Europe to repeat the disasters of Mussolini and Hitler. If european leaders dress up as Hitler under rewrite of my name, presenting their program and party under disguise of my title, and this european 'Hitler' is rejected by obamaists qua 'lårenes søle-ba-om' = the publisher who rejected my book and whose name resembles the name of the publisher 'Libreria Editrice Vaticana' who owns the pope's copyright, some europeans will say that the US democrat party are just in rejecting this 'Hitler' and his authorship while they consider the US republicans nazi-inclined if they are positive to my work which the obamaists rejected in the role of the publisher. This clearly is a very rude misconception which arises from the role of roles.
One observes that even the name of Serbastian Kurz can be analyzed in a similar embedding form as Obama's for 'Lawrence Erlbaum' = 'lårene søl[e] ba-om' by 'the-birth as-tank i', with the final 'i' hooking onto the name of 'Matteo Salvini' = 'man-i tevi osal' for 'Associates', explaining the 'i' as 'man' (which her thighs ask for): With this 'I-raq', one also observes the 'Vi-et-nam' in his name and hence also the 'Oslo' as
Norway - Vietnam
Norway - Iraq
Norway - Italy
= 180 degrees on the globe
= 180 degrees in the cognitive space
= 180 degrees in the european swastika
suggesting that a US war against Italy is the next step - and what was the purpose with the 'civil war' in Syria? This function of the name is likely to be more than nothing if 'Belzebub' as a derivation from the self-embedding substrate in Obama's name (thereby creating a unity of Pskov with Belfast for a reinforced interpretation of TEQ #373) is supposed to be the explanation to the cliff-fall of Beachy Head. There is also the possibly considerable effect from an isomorphy on Sri Lanka at Pulmoddai at the 'Padaviya Tank', not far from Trincomalee. (My carpentry teacher at Seiersten school in 1971-73 was called 'Bangor'). This scheme (with the austrian i-link) emerges from the Sudan/Padan in a 'Pulvini' rewrite. Should 'Padania' thereby mean a division of Italy from Austria? See below for the 'mute-e'.
If Obama's name can be brought on a quasi self-embedding format for the isomorphy of Ireland and Estonia via Belfast and Pskov, then maybe Italy and Austria could pretend a countermove to this unification - and that could look like a right vs left in politics. But it is possible that it is the same story both right and left. My work must not be held secret for hiding the background of this. It is possible that right and left are turning old-fashioned and that constitutional vs unconstitutional power is a more up-to-date dimensionality, and that could crisscross over the traditional left-right landscape.
Could be a concept of 'Obama-s-care' relates to 'whited sepul-cares' - via the division of Sudan and my book title of 1995? 'The invisible world' used to be the path of heaven-seeking monks and nuns and for jewish spiritualism - but if one is offered a way to it via sex, some would perhaps feel that it is a more comfortable solution. But it may leave a label of 'Sadan' on me.
It is well possible that 11 september 2001 was a manifestation of the secret intelligences and political power-freaks' attempt to install my poetry into their activities - and then the twin towers of Manhattan would have represented line 1 and 2 of TEQ #373 while Lambertsville would have been line 3 and Pentagon line 4. Manhattan would then have been the introductory line 'Using a hat in the main street'. Even today there is talk of 'hate crimes' in the news - could be such crimes serve to install that hat[e] in the main street of this poem. 11 september 2001 could have installed that triangle USA-Austria-Italy on basis of the rejection of my book by Lawrence Erlbaum Associates - and they try to display me as a 'Hitler' or 'Satan' and proponent of hate crimes and hate language while they themselves try to advance themselves with my work. They have no right to do that - it is just an international mafia of unconstitutional power who try to integrate themselves into democratic institutions for abusing the confidence and power given by the people. Do not vote for such power-freaks.
Should these arrangements lead to a 'poetic world'? Of course not - it is only brute abuse of poetry. And I was never asked or informed.
The conclusion to Beachy Head is that it probably can be put in relation to a poetic logic in my work - and that it is a special case due to its empirical value. It has nothing to do with the political abuse program (in parallel to Hitler on Wittgenstein) on my first book - I mean, the cliff did not fall in 1999 because my book "Submorphemic signification" had been subjected to heavy monkey business. But it probably could be the other way round - that a part of the society believes that the cliff fell because of an aspect of my poetry book (qua 'proof of God'?) and therefore they got scared and arranged the monkey business on my linguistic study from 1995 in order to make it look as if this monkey business (cp. also the 'monky business' of the Vatican publisher) were the reason for the cliff-fall via a 'Belzebub' factor. Later apparent monkey business on my poetry book SNEEFT COEIL could be for buffering off the evidence in the chapter 'Die Verwandlung' where the estonian factor occurs. The lines in my book "The Endmorgan Quartet" which pre-announced the cliff-fall were immediately before the title poem signed "The Endmorgan Quartet" which can mean 'a proof of God', and so it may be that those who are scared by the nature poetry really are scared by God. Of course administration can have used violent means and do not want to suffer after death, and if Beachy Head is felt like empirical proof of a divine authority, administration can have been taking steps to buffer the scare off.
The question in vol.4 whether there is a 'divine revelation' in 'The Endmorgan Quartet' (vol.2) in at least a technícal (but here empirical) sense of it enough for the conclusion that it can provide a basis for a metaphysical logic (for communicating with intelligences in the remote universe) could therefore have got an answer by the cliff-fall. That is, if a metaphysical logic for such intergalactic communication be based on redundancies in human conspiracies and intrigue (example of such conspiracy and intrigue could be found in the basis for the theory of the Kennedys as offsprings from Wittgenstein's 'Wörterbuch' - relating to the phenomenon of 'International Secret Intelligence Services'), the logic is not likely to be of lasting value but the society built around it will have to be demolished by war and destruction at a later time (cp. Hitler and the Kennedys). The technical sense of 'divine revelation in the text' is that it is beyond human conspiracy and intrigue and therefore can have a lasting value. Therefore the question is of vital importance and should not be subjected to human conspiracy and intrigue.
Are the US democrats involved in terror (and thereby get scared by the idea of God punishing people by their sins)? Then why dont the republicans tell it loudly so that the voters do not vote for the opposite of what they think it is? There were signs of a looming civil war in USA under Obama when too many negros had been shot by FBI - and there were the signs of a mood that could mean 'civil war is not impossible'. It took some time before Trump fired Obama's FBI chief James Comey - and one can pose the question whether FBI has documented well enough possible plagiarisms of my work in american media: If 'F be I', the 'Submorphemic signification' turns into 'submarine if kjukken i fif-cat-fun': 'Kjukken' ('the fatty') is colloquial for 'pregnancy' - it tells 'submarine if pregnancy in fif-cat-fun'. But that could even be taken to be the background of Kursk and Cole and the question whether I was conceived by 'fif-cat-fun' or artificially. A plagiarism is not permitted even if it is not visible on the surface - a 'computable function' is also forbidden, at least if it can be used for commercial or political purposes. Comey launched suspicions of 'russian connections' of Trump (did he mean 'Fatima connections' - the second secret?) and then the law protected the chief of such investigations - which could be the reason why he was hard to take. But the US republicans seem somewhat uninterested in being tough on telling truths - since a civil war is a condition wherein the truth is a matter of power - and go for the strategy of a gradual and slow incorporation of the 'rebels' by granting them responsibility and expecting good behaviour from them. Could be that is the only possible solution, for whatever reason.
But maybe the looming 'civil war' by negros shot by FBI in USA rather told of a future possible 'Padania' condition in Italy?
I add the observation that this entire story of the abuse of my book title from 1995 is one and only one thing: That it was an application sent to a publisher and that it should have been well met but unfortunately it went very wrong way - and much politics seems to have made progress thereby. This should tell why it is very difficult for me if I have to rent a place to live and renew it after a few years' contract period - simply because the renewal is an application. I do not have enough money to buy a place (except for my little 25 square metre housie in Hungary) and a loan in a bank could soon bring the bank to the forefront of banking. I now live in Vienna on a time-unlimited letting contract - which of course is the rescue for me. But the story is a little special nevertheless, isnt it? I mean, if my work is so heavily abused, shouldnt that give reason for economic compensation for the abuse? The fact that I have not got anything such (and I have not launched an application for economic compensation) is probably used for turning things around - for claiming that I work for Hitler and his comrades. That of course is not true. Neither is it true that I do not want my books published - of course I want my books published but I cannot send them to peer review at a publisher.
I hope to get the poetry notebooks I recently lost back. Abusive use of these for political intrigue would be very bad indeed.
Solution to the Beachy Head mystery
I can now explain the mystery in geographic and human nature by the following anecdote: It happened once in a hungarian town that a boy aged 10 or so came up to me and said: "Bácsi! let me show you something". 'Bacsi' is hungarian for 'uncle'. We went for a while and we finally reached a place where an old-fashioned cannon peeped out from a house wall and he pointed at it and said "Ágyú!" = 'cannon!'. In my SNEEFT COEIL the second poem (with a bifurcating echo in the second last in the book) is about the faculty of vision (as for that Joyce image) and it ends with the following stanza:
Da saßen zwei Seele am salzernen See
und lasen in Bücher im Sande
als schoß es ein Flugzeug gegen das 'e':
Warum ist es Wasser in der Wanne?
This converts 'Beachy Head' to 'Bácsi Had' = 'uncle troop/war', Uncle Soldier. The situation is this: An old terrorist of american descent sits in the waiting room of St.Peters, nervous like many of the other fellows waiting there, when an 'uncle' comes out the door, looks at him and says:
- Der Herr!
> Then the egyptians will know who it is.
This could be the reason why Uncle Sam's defence centre is named after this Burgenland tooth on the border to the hungarian tongue.
Now this example tells what copyright is: If you want to read these two poems which hold the explanation to the mystery, you must buy the book in a bookshop and not copy them illegally if you want to have a chance at St.Peter's.
I add that the Joyce graphics comes from the rub-off of one of the black spots on the bathtub enamel - and somehow there was water being formed in that tub at the shore of which a scroll of some textile washed in. This was known also to Ouyang Xiu a thousand years ago. It is possible that the water was formed while the spot giving rise to the visible images was rubbed off.
It is time that people understand what this story is: It is just that I wrote some good poetry, perhaps even so good that a piece of rock leapt into the sea from pure joy, and this was discovered by some power-freaks who could have tried to convert these poems into crazy power manifestations a la 11 september 2001. They have no right to be there and should get out of the poetic flowerbeds. My poetry is written for the ordinary people and serious scholars of poetry, semiotics, philosophy, logic etc etc - not for that sort of 'intelligence games'.
PS - In this article I have discussed some redundancies that seem to constitute an apparent political complex. I have presented the sources I have for assuming the reality of this complex and do generally not have much more information about it than what I have presented here. This means that I cannot e.g. make claims that 'Pentagon' got its name from 'Pamhagen' in Austria and I cannot make claims that Sudan was divided in order to give force to this political complex - but the strong redundancies could call for some attention nevertheless and that is why I mention them.
In addition, it is seen from the article that if a new Mussolini should arise in Italy and a new Hitler in Germany, then the US democrat party will hold the whole history in their hands - by way of this abuse of my poetic work. There are all reasons to protest against such a development.
Added to the Beachy Head story
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Grover, John: Submorphemic signification. Bergen 1995. (Also in Collected works vol.3. Vienna 2013).
Heaney, Seamus: New selected poems 1966-87. Faber, London 1990 .
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Heaney, Seamus: The spirit level. Faber, London 1996. .
Heaney, Seamus: The Fragment. Poem in 'TABLA', issue six, 1997. London. .
Jakobson, R. (1962): Why "Mama" and "Papa"? In: Jakobson, R.: Selected writings, Vol.1, Phonological studies. Mouton, 'S-Gravenhague. .
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© John Bjarne Grover
On the web 11 august 2019