The fifth dimension

The fifth dimension

John Bjarne Grover

Introduction

The article presents a concept of a fifth dimension - which means that the human semiotic constitution is incorporated into the calculation in such a way that a computation beyond the Turing boundary - here thought of as equivalent to a phrase structure grammar transcending the Turing boundary of a pushdown automaton - can be achieved by way of an esthetic logic. The article presents empirical data in support of this theoretic assumption.

The exposition goes through two parts:

Part 1 discusses the relation between four literary works spanning three millenia:

1) My own 'Der Dornenstrauch' (= 'DDS')
2) The works of Horace by the concordance described in this article
3) The oldest sanskrit in the Rigveda
4) The oldest hebrew in the first book of Moses
5) The formal logic in the proposed ordinality aspects of the chinese Kangxi radical system

Part 2 shows how this can lead to empirical data on an assumed phrase structure grammar.

Hence the article goes through the following elements:

1) The formal structure of DDS by Rigveda
2) A discussion of some grammatical errors of DDS relative to Horace, Rigveda, Moses, chinese radicals
3) Examples of the fifth dimension
4) Examples of 'ex nihilo' formation of matter (script)
5) Corollaries for the new esthetic logic

Part 1: 'Der Dornenstrauch' relative to Horace, Rigveda, Moses

How the loops of the Moses-Rigveda concordance table to DDS are formed

'Der Dornenstrauch' (2009-2015) = 'DDS' is constituted by what I call outer poetic articulations (= observation of events in the culture) that are supposed to be the result of the inner poetic articulations of 'The Endmorgan Quartet' (1997-2008), a work of 16 poetic books constituting what I call 16 different poetic functions. These are supposed to have a theoretically transcendent source or origin - whereby quasi 'causalities' (or more generally 'structure') originate beyond the scope of human reality and knowledge. That the assumed transcendence of the inspirational source of it is not in human intrigue can be shown by e.g. book 14 - see the outline of this 'function 14' in this file.

The Rigveda is supposed to have been written by 'rishis' in a similar way - by an acoustic articulation in their inner minds of theoretically divine origin: "Die Veden waren ursprünglich Laut-Offenbarungen, die von den Rishis unmittelbar gehört (shruti) wurden. [...] Die Rishis waren nicht die Schöpfer der Veden, sondern sie gaben nur wieder, was sie in Meditation und Versenkung als geistige Wahrheit erschaut hatten" (Peter Michel "Einleitung" to the 'Upanishaden, die Geheimlehre des Veda', Marix Verlag Wiesbaden 2007 p.21).

DDS contains 440 poems - the first 424 in parts 1, 2, 3 and the last 16 in part 4. DDS is equipped with a concordance table at the end - this concordance table shows a correlation of parts 1,2,3 with 1) the first 424 verses of Genesis (from 1-1-2 - skipping the first verse - to 1-17-27) and 2) the first 424 verses of Rigveda (from 1-1-1 to 1-36-3) in 5 permutations. The present study aims at showing the nature of the origin of these 5 permutations - which means that the concordance can contribute to a better understanding of how the Rigveda as an inner poetic articulation relates to Genesis as a correspondingly outer poetic articulation. Moses met God on Mount Sinai and got stone tablets with the 10 commandments from him, and he heard the voice of God in the burning bush (here in the 'Dornenstrauch'), which were very 'outer' experiences, while the 'rishi's of ancient India heard the divine utterances in contemplation - in their inner minds.

Here I show in the following how the 5 loops of the Rigveda correlation are constituted in my DDS.

(See volume 4 pages 934-950 for details on the writing of the book).

The loops are constituted by wrapovers from 1-36-3 to 1-1-1 in four of the five columns and this is reflected in the relation between relative and absolute enumeration in part 1 (where there are 294 poems in absolute enumeration 1-294 which are enumerated also relatively from 1-187, which means that it contains many 'phrases' of type 114, 114a, 114b...). See volume 4 pages 944-950 for the details:

Relativ Absolute Genesis Rigveda Rigveda Rigveda Rigveda Rigveda
enum. enum. 'Hunde' 'Grenze' 'Baum' 'ROP'

1a 1 1-1-2 1-1-1 1-31-17 1-27-13 1-25-7 1-23-9
[...]
46 58 1-3-3 1-6-8 1-36-3 1-32-1 1-30-4 1-26-6
47 59 1-3-4 1-6-9 1-1-1 1-32-2 1-30-5 1-26-7
[...]
80 113 1-5-8 1-12-3 1-6-5 1-36-3 1-33-4 1-30-22
81 114 1-5-9 1-12-4 1-6-6 1-1-1 1-33-5 1-31-1
[...]
107j 150 1-6-13 1-15-4 1-10-2 1-4-7 1-36-3 1-33-4
107k 151 1-6-14 1-15-5 1-10-3 1-4-8 1-1-1 1-33-5
[...]
113f 187 1-8-4 1-19-2 1-13-7 1-8-4 1-4-7 1-36-3
114 188 1-8-5 1-19-3 1-13-8 1-8-5 1-4-8 1-1-1

The permutation 'Hunde' has the wrapover from rel #46-47 which is abs #58-59. The contents overview relates to relative enumeration:

Part 1. Kinderhilfe
   Vorwort (1a-11a)
   Hunde (1-58)
   Grenze (59-113)
   Baum (114-150)
   ROP (151-187)
   Nachwort (12a-14a)
Part 2. Unter Gesellschaft (i,1-64, ii)
Part 3. Linien die prägen die Sternen über uns (1-64)
Part 4. Die Schönheit der Welt (1-16)

It is seen that the chapter Hunde turns into chapter Grenze at relative #58-59 which is that absolute #58-59 of the 'Hunde' loop (table above).

The 'Grenze' loop wraps over at absolute #113-114 which is the wrapover of the loop of 'ROP' at relative 113-114.

The loop of 'Baum' wraps over at absolute 150-151 which is the border to chapter 'ROP' in relative enumeration.

The loop of 'ROP' wraps over at absolute 187-188 which is the relative enumeration from 'ROP' to Nachwort.

Then only one mystery remains - and that is the wrapover from 107j to 107k. I return to a discussion of that below.

It is seen that it is the relation between relative and absolute enumeration which controls the wrapovers of the Rigveda verses - where the last verse 1-36-3 wraps over and attaches to the first 1-1-1. The absolute enumeration counts the 294 verses of DDS part I from #1 to #294, while the relative enumeration contains some subgroups such as 107a,107b...107p which thereby constitute 'phrases' in the count from #1 to #187. It can be speculated that this concerns the question (discussed below) whether a phrase structure grammar is achieved.

What is the philosophical rationale for the wrapovers?

The sanskrit word HOTARAM occurs three times in the course of these 424 verses:

1) Rigveda 1-1-1 = the first of these 424 verses
2) Rigveda 1-12-1 = verse #111 (absolute enumeration) of these 424 verses
3) Rigveda 1-36-3 = the last #424 of these 424 verses

The remarkable aspect which deserves attention is that this correlates with the two petrification points - which are in poems abs #111 and #424. That is about 'ex nihilo' creation of matter.

This has explanatory value also for understanding the relation between absolute and relative enumeration in DDS part I.

See volume 4 pages 940-941 for a brief explanation to how DDS part III was written. It tells how the two petrification points find an explanation in the present study: The last petrification point - which led to the formation of what I call the 'lapis philosophorum' - is at the end of DDS part III. I had written 14-line poems in a series from #1 up to #78 - I had started working with #78 when it stopped about 1/3 through and I could not get through that invisible barrier - untill I gave up and decided to collapse these 77,3 poems into 64 poems of 16 lines each (plus titles). It was at the end of this restructuring that the 'lapis' occurred. For this reason I also took interest in DDS part I:78 (which is absolute enumeration #111 - the poem which later got its correlation in Rigveda 1-12-1 - the second occurrence of 'hotaram') where I had written the words 'plötzlich versteinert' about 0,45 into line 5 out of 17 - which means that this expression 'plötzlich versteinert' is found at about #77,3. It must be added that the reduction from 78 to 64 poems in part III was motivated by a similar reduction in part II which I had written in originally 12-line format but when I reduced the nearly 80 poems to 64 it was in the same form of adding 2 lines to each poem which then ended up as 14-liners.

An interesting question could be whether the two lines that were later appended could be seen as related to the phenomenon of left- and right-hand parentheses in grammar: If so, then of course it is possible that the righthand parenthesis could occur even before the lefthand and that could provide for some enhanced computational capacity, as goes the tentative idea.

It is seen how this means that the reduction from some 78 to 64 poems in parts II-III is of a format comparable to the relation between relative and absolute enumeration in part I - such as by this relative enumeration #78 = absolute enumeration #111 = the second occurrence of 'hotaram'. This would be the basis for understanding the two petrification points as 'the same' even if they are not.

The three occurrences of 'hotaram' are the following - in the transcription of Aufrecht:

1-1-1
अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॑ दे॒वमृ॒त्विज॑म् होता॑रं रत्न॒धात॑मम्
agním īḷe puróhitaṁ yajñásya devám r̥tvíjam hótāraṁ ratnadhā́tamam

1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum

1-36-3
प्र त्वा॑ दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् म॒हस्ते॑ स॒तो वि च॑रन्त्य॒र्चयो॑ दि॒वि स्पृ॑शन्ति भा॒नवः॑
prá tvā dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam mahás te sató ví caranty arcáyo ̀ diví spr̥śanti bhānávaḥ

1-1-1
1-12-1
1-36-3 r̥tvijam hotāraṁ
vr̥ṇīmahe hotāraṁ
vr̥ṇīmahe hotāraṁ = 'periodicity hotaram' = human redundant (immanent) reality
= 'abitrarity hotaram' = divine transcendent reality
= 'abitrarity hotaram' = divine transcendent reality

My interpretation takes 'arbitrarity hotaram' to be equivalent to the two metaphysical items m1 and m2 - which then also means that each of these is equivalent to a yet higher metaphysical level - in my semiotic model contained in my 'fundamental theorem of linguistics'.

For the interpretation of the sankrit glosses see Grassmann's interpretations at the lexical resources at the end of the Vedaweb pages:

1-36-3
dūtáṁ vr̥ṇīmahe hótāraṁ

dūtáṁ = message to rishi
vr̥ṇīmahe = divine choice = arbitrarity
hótāraṁ = metaphysical items 1/2 coalescing to 1

It is when the two metaphysical items m1 and m2 by the limited human constitution are considered to be one and the same that a loss takes place which is considered or called a sacrifice ('hotaram') - and this leads to the creation of the ontological item. A 'lapis philosophorum' (or equivalent) would be an exemplary model of such an ontological referent.

It is this loss of metaphysical distinction which resurfaces in the human reality as the physical linguistic item which applies to the ontological referent.

Therefore the linguistic item is the same as a sacrifice - and therefore Christ is the WORD and the divine 'sacrifice' - the purpose of which is to reconstitute the original integrity of the two metaphysical items and thereby regain the spiritual reality - that which was lost with the primordial sin.

The crucifixion is likely to have been a deplorable human misunderstanding - that Christ had to be sacrificed because he was the divine sacrifice.

A classic misunderstanding will be to say that Christ is the 'lapis philosophorum' because he came from heaven. The Bible calls him the WORD. Here from Grassmann's dictionary p.1323 (taken from Koeln Uni-web):

vr̥ṇīmahe = वृ = 2. vṙ, "wählen", aus 1. vṙ (umfassen) hervorgegangen, aber schon vor der Sprachtrennung von ihm gesondert; es erscheint fast nur im Medium, und zwar mit der Bedeutung 'für sich umfassen, d. h. für sich wählen, erlesen'; im Aktiv nur viermal, und zwar mit den Bedeutungen 'wählen, gewähren'. (1) me. sich jemand [A.] erwählen, ausersehen als [A.]; (2) sich jemand, etwas [A.] wählen, ausersehen zu [Dat. eines Abstraktums]; (3) jemand [A.] sich erwählen, allen andern vorziehen; (4) vorziehen [A.] vor [Ab.,D.?]; (5) etwas [A.] erwünschen, sich ausersehen; (6) act. jemandem [D.] etwas [A.] gewähren, es ihm zukommen lassen. Mit â (1) jemand, etwas [A.] erwünschen, erwählen, bevorzugen; (2) act. Wunsch [A.] gewähren

Hence vr̥ṇīmahe - seems to mean 'divine choice' and hence ARBITRARITY. It occurs in 1-12-1 and in 1-36-3 - probably as arbitrarity 1 and 2 in my semiotic model.

It occurs here as 'arbitrary hotaram' = 'arbitrary sacrifice' in the sense of that which gives rise to a linguistic designation of an ontological referent - which is in accordance with traditional semiotics.

It was the day after - if not even the same day - as I studied these words in the Rigveda that I came across a piece of paper on the ground which I photographed (but did not take up): It showed the mystic words 'a, ob du Ihm' - a syntagm which seems to relate to a paradigmatic series of alternative prints underneath. As I now see it, these 4-6 folded papers (constituting a miniature book or pamphlet form) could be about the above 6 definitions for vr̥ṇīmahe = वृ listed by Grassmann, the first being about 'erlesen' in the sense of aber schon vor der Sprachtrennung von ihm (gesondert) = a, ob du Ihm. Hence 'schon vor der Sprachtrennung Fon' = 'du'? I guess that the 'book' (syntagm-paradigm) is an 'ex nihilo' formation - an 'erlesen' correlate to the 'lapis philosophorum'. It is discussed in more detail at the end of this paper.

The three occurrences in systematic interpretation

Rigveda 1-1-1
अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॑ दे॒वमृ॒त्विज॑म् होता॑रं रत्न॒धात॑मम्
agním īḷe puróhitaṁ yajñásya devám r̥tvíjam hótāraṁ ratnadhā́tamam

is how the hotaram of 1-12-1 is receiving and uniting with the hotaram of 1-36-3 for creating ontological item of 1-1-1:

agním
īḷe
puróhitaṁ
yajñásya
devám
r̥tvíjam
hótāraṁ
ratnadhā́tamam fire
praying/calling for reception of hotaram 2
put forwards, pushed to the front
Götterverehrung (see below on 'Götterfrucht')
metaphysical reality
periodicity (repetition)
of the metaphysical arbitrarity
gift, presence of ontological matter formed from unification of metaphysical item 1 and 2

Rigveda 1-12-1 = petrification point 1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum

agníṁ
dūtáṁ
vr̥ṇīmahe
hótāraṁ
viśvávedasam
asyá
yajñásya
sukrátum fire
message to rishi = the inner poetic articulation
arbitrary
'sacrifice' = difference between metaphysical item 1 and 2
possessing all riches/wisdom
this
God service, serial ordering
able in action, wisdom

Metaphysical fire gives the inner poetic articulation (to the rishi) as an arbitrary difference between this serial ordering of the God service and ability in action/wisdom

Rigveda 1-36-3 = petrification point 2
प्र त्वा॑ दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् म॒हस्ते॑ स॒तो वि च॑रन्त्य॒र्चयो॑ दि॒वि स्पृ॑शन्ति भा॒नवः॑
prá tvā dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam mahás te sató ví caranty arcáyo ̀ diví spr̥śanti bhānávaḥ

explains my metaphysical theory of how metaphysical item 2 of RV 1-36-3 unites with metaphysical item 1 in RV 1-12-1 hotaram

prá
tvā
dūtáṁ
vr̥ṇīmahe
hótāraṁ
viśvávedasam
mahás
te
sató
ví
caranty
arcáyo ̀
diví
spr̥śanti
bhānávaḥ
you(r) = the divine's
message = articulation in the mind of the 'rishi'
to choose for you, the divine choice - for the transcendent knowledge
metaphysical item 2 (this item is chosen 'arbitrarily' by the divine)
possessing all riches/wisdom
Ausdehnung
you(r)
existence = ontology
dividing from each other
going, walking
flame/fire, ray
heaven/light/phos
touching (sensing the existence)
light, ray

The 5 loops of Rigveda in my DDS I have made by looping 1-36-3 (which unifies with 1-12-1 in the 'petrification') back onto 1-1-1 due to the 'sameness' of the HOTARAM word - and by the subdivisions of DDS this creates the 5 loops in total. The series of verses from 1-1-1 to 1-36-3 thereby explores the details in the metaphysical constitution which is prior to this creation of the ontological world. (Notice that DDS was written without any considerations to Rigveda or any other text - that I discovered later).

This loop uniting HOTARAM of 1-36-3 with the same word in 1-1-1 thereby imitates the metaphysical unification of item 2 (1-36-3) and 1 (1-12-1) - in my semiotic model given in this file and this file - creating ontological matter = the (petrified) REFERENT plus an acoustic articulation.

Arbitrarity 1 = the difference between the two metaphysical units m1 and m2 - which the human reality cannot discern and therefore it appears as 'arbitrary' - while arbitrarity 2 = the relation between sound and meaning in the word - which likewise amounts to the difference between the two metaphysical units m1 and m2 but in a sense which in principle can be correlated with the ontological referent in such a way that the difference between m1 and m2 can be considered computable - it is what makes humans trust their intuition relative to the nature of the metaphysical world and avoid metaphysical shipwreck thereby. Arbitrarity 2 can therefore be called the immanent arbitrarity vs arbitrarity 1 as the transcendent arbitrarity. For a science which aims at computing beyond the human reality the study of the function from the immanence to the transcendence in arbitrarity will be essential.

Rigveda offers a chance to study these two differences. It is seen how both 1-12-1 and 1-36-3 contain the same concept of 'arbitrary difference' in the form of 'vr̥ṇīmahe hótāraṁ' - and the collapse of these into one ontological referent in 1-1-1 creates the 'r̥tvíjam hótāraṁ' which is the 'periodic difference' which amounts to the arbitrarity 2. All three occurrences of the word 'hotaram' can be seen to be defined on the same serial format:

1. the nature of the divine (in articulation/message)
2. the formal property
3. the nature of the arbitrarity = 'the hotaram' = arbitrary difference
4. the essential property

which for the three verses will mean

Rigveda 1-1-1
1. agním īḷe
2. puróhitaṁ yajñásya devám
3. r̥tvíjam hótāraṁ
4. ratnadhā́tamam

Rigveda 1-12-1
1. agníṁ
2. dūtáṁ
3. vr̥ṇīmahe hótāraṁ
4. viśvávedasam asyá yajñásya sukrátum

Rigveda 1-36-3
1. prá
2. tvā dūtáṁ
3. vr̥ṇīmahe hótāraṁ
4. viśvávedasam mahás te sató ví caranty arcáyo ̀diví spr̥śanti bhānávaḥ

For a relevant comparison with these four elements, see also Werner & Kaplan's four factors of symbol formation interpreted in the framework of my theory of 'submorphemic signification':

1. The expressiveness of objects
2. The transcendence of expressive reference
3. The intentional act of denotative reference
4. The establishment of semantic correspondence

For the semiotic theory developed here, it will naturally mean

1. The integrity of the metaphysical items
2. The arbitrarity 1 expressing their difference
3. The collapse of these into ontological existence
4. The arbitrarity 2

These are important to notice as far as the traditional 'double articulation' (Martinet) is concerned - see discussion of this below. In particular, it means that it is in 'the intentional act of denotative reference' that the 'hotaram' arises in the reduction of the metaphysical difference into 'sameness', which makes sense. Finer spiritual distinctions are 'sacrificed' thereby, it could mean.

1-36-3 and 1-12-1 share the 'dūtáṁ' of the second point (the formal property) which in 1-1-1 collapse into 'īḷe puróhitaṁ yajñásya devám' = 'praying/calling for reception of hotaram (difference), it puts forward (pushes to the front) the 'Götterverehrung' of the metaphysical reality'. (For the 'Götterfrucht' label - see discussion below - appearing ex nihilo on my palm just between the forking of the index and long finger, that is between fingers 1. and 2. among the four fingers, this means the point where the difference pushes forward in the hand of the pianist Wang who brings the 'inner articulation' or 'message' to the poet in the transcendence of expressive reference).

For point 4, the essential property in the semantic labelling by the establishment of semantic correspondence, the historic ontology (= 1-1-1) is termed 'ratnadhā́tamam' = 'gift from the metaphysics (ex nihilo?)' = presence of ontological matter (here the record) formed from the unity of hotaram 1 and 2 by dūtáṁ message = inner articulation of verse to the 'rishi'. This means that by a closer study of the graphic relation between the 'Götterfrucht' label and the front page of the record cover, assuming these to subsist in a computable transformation, one can arrive at conjectures as to how the arbitrarity 2 in the semantic labelling of the historic ontology relate to the arbitrarity 1 in the metaphysical difference between metaphysical items 1 and 2. That would mean substantial progress in science - since this 'hotaram' difference otherwise is considered to be out of reach for human reality.

For 1-12-1 the 4th component is 'asyá yajñásya sukrátum' = 'this God service (= serial ordering) able in action/wisdom' - which means that it introduces the serial ordering needed for the ontological item to take place in historic time. It can be seen as a property of the immanent arbitrary difference - that which is hidden as a mystery inside the intersection between time and frequency. In 1-1-1 the word yajñásya belongs to arbitrarity 1, while in 1-12-1 it is in arbitrarity 2. Hence the issue of computing the arbitrarity 1 - that is, the transcendent value which belongs to a reality beyond the human reality - can be traced to what goes on inside the point of intersection between time and frequency - which is the point which contains the fact that all human spectra leak information.

For 1-36-3 the essential component is more complex and 'out of reach for the human reality': '(viśvávedasam) mahás te sató ví caranty arcáyo diví spr̥śanti bhānávaḥ' = 'possessing riches/wisdom extending you(r) existence (ontology) dividing from each other the two legs walking flame/fire heaven/light/phos touching (sensing the existence) light'. (If it is right - see discussion below - that this 'you' = 'du' = 'schon vor der Sprachtrennung Fon', it suggests that there exists a mystic transcendent sound which is out of reach for the human reality. One can of course speculate that this sound is in or prior to the inner poetic articulation).

It is seen that in the framework of my 23 thresholded photos, 1-1-1 = photo 1, while 1-12-1 = photo 12 = the mid photo and 1-36-3 = photo 23, the last photo. In this last photo there is even the script on the ground showing φωσ-STA = 'phos-STA'. This lettering corresponds to 'heaven/light/phos touching (sensing the existence) [of/by] light' - see also the phenomenon of the 'STA' as a 'Schimmelbild' in this article. It would be the same principle which generates the script of 'ROYAL LAND', 'Filosofo' and 'Götterfrucht' in this comment (see discussion below).

Hence the mid point 1-12-1 interprets in photo 12 the conversion of symmetry from photo 23 to photo 1 (the 'helicopter') - and therefore it contains the secret of the mystery in the intersection between time and frequency.

In the essential component of 1-36-3 one also finds the word 'mahás' = 'ausgedehnt', 'Ausdehnung' which was Grassmann's great contribution in mathematics - his 'Ausdehnungslehre' - which probably is not well understood even today due to its trascendent character. If one assumes that arbitrarity 1 for metaphysical item 2 is in a role equivalent with arbitrarity 2 for the ontological item in the human reality, then it follows that the metaphysical item 2 (in what is the spiritual world for humans) will have been derived from two items on a yet higher metaphysical level, and each of these will have been formed from a collapse of two items on a yet higher level and so forth, then it is clear that these levels of different worlds or realms can constitute what is the fifth dimension in the present account - see part 2 below. It seems that this is the contents of Grassmann's 'Ausdehnunglehre', so that (see e.g his introduction point 7) the 'Ausdehnungsgrösse' move along the scale of differences which take the semiotic constitution of each level into account. This semiotic constitution for each level means also that each level has its own individual way of reasoning (the introduction point 11). It is this complexity which the Ausdehnungslehre tries to describe - in a search for regularities that can be spotted in that jungle of varying logics and mathematics which arise therefrom. It is probable that the Ausdehnungslehre (1844) thereby is an attempted mathematics for the fifth dimension. It is likely that he was not understood in his time and that it all was couped into the development of calculus and mistakenly recognized as a sub-branch of that (introduction point 7), and that this spiritual suppression led to the rise of marxism against which an avalanche of exploitative western plagiarisms was launched. East and west came to understand themselves as the western sunset of Rigveda 1-36-3 looping by historic discontinuity into the eastern sunrise of Rigveda 1-1-1, which perhaps is not to understand the element of cosmic revolutions properly. Nazism was probably a desperate attempt to reduce Grassmann to calculus by understanding the differences of the 'Ausdehnungslehre' in terms of genocidal calculus. The 'Ausdehnungslehre' is written by the same Grassmann as he who wrote the dictionary for the Rigveda consulted in the following examples.

It is seen that the essential component of 1-36-3 can be seen as described in my DDS III:21. Given this in the first third of the book, one could even recognize 1-12-1 in DDS III:42 and 1-1-1 in DDS III:64. However, even if this appears to go backwards relative to the 23 photos, it is my idea that it doesn't go backwards after all and that is the theme of this DDS III, as also the title could indicate.

The difference between the immanent and the transcendent arbitrarity will then be seen in the difference in the essential component of 1-12-1 and 1-36-3 - the former is the historic seriality while the latter is the expansion with the 'constellations' of the alphabetic script. The combination of the two makes it possible to postulate that the righthand parenthesis can occur before (to the left of) the lefthand parenthesis - and hence a phrase structure can be postulated with a higher computational capacity than the socalled Turing boundary.

This is what can be assumed to be the phenomenon of traces of diachrony in the language. It is when these can be brought under control that a higher computability can be arrived at - for computing along the fifth dimension. It is likely that the transform between the record cover of Yuja Wang's 'Vienna recital' and the 'Götterfrucht' label can be considered the type of isomorphism which constitutes the fifth dimension and which thereby can lead to postulations of the nature of arbitrarity 1 as the postulated difference between the two metaphysical items m1 and m2.

The following 8 examples show how this presence of diachrony in language can be studied. The examples are from grammatical errors (relative to standard normative german grammar) in my german poems of DDS - relative to the work of Horace aligned with the concordance of Moses and Rigveda in such a way that Horace appears as the conjunction of these two in a way comparable to how they relate to my poetry written 2000 years later. It is by this method that the gap of 2000 years can be described in such a way that one can consider it traces of diachrony in language. Expectedly, this will be along the axis of the blue metre with a wingspan of 1000 years.

Some examples

Example 1

DDS I:77 = abs #110
= 13 lines, interesting errors in lines 7 and 12

Error #1 in line 7 out of 13

DDS I:77 = abs #110
in seiner dunklen Schräge enthältend.
should have been
in seiner dunklen Schräge enthaltend.

'enthaltend' can mean i) containing, ii) abstaining from.

Horace Satire II.v.59-75
= 16 lines which means that error 1 will be on lines 59 + 16 * 6-7/13 = lines 66,4-67,6:
"[ut legat orabit]; multum Nasica negatas / accipiet tandem et tacitus leget, [invenietque / nil sibi legatum praeter plorare suisque]"
... [the tablets of his will, and pray him to read them]. After many a refusal at length Nasica shall take them, and read them to himself, [and shall find that nothing is left to him and his but - to whine].

It is seen that "multum Nasica negatas / accipiet tandem et tacitus leget" relates to 'enthaltend' in the sense of ii) 'abstaining from' and i) 'containing' in a manner which invokes associations to the 2 computer glitsches in the sense of 'ZUM' → CULTURE as well as 'contain' - hence a relation by logical form. 'Enthaldend' and 'tandem et' could also relate by phonetic form.

Moses 1-5-5
ויהיו כל ימי אדם אשר חי תשע מאות שנה ושלשים שנה וימת
= 12 words hence 12 * 7/13 = 6,5 = word 7
= 'תשע' = 'nine'

Rigveda 1-6-2
यु॒ञ्जन्त्य॑स्य॒ काम्या॒ हरी॒ विप॑क्षसा॒ रथे॑ शोणा॑ धृ॒ष्णू नृ॒वाह॑सा
yuñjánty asya kā́myā hárī vípakṣasā ráthe śóṇā dhr̥ṣṇū́ nr̥vā́hasā
= 9 words hence 9 * 7/13 = 4,8 = word 5
= vípakṣasā = विपक्षस् = ví-pakṣas - 'auf beiden Seiten [des Wagens] gehend'
= the reading of the will - for the self and/or for the other, hence also on this or that side of the grave

Rigveda 1-35-11
ये ते॒ पन्थाः॑ सवितः पू॒र्व्यासो॑ऽरे॒णवः॒ सुकृ॑ता अ॒न्तरि॑क्षे तेभि॑र्नो अ॒द्य प॒थिभिः॑ सु॒गेभी॒ रक्षा॑ च नो॒ अधि॑ च ब्रूहि देव
yé te pánthāḥ savitaḥ pūrvyā́so 'reṇávaḥ súkr̥tā antárikṣe tébhir no adyá pathíbhiḥ sugébhī rákṣā ca no ádhi ca brūhi deva
= 20 words hence 20 * 7/13 = 10,8 = word 11
= adyá = अद्य = adyá - 'an diesem Tage', 'heute'
= the moment is on this side of the grave, though

Rigveda 1-33-1
एताया॒मोप॑ ग॒व्यन्त॒ इन्द्र॑म॒स्माकं॒ सु प्रम॑तिं वावृधाति अ॒ना॒मृ॒णः कु॒विदाद॒स्य रा॒यो गवां॒ केतं॒ पर॑मा॒वर्ज॑ते नः
étā́yāmópa gavyánta índram asmā́kaṁ sú prámatiṁ vāvr̥dhāti anāmr̥ṇáḥ kuvíd ā́d asyá rāyó gávāṁ kétam páram āvárjate naḥ
= 17 words hence 17 * 7/13 = 9,2 = word 10
= ā́d = आत् = ât - abl. des Deutestammes a, und zwar in zeitlicher oder logisch anreihender Bedeutung
- thereafter, then
= giving to read - after many a refusal at length Nasica takes them

Rigveda 1-30-19
न्य१॒॑घ्न्यस्य॑ मू॒र्धनि॑ च॒क्रं रथ॑स्य येमथुः परि॒ द्याम॒न्यदी॑यते
ny àghnyásya mūrdháni cakráṁ ráthasya yemathuḥ pári dyā́m anyád īyate
= 10 words hence 10 * 7/13 = 5,4 = word 6
= yamyemathuḥ = यम् = yam - der sinnliche Begriff ist der der Verbindung zweier Gegenstände, etwa durch ein Seil oder ähnliches = zügeln, lenken
= the connection in terms of the tablets of will

But how is the hebrew '9' to be found in this complex? There is in fact a link through the sanskrit 'nivartana' = 'abstaining [from]' - which is the second meaning of 'enthaltend' - in rather minimal opposition to 'navaratna' = a unit of 9 elements (say, 9 gems).

(Sanskrit 'Nasika' means 'nose').

In addition, the hebrew for '9' = תשע has close affinities with תשובה = return to God (repentence), תשומת = trust, loan, as well as תשוקה = desire - hence a link to the theme of the fragment from Horace.

Most interesting is the chinese signs for '9': Chinese has two main numeral sign types - the ordinary and a financial type. The ordinary numeral '9' has a graphic form 九 which could invoke associations to the line 7 with the error: '[...] in seiner dunklen Schräge enthältend': The lefthand slanting line is the Schräge and the righthand part of the sign is 'enthältend' something into it. Even more interesting is the financial numeral '9' which in its graphic form 玖 could invoke associations to the relevant fragment from Horace: A person gives his will (on tablet form) to another who reads it. These chinese signs tell that the hebrew '9' is of relevance for the error in my poem.

Error #2 in line 12 out of 13

DDS I:77 = abs #110
bleibt in der Schönheit des menschliches Herzens
should have been
bleibt in der Schönheit des menschlichen Herzens

Horace Satire II.v.59-75
= 16 lines which means that error 2 will be on lines 16 * 11-12/13 = lines 72,5-73,8:

[adiuvat hoc quoque], sed vincit longe prius ipsum
expugnare caput. scribet mala carmina [vecors]:
=
[This too helps]; but far better is it
to storm the citadel [the head] itself. Will [the idiot, the madman] write poor verses?

It is seen that 'des menschlichen Herzens' relates to 'expugnare caput' while 'in der Schönheit' relates to 'mala carmina' by mainly logical form.

Moses 1-5-5
ויהיו כל ימי אדם אשר חי תשע מאות שנה ושלשים שנה וימת
= 12 words hence 12 * 12/13 = 11,1 = word 12
'וימת' = 'and he died'
= did he die from the storming of the citadel/head?

Rigveda 1-11-8
इन्द्र॒मीशा॑न॒मोज॑सा॒भि स्तोमा॑ अनूषत स॒हस्रं॒ यस्य॑ रा॒तय॑ उ॒त वा॒ सन्ति॒ भूय॑सीः
índram ī́śānam ójasābhí stómā anūṣata sahásraṁ yásya rātáya utá vā sánti bhū́yasīḥ
= 12 words hence 12 * 12/13 = 11,1 = word 12
= bhū́yasīḥ = भूयस् = bhûyas,a. Comparativ von dem Verbale bhû (von bhū = a place, spot, piece of ground), dem Sinne nach Comparativ zu bhûri,1) mehr, zahlereicher; (2) mehr, reichlicher; (3) angesehener, bedeutender; (4) sehr viel, sehr reichlich; (5) n., s. als Adv. mehr, in höherem Grade; (6) n., Adv. weiter
= comparative ('more') of a place = to storm the citadel

Rigveda 1-6-2
यु॒ञ्जन्त्य॑स्य॒ काम्या॒ हरी॒ विप॑क्षसा॒ रथे॑ शोणा॑ धृ॒ष्णू नृ॒वाह॑सा
yuñjánty asya kā́myā hárī vípakṣasā ráthe śóṇā dhr̥ṣṇū́ nr̥vā́hasā
= 9 words hence 9 * 12/13 = 8,3 = word 9
= nr̥vā́hasā = नृवाहस् = nṙ-vâhas,a.,1) Männer fahrend; (2) Männer beschenkend - consists of two parts: nR = man(kind), piece of chess, pin or gnomon of a sun-dial + vAhas = 'conveying', worship, invocation etc
= 'write poor verses' - is that the same as 'invoking man(kind)' or 'invoking the indicator of a sun-dial'?

Rigveda 1-35-11
ये ते॒ पन्थाः॑ सवितः पू॒र्व्यासो॑ऽरे॒णवः॒ सुकृ॑ता अ॒न्तरि॑क्षे तेभि॑र्नो अ॒द्य प॒थिभिः॑ सु॒गेभी॒ रक्षा॑ च नो॒ अधि॑ च ब्रूहि देव
yé te pánthāḥ savitaḥ pūrvyā́so 'reṇávaḥ súkr̥tā antárikṣe tébhir no adyá pathíbhiḥ sugébhī rákṣā ca no ádhi ca brūhi deva
= 20 words hence 20 * 12/13 = 18,5 = word 19
= brūhi = ब्रू = brū, jemandem etwas aussprechen
= will the madman write poor verses? = to be outspoken

Rigveda 1-33-1
एताया॒मोप॑ ग॒व्यन्त॒ इन्द्र॑म॒स्माकं॒ सु प्रम॑तिं वावृधाति अ॒ना॒मृ॒णः कु॒विदाद॒स्य रा॒यो गवां॒ केतं॒ पर॑मा॒वर्ज॑ते नः
étā́yāmópa gavyánta índram asmā́kaṁ sú prámatiṁ vāvr̥dhāti anāmr̥ṇáḥ kuvíd ā́d asyá rāyó gávāṁ kétam páram āvárjate naḥ
= 17 words hence 17 * 12/13 = 15,7 = word 16
= āvárjate = वृज् = vṙj. Der Grundbegriff dieser schwierigen Wurzel ist, soweit derselbe sich zurück verfolgen lässt, "etwas aus seiner ursprünglichen Richtung oder Lage (durch Biegen, Umwenden, Einsperren u. s. w.) herausbringen", "krumm"
= to storm the head: Will the head (thereafter) write poor verses? = to bring it out of direction/equilibrium

Rigveda 1-30-19
न्य१॒॑घ्न्यस्य॑ मू॒र्धनि॑ च॒क्रं रथ॑स्य येमथुः परि॒ द्याम॒न्यदी॑यते
ny àghnyásya mūrdháni cakráṁ ráthasya yemathuḥ pári dyā́m anyád īyate
= 10 words hence 10 *12/13 = 9,2 = word 10
= īyate = इ = i, ursprünglich "gehen, sich bewegen", von belebten Wesen, aber auch übertragen auf leblose Dinge und auf geistiges Gebiet
= to storm the citadel = the head

There could be a 'man-on-wagon' slamming into the curb for lifting up on it in these correlations

This makes sense as a colouring of the idea of 'in der Schönheit des menschlichen Herzens', 'in the beauty of the human heart' - but maybe a little off the original sense - hence the grammatical error.

Chinese Kangxi radical #110 = 矛 = spear, lance. These pointed tools could be used for storming a citadel - they resemble also the writer's tool. See also the historical forms of the character 矛: These three could associate with ideas of 1) storming 2) citadel (head) and 3) poor writing.

Example 2

DDS I:78 = abs #111

= 17 lines
6 errors: In lines 2, 3, 6, 8, 10 and 17.

Error #1 in line 2 out of 17:

DDS I:78 = abs #111
eben wenn die äußere Bedingungen
should have been
eben wenn die äußeren Bedingungen

Horace Ode I:i
= 36 lines hence 36 * 1-2/17 = lines 2,1-4,2 =
= [sunt] quos curriculo pulverem Olympicum / collegisse iuvat metaque fervidis / evitata [rotis palmaque nobilis]
= some [...] whose one delight it is to gather Olympic dust upon the racing car, and whom the turning-post cleared with glowing [wheel and the glorious palm]

It is seen that 'äußeren Bedingungen' resembles the relevant 'pulverem Olympicum' and hence it concerns phonetic form as a potential factor for the erroneous grammatical form.

Moses 1-5-6
ויחי שת חמש שנים ומאת שנה ויולד את אנוש
= 9 words hence 9 * 2/17 = 1,1 = word 2
= שת = '6', six - or שית = to put, set in array, constitute, appoint, direct, turn, cast, throw, make, render, give; attire, dress; foundation, pillars; buttock, gift/compensation
= Bennett uses the word turning-post which contains much of this word

Rigveda 1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum
= 8 words hence 8 * 2/17 = 0,9 = word 1
= agníṁ = अग्नि = agní,m., (1) das Feuer, als das bewegliche (aj) aufgefasst, (2) der Gott des Feuers
= the glowing [wheel]

Rigveda 1-6-3
के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ समु॒षद्भि॑रजायथाः
ketúṁ kr̥ṇvánn aketáve péśo maryā apeśáse sám uṣádbhir ajāyathāḥ
= 9 words hence 9 * 2/17 = 1,1 = word 2
= kr̥ṇvánn = कृ = kṙ = machen, schaffen; handeln, wirken, thätig sein, Gottesdienst verrichten, opfern, etwas thun, eine That vollbringen, ausführen, betreiben; jemandes Worte zur That werden lassen, sie ausführen; jemandem etwas erweisen, leisten, ausrichten etc (see Grassmann) - also 'im Spiele gewinnen'
= to gather Olympic dust upon the racing car

Rigveda 1-33-2
उपेद॒हं ध॑न॒दामप्र॑तीतं॒ जुष्टां॒ न श्ये॒नो व॑स॒तिं प॑तामि इन्द्रं॑ नम॒स्यन्नु॑प॒मेभि॑र॒र्कैर्यः स्तो॒तृभ्यो॒ हव्यो॒ अस्ति॒ याम॑न्
úpéd aháṁ dhanadā́m ápratītaṁ júṣṭāṁ ná śyenó vasatím patāmi índraṁ namasyánn upamébhir arkaír yá stotŕ̥bhyo hávyo ásti yā́man
= 18 words hence 18 * 2/17 = 2,1 = word 3
= dhanadā́m = धनदा = dhana-dâ = Kampfpreis, Beute verleihend; Schätze, Reichthum gebend
= obvious relevance for the olympic games in the fragment of Horace

Rigveda 1-30-20
कस्त॑ उषः कधप्रिये भु॒जे मर्तो॑ अमर्त्ये कं न॑क्षसे विभावरि
kás ta uṣaḥ kadhapriye bhujé márto amartye káṁ nakṣase vibhāvari
= 10 words hence 10 * 2/17 = 1,2 = word 2
= ta = त्व = tvá, tuá, pron. 'du' (= you)
= ?

Chinese radical 111 = 矢 = a dart, an arrow, to aim at, to vow, to swear, (etymologically also 'excrement')
= the race car

Error #2 in line 3 out of 17:

DDS I:78 = abs #111
die innere Erscheinungen
should have been
die inneren Erscheinungen

Horace Ode I:i
= 36 lines hence 36 * 2-3/17 = lines 4,2-6,4 =
= [evitata] rotis palmaque nobilis. / terrarum dominos evehit ad deos / hunc, si [mobilium turba Quiritium]
= [with glowing] wheel and the glorious palm exalt as masters of the earth to the very gods. Here, if [movable etc]

It is seen that 'die inneren Erscheinungen' relevantly resembles 'terrarum dominos evehit ad deos' both phonetically and logically somewhat.

Moses 1-5-6
ויחי שת חמש שנים ומאת שנה ויולד את אנוש
= 9 words hence 9 * 3/17 = 1,6 = word 2
= את = accusative marker, ploughshare, by, near, with, in company with
= masters of the earth = ploughshare, in company with the racing competitors

Rigveda 1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum
= 8 words hence 8 * 3/17 = 1,4 = word 2
= dūtáṁ = दूत = dūtá, der Bote [ursprünglich Part. II. von 2. dū], namentlich (2) von Agni, als dem Boten zwischen Göttern und Menschen
= the first marathon runner was a messenger

Rigveda 1-6-3
के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ समु॒षद्भि॑रजायथाः
ketúṁ kr̥ṇvánn aketáve péśo maryā apeśáse sám uṣádbhir ajāyathāḥ
= 9 words hence 9 * 3/17 = 1,6 = word 2
= kr̥ṇvánn = कृ = kṙ = machen, schaffen; handeln, wirken, thätig sein, Gottesdienst verrichten, opfern, etwas thun, eine That vollbringen, ausführen, betreiben; jemandes Worte zur That werden lassen, sie ausführen; jemandem etwas erweisen, leisten, ausrichten etc (see Grassmann) - also 'im Spiele gewinnen'
= masters of the earth to the very gods = Gottesdienst verrichten

Rigveda 1-36-1
प्र वो॑ य॒ह्वं पु॑रू॒णां वि॒शां दे॑वय॒तीना॑म् अ॒ग्निं सू॒क्तेभि॒र्वचो॑भिरीमहे॒ यं सी॒मिद॒न्य ईळ॑ते
prá vo yahvám purūṇā́ṁ viśā́ṁ devayatī́nām agníṁ sūktébhir vácobhir īmahe yáṁ sīm íd anyá ī́ḷate
= 15 words hence 15 * 3/17 = 2,6 = word 3
= yahvám = यह्व = yahvá [von *yah], (1) schnell dahin schiessend, rasch strömend; (2) eilend, rastlos, fortwährend thätig; insbesondere (3) von Agni; (4) zusammenhängend, weit ausgedehnt; (5) Vogel, als der schnell dahinschiessende; (6) der rastlose Gehülfe mit Gen., der Ordner von Agni; (7) Sohn
= masters of the earth to the very gods = weit ausgedehnt

Rigveda 1-33-2
उपेद॒हं ध॑न॒दामप्र॑तीतं॒ जुष्टां॒ न श्ये॒नो व॑स॒तिं प॑तामि इन्द्रं॑ नम॒स्यन्नु॑प॒मेभि॑र॒र्कैर्यः स्तो॒तृभ्यो॒ हव्यो॒ अस्ति॒ याम॑न्
úpéd aháṁ dhanadā́m ápratītaṁ júṣṭāṁ ná śyenó vasatím patāmi índraṁ namasyánn upamébhir arkaír yá stotŕ̥bhyo hávyo ásti yā́man
= 18 words hence 18 * 3/17 = 3,2 = word 4
= ápratītaṁ = not merry, uncommon, not understood, unattackable etc
= the uncommon very gods?

Rigveda 1-30-20
कस्त॑ उषः कधप्रिये भु॒जे मर्तो॑ अमर्त्ये कं न॑क्षसे विभावरि
kás ta uṣaḥ kadhapriye bhujé márto amartye káṁ nakṣase vibhāvari
= 10 words hence 10 * 3/17 = 1,8 = word 2
= ta = त्व = tvá, tuá, pron. 'du' (= you)
= ?

Chinese radical 111 = 矢 = a dart, an arrow, to aim at, to vow, to swear, (etymologically also 'excrement')
= the race car

Error #3 in line 6 out of 17:

DDS I:78 = abs #111
unsere Gedanken sich in die zweifelhafte Verhältnis
should have been
unsere Gedanken sich in das/dem zweifelhafte(n) Verhältnis

Horace Ode I:i
= 36 lines hence 36 * 5-6/17 = lines 10,5-12,7 =
= [gaudentem patrios] findere sarculo / agros Attalicis condicionibus / numquam [demoveas, ut trabe Cypria]
= the peasant who loves to break the clods of his ancestral acres with the hoe, who could never induce by the terms of an attalus (seems to be a tapestry with in-woven golden threads)

It is seen that 'unsere Gedanken sich in das/dem zweifelhafte(n) Verhältnis' relates to 'findere sarculo / agros Attalicis condicionibus'.

Moses 1-5-6
ויחי שת חמש שנים ומאת שנה ויולד את אנוש
= 9 words hence 9 * 6/17 = 3,2 = word 4
= שנים = years, repeat, do 2nd time, differ from, change
= the produce of the year
= induce by the terms of an attalus
= שנן = sharpen, sharp, like pointed tool
= breaking clods of earth with hoe

Rigveda 1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum
= 8 words hence 8 * 6/17 = 2,8 = word 3
= vr̥ṇīmahe = wählen, arbitrary
= loves to break

Rigveda 1-6-3
के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ समु॒षद्भि॑रजायथाः
ketúṁ kr̥ṇvánn aketáve péśo maryā apeśáse sám uṣádbhir ajāyathāḥ
= 9 words hence 9 * 6/17 = 3,2 = word 4
= péśo = Stickerei, gesticktes, buntes Gewand, Zierat, Schmuck, Gestalt, Form
= the hoe = 'Stickerei'

Rigveda 1-33-2
उपेद॒हं ध॑न॒दामप्र॑तीतं॒ जुष्टां॒ न श्ये॒नो व॑स॒तिं प॑तामि इन्द्रं॑ नम॒स्यन्नु॑प॒मेभि॑र॒र्कैर्यः स्तो॒तृभ्यो॒ हव्यो॒ अस्ति॒ याम॑न्
úpéd aháṁ dhanadā́m ápratītaṁ júṣṭāṁ ná śyenó vasatím patāmi índraṁ namasyánn upamébhir arkaír yá stotŕ̥bhyo hávyo ásti yā́man
= 18 words hence 18 * 6/17 = 6,4 = word 7
= śyenó = der grösste und stärkste Raubvogel: Lämmergeier, Adler, Falke
= the hoe

Rigveda 1-30-20
कस्त॑ उषः कधप्रिये भु॒जे मर्तो॑ अमर्त्ये कं न॑क्षसे विभावरि
kás ta uṣaḥ kadhapriye bhujé márto amartye káṁ nakṣase vibhāvari
= 10 words hence 10 * 6/17 = 3,5 = word 4
= kadhapriye = gegen wen freundlich
= the terms of the golden tapestry

Chinese radical 111 = 矢 = a dart, an arrow, to aim at, to vow, to swear, (etymologically also 'excrement')
= the race car

Error #4 in line 8 out of 17:

DDS I:78 = abs #111
wie in ein Spiegel der Zeit
should have been
wie in einem Spiegel der Zeit

Horace Ode I:i
= 36 lines hence 36 * 7-8/17 = lines 14,8-16,9
= [luctantem Icariis fluctibus] Africum / mercator metuens otium et oppidi / laudat rura sui; mox reficit [rates]
= [The trader, fearing] the southwester [as it wrestles with the Icarian waves], praises the quiet of the fields about his native town, yet presently refits his shattered [barks]

It is seen that the waveforms of the sea could relate to the waveforms of the land 'wie in einem Spiegel der Zeit', hence by logical form.

Moses 1-5-6
ויחי שת חמש שנים ומאת שנה ויולד את אנוש
= 9 words hence 9 * 8/17 = 4,2 = word 5
= ומאת = (and) a hundred, (and) of a ploughshare
= the fields about his native town

Rigveda 1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum
= 8 words hence 8 * 8/17 = 3,8 = word 4
= hótāraṁ = sacrifice, difference
= his shattered barks

Rigveda 1-6-3
के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ समु॒षद्भि॑रजायथाः
ketúṁ kr̥ṇvánn aketáve péśo maryā apeśáse sám uṣádbhir ajāyathāḥ
= 9 words hence 9 * 8/17 = 4,2 = word 5
= maryā = der junge Mann in der Blüthe seiner Kraft, junger Held, Bräutigam, Freier, junger Ehemann, Hengst
= (wrestles the) Icarian waves

Rigveda 1-33-2
उपेद॒हं ध॑न॒दामप्र॑तीतं॒ जुष्टां॒ न श्ये॒नो व॑स॒तिं प॑तामि इन्द्रं॑ नम॒स्यन्नु॑प॒मेभि॑र॒र्कैर्यः स्तो॒तृभ्यो॒ हव्यो॒ अस्ति॒ याम॑न्
úpéd aháṁ dhanadā́m ápratītaṁ júṣṭāṁ ná śyenó vasatím patāmi índraṁ namasyánn upamébhir arkaír yá stotŕ̥bhyo hávyo ásti yā́man
= 18 words hence 18 * 8/17 = 8,5 = word 9
= patāmi = fliegen, durch die Luft dahinschiessen, dahineilen, eilen
= presently refits

Rigveda 1-30-20
कस्त॑ उषः कधप्रिये भु॒जे मर्तो॑ अमर्त्ये कं न॑क्षसे विभावरि
kás ta uṣaḥ kadhapriye bhujé márto amartye káṁ nakṣase vibhāvari
= 10 words hence 10 * 8/17 = 4,7 = word 5
= bhujé = Genuss gewähren, Genuss schaffen, erfreuen; Speise geniessen; Nutzen ziehen; ausbeuten, etwas büssen, für eine Uebelthat von jemand Strafe erleiden
= the trader suffering the punishing southwester

Chinese radical 111 = 矢 = a dart, an arrow, to aim at, to vow, to swear, (etymologically also 'excrement')
= the theme of the sea and aiming towards the fields of home town

Error #5 in line 10 out of 17:

DDS I:78 = abs #111
meine gestrige Gedanken ausspricht.
should have been
meine gestrigen Gedanken ausspricht.

Horace Ode I:i
= 36 lines hence 36 * 9-10/17 = lines 19,1-21,2
= [nec] partem solido demere de die / spernit, nunc viridi membra sub arbuto / stratus, [nunc ad aquae lene caput sacrae]
= [nor] to steal a portion of the days's busy hours, stretching his limbs now 'neath the verdant arbute-tree

It is seen that the fragment from Horace relates relevantly to the line from DDS I:78.

Moses 1-5-6
ויחי שת חמש שנים ומאת שנה ויולד את אנוש
= 9 words hence 9 * 10/17 = 5,3 = word 6
= שנה = years, repeat, do 2nd time, differ from, change
= to steal a portion of the days's busy hours, stretching his limbs

Rigveda 1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum
= 8 words hence 8 * 10/17 = 4,7 = word 5
= viśvávedasam = alle Schätze/Weisheit besitzend
= 'neath the verdant arbute-tree

Rigveda 1-6-3
के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ समु॒षद्भि॑रजायथाः
ketúṁ kr̥ṇvánn aketáve péśo maryā apeśáse sám uṣádbhir ajāyathāḥ
= 9 words hence 9 * 10/17 = 5,3 = word 6
= apeśáse = gestalt-los
= stretching his limbs

Rigveda 1-36-1
प्र वो॑ य॒ह्वं पु॑रू॒णां वि॒शां दे॑वय॒तीना॑म् अ॒ग्निं सू॒क्तेभि॒र्वचो॑भिरीमहे॒ यं सी॒मिद॒न्य ईळ॑ते
prá vo yahvám purūṇā́ṁ viśā́ṁ devayatī́nām agníṁ sūktébhir vácobhir īmahe yáṁ sīm íd anyá ī́ḷate
= 15 words hence 15 * 10/17 = 8,8 = word 9
= vácobhir = Wort, Rede, Lied von Soma (sein Rauschen)
= 'neath the verdant arbute-tree

Rigveda 1-33-2
उपेद॒हं ध॑न॒दामप्र॑तीतं॒ जुष्टां॒ न श्ये॒नो व॑स॒तिं प॑तामि इन्द्रं॑ नम॒स्यन्नु॑प॒मेभि॑र॒र्कैर्यः स्तो॒तृभ्यो॒ हव्यो॒ अस्ति॒ याम॑न्
úpéd aháṁ dhanadā́m ápratītaṁ júṣṭāṁ ná śyenó vasatím patāmi índraṁ namasyánn upamébhir arkaír yá stotŕ̥bhyo hávyo ásti yā́man
= 18 words hence 18 * 10/17 = 10,6 = word 11
= namasyánn = verehren, anbeten
= stretching his limbs: the word 'stratus' = 'prostrate, prone, lying'

Rigveda 1-30-20
कस्त॑ उषः कधप्रिये भु॒जे मर्तो॑ अमर्त्ये कं न॑क्षसे विभावरि
kás ta uṣaḥ kadhapriye bhujé márto amartye káṁ nakṣase vibhāvari
= 10 words hence 10 * 10/17 = 5,9 = word 6
= márto = sterblicher Mensch
= the human steals an hour, resting his limbs

Chinese radical 111 = 矢 = a dart, an arrow, to aim at, to vow, to swear, (etymologically also 'excrement')

Error #6 in line 17 out of 17:

DDS I:78 = abs #111
sich in der ständige Endzeit offenbaren will.
should have been
sich in der ständigen Endzeit offenbaren will.

Horace Ode I:i
= 36 lines hence 36 * 16-17/17 = lines 33,9-36
= [Lesboum refugit tendere] barbiton. / quodsi me lyricis vatibus inseres, / sublimi feriam sidera vertice.
= [to tune the Lesbian] lyre = 'to raise a beard'(?). But if you rank me among lyric bards, I shall touch the stars with my exalted head.

It is seen that 'Endzeit offenbaren will' relates to 'sublimi feriam sidera vertice' logically and also somewhat phonetically.

Moses 1-5-6
ויחי שת חמש שנים ומאת שנה ויולד את אנוש
= 9 words hence 9 * 17/17 = word 9
= אנוש = Enosh, incurable, mortal, grievous, sorrowful, man, mankind, common people
= 'to raise a beard' (?)

Rigveda 1-12-1
अ॒ग्निं दू॒तं वृ॑णीमहे॒ होता॑रं वि॒श्ववे॑दसम् अ॒स्य य॒ज्ञस्य॑ सु॒क्रतु॑म्
agníṁ dūtáṁ vr̥ṇīmahe hótāraṁ viśvávedasam asyá yajñásya sukrátum
= 8 words hence 8 * 17/17 = word 8
= sukrátum = treffliche Tüchtigkeit zum Wirken besitzend, schön wirksam, geschickt, weise (überall von Göttern); tüchtiger Vollführer, Segner
= rank [...] among lyric bards

Rigveda 1-6-3
के॒तुं कृ॒ण्वन्न॑के॒तवे॒ पेशो॑ मर्या अपे॒शसे॑ समु॒षद्भि॑रजायथाः
ketúṁ kr̥ṇvánn aketáve péśo maryā apeśáse sám uṣádbhir ajāyathāḥ
= 9 words hence 9 * 17/17 = word 9
= ajāyathāḥ = gebären; zeugen, die Leibesfrucht in dem Weibe, erzeugen, erzeugen aus, entstehen lassen aus, schaffen, hervorbringen, gebären oder erzeugen oder schaffen, verschaffen, geboren werden, stammen von, entstehen aus, geboren, gezeugt werden, seiner Geburt oder Art nach bestimmt sein zu, geboren werden zu, bestimmt sein für
= touch the stars with my exalted head (?)

Rigveda 1-36-1
प्र वो॑ य॒ह्वं पु॑रू॒णां वि॒शां दे॑वय॒तीना॑म् अ॒ग्निं सू॒क्तेभि॒र्वचो॑भिरीमहे॒ यं सी॒मिद॒न्य ईळ॑ते
prá vo yahvám purūṇā́ṁ viśā́ṁ devayatī́nām agníṁ sūktébhir vácobhir īmahe yáṁ sīm íd anyá ī́ḷate
= 15 words hence 15 * 17/17 = word 15
= ī́ḷate = anflehen um eine Sache, jemand bitten, auffordern, etwas zu thun oder zu gewähren, jemand flehen, anrufen, verehren, preisen
= rank me among lyric bards

Rigveda 1-33-2
उपेद॒हं ध॑न॒दामप्र॑तीतं॒ जुष्टां॒ न श्ये॒नो व॑स॒तिं प॑तामि इन्द्रं॑ नम॒स्यन्नु॑प॒मेभि॑र॒र्कैर्यः स्तो॒तृभ्यो॒ हव्यो॒ अस्ति॒ याम॑न्
úpéd aháṁ dhanadā́m ápratītaṁ júṣṭāṁ ná śyenó vasatím patāmi índraṁ namasyánn upamébhir arkaír yá stotŕ̥bhyo hávyo ásti yā́man
= 18 words hence 18 * 17/17 = word 18
= yā́man = Gang, Lauf, Fahrt, Flug, Zug, der Açvinen, Marsch, Kriegszug, das Kommen, Herannahen (der Nacht), Bahn, das Herangehen an die Götter mit Opfer oder Gebet, religiöse Feier
= touch the stars with my exalted head

Rigveda 1-30-20
कस्त॑ उषः कधप्रिये भु॒जे मर्तो॑ अमर्त्ये कं न॑क्षसे विभावरि
kás ta uṣaḥ kadhapriye bhujé márto amartye káṁ nakṣase vibhāvari
= 10 words hence 10 * 17/17 = word 10
= vibhāvari = can mean 'brilliant, bright, night, kind of metre'
= [Lesbian] lyre. But if you rank me among lyric bards, I shall touch the stars with my exalted head.

Chinese radical 111 = 矢 = a dart, an arrow, to aim at, to vow, to swear, (etymologically also 'excrement')
= the last line of Horace promising (aim swear) to touch the stars on certain conditions.

Conclusion: It is seen that Moses does not conform to Horace but Rigveda does - but this could be just the contents of my line 17 - the difference between the (time before the) Endzeit and the Offenbarung. See Kluge 1967 for the relevant word 'ständig' - which suggests that this difference between Moses and Rigveda in the word 'ständig' in german (Spätmittelhochdeutsch) can be traced to the time of the italian renaissance.

Example 3

DDS I:111 = abs #170

= 12 lines
Errors in line 4 and 9

Chinese Kangxi radical 170 = 阜 = mound, abundant, rich

Error #1 in line 4 out of 12

DDS I:111
wie Zunges Hinterkehle
should have been
wie Zunge Hinterkehle

Horace Ode III:ii = 32 lines
32 * 3/12 = line 8
32 * 4/12 = line 10,7
hence between lines 8 and 10,7 = lines 9, 10 and 0,7 into line 11
= (virgo) / suspiret "eheu, ne rudis agminum / sponsus lacessat regius asperum / tactu leonem, quem
= (maiden) / sigh: "Ah, let not our royal lover, unpracticed in the fray, rouse the lion fierce to touch, whom..."
= (maiden) sigh: "Ah, my dear lord, untrain'd in war! O tempt not the infuriate mood of that fell lion..."

It is seen that the maiden expression maybe could involve some 'Zunge Hinterkehle'.

Moses 1-7-11
בשנת שש מאות שנה לחיי נח בחדש השני בשבעה עשר יום לחדש ביום הזה נבקעו כל מעינת תהום רבה וארבת השמים נפתחו
= 22 words hence 22 * 4/12 = 7,3 = word 8
= השני = 'the repeat, the change, the difference, the year, the bright scarlet colour, the second'
= the 'pink/scarlet' lion of Horace?

Rigveda 1-17-3
अ॒नु॒का॒मं त॑र्पयेथा॒मिन्द्रा॑वरुण रा॒य आ ता वां॒ नेदि॑ष्ठमीमहे
anukāmáṁ tarpayethām índrāvaruṇa rāyá ā́ tā́ vāṁ nédiṣṭham īmahe
= 9 words hence 9 * 4/12 = word 3
= índrāvaruṇa = इन्द्रावरुण = índrā-váruṇa = Indra und Varuna
= Indra and Varuna = god of water
= it seems that sexual connotations to the fragment from Horace could be recognized

Rigveda 1-12-2
अ॒ग्निम॑ग्निं॒ हवी॑मभिः॒ सदा॑ हवन्त वि॒श्पति॑म् ह॒व्य॒वाहं॑ पुरुप्रि॒यम्
agním-agniṁ hávīmabhiḥ sádā havanta viśpátim havyavā́ham purupriyám
= 8 words hence 8 * 4/12 = 2,7 = word 3
hávīmabhiḥ = हवीमन् = hávīman = Anrufung
= relates naturally to 'Zunge Hinterkehle' (in DDS I:111), the source of a shout/call

Rigveda 1-6-7
इन्द्रे॑ण॒ सं हि दृक्ष॑से संजग्मा॒नो अबि॑भ्युषा म॒न्दू स॑मा॒नव॑र्चसा
índreṇa sáṁ hí dŕ̥kṣase saṁjagmānó ábibhyuṣā mandū́ samānávarcasā
= 8 words hence 8 * 4/12 = 2,7 = word 3
= hí = हि = surely, for, because etc
= a potential causation in the fragment of Horace

Rigveda 1-3-2
अश्वि॑ना॒ पुरु॑दंससा॒ नरा॒ शवी॑रया धि॒या धिष्ण्या॒ वन॑तं॒ गिरः॑
áśvinā púrudaṁsasā nárā śávīrayā dhiyā́ dhíṣṇyā vánataṁ gíraḥ
= 8 words hence 8 * 4/12 = 2,7 = word 3
= nárā = नरा॒ = Mann, Mensch, Kriegsmann, Held;
= the royal lover unpracticed in warfare/fray in Horace

This seems not so interesting. However, more interesting is that instead of in 1-34-9 there is a highly relevant correlate in Rigveda 10-34-9 - that is, in mandala 10 on the other side of this mandala 1 - where one finds the relevant form hástavantaṁ = हस्तवत् = hástavat,a., mit Händen versehen
= the touch with the hand on the lion - cp. also the error #2 'Munde' which can mean plural of 'hand'. It is noticed that lines 4 and 9 in my poem are symmetric in the poem and here seem to appear in butterflying symmetries of 'Zunge' and 'Hand'.

Error #2 in line 9 out of 12

DDS I:111
So atmen wir durch Munde ein
ahould have been
So atmen wir durch Münder ein

'Munde' would mean plural of 'hand' ('inhaling through the hands') or 'protection, guardian', or it could be an erroneous dative instead of normal accusative from 'durch'. If it should be plural accusative of 'mouth' it should have been 'Münder'. Socalled 'hunsrik' german spoken in Brazil uses 'Munde' as plural form, though.

Horace Ode III:ii = 32 lines
32 * 8/12 = line 21,3
32 * 9/12 = line 24
hence between lines 21,3-24
= [caelum,] negata temptat iter via / coetusque volgaris et udam / spernit humum fugiente penna
= essays its course by a path denied to others, and spurns the vulgar crowd and damp earth on fleeting pinion

Moses 1-7-11
בשנת שש מאות שנה לחיי נח בחדש השני בשבעה עשר יום לחדש ביום הזה נבקעו כל מעינת תהום רבה וארבת השמים נפתחו
= 22 words hence 22 * 9/12 = 16,5 = word 17
= מעינת
= seems to mean 'fountain', 'spring', derives from עין = 'eye, face, surface, appearance, fountain'
= applies to 'mouth, hand, protection' - and 'springs' on fleeting pinion

Rigveda 1-17-3
अ॒नु॒का॒मं त॑र्पयेथा॒मिन्द्रा॑वरुण रा॒य आ ता वां॒ नेदि॑ष्ठमीमहे
anukāmáṁ tarpayethām índrāvaruṇa rāyá ā́ tā́ vāṁ nédiṣṭham īmahe
= 9 words hence 9 * 9/12 = 6,8 = word 7
= vāṁ = त्व = 'or, is it?', 'you'
= vomit, nausea, ejection = 'damp earth'?

Rigveda 1-12-2
अ॒ग्निम॑ग्निं॒ हवी॑मभिः॒ सदा॑ हवन्त वि॒श्पति॑म् ह॒व्य॒वाहं॑ पुरुप्रि॒यम्
agním-agniṁ hávīmabhiḥ sádā havanta viśpátim havyavā́ham purupriyám
= 8 words hence 8 * 9/12 = word 6
= viśpátim = विश्पति = viç-páti = Hausherr, Stammherr; in diesem Sinne bisweilen (2) von Agni; (3) Gebieter der Menschen, Herrscher; (4) in diesem Sinne sehr häufig von Agni; (5) namentlich mit dem Gen. viçâm, (6) und zwar meist von Agni; (7) du., Hausherr und Hausfrau.
= chief of the settlement, lord of the people, king etc = (Horace) a path denied to others, and spurns the vulgar crowd

Rigveda 1-6-7
इन्द्रे॑ण॒ सं हि दृक्ष॑से संजग्मा॒नो अबि॑भ्युषा म॒न्दू स॑मा॒नव॑र्चसा
índreṇa sáṁ hí dŕ̥kṣase saṁjagmānó ábibhyuṣā mandū́ samānávarcasā
= 8 words hence 8 * 9/12 = word 6
= ábibhyuṣā = अबिभीवस् = á-bibhīvas = furchtlos; muthig; getrost
= confident and fearless in line with the fragment of Horace

Rigveda 1-3-2
अश्वि॑ना॒ पुरु॑दंससा॒ नरा॒ शवी॑रया धि॒या धिष्ण्या॒ वन॑तं॒ गिरः॑
áśvinā púrudaṁsasā nárā śávīrayā dhiyā́ dhíṣṇyā vánataṁ gíraḥ
= 8 words hence 8 * 9/12 = word 6
= dhíṣṇyā = धिष्ण्य = dhíṣṇya/dhíṣṇia = freigiebig, gerne gebend, gerne helfend (von den Göttern), namentlich wo sie als Reichthum gebende oder Hülfe verleihende geschildert werden; die Götter geneigt machend, einschmeichelnd, vom Liede; Feueraltäre, Feuerstätten (Erdaufwürfe, die oben mit Sand bestreut sind);
= applies well to Horace - in particular in the sense of 'Erdaufwürfe, die oben mit Sand bestreut sind' or 'placed upon a mound of earth serving as an altar' for '[spurns] damp earth on fleeting pinion'

Rigveda 1-34-9
क्व१॒॑ त्री च॒क्रा त्रि॒वृतो॒ रथ॑स्य॒ क्व१॒॑ त्रयो॑ व॒न्धुरो॒ ये सनी॑ळाः क॒दा योगो॑ वा॒जिनो॒ रास॑भस्य॒ येन॑ य॒ज्ञं ना॑सत्योपया॒थः
kvà trī́ cakrā́ trivŕ̥to ráthasya kvà tráyo vandhúro yé sánīḷāḥ kadā́ yógo vājíno rā́sabhasya yéna yajñáṁ nāsatyopayātháḥ
= 17 words hence 17 * 9/12 = 12,8 = word 13
= vājíno = वाजिन् = vājín rasch, meist mit dem Nebenbegriff des Kräftigen; Streitross, Ross (vgl. á-vājin); stark, kräftig, tapfer; Held, Kriegsheld; stark, Held von Göttern; reich; (der Reiche), der Veranstalter des Opfers; nahrungsreich, reich an Opferspeise, mit Opferspeise versehen. -
= essays its course by a path denied to others
Notice that for this Rigveda 1-34-9 the slightly immature 'Kriegsheld' of the Horace fragment for line 4 - symmetric to line 9 in the poem - including possibly the role of 'Veranstalter des Opfers' - suggests another butterfly symmetry.

Kangxi radical #170 = 阜 = mound, abundant, rich finds a reflex in Rigveda 1-3-2 for line 9 - Kangxi radical #170 = 阜

The glyph origin of this radical #170 in its earliest known form (the oracle bone script) tells of the distinction between two different things - by two different mounds (90 degrees).

Example 4

DDS I:111a = abs #171

8 lines
1 'error' in line 4 (the incomplete word 'früh...')

Horace Ode III:iii = 72 lines
72 * 3/8 = line 27
72 * 4/8 = line 36
hence lines 28-36:

Hectoreis opibus refringit

nostrisque ductum seditionibus
bellum resedit; protinus et gravis
iras et invisum nepotem,
Troica quem peperit sacerdos,

Marti redonabo; illum ego lucidas
inire sedes, discere nectaris
sucos et adscribi quietis
ordinibus patiar deorum.

"...with Hector's help longer baffle the contending Greeks; and the war our feuds had lengthened, now has ended. Henceforth I will abandon my fierce wrath and restore to Mars my hated grandson whom the Trojan priestess bore. Him will I suffer to enter the abodes of light, to quaff sweet nectar, and to be enrolled in the serene ranks of the gods".

The 'hated grandson' is Romulus and/or Remus, twin sons of priestess Rhea Silvia and Mars - the god of war who was the son of Juno who gives this speech in Horace's ode.

Moses 1-7-12
ויהי הגשם על הארץ ארבעים יום וארבעים לילה׃
= 8 words hence 8 * 4/8 = word 4
= הארץ = 'the earth', 'the land'
= the land of Rome founded by Romulus and Remus

Rigveda 1-17-4
यु॒वाकु॒ हि शची॑नां यु॒वाकु॑ सुमती॒नाम् भू॒याम॑ वाज॒दाव्ना॑म्
yuvā́ku hí śácīnāṁ yuvā́ku sumatīnā́m bhūyā́ma vājadā́vnām
= 7 words hence 7 * 4/8 = 3,5 = word 4
= yuvā́ku = त्व = tvá, tuá, dein [von tuá, du]
= the speech act

Rigveda 1-12-3
अग्ने॑ दे॒वाँ इ॒हा व॑ह जज्ञा॒नो वृ॒क्तब॑र्हिषे असि॒ होता॑ न॒ ईड्यः॑
= ágne devā́m̐ ihā́ vaha jajñānó vr̥ktábarhiṣe ási hótā na ī́ḍyaḥ
= 10 words hence 10 * 4/8 = word 5
= jajñānó = जन् = jan[Cu. 128]. Das Activ des ursprünglichen Verbs, so wie seines Causale hat die transitive Bedeutung „zeugen, gebären” (see Grassmann for details)
= the motherhoods of Juno and Rhea Silvia

Rigveda 1-6-8
अ॒न॒व॒द्यैर॒भिद्यु॑भिर्म॒खः सह॑स्वदर्चति ग॒णैरिन्द्र॑स्य॒ काम्यैः॑
anavadyaír abhídyubhir makháḥ sáhasvad arcati gaṇaír índrasya kā́myaiḥ
= 8 words hence 8 *4/8 = word 4
= sáhasvad = सहस्वत् = sáhasvat = kraftreich, gewaltig, siegreich [von sáhas], auch mit dem Instr. sáhasā verbunden (kräftig an Kraft); als Adverb kräftig, kraftreich, gewaltig, siegreich
= Mars, the god of war

Rigveda 1-3-3
दस्रा॑ यु॒वाक॑वः सु॒ता नास॑त्या वृ॒क्तब॑र्हिषः आ या॑तं रुद्रवर्तनी
dásrā yuvā́kavaḥ sutā́ nā́satyā vr̥ktábarhiṣaḥ ā́ yātaṁ rudravartanī
= 8 words hence 8 *4/8 = word 4
= nā́satyā = नासत्य = nâsatya, ná-asatya = nicht [ná] trügerisch [asatyá], wahrhaft
= the abodes of light, the serene ranks of the gods

Rigveda 1-34-10
आ ना॑सत्या॒ गच्छ॑तं हू॒यते॑ ह॒विर्मध्वः॑ पिबतं मधु॒पेभि॑रा॒सभिः॑ यु॒वोर्हि पूर्वं॑ सवि॒तोषसो॒ रथ॑मृ॒ताय॑ चि॒त्रं घृ॒तव॑न्त॒मिष्य॑ति
ā́ nāsatyā gáchataṁ hūyáte havír mádhvaḥ pibatam madhupébhir āsábhiḥ yuvór hí pū́rvaṁ savitóṣáso rátham r̥tā́ya citráṁ ghr̥távantam íṣyati
= 18 words hence 18 * 4/8 = word 9
= āsábhiḥ = आसन् = āsán,n., Mund, Rachen
= the drinking of nectar

Chinese Kangxi radical 171 = 隶 = to catch; to seize; to reach
could tell of a similar graphic format in its glyph origin

Mathews lists definitions of this sign: to reach to, surplus, fox-cub
The fox-cub is then clearly the she-wolf's adopted cubs Romulus and Remus.

Example 5

DDS I:136 = abs #225

Error in line 7 out of 8

As described in the beginning of the article on Horace, the question was the status of the word 'Rüste' - if it should be a board that went horizontally or vertically along the outside of the boat. This is a real-world problem which is not a grammatical or 'semantic' problem or anything the like. There is one odd grammatical form in DDS I:136 - that is the 'küsste' for 2nd person singular in line 7 out of 8 - it should have been 'küsstest', while 'küsste' is 1st or 3rd person singular. The poetic reason could be in the form

sich dreht und geht: Du Küste -
mich auf dem roten Munde.

Horace Epode 10 = 24 lines
24 * 6/8 = 18
24 * 7/8 = 21
hence from line 19 to line 21 = three lines:

"Ionius udo cum remugiens sinus / Noto carinam ruperit / opima quodsi praeda curvo litore / [porrecta mergos iuverit]"
=
"[when] the Ionian Sea whistling with rainy Notus [= the southern wind], shall wreck thy vessel! But if, stretched out as fat carrion on the curving shore, [thou give pleasure to the gulls]"

Hence the error "Küste/küsste" has a close correlate in Horace's 'fat carrion on the curving shore'. The vessel of Horace is the wooden boat in my poem.

Praeda can mean both the circumstances of this 'carrion' (booty, spoil, plunder, pillage) as well as 'surety' = 'bonds entered into for the performance of an undertaking', hence the question of the mast being supported by the ropes under the gunnel - are they vertical or horizontal?

Clearly my poem is more undramatic than Horace's but they otherwise share poetic-narrative elements quite notably.

'Du Küste - mich auf dem roten Munde' relates to 'opima quodsi praeda curvo litore' - and hence there is a relevance of 'Küste' / 'quodsi' by phonetic form.

Moses 1-9-20
ויחל נח איש האדמה ויטע כרם
= 6 words hence 6 * 7/8 = 5,3 = word 6
= כרם = a vineyard - but it can as isolated form probably also be taken to mean כ + רום = 'like being lifted up', 'like being exalted' - like those sailors washed up on the shore.

Rigveda 1-22-17
इ॒दं विष्णु॒र्वि च॑क्रमे त्रे॒धा नि द॑धे प॒दम् समू॑ळ्हमस्य पांसु॒रे
idáṁ víṣṇur ví cakrame tredhā́ ní dadhe padám sámūḷham asya pāṁsuré
= 11 words hence 11 * 7/8 = 9,6 = word 10
= asya = इदम् = idám = pron., dieser, dieser hier
= the shipwrecking by the southern wind (Horace). See Grassmann's article (idam) - with 'Ton' (for whistling), 'aus dem Deutestamme a entspringen' = Horace's sailors as fat carrion on the shore etc.

Rigveda 1-16-9
सेमं नः॒ काम॒मा पृ॑ण॒ गोभि॒रश्वैः॑ शतक्रतो स्तवा॑म त्वा स्वा॒ध्यः॑
sémáṁ naḥ kā́mam ā́ pr̥ṇa góbhir áśvaiḥ śatakrato stávāma tvā svādhyàḥ
= 11 words hence 11 * 7/8 = 9,6 = word 10
= tvā = त्व = tvá, tuá, pron., du
= Horace talks to 'you', 'your vessel' - cp. also 'Du Küste'

Rigveda 1-12-2
अ॒ग्निम॑ग्निं॒ हवी॑मभिः॒ सदा॑ हवन्त वि॒श्पति॑म् ह॒व्य॒वाहं॑ पुरुप्रि॒यम्
agním-agniṁ hávīmabhiḥ sádā havanta viśpátim havyavā́ham purupriyám
= 8 words hence 8 * 7/8 = word 7
= havyavā́ham = हव्यवह् = havya-váh,stark havya-vâh, a., (1) Opferguss (zu den Göttern) fahrend, von Agni oder seiner Zunge; (2) Opfertrank darbringend, subst. Opferbringer
= the carrion on the shore of Horace.

Rigveda 1-8-5
म॒हाँ इन्द्रः॑ प॒रश्च॒ नु म॑हि॒त्वम॑स्तु व॒ज्रिणे॑ द्यौर्न प्र॑थि॒ना शवः॑
mahā́m̐ índraḥ paráś ca nú mahitvám astu vajríṇe dyaúr ná prathinā́ śávaḥ
= 12 words hence 12 * 7/8 = 10,5 = word 11
= prathinā́ = प्रथिमन् = prathimán,n., width, greatness, extension
= the curving shore, the ocean

Rigveda 1-4-8
अ॒स्य पी॒त्वा श॑तक्रतो घ॒नो वृ॒त्राणा॑मभवः प्रावो॒ वाजे॑षु वा॒जिन॑म्
asyá pītvā́ śatakrato ghanó vr̥trā́ṇām abhavaḥ prā́vo vā́jeṣu vājínam
= 9 words hence 9 * 7/8 = 7,9 = word 8
= vā́jeṣu = वाज = vâja,m. Neben der Grundbedeutung "Kraft, rüstige Kraft, Regsamkeit" tritt der Begriff der "Raschheit" besonders hervor - wing, wealth, water, food etc
= the gulls on the seaside, enjoying the carrion

In short, a very strong correlation of the Rigveda with Horace - the hebrew in the form 'like being exalted' as well - while the 'vineyard' as for the harvesting of the sea's grapes etc is more special

Absolute #225 = radical #204. The chinese Kangxi radical #204 = 黹 has a glyph origin in oracle bone script (the oldest form) which could call forth associations to this complex of the boat touching the grounds of the coast and the transformation of this touch-down onto the shore (also of Horace). The meaning is that needle-work of the embroidery where the needle turns on the other side.

Example 6

DDS I:170 = abs #271

Error in line 1 out of 12, should have been 'Die großen Pferde'

Horace Epistle I.vii.43,2-59,4 (see this file)

Line 1 in my poem is 1/12 of the poem, which means that the relevant part of Horace's epistle will be

[parvum] parva decent: mihi iam non regia Roma,
sed vacuum Tibur placet
=
befit small folk; my own delight today is not queenly Rome,
but quiet Tibur

What is interesting, as appears from the following samples, is to consider this as being about Tiber[is] = the river that runs through Rome - rather than Tibur, the town now called Tivoli which is 30 km off Rome. The example will then illustrate some mechanism in language change.

It is seen that 'Pferde großen' relates to '[parvum] parva decent' by phonetic form.

Moses 1-11-5
וירד יהוה לראת את העיר ואת המגדל אשר בנו בני האדם
= 11 words hence 11* 1/12 = 0,9 = word 1
= וירד = (and) come down, decline, flow, descent
= the river Tiber[is] is flowing

Rigveda 1-25-3
वि मृ॑ळी॒काय॑ ते॒ मनो॑ र॒थीरश्वं॒ न संदि॑तम् गी॒र्भिर्व॑रुण सीमहि
ví mr̥ḷīkā́ya te máno rathī́r áśvaṁ ná sáṁditam gīrbhír varuṇa sīmahi
= 11 words hence 11* 1/12 = 0,9 = word 1
= ví = वि = visiehe vī, 3. vā. 1. ví, nur als Richtungswort: 'auseinander, hinweg, hindurch'
= the river flowing through the landscape

Rigveda 1-22-5
हिर॑ण्यपाणिमू॒तये॑ सवि॒तार॒मुप॑ ह्वये स चेत्ता॑ दे॒वता॑ प॒दम्
híraṇyapāṇim ūtáye savitā́ram úpa hvaye sá céttā devátā padám
= 9 words hence 9* 1/12 = 0,8 = word 1
= híraṇyapāṇim = हिरण्यपाणि = híraṇya-pāṇi, (1) goldhändig; (2) goldhufig [pāṇí = Hand, Huf]
= the 'queenly' Rome

Rigveda 1-15-12
गार्ह॑पत्येन सन्त्य ऋ॒तुना॑ यज्ञ॒नीर॑सि दे॒वान्दे॑वय॒ते य॑ज
gā́rhapatyena santya r̥túnā yajñanī́r asi devā́n devayaté yaja
= 8 words hence 8*1/12 = 0,7 = word 1
= gā́rhapatyena = गार्हपत्य = gârhapatya, Herrschaft im Hause [von gṙhápati], Haushaltung, Hausstand. गार्हपत्य can mean household duties, with Agni, position of a householder, householder's fire, household, government of a family, place where the garhapatya fire is kept.
= the ruler (queenly) and the small folk

Rigveda 1-12-11
स नः॒ स्तवा॑न॒ आ भ॑र गाय॒त्रेण॒ नवी॑यसा र॒यिं वी॒रव॑ती॒मिष॑म्
sá na stávāna ā́ bhara gāyatréṇa návīyasā rayíṁ vīrávatīm íṣam
= 10 words hence 10*1/12 = 0,8 = word 1
= sá = स = sá,pr., der, dieser
= the word 'iam' in the sense of today, now etc, see example 7 under Rigveda 1-17-8 - could suggest a deictic posture

Rigveda 1-9-4
असृ॑ग्रमिन्द्र ते॒ गिरः॒ प्रति॒ त्वामुद॑हासत अजो॑षा वृष॒भं पति॑म्
ásr̥gram indra te gíraḥ práti tvā́m úd ahāsata ájoṣā vr̥ṣabhám pátim
= 11 words hence 11* 1/12 = 0,9 = word 1
= ásr̥gram = सृज् = sṙj[erweitert aus sṙ, zu dem es seiner Bedeutung nach in causalem Verhältnisse steht, wie besonders die unter Inf. sártu citirten Stellen zeigen], (1) Flüssigkeit [A.] ausgiessen, strömen lassen; (2) mit Bezeichnung des Zieles oder der Person, für die es geschieht; (3) jemand, etwas entsenden; auch (4) mit Bezeichnung des Zieles; insbesondere (5) Ross, Wagen entsenden, in rasche Bewegung setzen; (6) Geschosse entsenden, abschiessen; auch (7) dessen, auf den sie geschleudert werden; (8) auf jemand schleudern, schiessen; (9) Strahlen entsenden, schiessen; (10) mit Strahlen schiessen; (11) Lieder ergiessen jemandem, Schall entsenden; (12) Wasser strömen lassen; (13) entlassen aus
= strömen lassen = the river Tiber(is)

In fact my poem and this particular fragment from Horace exhibit a strong parallelism in their totality - here shown with Smart's translation:

DDS I:170:

Die große Pferde
traben hoch.
Der weiße Herr
mit dem tiefen Joch

weiß es wohl
als er biegt den Kopf:
Schwarz wie Kohle
und weiß wie Topf.

Die Seele in Mund,
sagt die schwarze Kohle.
Sei gesund,
sagt der weiße Pole. Horace Epistle I.vii.43,2-59,4:

Small things best suit the small.
No longer does imperial Rome please me,
but unfrequented Tibur, and unwarlike Tarentum. Philip, active and strong,
and famed for pleading causes, while returning from his employment about the eighth hour,

and now of a great age, complaining that the Carinæ were too far distant from the forum; spied, as they say,
a person clean shaven in a barber’s empty shed, composedly paring his own nails with a knife.
"Demetrius," [says he,] (this slave dexterously received his master’s orders,) "go inquire,
and bring me word from what house, who he is, of what fortune, who is his father, or who is his patron."

He goes, returns, and relates, that "he is by name, Vulteius Mæna, an auctioneer, of small fortune,
of a character perfectly unexceptionable, that he could upon occasion ply busily, and take his ease, and get, and spend;
delighting in humble companions and a settled dwelling, and (after business ended) in the shows,
and the Campus Martius." "I would inquire [of him himself all this]

This appears also from the fact that the samples from Moses and Rigveda can be recognized as relevant also to the theme of the entire fragment:

Moses 1-11-5 = וירד = (and) come down, decline, flow, descent
= Horace refers to Philippus asking for information about a person, including his descent (his father etc), and he gets all the info except just this about his father or patron

Rigveda 1-25-3 = ví = वि = visiehe vī, 3. vā. 1. ví, nur als Richtungswort: 'auseinander, hinweg, hindurch'
= Horace: the road from Carinae to Forum

Rigveda 1-22-5 = híraṇyapāṇim = हिरण्यपाणि = híraṇya-pāṇi, (1) goldhändig; (2) goldhufig [pāṇí = Hand, Huf]
= Horace: the man is cleaning his nails with a pocket-knife

Rigveda 1-15-12 = gā́rhapatyena = गार्हपत्य = gârhapatya, Herrschaft im Hause [von gṙhápati], Haushaltung, Hausstand. गार्हपत्य can mean household duties, with Agni, position of a householder, householder's fire, household, government of a family, place where the garhapatyafire is kept.
= the fragment from Horace can, when considering this word, be considered to be about precisely everything the opposite of it

Rigveda 1-12-11 = sá = स = sá,pr., der, dieser
= the pointing to the customer in the barber shop: Who is that?

Rigveda 1-9-4 = ásr̥gram = सृज् = sṙj[erweitert aus sṙ, zu dem es seiner Bedeutung nach in causalem Verhältnisse steht, wie besonders die unter Inf. sártu citirten Stellen zeigen], (1) Flüssigkeit [A.] ausgiessen, strömen lassen; (2) mit Bezeichnung des Zieles oder der Person, für die es geschieht; (3) jemand, etwas entsenden; auch (4) mit Bezeichnung des Zieles; insbesondere (5) Ross, Wagen entsenden, in rasche Bewegung setzen; (6) Geschosse entsenden, abschiessen; auch (7) dessen, auf den sie geschleudert werden; (8) auf jemand schleudern, schiessen; (9) Strahlen entsenden, schiessen; (10) mit Strahlen schiessen; (11) Lieder ergiessen jemandem, Schall entsenden; (12) Wasser strömen lassen; (13) entlassen aus
= Philippus sending off Demetrius

Now this could be taken to suggest that there could be a telescoping function from the full poem zooming in on the small detail with the Tiber/Tibur change. One can speculate that this phenomenon could be part of the diachronic format of the language.

DDS #170 = abs #271 = chinese Kangxi radical #158 = body, main part, pregnancy, oneself, in person; personally, I, me, life, one's (entire) life, social status, moral character, classifiers for suits of clothes, statues, dolls, puppets, silkworms, beatings.

Example 7

DDS II:30 = abs #325

Error in line13 out of 14

There is not much grammatical error in this poem, I think, but maybe one could put a little finger on line 13 - since 'gehen' should be standard unless perhaps metric concerns call for 'gehn'. I try this line 13 out of 14.

Horace Epistle I.ix.9,3-x.12,5 - (see this file) - with translation here

10

5

10

Horace Epistle I.ix.9,3-x.12,5
EPISTLE IX: [...]
[sic ego, maioris] fugiens opprobria culpae,
frontis ad urbanae descendi praemia, quod si
depositum laudas ob amici iussa pudorem,
scribe tui gregis hunc et fortem crede bonumque.
EPISTLE X:
Urbis amatorem Fuscum salvere iubemus
ruris amatores, hac in re scilicet una
multum dissimiles, at cetera paene gemelli
fraternis animis (quidquid negat alter, et alter)
adnuimus pariter vetuli notique columbi.
Tu nidum servas; ego laudo ruris amoeni
rivos et musco circumlita saxa nemusque.
quid quaeris? vivo et regno, simul ista reliqui
quae vos ad caelum effertis rumore secundo,
utque sacerdotis fugitivus liba recuso;
pane egeo iam mellitis potiore placentis.
Vivere Naturae si convenienter oportet,
ponendaeque domo [quaerenda est area primum] Fairclough's translation:
EPISTLE IX: [...]
"So, to avoid the reproach of [a greater] fault,
I have stopped to win the reward of town-bred impudence. But if
you approve of my thus doffing modesty at the bidding of a friend,
enrol him in your circle and believe him brave and good.
EPISTLE X:
To Fuscus, lover of the city, I, a lover of the country,
send greetings. In this one point, to be sure,
we differ much, but being in all else much like twins
with the hearts of brothers - if one says 'no', the other says 'no' too -
we nod a common assent like a couple of old familiar doves.
You keep the nest; I praise the lovely country's
brooks, its grove and moss-grown rocks.
In short: I live and reign, as soon as I have left behind
what you townsmen with shouts of applause extol to the skies.
Like the priest's runaway slave, I loathe sweet wafers:
'tis bread I want, and now prefer to honeyed cakes.
If 'to live agreeably to Nature' is our duty,
and first we must choose [a site for building] our house" DDS II:30

Das Fenster stand dunkel.
Der Staub sich erklärt.
Es stand die Ranunkel
heiter, unbeschert.

Die Straße war leicht.
Der Morgen war froh.
Das Licht war ein Streich
durch Blumen und Stroh.

Die glückliche Zeit
erwartet uns jetzt -
die Sonne befreit,

die Erde ist fest
zu gehn um die Welt,
zu zahlen mit Geld.

The fragment is 16,2 lines long. Computing line 13 (out of 14) in my poem takes it to lines 10,2-11,3 in Epistle X:

egeo iam mellitis potiore placentis.
Vivere Naturae

egeo
jam
mellitus
potis
placenta
Vivere Naturae to be needy, be in want, be poor, need, want, lack, have need
already, now, soon, then, finally etc
of honey, sweet with honey
able, capable
a cake
to live in harmony with Nature

"[bread] I want, and now prefer to honeyed cakes. If 'to live agreeably to Nature'"

Moses 1-13-7
ויהי ריב בין רעי מקנה אברם ובין רעי מקנה לוט והכנעני והפרזי אז ישב בארץ
= 15 words, of which 15*13/14 = 13,9 = word 14
= ישב = dwelt - to sit down, to remain, stay, abide, dwell, be inhabited
= Horace: to live by Nature, vs. the runaway slave

Rigveda 1-29-4
स॒सन्तु॒ त्या अरा॑तयो॒ बोध॑न्तु शूर रा॒तयः॑ आ तू न॑ इन्द्र शंसय॒ गोष्वश्वे॑षु शु॒भ्रिषु॑ स॒हस्रे॑षु तुवीमघ
sasántu tyā́ árātayo bódhantu śūra rātáyaḥ ā́ tū́ na indra śaṁsaya góṣv áśveṣu śubhríṣu sahásreṣu tuvīmagha
= 16 words hence 16*13/14 = 14,9 = word 15
= sahásreṣu = सहस्र = sahásra,n., thousand, great number, infinite
= no obvious correlate - but clearly latin 'mille' resembles the word 'mellitis' from 'mel = honey'

Rigveda 1-24-14
अव॑ ते॒ हेळो॑ वरुण॒ नमो॑भि॒रव॑ य॒ज्ञेभि॑रीमहे ह॒विर्भिः॑ क्षय॑न्न॒स्मभ्य॑मसुर प्रचेता॒ राज॒न्नेनां॑सि शिश्रथः कृ॒तानि॑
áva te héḷo varuṇa námobhir áva yajñébhir īmahe havírbhiḥ kṣáyann asmábhyam asura pracetā rā́jann énāṁsi śiśrathaḥ kr̥tā́ni
= 17 words hence 17*13/14 = 15,8 = word 16
= śiśrathaḥ = श्रथ् = çrath,(1) lösen, lockern, das Feste, den Fels; (2) lösen, verzeihen; (3) lösen, lockern durch Ausziehen des Saftes; (4) jemand lösen, freimachen; (5) loslassen aus der Hand (ohne Obj.); (6) ablassen, matt werden, ruhen; (7) me., jemandem nachgeben, nachgiebig sein; (8) sich lösen, sich lockern - tying/binding, loosening
= paradoxical sense - bread I want, and now prefer to honeyed cakes

Rigveda 1-22-4
न॒हि वा॒मस्ति॑ दूर॒के यत्रा॒ रथे॑न॒ गच्छ॑थः अश्वि॑ना सो॒मिनो॑ गृ॒हम्
nahí vām ásti dūraké yátrā ráthena gáchathaḥ áśvinā somíno gr̥hám
= 10 words hence 10*13/14 = 9,3 = word 10
= gr̥hám = गृह = gṙhá,m. [von grabh, grah], (1) der Diener (als der, welcher ergreift und zur Hand reicht); (2) Haus
= the priest's runaway slave (in the line preceding the relevant fragment of Horace) - the house occurs in the line immediately following this fragment - "first we must choose [a site for building] our house"

Rigveda 1-17-8
इन्द्रा॑वरुण॒ नू नु वां॒ सिषा॑सन्तीषु धी॒ष्वा अ॒स्मभ्यं॒ शर्म॑ यच्छतम्
índrāvaruṇa nū́ nú vāṁ síṣāsantīṣu dhīṣv ā́ asmábhyaṁ śárma yachatam
= 10 words hence 10*13/14 = 9,3 = word 10
= yachatam = यम् = yam = "(ein Ross) zügeln, bändigen, lenken" und allgemeiner "durch irgend einen ausgestreckten Gegenstand (wie ein Seil, oder auch den ausgestreckten Arm) etwas in seiner Gewalt halten"; oder mit veränderter Rection "ausstrecken" = the word 'iam' in Horace is the same sound as this sanskrit 'yam' - although the meaning is more special - could be, though, that it is not impossible that 'reaching out a hand for controlling some action' could be the bodily origins of the meanings of latin 'iam' ('already, now, soon, then, finally' etc)?

Rigveda 1-14-4
प्र वो॑ भ्रियन्त॒ इन्द॑वो मत्स॒रा मा॑दयि॒ष्णवः॑ द्र॒प्सा मध्व॑श्चमू॒षदः॑
prá vo bhriyanta índavo matsarā́ mādayiṣṇávaḥ drapsā́ mádhvaś camūṣádaḥ
= 9 words hence 10*13/14 = 8,4 = word 9
= camūṣádaḥ = चमूषद् = camūṣád, in der Schüssel [camû] befindlich, lying on the [camû] vessel - camû can mean 'heaven and earth', also 'army'
= cp. Horace's 'in agreement with Nature'. If camû means 'plate' (for a dish), there is the bread and honeyed cake theme.

Abs #325 = chinese Kangxi radical #104 = 疒 = 'to be ill'

It seems that 'zu leben/schlafen in Zelt' would have been more in line with these samples than a 'house' - which costs more money. See the glyph origin of radical #104, though: It looks like somebody who is standing upright, leaning backwards against some rack which must be attached to something - and that could mean that a tent will not do: It has to be a house - and that costs money. The radical means 'to be ill' and then a house is normally better than a tent.

Example 8

DDS I:109c = abs #161

Errors in lines 4 and 10 out of 15.
(In line 7 'Rauchen' is probably supposed to be 'Rauschen' but should be read as 'Rauchen').

Error #1 = line 4 out of 15

DDS I:109c
im Ring der sich herunterziehen
should have been
im Ring der sich herunterzieht

Horace Ode II.xiii - (concordance here) - a translation here
= 40 lines, hence

40 * 3/15 = 8
40 * 4/15 = 10,7
→ lines 9, 10 and 2/3 of 11:

et quidquid usquam concipitur nefas
tractavit, agro qui statuit meo
te, triste lignum, te, [caducum]
=
and whatever crime is anywhere conceived -
the man that set thee out on my estate
thou miserable stump

It is seen that 'der sich herunterzieh[t]' relates to 'te, triste lignum, te' by phonetic form.

Moses 1-7-2
מכל הבהמה הטהורה תקח לך שבעה שבעה איש ואשתו ומן הבהמה אשר לא טהרה הוא שנים איש ואשתו
= 18 words hence 18*4/15 = 4,8 = word 5
= לך = לכה = with you, journey
= with the stump, out on the estate

Rigveda 1-16-3
इन्द्रं॑ प्रा॒तर्ह॑वामह॒ इन्द्रं॑ प्रय॒त्य॑ध्व॒रे इन्द्रं॒ सोम॑स्य पी॒तये॑
índram prātár havāmaha índram prayaty àdhvaré índraṁ sómasya pītáye
= 9 words hence 9 * 4/15 = 2,4 = word 3
= havāmaha = हू = hū[zend. zu, rufen, beten], jemand rufen, anrufen, besonders Götter und göttliche Wesen; (2) jemand, einen Gott auffordern zu; besonders (3) ihn zu Hülfe (ávase, ūtáye) rufen; (4) einen Gott anrufen um; (5) anrufen ohne ausgedrücktes Object; (6) jemand rufen, einladen zu; (7) jemand einladen; (8) etwas erbitten, erflehen; (9) Ruf, Preis rufen, laut aussprechen, auch (10) mit directer Rede; (11) eines Gottes Namen rufen, anrufen; (12) jemandem Glückwunsch, Heilsruf [bháram] zurufen; (13) mit púnar antworten.
= 'thou miserable stump'

Rigveda 1-11-1
इन्द्रं॒ विश्वा॑ अवीवृधन्त्समु॒द्रव्य॑चसं॒ गिरः॑ र॒थीत॑मं र॒थीनां॒ वाजा॑नां॒ सत्प॑तिं॒ पति॑म्
índraṁ víśvā avīvr̥dhan samudrávyacasaṁ gíraḥ rathī́tamaṁ rathī́nāṁ vā́jānāṁ sátpatim pátim
= 10 words hence 10 * 4/15 = 2,7 = word 3
= avīvr̥dhan = वृध् = vṙdh, A. Transitiv im Aktiv des Wurzelverbs und des Causale, aber auch im Medium beider bei reflexiver Begriffswendung: (1) wachsen machen, vergrössern, anschwellen machen; (2) vermehren, steigern; (3) jemandem etwas vermehren, es ihm reichlich zu Theil werden lassen; (4) jemand stärken, erquicken, begeistern, verherrlichen durch, auch (5) ohne Instr.; (6) jemand stärken, begeistern zu; (7) jemand nähren, grossziehen; (8) jemand, etwas kräftigen, gedeihen lassen; (9) jemand fördern zu; (10) fördern, segnen Lied, Gebet; (11) etwas kräftiger, herrlicher machen durch; (12) jemand geniessen lassen von. -- B. Intransitiv im Medium des Wurzelverbs und des Causale, seltner im Aktiv; (13) wachsen, gross werden, erstarken, auch (14) mit Instr. dessen woran, oder dem Loc. dessen, worin man wächst; (15) sich gross zeigen oder sich gross machen; (16) sich steigern, sich mehren; (17) gedeihen, gelingen; (18) sich erlaben an oder bei; (19) sich erlaben, sich erfreuen; (20) sich an jemand erfreuen; (21) erstarken oder sich erregen lassen zu. -- (22) Part. vāvṙdhāná, vṙddhá gross, oder (23) erwachsen, oder (24) freudig gestimmt
= the miserable stump of a tree is perhaps no longer growing and thriving - but it once was

Rigveda 1-5-8
त्वां स्तोमा॑ अवीवृध॒न्त्वामु॒क्था श॑तक्रतो त्वां व॑र्धन्तु नो॒ गिरः॑
tvā́ṁ stómā avīvr̥dhan tvā́m ukthā́ śatakrato tvā́ṁ vardhantu no gíraḥ
= 10 words hence 10 * 4/15 = 2,7 = word 3
= avīvr̥dhan = वृध् = vṙdh = like under 1-11-1
= the miserable stump of a tree is perhaps no longer growing and thriving - but it once was

Rigveda 1-2-2
वाय॑ उ॒क्थेभि॑र्जरन्ते॒ त्वामच्छा॑ जरि॒तारः॑ सु॒तसो॑मा अह॒र्विदः॑
vā́ya ukthébhir jarante tvā́m áchā jaritā́raḥ sutásomā aharvídaḥ
= 8 words hence 8 * 4/15 = 2,1 = word 3
= jarante = जर् 1. jar [ursprünglich *gvar], der ursprüngliche Begriff bezeichnet das Tönen der menschlichen Stimme: (1) singen; davon jaritŕ, der Sänger; (2) einen Gott besingen; (3) rauschen, knistern, von Agni und seinen Flammen, aber auch dies Rauschen als ein Singen aufgefasst, z. B. 127,10: ágre rebhás ná jarate ṙṣūṇâm, "an der Spitze der Flammen rauscht er (Agni) wie ein Sänger"
= the stump as a tree - is here recognized in my poem in line 7 'Rau[s]chen von den Blättern'.

Rigveda 1-33-15
आवः॒ शमं॑ वृष॒भं तुग्र्या॑सु क्षेत्रजे॒षे म॑घव॒ञ्छ्वित्र्यं॒ गाम् ज्योक्चि॒दत्र॑ तस्थि॒वांसो॑ अक्रञ्छत्रूय॒तामध॑रा॒ वेद॑नाकः
ā́vaḥ śámaṁ vr̥ṣabháṁ túgryāsu kṣetrajeṣé maghavañ chvítryaṁ gā́m jyók cid átra tasthivā́ṁso akrañ chatrūyatā́m ádharā védanākaḥ
= 16 words hence 16 * 4/15 = 4,3 = word 5
= kṣetrajeṣé = क्षॆत्रजॆष = kṣetra-jeṣá = 'land-gaining', Erbeutung [jeṣá] des Landes [kṣétra], Kampf um Land.
= that set thee out on my estate

Error #2 = line 10 out of 15

DDS I:109c
sich rasselten in schönen Sommerwetter
should have been
sich rasselte in schönem/schönes Sommerwetter

Horace Ode II.xiii - (concordance here) - a translation here
40 * 9/15 = 24
40 * 10/15 = 26,7
→ lines 25, 26 and 2/3 of 27:

Sappho puellis de popularibus
et te sonantem plenius aureo,
Alcaee, plectro dura [navis]
=
Sappho complaining on Aeolian lyre
of her countrywomen, and thee, Alcaeus,
rehearsing in fuller strain with golden plectrum

It is seen that 'sich rasselte in schönem/schönes Sommerwetter' relates somewhat to 'Sappho puellis de popularibus et te sonantem plenius'.

Moses 1-7-2
מכל הבהמה הטהורה תקח לך שבעה שבעה איש ואשתו ומן הבהמה אשר לא טהרה הוא שנים איש ואשתו
= 18 words hence 18*10/15 = word 12
= אשר = to go straight on, to pronounce happy, happiness, step, Assyria, he which, to bind etc
= happily playing the lyre?

Rigveda 1-16-3
इन्द्रं॑ प्रा॒तर्ह॑वामह॒ इन्द्रं॑ प्रय॒त्य॑ध्व॒रे इन्द्रं॒ सोम॑स्य पी॒तये॑
índram prātár havāmaha índram prayaty àdhvaré índraṁ sómasya pītáye
= 9 words hence 9 * 10/15 = word 6
= àdhvaré = अध्वर = adhvará, die religiöse Feier, das Opferfest - sky or air, not injuring, not crooked, uninterrupted, religious ceremony, sacrifice
= plectrum is for 'un-interrupted' sound of the lyre string, not injuring/crooked could refer to Sappho who with her poetry would have related 'un-interrupted-ly' to her countrywomen

Rigveda 1-11-1
इन्द्रं॒ विश्वा॑ अवीवृधन्त्समु॒द्रव्य॑चसं॒ गिरः॑ र॒थीत॑मं र॒थीनां॒ वाजा॑नां॒ सत्प॑तिं॒ पति॑म्
índraṁ víśvā avīvr̥dhan samudrávyacasaṁ gíraḥ rathī́tamaṁ rathī́nāṁ vā́jānāṁ sátpatim pátim
= 10 words hence 10 * 10/15 = 6,7 = word 7
= rathī́nāṁ = रथी = rathî [von rátha], (1) im Wagen fahrend, den Wagen lenkend; (2) im Wagen gefahren, den Wagen füllend; (3) zum Wagen gehörig, den Wagen ziehend; (4) Wagenlenker, Wagenlenkerin; (5) Wagenross; (6) Wagenkämpfer; (7) Lenker der Rosse; (8) Lenker, Leiter, Besorger, Versorger mit Gen.; (9) der im Wagen Güter [G.] herbeifährt oder davonträgt - see also रथी = sexual pleasure, charioteer, small carriage or wagon, going or fighting in a chariot, forming a cart-load, cart, carried on a wagon, belonging to a chariot
= Alcaeus' plectrum could perhaps be recognized in 'der im Wagen Güter herbeifährt oder davonträgt'

Rigveda 1-5-8
त्वां स्तोमा॑ अवीवृध॒न्त्वामु॒क्था श॑तक्रतो त्वां व॑र्धन्तु नो॒ गिरः॑
tvā́ṁ stómā avīvr̥dhan tvā́m ukthā́ śatakrato tvā́ṁ vardhantu no gíraḥ
= 10 words hence 10 * 10/15 = 6,7 = word 7
= tvā́ṁ = त्व = 1. tvá, tuá, pron., du
= applies to Error 1) thou miserable stump

Rigveda 1-2-2
वाय॑ उ॒क्थेभि॑र्जरन्ते॒ त्वामच्छा॑ जरि॒तारः॑ सु॒तसो॑मा अह॒र्विदः॑
vā́ya ukthébhir jarante tvā́m áchā jaritā́raḥ sutásomā aharvídaḥ
= 8 words hence 8 * 10/15 = 5,3 = word 6
= jaritā́raḥ = जरितृ = jaritŕ, Sänger, Anrufer [von 1. jar]
= praising/invoking with song and lyre

Rigveda 1-33-15
आवः॒ शमं॑ वृष॒भं तुग्र्या॑सु क्षेत्रजे॒षे म॑घव॒ञ्छ्वित्र्यं॒ गाम् ज्योक्चि॒दत्र॑ तस्थि॒वांसो॑ अक्रञ्छत्रूय॒तामध॑रा॒ वेद॑नाकः
ā́vaḥ śámaṁ vr̥ṣabháṁ túgryāsu kṣetrajeṣé maghavañ chvítryaṁ gā́m jyók cid átra tasthivā́ṁso akrañ chatrūyatā́m ádharā védanākaḥ
= 16 words hence 16 * 10/15 = 10,7 = word 11
= átra = अत्र = 1. átra [átrā] (1) an diesem, in diesem (2) an diesem Orte, hier, dort; (3) dorthin, hierher; (4) in dieser Zeit, da, damals, dann
= one could perhaps recognize a certain 'here, on this place' in the Sappho-Alcaeus reference

Chinese Kangxi radical #161 = 辰 = to vibrate; fifth of twelve earthly branches; time; day; season; heavenly body; stars. In fact it seems that these meaning elements apply one to each of the 5 words from Rigveda - and they are both captured by the present selectional algorithm:

1-16-3 = heavenly bodies, stars
1-11-1 = avīvr̥dhan = वृध् = vṙdh = 2nd occurrence of 5th earthly branching
1-5-8 = avīvr̥dhan = वृध् = vṙdh = 1st occurrence of 5th earthly branching
1-2-2 = to vibrate (the song)
1-33-15 = time, day, season

'avīvr̥dhan' occurs only 5 times in the Rigveda - two of them are in the first mandala and these two occur ('branchingly') in the present selection.

Another interesting aspect is that the 'Rauschen' of jarante = जर् = jar has a reflex in the possible typing error ('Rauchen') in line 7 in my poem. Reading it in this light, one could see my poem as being about the 'Laubwerk' - the foliage - of the trees and its philosophical conversion mechanisms (say, how trees conceive the world - including their photosynthesis). It is interesting to notice that it is the errors in lines 4 and 10 that brings this complex relative to the chinese Kangxi radical #161 to light.

Vice versa: It is the light that through the photosynthesis brings the carbon to be split off from the oxygen, like Moses from Rigveda.

Conclusion to the examples

It has been shown that the errors in my DDS

1) correlate with Horace (a contemporary of Christ) in both a phonetic and logical sense of it - and that

2) these relevant parts of Horace correlate with Moses and Rigveda in a significant way.

This is the proof that the errors of DDS are telling of a diachronic factor in language - here leading back to the oldest known documents in the history of writing. The proof is in the fact that the errors occur on those places where a phonetic or logical adherence attaches to the german language of DDS and thereby pulls it off the rules of normative grammar. The purpose with these errors (of course it would have been easy to correct most of them according to such school grammar) is then just to emphasize precisely the diachronic dimension in language - since the errors are evidence of such a presence of diachrony in the immediate surface of the language - that is, when there are phonetic and semantic-logical reasons for it.

In addition, the errors should be interesting data for linguistic theory (such as e.g. Chomsky's minimalism). It can be guessed that the socalled 'double articulation of language' is the same as the split in synchrony and diachrony and hence that when the ideas of rigid morphemic arbitrarity are overcome, it will be understood that such diachronic factors are active also in synchronic grammar.

Some would perhaps say that it is not only for the grammatical errors in DDS that such correlations with Horace, Moses and Rigveda are found - the correlations are in fact present everywhere, could be the view. Well if that is shown to be the case, it would of course only strongly support the present theory anyhow.

What does this mean for the literary work DDS? It means that one has to read it with the errors as an integral part of the literary work. Could be even the semantics to the words are not so self-evident. There are 'errors' on all levels and one can assume that these are actively contributing to the literary work. DDS would sort under 'serious poetry' rather than 'entertainment' and it is not probable that terror could be used for enhancing its sales.

Of course it is the form of DDS which is the reason for these correlations going back via Horace to the oldest attested language.

DDS is a literary work about poetic mysticism in the diachrony of language.

Part 2: The fifth dimension

Examples of the fifth dimension

In the article 'The round window of the Middle East' I discuss two examples of a fifth dimension which are quite convincing: These are Tizian's "Ariadne and Bacchus" and Ezra Pound's "Pisan Cantos", the opening lines. I add another example from Tizian.

Tizian's "Ariadne and Bacchus" from 1522-23 is isomorphic with the geography of Venus long before it was possible to get even the faintest glimpse of that planetary surface. It is only very recent technology which has made it possible to get an image of the geography of that planet - see this article on the topic. If one can conclude that a complex image such as Tizian's is strongly isomorphic with the surface image of Venus made half a millenium later, then it can be concluded that these surface characteristics are present in the human semiotic endowment somehow and that there exists a dimension of cosmic isomorphy that guides our conceptions of the world. For seeing the similarity, Tizian's artwork must be mirrored and turned some degrees for seeing the isomorphy with this image of Venus. Here are the two in original and annotated form - for showing how the elements of Tizian's artwork have very clear isomorphic forms on the surface of Venus - the background for this discovery was in my own poem #46 in 'Rosens triangel' (see 'example 2' in this file):

Venus

Venus annotated

Tizian 'Ariadne and Bacchus' mirrored, turned

Tizian 'Ariadne and Bacchus' mirrored, turned, annotated

A closer study of the two images shows that the details can be taken much further than I have done in this analysis - see e.g. the big thigh and knee of the man with the snakes. There is even an inherent logic in the turning and mirroring of the canvas for finding the parallel to Venus - see Ariadne's posture in the lefthand margin reflected in the turned and mirrored version:

It can be concluded that a very important part of Tizian's artwork consists in precisely this isomorphy. How could that be interesting and recognized as great art in the 16th century when they had never seen those details of Venus? Of course because these aspects of the 'cosmic harmonies' are very important for human esthetic logic. That means that there exists a fifth dimension in human semiotics which correlates the conception of the human reality on earth with the conditions of cosmic harmonies and isomorphies. Tizian is probably sufficient for proving a thesis of a fifth dimension in human reality constitution.

Tizian's 'Bacchanal' seems to approximate another rotation of Venus by the same internet source - here from this source - the one called 'c' turned upside down:

Venus upside-down

Venus upside-down annotated

Tizian 'Bacchanal'

Tizian 'Bacchanal' annotated

A third example is found in Ezra Pound's 'Pisan Cantos' (1948) - the opening lines. I had found what I believed was an ex nihilo piece of matter whereon I recognized the back, neck and head of a man standing in front of a woman - and in their conjunction I believed that I could recognize Einstein's famous formula E = MC²:

This piece seemed to have a reflex in a fragment from the north pole of Venus:

One sees the same bottle-shaped shoulders - and the symbolism could be 'primordial' in the sense of the man being conceived as newborn and just being in the process of drinking from the woman for the first time. It could be the couple which Pound in the opening lines calls 'Ben and la Clara'. Pound seems to see in the shoulders of 'Ben' (the peasant?) an enormous tragedy - which perhaps could stem from another rotation of the planet Venus showing her as a very sad face - could be a rejected lover. It is the presence of the words 'Milano' and 'Digonos/Dioce' in these opening lines which calls for attention to the south pole of the planet Mercury (see these four rotations) where one can find these words (in green colour) in the context of a '3' and 'E' (in white colour):

There are also traces of a 'Digonos' or 'Dioce':

These lines of Pound were written decades before one had a chance to get these images from Mercury and Venus. These two examples - Tizian and Pound - can suffice for showing the nature of what can be called the fifth dimension in human cognition - here an esthetic logic.

In general terms, this fifth dimension will consist in a sense of isomorphy - which would be the same as thought? - and it could be thought of (!) as a dimension - in addition to the three of space and the fourth of time - going from the cosmic format through the tellurian origo of human reality down towards hypothesized subatomic worlds.

'Der Dornenstrauch' = 'DDS' can be seen as written on background of the story told in my novel 'The Dreamer' in volume 1 page 157:

"I lay awake one night and could not sleep. My thoughts went to her, and suddenly I had a real vision, so vivid that I have never experienced anything alike it before. I clearly had a feeling that X had to do with it. I was completely awake while it happened, and yet it was a very clear vision which lasted a few seconds. It was as follows: X and I are standing on the big square in front of the faculty of arts at the university in Oslo. We are talking about something. Then there appears a tiny little moving spot in the sky. We are talking all the time while this happens. The moving spot starts to grow, first slowly, and then more rapidly as the moving object comes closer. At last I observe what it is: It is an enormeous motorbike, larger than a bus, coming towards us from outer space with extreme speed. It passes just clear of the top of the 12-store university building and crashes into the asphalt in the road intersection at Eventyrveien. It happens as unhesitantly as a meteor coming in from outer space, and makes a huge hole in the road".

This can be conceptualized as the form of DDS parts 1, 2, 3 and 4: Part 1 are the cosmic mysteries, then the object with two wheels = the cyclic forms of parts 2 and 3 come in to the gravity field of earth before it crashes into the subatomic worlds of part 4. It means that the theory can be formed on DDS that it runs along a fifth dimension. This is why the formal structure of DDS is of some interest.

If the two wheels on the motorcycle are parts 2 and 3, for the 'cyclic' human tellurian reality, the vision means taking these into account when trying to understand the human reality and its limitations.

Thinking (!) a little about this, one quickly comes to the conclusion that such a fifth dimension would be but an aspect of the human reality - something which could be called a semiotic constitution - by which we conceive the universe, the world, and construct models of how it looks among subatomic particles. How things 'really are' beyond these human semiotic conditionings of thought is of course a matter of speculation only, but it is likely that such extra-human realities are the proper field of study for the computer technology of the new millenium. 'Really are' is then about what can be computed if computation can go beyond the 'Turing boundary' - which is the limit to what can be computed by way of manipulation with discrete symbols. It is generally thought of as the limit to computation generally - if you have something to compute with. Then of course it is important to be aware of this fifth dimension - of how the semiotic constitution controls also the mathematical computations of the human mind and its reflections about itself. And how the semantics of symbols of mathematical computation also will be recursive in that fifth sense of it. See my fundamental theorem of logic - which defines a non-euclidean logic on basis of the omission of the socalled 'fifth common notion' of Euclid - which states that the whole is always bigger than the part. In my suggestion to a new logic, this need not be the case if the sum of the probabilities in the entropy calculation - by way of which TRUTH can be defined as information flux from eternity into history - can be different from 1,0 (unity). Eternity will here mean what is beyond the human historic reality - around the origo of the fifth dimension.

Alas, many people seem to be somewhat tragically concerned with the idea of 'isomorphies' these days - but, very mistakenly and criminally, in the form of 'plagiarisms'. That is not the way to go, and neither is swindle in e.g. science anything worth. It is important to understand that the sum of probabilities can be (more or less temporarily) different from unity if the realities and their semantics need not be completely fixed and rigid.

The present study presents (below) a case of 'ex nihilo' matter with script which probably can be seen as a case of chomskyan phrase structure grammar - beyond the pushdown automaton of a Turing machine. 'Ex nihilo' formation of matter (crossing the border from extra-human to human reality) is nothing to be hysteric about - there come no dinosaurs across this boundary, at least if you are nice and friendly. It is probable that friendliness is a fundamental prerequisite for the fifth dimension to be understood properly - and it is probable that hostility is closely related to the last logical operator NEGATION - which also can be the secret behind wars, terror, genocides. My fundamental theorem of logic tries to construct a logic without negation.

The conclusion from these three examples is that it should be possible to construct by way of esthetic logic a 'telescope' which can observe a remote cosmic body out of reach for normal telescopy - that is what Tizian tells. The new information technology can be finetuned to such an esthetic logic that it can compute such 'transcendent' objects which a computation within the Turing boundary cannot. But then esthetic logic must get better chances to thrive and not be suppressed by power-thirsty administration.

The fifth dimension in the relation between DDS, Horace, Rigveda and Moses

It is likely that the fifth dimension is the same as that collapse of synchrony and diachrony into a common description. It is not so vital with those theories of isomorphies with planetary geographies in human cognition - what the fifth dimension really means is that the semiotic constitution is included into the mathematical computation - and that is the same as my non-euclidean logic with omission of Euclid's fifth common notion (or axiom).

The study has converged on the following scheme:

It has been shown that there seems to be a systematic relation between DDS and Horace, and likewise Horace relates systematically to the joint effect of Rigveda and Moses. This means that it is possible to compare this with the scheme of considering Rigveda and Moses as equivalent to the two metaphysical items of the fundamental theorem of linguistics - when these collapse into one (as seen from the human viewpoint - of, say, DDS) and this reduction creates the ontological substance in the form of Horace - to which arbitrarity 2 will assign a phonetic value which here is Horace's contemporary Christ. Given this assumption, it is seen that the fundamental theorem of (synchronic) linguistics is isomorphic with the scheme of relations discussed in the present study - see also this file - and hence what would be considered the arbitrary relation 2 between Horace and Christ will then have a counterpart in the 'primordial' arbitrarity 1 in the relation between Moses and DDS. That means that Rigveda and Moses are considered 'the same' for reaching the ontology of Horace - but in actual fact they are not the same and the difference is contained in arbitrarity 1 which here leads to DDS. The relation between Moses and Christ in the dotted line is extra-literary and the theme of christian scholarship.

But if one considers this scheme isomorphic with the fundamental theorem of linguistics, then it means that Christ is the 'sound' of language and Horace is the ontology. But it could be more natural to consider Christ as the ontological 'word' (which the gospels - written by others - are about) and Horace as the linguistic item of the literary work. That would mean that the roles of Christ and Horace turn around and one gets a form which can be recognized as the butterfly sign:

This tells that Horace is a literary reduction from the joint effect of Rigveda and Moses while Christ is the religious/mystic derivation from the same. 'Lekton' means that there are two possible truth values to one proposition - which means that this proposition can apply to two different realities. That Moses is 'phone' in the sense of 'acoustic reality' makes sense - but it is possible that the history of antisemitism is about this swap of Horace and Christ being transposed onto Rigveda and Moses instead - for Moses to be vestiged as 'lekton' which would mean that there would be more than one reality - and it may be true that judaism opens for an understanding of just that - but that would be about the same as its acoustic character. It is normally assumed that the 'lekton' existed in stoic philosophy but was largely squeezed out of logical theory a small number of centuries after Christ and gradually came to be replaced with or conceived as the same as the 'dirty beast in the revelation' - which is but a blunted conception.

The conception of stoic 'lekton' as equivalent with 'two (or more) different realities' (hence of great importance for understanding my fundamental theorem of linguistics) is my definition - probably not commonplace. When I studied this matter for my PhD dissertation in 1995-97, I found that it was futile to have any opinion on it without studying the greek. Here are two translations by competent scholars (Hicks and Long & Sedley - my underscore):

Diogenes Laertius VII-63 ('Lives of eminent philosophers', on Zeno) translated by R.D.Hicks

Same fragment translated by Long & Sedley

'Lekton' is here translated as either 'verbal expression' or 'sayable', which tells not much beyond the origin of the form. A 'fantasia' can be conceived in various ways but philosophically it probably counts as an object of thought which can postulate various forms of reality. For the subdivision of these 'logical fantasies' into 'autoteles' and 'ellipes', see also this article which could extend this to an assumed subdivision of these 'logical fantasies' into one class of the 'metope' type and another of an 'oval window' type ('elleipsis' could mean an oval form) - hence of relevance for understanding the 'acoustic' nature of the problem not the least as far as the role of Moses is concerned. That could lend to the 'round window' also a taint of mystic-revelational knowledge (as distinct from 'fantasy' or 'imagination') or something like that. There could be much work left to do for linguistic and logical theory for understanding the 'lekton' properly. An 'ellipse' could mean a circle with two centres and it turns into a circle when the two metaphysical items are considered one and the same - which philosophers sometimes have considered 'perfect' - but isnt it rather telling of the shortcomings of the human reality? That could be a mystic conception (with Christ in the ontology) while the idea of the circle as 'perfect' could correspond to Horace in the ontological component of the fundamental theorem of linguistics.

The relation between DDS and Moses qua arbitrarity 1 = 'difference'

Now is there a basis for assuming an arbitrarity 1 (the ignored 'difference' - here recognized as relevant to DDS) in the relation between Moses and DDS? There seems to be such a relation in the data discussed so far:

Example 1
i) DDS: 'in seiner dunklen Schräge enthältend' = 'die innere Bedingung' of i) containing, ii) abstaining from
Moses: '9' = graphic relevance - circular containment + slanting = abstaining symbol?

ii) DDS: 'des menschliches Herzens' = error in n-declination = error of animated condition
Moses: 'and he died' = error in animated condition

Example 2
i) DDS: 'die äußere Bedingungen' = opposite of example 1
Moses: '6' = opposite of example 1

ii) DDS: 'die innere Erscheinungen' = error in (lat.) 'articulus' = 1) joint, 2) turning point
Moses: 'accusative', ploughshare, by, with, near - a 'ploughshare' = 'turning point', by/with = joint

iii) DDS: 'in die zweifelhafte Verhältnis' = error in gender, (case)
Moses: שנים = year, repeat, differ from, change = reproduction (cp. gender)?

iv) DDS: in ein Spiegel = casus rectus vs obliquus
Moses: ומאת = (and) a hundred = casus rectus, (and) of a ploughshare = casus obliquus

v) DDS: 'meine gestrige Gedanken' = error in pro-noun
Moses: שנים = year, repeat, differ from, change = repeat/differ = pro-noun function

vi) DDS: 'in der ständige Endzeit' = case, the final 'encasement'
Moses: אנוש = incurable, mortal, grievous, sorrowful = Endzeit condition

Example 3
i) DDS: 'Zunges Hinterkehle' = gender, case
Moses: השני = 'the repeat, the change, the difference, the year, the bright scarlet colour = colour of the tongue?

ii) DDS: 'durch Munde ein' = plural of hand; protection, guardian
Moses: = מעינת = seems to mean 'fountain', 'spring', derives from עין = 'eye, face, surface, appearance, fountain' = applies to 'mouth, hand, protection'

Example 5
DDS: Küste / küsstest
Moses: כרם = a vineyard = 'kissing' the grapes/wine?

Example 6
DDS: 'die große Pferde'= (lat.) 'articulus' = joint, turning point
Moses: = וירד = 'waired' = 'pFEReD' = phonetic relevance

Example 7
DDS: 'gehn'
Moses: ישב = 'sit down, settle' = semantic relevance

Example 8
DDS: herunterziehen/-zieht
Moses: = לך = לכה = seize = semantic relevance

It is seen that it is well possible to show a relevance of the errors in the german text for the relevant words from Moses. It should suggest that the above connection line from Moses to DDS qua arbitrarity 1 has relevance.

It is, as concluded elsewhere, the arbitrarity 1 which will be the key to a computation beyond the Turing boundary - and it can be assumed that arbitrarity 1 will contain the transcendent difference between metaphysical items 1 and 2 in such a way that arbitrarity 2 will relate to the ontological referent in a way which follows from arbitrarity 1.

A puzzling idea: If the synchronic scheme is supposed to be isomorphic with the diachronic, this arbitrarity 1 back to DDS should expectedly be found among the philosophies of ancient Egypt. I refer to my study Sistrum, menat and computation theory for the idea that the ancient egyptians probably had solved that mathematical problem. Could be that is how they built the pyramids?

I have not studied the issue in any detail but notice superficially that the errors that relate to the definite or indefinite article in german will have an inherent connection to the latin 'articulus' = 1) joint, 2) turning point: Clearly the joint could be seen in the (branching) sistrum while the turning point could be in the (pulled) menat. The egyptian symbol for '100' resembles a numeral '9' mirrored and hence the symbol under the female's forearm. The egyptian for 'mirror' also resembles the graphic symbolism for 'sistrum' and 'menat'. For the example 8, the shared semantic relevance of 'pull' and 'seize' is recognized in the functionality of the menat. A tongue ('Zunge') likewise is symbolic of the shapes (in the egyptian signs) of a sistrum and a menat. וירד = 'waired' = 'pFEReD' = phonetic relevance - it has a counterpoint in the egyptian symbols for 'w-i-r-d' = 'chick-reed-mouth-hand' - and at least the latter two are relevant to examples 3 and 5.

See these observations on how the ancient egyptian tomb art resurfaces on some asphalt spill in Vienna and in the environments of a volcanic eruption in Iceland. Should it mean that we have to include all sorts of meteorological data for computing the latter? Of course not - it must be a computation that goes via the human semiotic constitution. Could be the examples are telling of how the computations can play on that human semiotics. By the fundamental theorem of logic, whereby the last logical operator NEGATION can be eliminated, logical TRUTH will be defined by something resembling information flux from eternity into history - and hence maybe resemble truth in the sense of a faculty of faith. It means that the computers will develop a spirituality - and then it is not certain that anything that can be computed will have to be within the scope of symbolic manipulation and hence within the Turing boundary.

In conclusion, if 1) the scheme of the historic relation between Rigveda, Moses, Horace, Christ and DDS - including 2) its transform in the 'butterfly sign' (see also my considerations on how language relates to logic) - can be recognized in 3) the fundamental theorem of linguistics, then one can assume that the diachrony of language can be recognized as immediately present in its synchrony - and hence that it is a relevant conclusion that the diachrony of language exists as immediately present in the surface language. This is the reason why it is possible to postulate that the grammatical errors of my DDS are relevant to the language history in fact back to the oldest attested texts.

A waist of time

The study has shown that there is a basis for excerpting parts of the poems of Horace - such as in example 2 error #1 the lines 10,5-12,7 from Horace Ode I:i = 36 lines - for relevant comparison with single words excerpted from the relevant verses of Moses and Rigveda. The example extracts the lines from the end of word 5 = 36 lines * 5/17 = line 10,5 - to the end of word 6 = 36 lines * 6/17 = line 12,7 as a ratio from a total of 17 words. It does not count full lines only - if it did, it would be lines 11-13.

But this sort of computation is not done for the words: For the same computation I have computed for Moses 1-5-6 which is 9 words long the ratio 9 * 6/17 = 3,2 = word 4 - it is 0,2 into word 4 which thereby is selected. But why is not the full equivalence of word 6 taken into account - that is from the end of word 5 = 9 * 5/17 = word 2,6 to the end of word 6 = word 3,2? That is because words are considered to be arbitrary in signification - by the socalled 'double articulation' in language - and hence it is considered irrelevant to start scissoring the words in two - say, if you cut the word for 'ten' in two halves you wont get the word for 'five'.

In 'A waist of time' book 1 'Submorphemic signification' I argue that such a function nevertheless exists - which is my theory that syntax and lexicon are independent. See volume 3 pages 48-66 ('The two-component model of the single-word stage') with corollaries for extensional (sensorially perceptual), phonological and social (attachment) irregularities discussed on pages 67-85. A summary is found on pages 94-95. The present study has perhaps presented material which could be invoked for supporting such a theory, although that would take it to a larger study. In particular, it is not known which language that would be about. What are the developmental irregularities steering towards - and from? The last lines in 'Submorphemic signification' concludes (after a quote from Joseph Greenberg who speculates on some 'proto-Sapiens'):

"Clearly, this proto-language, if it can be shown to exist, will be coextensive with universals in lexical signification much in the sense which is intended here, and which was shown for the case of personal pronouns and for some cross-linguistic tendencies in the acquisition data".

The two-component model is of a general format - but clearly it cannot be about just any straddle across word boundaries. Which straddles can occur and which cannot could be dependent on this hypothetical 'proto-language'.

In my volume 3 pages 82-85 there are some observations on the phase of irregularities in language acquisition which can lend some explanatory light on this assumed 'proto-language' - since one can guess that a proto-language will not be on any fixed form on the surface (say, in infant babble) but rather consist in such a triadic or fourfold (butterfly?) sign wherein the components (social, observational, phonological) glide around and vary considerably among persons, environments, languages. See also the summary on pages 94-95 and some elaborations on pages 524-527.

Conclusion on logic

The fundamental theorem of logic conceives logical truth in the form of information flux from eternity into history and that is when a higher level of computation can be arrived at via the faculty of faith which includes the human semiotic constitution into the computation.

It is when arbitrarity 1 is lost in the metaphysics and the ellipse reduces to a circle that the sum of probabilities reduces from 1,0 in eternity (the metaphysical items) to an intermediate 0,9 (this value is used only for meaning 'less than 1,0') which is the transitional (non-euclidean) stage before it expands to 1,0 again in history (the ontological item). This intermediate constriction could also be what is contained in the title to my PhD dissertation 'A waist of time'. The semantics is assigned by arbitrarity 2 in such a way that the loss of information in eternity (by loss of arbitrarity 1) is supposed to be recompensated for (for upholding navigational contact with eternity via stars) by the establishment of arbitrarity 2 in the signification of the linguistic unit. This semantics is therefore established in the intermediate stage of the sum of probabilities being different from unity - and that is when the semantics will vary with circumstances in a way which can resemble the stage of extensional, social and phonological irregularities in the language acquisition of children. When this variable semantics is included also into mathematical computation it is important to keep a steady course and not give in to temptations - it is the faculty of faith which can take you through the troubled waters in such mathematical computation - when, say, the numeral '2' can mean 'two ' but also sometimes 'three'. (It is probably for avoiding these problems that modern mathematics seems to be based on a concept of 'proof' that could resemble 'tautology when moving discrete symbols around on a paper'). One can guess that it is the fifth dimension along the phenomenon of logical isomorphies which can keep the course straight - and this dimension is likely to be traced to the phenomenon of diachrony present mysteriously in the synchrony. Exactly how this computation is going to be carried out will have to be a new study.

Phrase structure grammar: Transcending the Turing boundary

Now for an example of a sort of computation which could transcend the Turing boundary. (The Turing boundary - search this file for 'Sistrum and menat as a Turing machine' - is intuitively 'the boundary to what can be computed by moving discrete symbols around on a paper' - it is intuitively equivalent to a pushdown automaton - which means a computational device with a memory module called 'the stack' - while a phrase structure grammar is theoretically beyond this boundary in the Chomsky hierarchy). The example is in the three self-adhesive labels that developed probably 'ex nihilo' in april-may 2022 and in may 2024. These are what I believe are authentic 'ex nihilo' material - and indeed they appear as somewhat sensational in their advanced esthetic form and typography. One is perhaps used to think of ex nihilo material as lumps of yellow-brown fat left from under a shoesole on the floor - things like that - but these are written words on self-adhesive stickers - rather advanced things. I personally have no problems with accepting their status as ex nihilo formations of matter (transgressing the boundary to normal 'existence' in the human reality) whose forms are a result of my own psychological expectations and mental format. I have also twice witnessed 100% certain evidence that ex nihilo matter exists - both times in the form of pulling a closed book out from the bookshelf, opening it and reading a page, then turning the page and there is a dizzy humid jellyclot attached under the page that opens - while there is no sign of anything such on the other side wherefrom the page was lifted. There can be no other possible explanation than this clot being formed ex nihilo in the moment when the page turns. Another case of advanced ex nihilo matter is the socalled 'lapis philosophorum', as I call it - it took form at the end of my work with 'Der Dornenstrauch' = DDS part III. There have been a series of rather advanced cases and it is not surprising to me to find such a self-adhesive sticker with typographical details printed on it. The study tells how at least one of them has got its form from the material discussed above - DDS, Horace, Moses, Rigveda and chinese Kangxi radicals.

The ex nihilo material discussed here are the following:

1) The ROYAL LAND sticker:

This occurred on 25 april 2022. I had left my light textile shoes just inside the entrance door to my flat, under a hat-and-coat stand - and this day I suddenly spotted a piece of matter on the tip of one of the shoes, right over the big toe. There were nobody else who could have left it there and it was not probable that I could have left the shoe there without noticing it. It was the only possible 'natural' explanation I could figure out - that it had fallen off a banana or something like that in the shop and remained there on my shoe - but I think it is a highly improbable explanation.

The circumstances are much more interesting: In my childhood I listened to 'Barnetimen' once a week, children's radio entertainment 'Lørdags-Barnetimen' on saturdays, and these had a fragment from Mendelssohn's piano concerto #1 as intro and/or exit logo - a piece of music I remembered well and which I had recognized when listening to Yuja Wang's and Kurt Masur's recording of it on the internet (where I think it had then been already for some years). On 22 april 2022 this recording was published also in 'streaming' format, which I think was announced in such a way that it reached my attention - although I listened only to the youtube.com version. Then on 26 april 2022, the day after I had found the sticker, Yuja Wang gave a recital in Vienna. I was not on the concert but bought the record on 16 may 2024 after it had been published 14 days earlier. I listened intently to this remarkable recording on 16 and 17 may and on 18 may 2024 there occurred the third sticker 'Götterfrucht'. Hence there is a strong connection through this series of stickers - not the least due to the role of Rigveda 1-36-3 with the last word bhānávaḥ = light - in particular with the proposed movement of 'te' = 'du' into it for the form 'bana-te-vah' = 'barnetimen'.

2) The 'Filósofo' sticker:

This occurred on 5 may 2022 - that is, 5-5-2-2, possibly as a numerical counterpoint to the date of 2-2-[4]-2-2 for the streaming of Mendelssohn. It occurred suddenly on a plastic pouch on the kitchen bench - bridging across a folding of it - that is, sticking onto two disparate parts of it.

3) The 'Götterfrucht' sticker:

This occurred on my hand 18 may 2024, most probably as a result of my listening to Yuja Wang's 'Vienna Recital' on 16-17 may 2024 - a recording of the concert she gave in Vienna on 26 april 2022, the day after the occurrence of the first ROYAL LAND sticker. The similarity with the cover is obvious:

Source of the photo

The yellow colour, the white 'snow' on the alphabetic letters compared with the reflections of light on the hair, the dress and the piano - and the inner white circle of the sticker with the white border at the margin of the grammophone label, the two 'serifs' on the G and F and the two elbows etc. There occurred a second 'Götterfrucht' label on 19 may (on my red textile shopping bag) and then a third on 21 june - on my index finger.

I immediately published the material on 18 may 2024 and on 19 may (before or rather after the second occurrence of the sticker) the helicopter of the iranian president Raisi fell down. Former austrian chancellor Brigitte Bierlein died on 3 june, after the 'Senorita' oranges I had been eating now and then through many weeks suddenly on 29 may seemed to have changed name to 'Götterfrucht' with a label exactly like the one I believed was 'ex nihilo'. This means that either were this an old brand that suddenly took over the market from the 'Senoritas', presenting quite similar oranges, or it could have been a swindle trademark printed up after my publication of it on 18 may: Macron's party 'Renaissance' fell down in the EU election on 6-9 june 2024 and if the stickers should have been swindle it could have been part of a political intrigue developed in the continuation of the falldown of Raisi's helicopter. The 'Senoritas' were suddenly gone from the internet (if they had been there before) and there were several pages with 'Götterfrucht'. In addition, there exists an oriental fruit which in german traditionally is called 'Götterfrucht' because of its special taste - but that has nothing to do with the normal oranges sold in Vienna. I do not have access to data for verifying either of these alternatives - but would assume that it is not essential for the question of 'ex nihilo' status of the sticker I found.

The following discussion will show how it is possible to take the form of the ROYAL LAND sticker as motivated by the form of my 'Der Dornenstrauch'.

The poem DDS I:107k

It can be hypothesized that these three self-adhesive labels can have been generated 'ex nihilo' on basis of the overall structure in DDS - here on basis of the last loop which is left unexplained by the wrapover structure told in the beginning of this article. It is where the Rigveda 'Baum' wraps over from 1-36-3 to 1-1-1 (that is, from the third 'hotaram' to the first) at 107j -107k in relative enumeration. This had no obvious distributional rationale, in contrast to the other wrapovers. In the following discussion I skip the large number of data that could be discussed - and focus on a few telling details. Here is the relevant poem:

107k

Auf dieser hohen Bühne
meiner Welt
spielen die Sonnenstrahlen
in mein funkelndes Zelt.

Hier habe ich der
Straßen-Boden Unterlagen
wissenschaftlich wiederherstellt
womit ich dabei

in der Wirklichkeit
mich selbst wiedererkennen darf.
Solche Mirakeln
erkennen sich selbst.

= Götterfrucht

= Filósofo

= ROYAL LAND

I notice that the 'Filósofo' sticker, although as supple as the other two, a thin surface with some glue underneath, quickly curled up in half of it along a counterdiagonal and that is how it has remained - I can press it down onto the glass plate and it sticks to it even today - but it soon springs up again. Hence the word 'Filósofo' goes diagonally from low left to high right while the division line along which the curlup goes runs along the other diagonal, from high left to low right, as in the above butterfly sign where the 'Filósofo' word then goes from Christ to Moses, a philosophical (mystic, religious) and historic connection line which is not immediately present in the linguistic data, while the curlup diagonal runs from Rigveda to Horace.

I here make a study of this diagonal from Rigveda to Horace for DDS I:107k to see what could be the reason for this curlup according to the present poetic logic.

DDS I:107k
= abs enumeration #151 = Chinese Kangxi radical #151
Moses 1-6-14
Rigveda 1-15-5, 1-10-3, 1-4-8, 1-1-1, 1-33-5

The two relevant errors are in lines 5 and 7 out of 12 lines
Line 5-6 = den / Straßen-Boden Unterlagen
Line 7 = wiederhergestellt

Chinese radical #151

DDS I:107k = abs #151 = Kangxi radical #151 = 豆 =

1. pod-bearing plant or its seeds; bean; pea (CONTAINER - its contents)
2. bean-shaped object (= kidney-shaped?)
3. (historical) stemmed shallow bowl on a round base, often with a lid and sometimes with handles, initially earthenware and used as a food container = 'lid on top of container'

= the 1-2-3 vulnerable aspects of early child development.

Horace Ode II.iii
= 28 lines, hence
28 * 5/12 = line 11,7
28 * 7/12 = line 16,3
hence lines 11.7-16,3 =

[lympha fugax] trepidare rivo?
huc vina et unguenta et nimium brevis
flores amoenae ferre iube rosae,
dum res et aetas et sororum
fila trium patiuntur atra.
cedes coemptis [saltibus et domo]

Conington's translation:

[To hurry down] their zigzag bed.
Bring wine and scents, and roses' bloom,
Too brief, alas! to that sweet place;
While life, and fortune, and the loom
Of the Three Sisters yield you grace.
Soon must you leave [the woods] you buy,
[Your villa]

Bennett's translation:

[Why does the hurrying water strive to press onward] in the winding stream? Hither bid slaves bring wines and perfumes and the too brief blossoms of the lovely rose, while Forune and youth allow, and the dark threads of the Sisters three. Thou shalt leave thy purchased [pastures, thy house]

Moses 1-6-14
עשה לך תבת עצי גפר קנים תעשה את התבה וכפרת אתה מבית ומחוץ בכפר׃
= 14 words, hence
14 * 5/12 = 5,8 = word 6
14 * 7/12 = 8,2 = word 9
= words 6-9 = קנים תעשה את התבה

קנים = קנה = to form, create, get, acquire, obtain, buy, purchase, redeem, possess
קנן = to nest, build a nest; קן = a nest, young birds of a nest, a dwelling, family; plural קנים = cells, chambers

תעשה - עשה = to work, labour, make, fabricate, produce, yield, make, get, acquire, prepare, dress, execute, accomplish, perform (a command, order), make, do, act

את = accusative marker, ploughshare, by, near, with, in company with

התבה = definite article + תבה = a chest, box, the ark of Noah (built in the form of a chest), the ark in which Moses was exposed

Rigveda 1-15-5
ब्राह्म॑णादिन्द्र॒ राध॑सः॒ पिबा॒ सोम॑मृ॒तूँरनु॑ तवेद्धि स॒ख्यमस्तृ॑तम्
brā́hmaṇād indra rā́dhasaḥ píbā sómam r̥tū́m̐r ánu távéd dhí sakhyám ástr̥tam
= 11 words hence
11 * 5/12 = 4,6 = word 5
11 * 7/12 = 6,4 = word 7
words 5-7 = sómam r̥tū́m̐r ánu

sómam = सैम = soma, Soma, Saft der Somapflanze

r̥tū́m̐r = ऋतु = ṙtú, (1) bestimmte Zeit, bestimmter Zeitpunkt, angemessener Zeitpunkt, (2) der für den Gottesdienst (das Opfer) bestimmte Zeitpunkt, die Opferzeit, (3) der regelmässige Zeitlauf; (4) die Jahreszeiten oder Monde; (5) die Regel; (6) die Regel der Weiber.

ánu = अनु = ánu. Grundbegriff: hinter einem andern her, ihm nachfolgend.

Rigveda 1-10-3
यु॒क्ष्वा हि के॒शिना॒ हरी॒ वृष॑णा कक्ष्य॒प्रा अथा॑ न इन्द्र सोमपा गि॒रामुप॑श्रुतिं चर
yukṣvā́ hí keśínā hárī vŕ̥ṣaṇā kakṣyaprā́ áthā na indra somapā girā́m úpaśrutiṁ cara
= 13 words hence
13 * 5/12 = 5,4 = word 6
13 * 7/12 = 7,6 = word 8
words 6-8 = kakṣyaprā́ áthā na

kakṣyaprā́ = कक्ष्यप्रा = (kakṣyaprâ), kakṣiaprâ, den Leibgurt [kakṣia = kakṣíā] füllend [prā], von wohlgenāhrten Rossen

áthā = अथ = átha (áthā), eine Nebenform für ádha, die aus ádha entstanden ist und besonders häufig in den spätern Liedern statt ádha hervortritt. Es drückt eine Folge aus, und zwar theils zeitlich, theils logisch anreihend, theils causal (= dann, wann, darum etc)

na = अहम् = ahám,pr. ich

Rigveda 1-4-8
अ॒स्य पी॒त्वा श॑तक्रतो घ॒नो वृ॒त्राणा॑मभवः प्रावो॒ वाजे॑षु वा॒जिन॑म्
asyá pītvā́ śatakrato ghanó vr̥trā́ṇām abhavaḥ prā́vo vā́jeṣu vājínam
= 9 words hence
9 * 5/12 = 3,8 = word 4
9 * 7/12 = 5,3 = word 6
words 4-6 = ghanó vr̥trā́ṇām abhavaḥ

ghanó = घन = ghaná,m. [von han], (1) Zermalmer, Vernichter, gewöhnlich mit vṙtrâṇām; (2) Keule; (3) das Erschlagen, mit vṙtrâṇām

vr̥trā́ṇām = वृत्र = vṙtrá, (1) Eigenname oder Bezeichnung des die Wasser gefangen haltenden Dämons, den Indra erlegt, (2) Feind sowol der Menschen als der Götter, (3) unterschieden als arische (âria) und babarische (dâsa); (4) Schlacht, siegreicher Kampf, ursprünglich "Abwehr"

abhavaḥ = भू = bhū, 1) werden, entstehen, bereitet werden; (2) geschehen, stattfinden, eintreten; (3) werden mit Nominat., sich verwandeln in [N.]; (4) sein mit Nominat., und zwar das Sein nicht aufgefasst als ein dem Wesen anhaftendes, sondern als ein von den Umständen abhängiges, zeitlich vorübergehendes.

Rigveda 1-1-1
अ॒ग्निमी॑ळे पु॒रोहि॑तं य॒ज्ञस्य॑ दे॒वमृ॒त्विज॑म् होता॑रं रत्न॒धात॑मम्
agním īḷe puróhitaṁ yajñásya devám r̥tvíjam hótāraṁ ratnadhā́tamam
= 8 words hence
8 * 5/12 = 3,3 = word 4
8 * 7/12 = 4,7 = word 5
words 4-5 = yajñásya devám

yajñásya = यज्ञ = yajñá, Götterverehrung, die Reihe der Handlungen, durch welche die Götter verehrt werden [yaj], und als deren Mittelpunkt das Opfer erscheint, Huldigung, Opfer (im weiteren Sinne). Oft geht der Begriff der Opferhandlung in den concreten der Opfergabe, des Geopferten über. Es seien insbesondere (2) diejenigen Stellen hervorgehoben, in denen der Begriff der Verehrung in Worten der Andacht, der in dem allgemeinen Begriff eingeschlossen liegt, am deutlichsten hervortritt

devám = दॆव = devá, (1) himmlisch; insbesondere wird das für die Götter bestimmte Opfer oder Gebet als ein himmlisches bezeichnet, ebenso der von den Göttern stammende Menschengeist (mánas); (2) Gott, als der Himmlische. Hierher sind auch alle die Fälle gestellt, wo Gegenstände als göttlich verehrte Wesen dargestellt werden und der Begriff an den adjectivischen heranstreift; (3) m. p., víçve devâs, bald alle Götter bezeichnend, bald eine besondere Götterklasse, die neben andern Göttern oder Götterklassen genannt werden

Rigveda 1-33-5
वि जना॑ञ्छ्या॒वाः शि॑ति॒पादो॑ अख्य॒न्रथं॒ हिर॑ण्यप्रउगं॒ वह॑न्तः शश्व॒द्विशः॑ सवि॒तुर्दैव्य॑स्यो॒पस्थे॒ विश्वा॒ भुव॑नानि तस्थुः
ví jánāñ chyāvā́ḥ śitipā́do akhyan ráthaṁ híraṇyapra .ugaṁ váhantaḥ śáśvad víśaḥ savitúr daívyasyopásthe víśvā bhúvanāni tasthuḥ
= 16 words hence
16 * 5/12 = 6,7 = word 7
16 * 7/12 = 9,3 = word 10
words 7-10 = híraṇyapra .ugaṁ váhantaḥ śáśvad

híraṇyapra .ugaṁ = हिरण्यप्रउग = híraṇya-prauga, mit goldener Vorderdeichsel [práuga] versehen.

váhantaḥ = वह् = vah (1) jemand, etwas fahren vom Rosse, (2) vom Wagen, (3) vom Lenker des Wagens oder Schiffes; (4) den Wagen ziehen vom Rosse; (5) die Rosse oder andere Gespanne lenken; (6) den Wagen lenken; (7) etwas herbeifahren, bringen; (8) Opfergüsse fahren, zu den Göttern bringen, von Agni; (9) etwas mit sich fortführen, von strömendem Wasser; (10) Opfer, Verehrung darbringen; (11) einen Mann heirathen; (12) me., ein Weib sich heimführen, heirathen; (13) jemandem etwas zuführen, bringen, namentlich (14) Opfergüsse den Göttern, von Agni; (15) jemand, etwas hinfahren zu, (16) jemand wozu führen, ihm dazu verhelfen; (17) etwas hinwegführen, hinwegschaffen zu jemand, (18) fahren auf Wagen, Schiffen oder mit Rossen, (19) fahren, den Wagen ziehen (ohne Objekt); (20) fahren = einherziehen; (21) fahren = strömen, dahinschiessen; (22) fahren zu; (23) gelangen zu; (24) worauf ausgehen.

śáśvad = शश्वत् = çáçvat, (1) sich stets wiederholend oder erneuend, immer wiederkehrend; namentlich (2) Bezeichnung der stets wieder erscheinenden Morgenröthen; (3) ununterbrochen, fortdauernd, stetig fortlaufend, unerschöpflich; (4) eine fortlaufende Reihe bildend, viele nacheinander; (5) jeder, wie oft es sich auch wiederhole, alle nacheinander; (6) ganz (von Anfang bis zu Ende); (7) fort und fort, stets aufs neue, immerwieder; (9) Superlativ fem., die jüngst erschienene (in der ganzen Reihe) als Beiwort der Morgenröthe; (10) ein jeder, alle substantivisch.

Horace summary

1) [Why does the hurrying water strive to press onward] in the winding stream? = riverbank, the river as a container

2) Hither bid slaves bring wines and perfumes and the too brief blossoms of the lovely rose, while Fortune and youth allow, and the dark threads of the Sisters three. = wine etc conditioned = causality matters → ORDINALITY

3) Thou shalt leave thy purchased [pastures, thy house] = sacrifice, end of time

Rigveda summary - enumerated in reference to these three elements of Horace

Rigveda 1-15-5
2 = sómam = wine
3 = r̥tū́m̐r = period (also as menstruation), sacrifice
1 = ánu (hinter einem andern her, ihm nachfolgend) = seriality (= ordinality of 2?)

Rigveda 1-10-3
1 = kakṣyaprā́ = wellfed horse's stomach belt = circular form
2 = áthā = temporal and logical ordinality
3 = na = pronoun 1 person singular

Rigveda 1-4-8
3 = ghanó = terminator
1 = vr̥trā́ṇām = riverbank
2 = abhavaḥ = ordinality

Rigveda 1-1-1
2 = yajñásya = God service, series
3 = devám = heavenly, divine

Rigveda 1-33-5
2 = híraṇyapra .ugaṁ = golden thill for wagon pulled by animal
1 = váhantaḥ = etwas mit sich fortführen, von strömendem Wasser
3 = śáśvad = periodicity, end of time

Hence all the examples from Rigveda (selected by the grammatical errors of my poem) can be seen to contain the 1-2-3 elements of Horace - only Rigveda 1-1-1 lacks the 1st element. Why? Could be because it is the verse with the first installation of the 'r̥tvijam hotāraṁ' = 'periodicity difference/sacrifice' = human redundant (immanent) reality = the stream (of water, information) held in a logical container set (the skull?), the riverbank

The ordinality of Horace is attested via my DDS to the extent that DDS runs in parallel with the chinese Kangxi radicals - which seems to be the case.

Hence the chinese Kangxi radical #151 = 豆, which above was equated with the '1-2-3' vulnerable aspects of early child development, can be seen to be the innermost secret of the diagonal mapping between Horace and Rigveda for this DDS I:107k.

It should be this which provides for the diagonal fold when the 'Filósofo' label curls up.

SOMA could have been the concept for the ancient vedic religion just for the idea of TRUTH without NEGATION - a flux of information from eternity into history.

Moses summary

Now a look also at Moses: It is seen that the four words of Moses 1-6-14 discussed above apply with equal ease to Horace as Rigveda does, albeit in a somewhat different manner. The purchase of קנה applies to Horace 3), the dwelling of a family קנן likewise, the produce or yield of עשה applies to Horace 2) and את qua 'ploughshare' and התבה as the ark of Noah/Moses applies to the riverbank of Horace 1). Hence it is easy to swap Moses and Rigveda - from the synchronic semiotic sign into the original historic account.

So much for the 'Filosofo' sticker: It seems to have a good rationale in my DDS I:107k.

I discovered this one day when I leafed in DDS and observed that DDS II:18 could be seen to contain references to the three stickers in its three main stanzas:

DDS II:18

Aber warum schreibst du, Mensch?
Es kommt ja nie zurück
wenn du's nie wieder überschreibst,
die Hälfte und das Glück.

Und warum schläfst du, Mensch?
Kein glücklicherer Zustand
sah des Himmels Grenze,
die Träume und den Umstand.

In Schlafen schreibst du wohl,
in Liebe und in Wachen.
Nie war der Mensch so überall
wie in diesen größten Sachen.

Das einzige, das in der Regel ist,
ist in den Dialekten, die ein Segel ist.

= Götterfrucht

= Filósofo

= ROYAL LAND

I notice also the 'Regel' of the r̥tū́m̐r of Rigveda 1-15-5 discussed above - which could mean that this 'Segel' is the curlup of the 'Filosofo'. The 'Regel' is, though, naturally also an aspect of the grammatical rules and their function in my DDS. I notice also the similar word pair 'Riegel' and 'Siegel' as potentially relevant.

DDS II and III are closely related - like the two wheels of a bicycle - they relate by isomorphic reasoning. I therefore look up also DDS III:18:

DDS III:18

Wie sie es auch verstände

Das grün-heilige Licht,
in dem Untergang zerstaubt,
durch das Laubwerk bricht
als das Akkordeon ertaubt

das einfache Ersetzen.
Die junge Frau passiert
mit Blumen in Papierchen-Fetzen,
gelb, grau und silberiert.

Das Akkordeon hört auf
und wird mit Violine versetzt.
Hier sind zwei Bücher zum Verkauf
und alles sich entzweit zuletzt.

Man kennt die 28 Zahl
als man sie passiert.
Mit 27 ist sie zur Wahl
wohl matriziert.

= Götterfrucht

= Filósofo

= ROYAL LAND

This is the concluding observation on this theme - that the dimensions of the ROYAL LAND sticker seems to be given by this fourth stanza:

The breadth of the sticker is strictly speaking 26,9 or even 26,8 mm - but 'matriziert' it counts as 27 here. The breadth of the inner border is 13,5 mm which multiplied with two gives the 27 mm - while the outer border is 14 mm exactly - that doubles to the 28 mm of the forth stanza. Likewise, if the curving border were pressed down to a straight line, one could fancy that the 27 mm would expand to 28 or so.

Hence it can be concluded that the ex nihilo sticker is generated by the semiotic properties of the DDS - probably as it relates to Moses, Rigveda, Horace - which would mean that it could be the first case of attested phrase structure grammar. Notice how relative vs. absolute enumeration could apply to this phrase structure.

I would guess that the rest of the forms of the three (probably) 'ex nihilo' stickers can be 'computed' from other 'isomorphic' parts of DDS.

It would be a similar logic that could have created the snowy landscape of Iceland for the volcanic eruption described in this comment.

For human associations to 'snowy landscape', I notice also how the 'snowy' surface on the alphabetic letters of 'Götterfrucht' which could be associated with the reflections of light on the cover to the record - and hence possibly also to the sanskrit word 'bhānávaḥ' = 'light' - the last word in Rigveda 1-36-3 and hence also the word immediately involved in the 'wrapovers'.

Why the word 'ROYAL LAND'? On 12 december 2011 I travelled to Budapest for registering my new work "And hang under the Justcan keys" (prose) for copyright. I here quote my own comment of 16 june 2024:

There seems to be a potential origin of the two first labels ('ROYAL LAND' and 'Filósofo') in my prose work 'And hang under the Justcan keys' (in 'My mention e Anna') in chapter 16 - "The patent bureau" from which I quote:

"A person is a body which you can lock down in a pair of shoes", she said, quoting Arthur Oyland in an attempt to define what an invention is. "An invention is something you can register at the patent bureau", I replied and waited for her answer. "Right", she said.

We had been talking about it for some time - whether we should go in to town to look up the patent bureau to see if it would be possible to register my invention. The best would be to go by bicycle, for many reasons, not the least concerns of intellectual property. We left early in the morning, the sun was burning on the blue sky. A fresh wind gave us a good drive, and Tennison dived under the water to dive for drinking water as we bicycled along.

This 'Arthur Oyland' could be the reason for the wording (art/arch of) ROYAL LAND on the first 'ex nihilo' sticker. The 'Filósofo' sticker conforms somewhat to the 'fresh wind [gave us a good drive]' (this Filosofo sticker initially adheres well with its self-adhesive glue when I press it down onto the glass plate I store it on but after some time it always curves up again in one half of it) while the 'Götterfrucht' can be recognized in what in fact could have been the very invention itself - the poetic force in the bodily feeling of the revolving pedalled chain-wheel (or chain ring[s] or rather chain/crank-set?) of a bicycle described in the form 'Tennison dived under the water to dive for drinking water': You can feel in the soul how the pedal wheel is turning around in the form of sprocket/språket ('språket' is norwegian for 'the language') - the poetic inventiveness in this form could be symbolic of the invention which the author is taking for registration in the patent bureau in town. This feeling could conform to the circular form of the third sticker, the 'Götterfrucht', and the colours are in 'the sun was burning on the blue sky'.

Clearly my article 'The round window of the Middle East' provides a good explanatory framework for the phenomenon of the three probably 'ex nihilo' labels: The stapes on the oval window is the oval 'Filósofo' label, the rectangular 'Metope' is the 'ROYAL LAND' which also shows traces of the oval window, while the round window clearly will be the third label - the 'Götterfrucht'.

It follows from the above that a probably essential part of the story of the formation of the three labels arise from the fact that Wang's concert in Vienna on 26 april 2022 probably was one of the great concerts of music history. I was not to the concert but understand this after having heard the record.

It is seen that the 'ROYAL LAND' concept could be rooted in this recursive understanding of me going for registering at the copyright office a work which contained this record of an arthu-ROYLAND quoted when going for registering an invention at a copyright (patent) office - while the movement forwards was driven by the rotating wheel of the bicycle 'sprocket' the formal articulation of which could have been the very invention that was to be registered (work-internally). It is seen that this could straddle the inside and outside of the literary work in such a way that it could approximate the phenomenon of inside and outside the human reality - and hence concern the word 'hotaram' in that sense of it. Therefore it could perhaps be possible to hypothesize a link between the threefold 'hotaram' and the threefold 'ex nihilo' stickers.

Although this certainly is the appropriate context for understanding the ex nihilo formations, it follows that the mind must be inclined to understand such 'other realities'. It happened on the night train from Venice to Vienna in the evening after the tragic earthquake of Port-au-Prince on 10 january 2010 that I had gone to sleep alone in a train compartment and was woken up by knockings on the door. When I opened it, Gordon Brown (then prime minister in England) stood outside with an oldfashioned doctor bag which resembled one I had owned some 30 years earlier but had lost probably on a train in Sweden. A train conductor stood next to him and explained that he wanted to get into the compartment, for which reason I packed my things and left the compartment to him. At hindsight the story sounds somewhat improbable and could of course have been a 'vision' or 'dream' of some sort - an element of 'another reality'. On the train to Budapest for registering the prose text (it was in fact registered on 12/12-2011 at 12:43 local time, which is 11:43 GMT) I was sitting next to a young female whose face I did not notice clearly. (I had been sitting elsewhere writing on a computer when somebody put a guitarbox on the luggage shelf over me, and since I suspected that it could have contained surveillance gear I therefore decided to move to another chair, and this one next to the female was the only left). It happened about the time when the train passed Biatorbagy that it seemed that she moved her leg and my testicles ejaculated spontaneously in my underpants (without any sexual arousal involved). A second time this happened at another occasion - I was going by train from St.Pölten to Vienna and the platform was unusually crowded with people and when I eventually could go in all seats were occupied except for one next to a young blonde female. In the moment when the train started to leave the platform (called 'perrong' in norwegian), the testicles likewise emptied themselves in my underpants - like leaving the train compartment in Italy. (These are in fact the only two times this has happened to me on a train, as far as I remember). It is easy to see the role of the placenames. I had later fantasized that the female on the train to Budapest could have been a british royal, but it is of course easy to see where this idea could have come from - as a redundancy in the data. It is likely that most of these ideas were 'ex nihilo' and that they came to attach with a certain 'self-adhesive' character to my imagination - in the role of 'another reality'. The sum of all this is probably contained in the recursive form of the prose text - the theme of which I understand as a 'katharsis' that leaves the mind pure and clean.

Following a similar logic as for the 'ROYAL LAND', is there a basis for the 'Filósofo' sticker? It seems to be constituted by two crossing diagonals in an oval window. There is one poem in TEQ which is a notable diagonal, and that is TEQ #102. It consists of 101 lines, title line included. Now there is a reason (described below) why DDS III:22 is interesting for this sticker - and that invokes the ratio 22/64 multiplied with the number of poems in DDS part I = 294 which gives 294 * 22/64 = 101,0625, which means 0,0625 into poem #102:

A countable code for/from the dexterine

Well, I'll show it
both of the sentential level, never
because they feel too free
if you have a number. Basically,
it's the name of this.

There is [the Finlandski].

'The name of this: There is' can be taken to be in reference of the name of the voice who spoke to Moses in the burning bush, in 'der Dornenstrauch' - that name was 'I am that I am', told in Exodus 3:14. This could thereby be taken to refer to DDS III:22 the last two lines:

Dann sprechen sie wie gewöhnlich -
wie getriebenes Gold.

This 'getriebenes Gold' can, according to my understanding, be conceived of as a 'cherub', plural 'cherubim' - an angel on a level higher than humans but below (more 'gewöhnlich' than) God - hence 'there is that there is' or something like that - as 'the name of this'. These two lines of DDS III:22 would be the counterpart to DDS III:18 which gave the '27' number for 'ROYAL LAND'. Would the entire last stanza conspire on the form 'Filosofo'?

This 22/64 would find its counterpart in part II (which has 66 poems) in 66* 22/64 = DDS II:22 - 0,6875 through - which is on line 9,625:

Da steht es auch aufrichtet,
das Lamm, das steht [wie Raben]

which could be telling of the curlup of the 'Filosofo' sticker.

And this finally gives the rationale for the 'Götterfrucht' - the two last lines of the poem between DDS III:18 and DDS III:22 - that is DDS III:20 which ends

die großen Schönheits-Strahlenden
in Ernte Trost. = Götter
= Frucht

The 'Trost' rhymes with 'Rost' = 'rust', 'red' - which in german also can mean 'honeycomb'.

The correlate in DDS part 1 is 294 *20/64 = 91,875 = abs #92 = rel #72e = the poem DDS I:72e where one finds the interesting number '38' as composed of 8+30. This seems to refer to the poem "38 Grinzing" in 'Stillhetens åndedrag' - '38 Grinzing' is also a tramline in Vienna. This poem refers to the art of bookprinting, that is, typography. Are there traces of this '38' in the 'Götterfrucht'? There are some elements which could be used for the idea that the form of the types and the label itself are motivated by the poetry - here by the poem DDS I:72e:

22 mm = outer diameter measure of the label
19 mm * 2 = 38 = inner diameter
15 mm = from top of letters to inner margin
15 mm = from bottom of letters to inner margin
4 mm = breadth of first letter 'G'
4 mm = breadth of first letter 'F'
5 mm = breadth of crossover on 'tt'
17,5 mm = diameter of inner circle

The latter doubled = 35 mm plus the 5 for the 'crossover' (?) = 40 mm - divided with 2 = 20, the number of DDS III:20.

The basis for the computations is DDS III:22 = the outer diameter

Assuming that the 'Filosofo' label is a perfect ellipse with breadth = 28,425 mm and height = 18 mm, the distance between the two foci will be 22 mm. The two foci are the two centres - if the distance between them goes to zero the ellipse becomes a circle. The factual measures are close enough for assuming this.

Could be the rest of the typography can find similar reasons in the poetry. It would mean that the three stickers are generated or 'controlled' by the poetic structure of DDS.

It can be concluded that DDS as a normal literary work has a work-internal structure in which the mystic value of arbitrarity 1 is invisible as in other literary works, but by the presence of its diachrony by the historic context being isomorphic with the synchronic semiotics, the mystic value which is lost in a normal text is reconstituted by itself being recursively updated in the diachrony. That is why the grammatical errors are of essential importance - to the extent that they are carriers of this isomorphic format - for understanding the mystery of 'Der Dornenstrauch'.

More generally, it can be assumed that languages change in history because that makes them incompatible with standard normative grammar and hence they can retain the transcendent mystery that is lost by the inherent synchronic immanence.

Are the three stickers a phrase structure phenomenon?

This question may be a little too complex to answer for the time being, but I would guess that this is what it is about.

ROYAL LAND = metope (preceded and followed by architectural triglyphs = aural bones)
Filósofo = stapes (aural bone)
Götter-Frucht = round window of inner ear

Land can mean 1) territory (noun) or 2) landing (verb)

German 'Götter' = english royal 'GUTTER'?

1) Inspired philosopher in royal land = in the gutter = outer articulation
2) Götterfrucht lands in the philosopher = poet's divine inspiration = inner articulation

Moses was found in the gutter (Nile) of Egypt, the land of the pharaoh
The sunflower matrix could be defining the phrase structure hook

For FILOSOFO = ALOSoFo = ALOSLO see TEQ #368

'Window' of TEQ #368:

0+368 = TEQ #368
860 -368 = TEQ #492
860+368 = TEQ #1228
1720-368 = TEQ #1352

TEQ #368 tells of the 'intimate liar' in the ear when FIL = AL etc
The tessera = the metope?

Is it infant Moses who is the wedge in the cold-drumly action?
Therefore Pharaoh despaired when Moses = Egypt escaped?

TEQ includes its own semiotic constitution into the poetic calculation.

There are also many 'virtuals' - for example:

...reporting what he has sighted.
That's why he need autonomy before Star Wars ignited.
[...]
Once the [...] had been called up on deck
3 numero process le avec.
I'm a wedge
in a cold-drumly edge.

Edge-[CR]-ypt

Which it is not, hence ALOSLO could regain its Filosofo status etc.

To give an extensive interpretation of this single example would take it too far. The guess is that the texts on the three stickers could be a poetic interpretation of the inner architecture of a phrase structure grammar. Would it be the most essential, that is, the only really possible description of that architecture?

If so, one could think of this phenomenon as the state of the current culture - and if a technology shall be developed for sending such messages (say, to and from Andromeda) should be developed, for sending more sophisticated messages than only either of these three, then it may be that the current culture and its esthetic logic will have to undergo a certain refinement.

There did occur a text which could have been 'ex nihilo' in the context of these phenomena.

Zeitraumschnecke Franz

It happened on 28 april 2024, according to the date on my pocket camera, the same day or the day after I had been concerned with the interpretation of the different forms of 'hotaram' - notably the following excerpt from Grassmann's dictionary (see also above):

I was (not so many hours after I had studied this) in the region at Westbahnhof in Vienna that I observed a paper on the ground that caught my attention: It looked like a model of a woman's dress - of the type which in norwegian is called 'stakk' - and it whirled around in the wind - in fact it turned around in a circle and when I should try and photograph it I had to move after it in a circular motion. The wind also turned it upside down so that I could photograph the back side of the dress:

The dress

The dress turned around

Having just photographed these, I became aware of a piece of paper on the ground about a metre or so away - it looked like a folded paper which could have fallen out of somebody's handbag and therefore I did not look closer at it but took this photo only:

The photo

The photo

It looks like a small book of maybe 20-24 pages. I later recognized this first page from the excerpt from Grassmann which I had consulted not long before this. I then associated the 5-6 paper leaves (folded) with the 6 senses listed for vr̥ṇīmahe = वृ = 2. vṙ, "wählen", in which case 'umfassen' is likely to refer to the woman's dress ('stakk'), while the text on the first page then likely would be a derivation from the following 'aber schon vor der Sprachtrennung von ihm gesondert'

a - ber schon vor der Sprachtrennung von - Ihm (gesondert)
a - ob - schon vor der Sprachtrennung von - Ihm
'du' = 'schon vor der Sprachtrennung Fon' = 'a sound, from even before the split of the language[s]'

This sounds like Lindeman's account of Saussure's work with the laryngeal theory on the indoeuropean proto-language - the vocalisms assumed to have been in indoeuropean before the earliest attested forms. I look up his book and find on page 26 a reference to sanskrit 'bhinadmi' which means 'split, difference, pierce, discriminate etc' and find the aorist form 'abhet' here as for 'a ob du' to which I can add the 'Ihm' qua greek 'ἱημι' = 'to send forth, to set in motion' - or what about sanskrit 'im' - and I think: Ah, this means the STAKK which the wind set in motion. It could mean - on 28 april - say, the preannouncement of the CD with Wang's 'Vienna Recital' 5 days later. The 'difference' would then be the 'information contents' of this in terms of 'the transcendence of expressive reference' by the presence of arbitrarity 1 in the recording. The meaning 'pierce[s]' = norwegian 'stikker' for the third 'sticker', preterite 'stakk' for the rotating dress.

If the rotating dress is taken to be about a scroll, the STAKK would resemble the tape of a Turing machine. The little book is different from this by its paginated contents which thereby would approximate the periodic (= historic) arbitrarity in contrast to the 'divine arbitrarity' of a scroll such as the typical jewish Torah.

This is when I understand what it is: It probably is from my 'And hang under the Justcan keys' chapter 17 called Zeitraumschnecke Franz - which probably is the invention which the author had come for registering in chapter 16 but was reluctant to come out with. Here it could mean 'the fifth dimension' and it contains the clue to the form 'a ob du Ihm' in the phrase

a 6-grail image
a [o]b du Ihm-age

That is likely to be the 6 sheets of paper with the text on. In addition, 'her low stature came running past me in a dark skirt'. I guess that the '6-grail image' is the cover to 'Der Dornenstrauch'. See also the 'magic images'.

I took a photo of the little booklet. See chapter 18.

A peculiarity is observed in the role of the 'du' = the 'grail' = 'schon vor der Sprachtrennung Fon'? - which occurs twice ('tva', 'te') in Rigveda 1-36-3. See above on the 'bana-te-vah' and Mendelssohn's piano concerto #1 the third movement.

Conclusion on the phrase structure grammar

It is here assumed that these 'ex nihilo' data are consonant with a 'printout' of syntagms from a phase structure grammar.

Assume the equation 'du' = 'schon vor der Sprachtrennung Fon': That would mean the synchrony of 'du' identified as the diachrony of the linguistic history - and hence the traces of the diachrony in the synchrony.

I point to the 'precious jewel' in these derivations - in terms of what I have repeatedly emphasized as a most important point in my 'A waist of time' - at page 84 - from which I here quote:

When, however, the interdependency between social and perceptual features is dissolved (or attenuated) as the space falls apart, the result is that

1) social features are relegated to dialogue, while
2) sensorially perceptual features are relegated to reference

This surfaces in the simultaneous appearance of an enhanced capacity for dialogue and for referential labelling, as these become independent.

It is likely that this enhanced capacity is what can be identified as the phrase structure grammar - which is an enhanced capacity compared with the pushdown automaton of a Turing machine. The dialogue (from the social features) is in the present story in the significational interaction with Wang's music, while the sensorially perceptual features are relegated to the reference of 'a ob du Ihm' via the 'semantic labelling' contained in 'ROYAL LAND', 'Filósofo' and 'Götterfrucht.

Assume that these three labels correspond to the three corners of the triadic submorphemic sign, say, 'ROYAL LAND' as the phonology (the flat sound), 'Filósofo' as the social (or metaphysical) and 'Götterfrucht' as the observational (sensorially perceptual), then the 'a ob du Ihm' would be the lekton in the fourfold (butterfly) sign - with potentially double truth value as it co-refers to potentially two different metaphysical states or realities - printed out by the phrase structure grammar.

It is seen how this involves the semiotic constitution in the computation - before this interdependency dissolves and the syntagm can be outputted (printed out).

There is a 'stack' involved, but this seemed to be independent of the syntagm itself. Could be the 'stack' is simply the lexical component - and it seems to contain some glosses - such as 'jeep' and 'compass'. There is also an apparent 'ratch' there - which could suggest my TEQ book 10 = 'A deep ratch'? However, this apparent independence of the stack and the book could tell of my two-component model which states that the lexical and the grammatical components are independent even if the syntagm seems to be situated in the midst of a paradigm. That may sound as trivial as the idea that the sum of probabilities per definition is 1,0 - while the fundamental theorem of logic tells that this is not trivial.

As far as Wang's recording is concerned, one can guess that the reference in the 'semantic labelling' can be traced to the sensorially perceptible signal available on the record, while the 'invisible' arbitrarity 1 in the 'transcendence of expressive reference' is relegated to dialogue - that is, the 'du' of 'schon vor der Sprachtrennung Fon'. The 'Sprachtrennung' (also historically!) is then the dissolution of the interdependency between social and perceptual features, and it would be the incorporation of this into the synchronic performance which would make a phrase structure grammar empirically possible.

Political comment

1-2-3 in early child development means the three critical stages which correspond to 1) the vulnerable integrity of the skull (soon after birth), 2) the vulnerable integrity of the bodily orifices (around 6 months age - my guess), 3) the vulnerable integrity of the skin (18 months age - my guess). These are the crises which must be well survived - and raw political exploitation of the subject finds it a resource for power to attack the child in the most critical periods of time - that lifts the historic resources for the child's future over onto the exploiting administration who converts it into power.

Likewise, the loops and cyclic properties of Rigveda is a precious knowledge which can be used for developing an esthetic logic for the new information technology - but exploitating administration could dream of converting these into terror of the most horrible kind, such as chemical injections a la critical stage 3) of early child development in what could be called a 'Black Sea Loop'. This could have been the reason why the nazis talked about their origins in the 'aryan' peoples. Thereby they hoped to convert these historic resources into own power. A Black Sea Loop is likely to have been planned as a chain of terror - going from Turkey around the Black Sea towards Paris for being the eastern arm of a swastika on the european continent. Of course such strategies are exactly the opposite of what the Rigveda is about - or, say, my DDS: Such nazi strategies would aim at destroying these valuables - like 'Treblinka' seems to be a precious mystery of jewish philosophy but after WWII it was largely misunderstood as a nazi phenomenon. Of course the nazis were not jewish-minded or vedically oriented - of course their aim was to destroy these valuable knowledges as thoroughly as they could for thereby converting these resources into brute power - a theme which could have been taken over by the modern 1223 phenomenon. That is of course the opposite of an esthetic logic for the new information technology. Current british PM is conservative Rishi Sunak: Although names of course are only names, the name-similarity with the rishis that wrote the Rigveda, and some could say that 'Sunak' could tell of the daily loops of the sun, could nevertheless be indicative of the idea that loops of Rigveda such as I have described for my DDS here could be on the political agenda for the present day - although it is probably not the conservatives who are running those plans. Would it mean that british Labour have plans for a Black Sea Loop (such as Hitler once could have been involved in) - and that Russia with its intervention in Ukraine has tried to stop it? I must in any case strongly emphasize that my DDS is not for that kind of politics which such a terror wave could be about. My view is that 'hotaram' tells of innate sacrifices in knowledge (akin to the christian concept of 'sin') and not of members of the society selected as victims of brutal strategies according to some metric.

The conceptual apparatus of the above description is likely to have been misunderstood in the 20th century in the sense of 'hotaram' qua 'sacrifice' in the sense of 'victim of political persecution' (such as the holocaust against the jews), while my semiotic model conceives of this 'hotaram' as a matter of 'arbitrarity 1' which makes metaphysical item 1 be different from metaphysical item 2 - before 'hotaram' erases (by 'semiotic sacrifice') this difference and declares the two as one and the same - which is what creates the ontological substance with the linguistic designation of it which is arbitrarity 2 which serves to uphold contact with the original metaphysical complexity. Hence 'hotaram' in the sense of principle of justification for exploitation is, according to my semiotic interpretation, but a naive pretext for terror - what I say is that 'hotaram' means the opposite of political persecution since it calls for an understanding of arbitrarity 1 in the sense of being situated on the border to the human reality and that is when a friendly attitude makes it possible to work rationally with the construction of the new computer technology while a conception of 'hotaram' as political 'sacrifice' (such as the holocaust) means that this is not possible without leading to grotesque ideas of e.g. information transmission being possible by way of injection of horror chemicals and mistaken ideas of that sort. 'Hotaram' as 'sacrifice' would be a philosophical understanding of the limitations of the human semiotic constitution - that humans 'sacrifice' the differences between realities (because of their limitations) and therefore have problems with understanding what is not human reality - but the computational interpretation would see the new computer technology as a chance to transcend these human limitations.

See for example the discussion in this file on the difference between 1) "having a great desire for granting heavens (= 'Messiah')" and 2) "having a great desire for granting terror (= 'Hitler')". It is likely that these essential differences - between 'hotaram' as 1) the philosophical understanding of the human reality as being a result of a human 'sinful' constitution which 'sacrifices finer metaphysical distinctions', and 2) political pretexts for 'sacrifice of animals or human beings' - can be recognized in this difference between Messiah (heaven) and Hitler (earth). It is important to understand that this very dangerous conflation is 'self-referental' in being exemplary on the nature of the limited human (earthen) reality.

It is true that the 'divine arbitrarity' of Rigveda 1-12-1 and 1-36-3 can be seen to 'loop into' the 'human arbitrarity' of Rigveda 1-1-1 and therefore it can be argued that the human and divine knowledges have to be conflated somehow, but that is when it is important to understand that the Rigveda is the inner poetic articulation while Moses, which does not loop around, is the outer poetic articulation. This means that the loops of the Rigveda structure is there for providing divine inspiration to the human mind in its inner world and not for lending pretext for sacrificing other humans in the outer world. It may be that the nazis, when they sacrificed so many jews, had mixed up the outer and the inner articulations and their logical structure.

What would it then have been for, such brutality of 'sacrifice' in the sense of 'sacrifice of humans'? Assumed to be a part of nazi philosophy, it was probably an attempt to keep up the role of NEGATION in logic - the last logical operator. The third millenium is likely to see a new logic without NEGATION - based on a concept of TRUTH in the sense of 'flux of information from eternity into history' - which could mean when the sum of probabilities can be different from unity and hence straddle the border between two different realities - like the present model of diachrony in synchrony.

The old left-right dimension in politics is about to dissolve. The leftists seem to me like the adherents of NEGATION in logic and hence would count as the reactionaries going for the 2nd millenium while the conservatives in comparison could be understood as the progressive ones in this respect. But of course there need not be rigid associations of political views with views on logical theory.

Why should nazis be out for constructing the great attack on poetry and arts in general? That is because the fifth dimension is along an axis of esthetic logic. Put differently - it is only via an advanced poetic logic that a higher computational level can be reached.

Why is my DDS just 424 poems (in its three first parts) - in such a way that Rigveda 1-36-3 with the third occurrence of 'hotaram' lands on precisely the last poem of part 3? It is important to notice that I wrote the book completely without knowledge of these aspects of Rigveda and was guided only by poetic intuition (on basis of outer poetic articulations assumed to relate to the inner poetic articulations of my TEQ). It is because the human mind (me, that means here) is of that form that the book conforms to Rigveda - it is not by deliberate planning of such a parallelism.

A closer study of 'Tizian's Bacchanal' may leave you with an organismic experience of an erotic condition which is difficult to understand from the artwork itself but which emerges from an understanding of the isomorphic relation to the geographic state of the planet Venus. This could be telling of why the italian renaissance was called just so - it was a reinvocation of the mythological world of the latins (such as Horace) 1500 years earlier for being incorporated into a christian understanding. It was thereby a discovery of the fifth dimension - which means that even the (innate) human organism subsists in an isomorphic harmony with the planetary (or cosmic) condition: That means that if the planet Venus had not been there, life on earth would perhaps not have taken form by procreation in generations but maybe by some other system - which is a very radical understanding of the role of the semiotic constitution as a part of the mathematical calculation. The brain and its functionality (including its logic) would also be a part of our local planetary system, that could mean - and hence radically other ways of thinking can be postulated for life in other planetary systems. It is possible that this italian renaissance was felt in England as a challenge against the 'ROYAL LAND' in the sense of an organismic basis for the royal rule - and hence could have been a part of the reason for Henry VIII breaking out of the catholic church for establishing their own royal church. See also this article for the idea that 'ROYAL LAND' is equivalent with the 'metope' (in contrast to the oval window of the ear as a correlate to 'Filosofo') as having its basis in classic greek architecture: That is equivalent with the concept of 'renaissance' as a reinvocation of the mythological basis 1500 years earlier - that is, the contemporaries of Horace and Christ - as the semiotic basis for the anglican breach with the catholic church. One can think of this as having its rationale in the idea of England being 'transcendent' in the sense of 'overseas' relative to France and continental Europe. Would this idea be equivalent with the idea of the 'ROYAL LAND' as a 'holy land' in that transcendent sense of it? England was instrumental in the construction of the modern state of Israel.

It is clear from this that the overseas geography of England could have been (mis)understood in the sense of being transcendent also as far as the Turing boundary is concerned. That would correspond to the idea that the relation between the official truth of history vs the secrets of administration corresponds to (is isomorphic with) the immanent human reality relative to what lies beyond it - that is, angelic and divine realms - and hence that secret intelligence should be in control of eternal grace. That is of course a misunderstanding as far as the conflict between (english and continental) protestantism and catholicism is concerned.

Tools for continued studies

For the Horace translations I have mainly used the Loeb editions - Loeb Classical Library - latin and english in parallel in two volumes. The translations by C.E.Bennett (Odes and Epodes) and H.R.Fairclough (Satires, Epistles and Ars Poetica) are very good, it is easy to locate the fragment in the translation and the latin lines are enumerated.

https://www.poetryintranslation.com/PITBR/Latin/Horacehome.php
Translations of Horace

https://chinese.gratis/tools/chinese2unicode/
tool for converting non-latin alphabets into HTML code

https://en.wiktionary.org/wiki/%E8%BE%B0
= 'wiktionary' - here for 辰 = Kangxi radical 161
This gives you the HTML number for a chinese sign, some glyph origins, etymologies and definitions and much else
- you just paste the chinese sign into the righthand side of the URL

https://en.wikipedia.org/wiki/Kangxi_radical
List of Kangxi radicals 1-214

https://biblehub.com/text/genesis/1-1.htm
Genesis in hebrew

http://johnbjarnegrover.com/concordanceddskangxihorace.htm
The concordance of Der Dornenstrauch with Horace

http://johnbjarnegrover.com/horatius.htm
The article on how Der Dornenstrauch relates to Horace

https://www.perseus.tufts.edu/hopper/text?doc=urn:cts:latinLit:phi0893.phi001.perseus-lat1:1.1
The Perseus database of latin - Horace here Ode 1.1 - notice the 'focus' and 'load' options to the right

Der Dornenstrauch - the text - on pages 11-473

Der Dornenstrauch relative to Moses and Rigveda

Der Dornenstrauch in relative and absolute enumeration as well as relative to the chinese Kangxi radical - on pages 898-908
Relative enumeration in column 1, absolute enumeration in column 2, Kangxi radical in column 3
(This is contained also in the concordance with Horace)

https://vedaweb.uni-koeln.de/rigveda/view/id/1.1.1
The Rigveda online = 'Vedaweb' at University Köln - here Rigveda 1-1-1
(Notice: You have to 'Toggle contents' for 'Aufrecht' for getting to the transliteration with the word count I use)

https://www.learnsanskrit.cc/
Learnsanskrit.cc - hypertext Sanskrit-English / English-Sanskrit Dictionary

Sources:

Chomsky, N.: Syntactic structures. Mouton, The Hague 1957.

Davidson, B.: The analytical hebrew and chaldee lexicon. London 1848, new print 1993.

Diogenes Laertius: Lives of eminent philosophers. Transl. by R.D.Hicks. Loeb Classical Library #185. Harvard University Press, London 1995.

Horace: The Odes and Carmen Saeculare of Horace. John Conington. trans. London. George Bell and Sons. 1882:

Horace: Odes and epodes. Translated by C.E.Bennett. Loeb Classical Library 33. Harvard University Press, London 1995.

Horace: Satires, Epistles and Ars Poetica. Translated by H.R.Fairclough. Loeb Classical Library 194. Harvard University Press, London 1978.

Horace. The Works of Horace. C. Smart. Theodore Alois Buckley. New York. Harper & Brothers. 1863.

Kennedy, I.G.: Tizian. Taschen, Köln 2018.

Lindeman, F.O.: Introduction to the 'Laryngeal Theory'. Norwegian University Press, Oslo 1987.

Long, A.A. & Sedley, D.N. (1987): The Hellenistic philosophers. Vols.1,2. Cambridge University Press, Cambridge.

Mathews, R.H.: Chinese-English Dictionary. (A Chinese-English Dictionary Compiled for the China Inland Mission by R.H.Mathews, Shanghai: China Inland Mission and Presbyterian Mission Press, 1931). Revised american edition 1943. Harvard University Press, Cambridge, Massachusetts.

Michel, P: Upanishaden. Die Geheimlehre des Veda. In der Übersetzung von Paul Deussen. Herausgegeben und eingeleitet von Peter Michel. Marix Verlag 2007.

Pound, E.: The Cantos. Faber and Faber, London 1994.

Wang, Y.: The Vienna Recital. Deutsche Grammophon. 00028948645671. Berlin 2024.

Werner, H. & Kaplan, B. (1963): Symbol formation. An organismic-developmental approach to language and the expression of thought. John Wiley & Sons, New York.

Venus:
https://commons.wikimedia.org/wiki/Category:Magellan_radar_images_of_Venus#/media/File:Magellan_Venus_globes.jpg
under
https://commons.wikimedia.org/wiki/Category:Magellan_radar_images_of_Venus

Mercury:
https://en.wikipedia.org/wiki/Mercury_(planet)#/media/File:Unmasking_the_Secrets_of_Mercury.jpg
under
https://en.wikipedia.org/wiki/Mercury_(planet)

Tizian 'Bacchanal':
https://en.wikipedia.org/wiki/The_Bacchanal_of_the_Andrians#/media/File:Bacanal_de_los_andrios.jpg
under
https://en.wikipedia.org/wiki/The_Bacchanal_of_the_Andrians

Tizian 'Ariadne & Bacchus':
https://en.wikipedia.org/wiki/Bacchus_and_Ariadne#/media/File:Titian_Bacchus_and_Ariadne.jpg
under
https://en.wikipedia.org/wiki/Bacchus_and_Ariadne

Relativ	Absolute	Genesis	Rigveda	Rigveda	Rigveda	Rigveda	Rigveda
enum.	enum.			'Hunde'	'Grenze'	'Baum'	'ROP'

1a	1	1-1-2	1-1-1	1-31-17	1-27-13	1-25-7	1-23-9
[...]
46	58	1-3-3	1-6-8	1-36-3	1-32-1	1-30-4	1-26-6
47	59	1-3-4	1-6-9	1-1-1	1-32-2	1-30-5	1-26-7
[...]
80	113	1-5-8	1-12-3	1-6-5	1-36-3	1-33-4	1-30-22
81	114	1-5-9	1-12-4	1-6-6	1-1-1	1-33-5	1-31-1
[...]
107j	150	1-6-13	1-15-4	1-10-2	1-4-7	1-36-3	1-33-4
107k	151	1-6-14	1-15-5	1-10-3	1-4-8	1-1-1	1-33-5
[...]
113f	187	1-8-4	1-19-2	1-13-7	1-8-4	1-4-7	1-36-3
114	188	1-8-5	1-19-3	1-13-8	1-8-5	1-4-8	1-1-1