Hans Henrik Holm

Hans Henrik Holm

John Bjarne Grover

In this article I discuss some aspects of Hans Henrik Holm's poetry in his 1972 'Hard-røynd frå havland og dalsògur'. The book is mainly prose like the short text in this file but it contains one introductory poem - the 'fyre-stev' = 'pre-poem' in the beginning of the book - and 6 poems in an appendix at the end of the book. I first reproduce my own translations of the poems and then a discussion of their literary and semiotic structure and historic background.

The poems are the introductory ('fyrestev') 'Blík-fjóm i kveld-klåra' which I translate 'White spots transfigure the darkness' - this is on page 13 - after which there follow 31 prose texts over 80 pages untill the appendix which starts on page 93 - it contains 6 poems and is called "Trått i vande ei vár-vett meg fâr-leidi baud" = 'In dire straits a yingyang offered guidance to me' ('vár-vett' probably means 'male-female') - with explanation added: "Små att-blaff or barn-bragd med eg åhenget skreiv" = 'Brief recalls from childhood accomplishments while I wrote the appendix'.

Holm has added his own explanations to dialect words that are hard to find in dictionaries - they are reproduced here.

Hans Henrik Holm:
The 7 poems in "Hard-røynd frå havland og dalsògur" (1972)

'Fyrestev' = 'pre-poem'

0. White spots transfigure the darkness

From farmsoil we pull the produce:
Salvation from heaven falls.
Haughtiness balances tiredness supported/often against haughtiness is consolation in the tiredness
when wonder from darkness calls. wonder from darkness sobs.

The mind is life's same and its sameness:
Desire is not to grope.
Between the patience and patience
keep steady course up in hope.

The mind is the soil around the farmhouse -
that the dread is in shadowing stealth.
Be peaceful and see how the armhouse and interpret in the world/values
is a sign of our Creator's wealth. then you believe our Creator well

Both you and the angry neighbour
return from indistinct dark.
Let us meet again at the Saviour again at the Bigman
under his well-disposed arc! in well-disposed childhood dåm/scent (?)

Appendix:
In dire straits a yinyang offered guidance to me

1. Under Saturn darkens my sorrow

The dew condenses on grassland, 1.
humidity moistens the mound.
Deep in the childsuck remember
I laughter and weeping sound. OR: laughter and weeping around.

"White fate-spots encircle the moon-disc" 2.
old grandmother frequently said.
She knew how to tell from the birdcries
what is luck and what is accident.

My feeble and aging heart senses, 3.
transformed to a prison cage wall, a prison cage
how sinister threatening condenses
the din of the waterfall.

2. A trapdoor in the fog
when I reach a mountain crag

Spring by spring it tapped me 4. 'sokke' = bark removed around tree trunk foot
for this graveyard dearth.
Earlier it trapped me,
then fell paled to earth. which paled off with the leaves

Bubbles in a cauldron 5.
thereover on hot hearth stone
or a swishing shortage
sings from mental bone. singing from stiffened/settled hindrance

Lovely is the youthhood 6. the [pampered?] youth
where one often treads -
over wagging greenhood
shines high-blue clarity.

Should I climb the mountain 7.
from this gnawing wound?
Let me pull my fountain Let me pull from the echo-suck
from this thawing boon. through halfconscious perception

3. Afraid of darkness, the sunrise shines

Legends, myths my childhood drew 8.
towards the sunpeak, sighwoods through.
Missing things me steeply put
on the trails the landscape cut.

Well I knew desire's been 9.
bottom's gnaw towards hilltop's grate.
I have grasped behind the screen
making my own lifehood's fate.

4. I was prepared for hardships

Desire makes might courageous 10.
in various sorts and ways
conjuring up hearts for favours elaborating?
to more than the lightbeam stays.

Of all that my sighs collected 11.
for weaving ingrediences' fate
bad conscience my step infected
and need gave my substance rate.

5. Thorns rise the sorrowful scent of roses

In longing the might is to suffer 12.
the glades of achievement's unease
that strengthen from mass expansion
the truth out of fantasies.

The body of green grows furry 13.
forgetting the famous and steep
glints of the holy that hurry
over oblivion's deep.

6. Gladness

Do voices rise from the inner joy - 14.
up from the secret heart's alloy?

Both futile and wondrous provisions 15.
make beauty's composite scent
envoy what heaven auditions
from happiness in a glent.

Childhood grew strong from its sadness - 16.
strong rose from hope wishes and praise.
Do sunrays dazzle the gladness
when the heart enlightens its rays?

Formal aspects of the poems: 'Grasping behind the maya screen' by ex nihilo matter and the four rotations

The 'fyrestev' contains 16 lines which can be enumerated 1-16. The poems in the appendix contain 15½ quatrains or 4-line stanzas: If the 14th is considered a couplet stanza there are 16 stanzas - and it turns out that there is one fyrestev line for each 4-line stanza of the appendix. There are 80 pages of prose inbetween.

The poetic development in the appendix poems is through difficulties of poetic articulation untill the moment where the poet tells approximately half way that he has 'grasped behind the screen' after which the poetic difficulties are solved. The second half is decidedly more interesting poetically than the first. This is seen also in the translation - which smoothly conforms itself to the english language in the second half but is more unwilling in the first. That is not because the poetry is written in english (which it most probably is not, even if it could be that Heimskringla is) - it is because the poetic matter is more solved when the now mystically enlightened poet is stepping (like a 'steppenwolf', see below) into a space more universal - even linguistically - than it was in the first half.

The grasping behind the screen is likely to have an equivalence in the ex nihilo graphics which I made from substance 'behind the maya screen' in 2014. I stood in the bathroom and looked into the 'waterland' ('oceanland' = 'havland' of Holm's book title) of the bathtub and its white enamel when suddenly four black spots took shape on the enamel like behind a 'maya screen' that glided aside - one of them turned out to be a spider that ran up the tubside inside a water drop, the other I started rubbing off with an artist's palette knife and I smeared the rubbed-off hard matter (cp. the 'hard-røynd' of Holm's title) onto a microscope glass and thereafter photographed it through the microscope. (While I was rubbing or scratching off, it seemed that a 'deep ratch' was opening like a canyon under the palette knife, for which reason I had to stop, not the least since I only rented the place, but luckily it quickly healed). There were several motives on the glass - see this file for the most important of them. The coloured photo is the cover illustration of my 'Der Dornenstrauch', the black-and-white was originally the 'James Joyce reading' photo (in a sofa, with rollerskates) - which after a year had crystallized and turned into the 'indian': It is seen how the second protrusion on the head (not the 'stradivarius' neck but the one backwards) has been lost and a hand had been added 'ex nihilo' instead - there seem in the first 2014 version to be few traces of this hand reaching towards the mouth. What is noteworthy is that the resulting form - the 'indian' - seems to contain the matter for the four rotations which seem to be telling of the form of the redundancies of the human psyche - what could be thought of as a 'bottleneck' onto which reality formation has to conform when taking shape in the physical world: It could mean that there is a motivating factor in the metaphysics which leads to the formation of matter in the physical world and this formation will tend to conform to certain 'redundancies of psyche'. As the below discussion shows, it is amazing how 'anthropomorphic' in meaning these formations are, how the black matter that takes on shape from initial random on a microscope glass resembles a human hand: It suggests that the semiotic endowment of humans contributes to the formation of the world - which could mean that the human psyche is redundant and gives 'actively' shape to the world and we do not know what the world could have looked like if these redundant shapes (what christianity calls 'sin') had been different. Birds sometimes generously tell of this larger world - that is why humans believe that angels have wings - but of course we have no chance to guess what birds really are or how they look. We see only the shadows and riddles that make sense to the spectacles of our limited semiotic endowment. That can also be the function of poetry - to reach behind this 'maya screen' of redundant semiotic endowment for a more or less brief glimpse into the larger world of mystic enlightenment wherein things are not interconnected in the normal stiffened form of natural laws and causal relations.

One can speculate that poetic enlightenment can lead to a more 'universal' or 'general' semiotic conditioning - which in principle could be thought of as having been assigned a higher degree of 'universality' e.g. in the sense of symmetries - ultimately such mirror symmetry can reach a level of point symmetry which allows for rotational qualities. This could explain how a year from 2014 to 2015 of 'poetic enlightenment' could lead to a reshaping of the originally ex nihilo matter on the microscope glass - grasped from behind the maya screen - for an ultimate reshape of the 'created world'. Faith makes all things new, so to speak - here not only the meaning of matter but even the matter itself. This could receive its interpretation via the fundamental theorem of linguistics - explaining how meaning and matter can re-unite via a dissolution of the original unity created by sameness between elements of two metaphysical realities for an adjusted re-formation into 'new form of matter' along with a concomitant new understanding via an enlightened state of mind. It is the radical idea of such a re-shaping of the matter through a 'bottleneck' of rotational symmetries that could appear to some as a little disturbing. These rotational symmetries are probably old news, though - it is likely to be the contents of the ancient indian swastika symbol which the bajas Hitler grabbed for his logo.

Here are the four rotations of the 'indian' along with the four rotations of the cover illustration to DDS:

See also this file.

What makes this interesting for the present study is the absolute relevance of these 2 * 4 rotations for the 2 levels of the poems in Holm's work and how that applies to the fundamental theorem of linguistics: The 'fyrestev' can be seen as 4 stanzas, one for each rotation, and these 4 stanzas have a reflex in the 4 stanzas of appendix poem #2 = appendix stanzas 4-7 - which again are reflexes of the 4 lines 4-7 in the 'fyrestev'. This means that the structure of the 'fyrestev' can be subjected to an analysis in the form of my function 14 (out of 16) - and the general linguistic interpretation will be that for each linguistic form in the structure there will be an ontological reference in the ex nihilo graphics - which thereby are reduced forms from the 2 different metaphysical realities which the overall structure is about: The first half of the first 8 stanzas and the second half of the last 8 stanzas thereby reflect different metaphysical realities the relation between which is the theme of the work. There is a slight collapse in stanza 14 which contains only 2 instead of 4 lines - and hence the correlate in the appendix to the 4 stanzas of the 'fyrestev' is in stanzas 4-7 and not in 5-8. It is this collapse which tells that there has been a reduction which led to the ontological ex nihilo graphics - with a linguistic correlate. This collapsed stanza 14 is this:

Do voices rise from the inner joy -
up from the secret heart's alloy?

What are the 2 missing lines? One postulates that the correlate is in stanza 7:

Should I climb the mountain
from this gnawing wound?
Let me pull from the echo-suck
through halfconscious perception = Do voices rise from the inner joy

= up from the secret heart's alloy

Here the gnawing wound could (in addition, of course, to the normal 'history') be the rubbing of matter - either 1) off the black spot in the bottom of the bathtub or 2) off the microscope glass, as when then black protrusion from behind the head of the 'indian' is reshaped to his hand, while the halfconscious perception is the assumed reality behind the maya screen - wherein e.g. also such reformation can take place when the rigidity of natural laws and causalities has been relaxed for a reformation in accordance with a new semiotic conditioning. These two lines have been 'rubbed off' - and find an interpretation in stanza 8 which tells that the resulting graphic forms have an archetypal value (legends, myths) which will apply with high generality also to things beyond this poetic framework.

The two metaphysical realities share one element which they consider to be 'the same' - and therefore one of them is reduced: That will be just these two 'missing lines' - which tell of the mystic inquiry that allows for a revelation to step forth through the halfconscious perception when the mystic can no longer discern this thing from that in the 'gnawing wound' of history. The 'echo-suck' will then be the poet's inner poetic articulation - when he is climbing the mount (like the spider inside the drop of water - inside another metaphysical reality that could be) of mystic enlightenment in writing these inner poetic articulations down the one after the other. It would be the 'echo-suck' that sucks the matter from behind the head of the indian onto the shape of a hand in front of his face for a new formation that lends a larger meaningfulness to the rotational qualities of higher symmetries or material 'echos' wherein one half of the symmetric form is an echo of the other.

It is the step from the first half (= one metaphysical reality) to the second half (= another metaphysical reality) which constitutes the enlightenment when the poet steps (through the 'bottleneck' of sinful constraining human redundancies) from the enclosure of a subjective reality into a larger universal reality - and the poetic matter attains a smoother linguistic form in the second than in the first half, discernable also in the enhanced willingness of the english translation to follow the original text in a larger universal poetic reality.

Here are the transforms shown more clearly:

One notices from the third of these how the back-formation on the indian's head (the original elbow resting on Joyce's sofa back) has the same shape as the shoe of the masked cancan dancer on the thresholded photos from the Danube Island. The hand, which during the reading resembled the black doghead running next to the white in the thresholded version of the 'Joyce reading' photo (it looks as if the black dog tells to the white that Catherine seems to have escaped into the cathedral of Siena). It can be concluded that the 'story' in this crystallization from 2014 to 2015 can be called a lifting of Joyce's hand from hip-level holding book - up towards face level - like the hand of the female 'violinist' (or is it an el-bass player) that spreads fanlike out like a fish tail under the bird.

The line level of the 16 lines in the fyrestev and the stanza level in the 16 stanzas of the appendix poems - each of these levels intersect in the form of the double quartets in the ex nihilo graphics:

The four stanzas of the 'fyrestev' ('White spots...'):

Stanza 1 = line 4 ('when wonder from darkness calls')
Stanza 2 = line 5 ('The mind is life's same and its sameness')
Stanza 3 = line 6 ('Desire is not to grope')
Stanza 4 = line 7 ('Between the patience and patience')

The four stanzas 4-7 of the 'appendix poem 2' ('A trapdoor...'):

Stanza 4 = line 4 ('when wonder from darkness calls')
Stanza 5 = line 6 ('Desire is not to grope')
Stanza 6 = line 5 ('The mind is life's same and its sameness')
Stanza 7 = line 7 ('Between the patience and patience')

It is noticed that the apparently peanut-enjoying indian (the original 'mental bone' springing out from the back of his head has been transformed into an 'echo-suck' of song from out of his mouth in the form of his hand) is contemplating climbing the mountain - which is a rotation of himself - and that is when line 6 and 7 interchange here. But this is when there is an overlap which corresponds to the reduction of stanza 14 from 4 to 2 lines.

It is noticed that when there is a mirroring around the mid, then the mirror of stanza 14 is in stanza 3.

The formation of the 2 * 4 graphic rotations can be seen as forecast in my 'The Endmorgan Quartet' = 'TEQ' poem #674 written on 14 april 2000, containing the broken line:

India may just buy four Ganges and four River,
and drive all into River.

while the four graphic rotations are described more extensively in the four parts of the following TEQ #675 (the poem 'A former ghost and gorilla camp') - starting at rotation 3, then rotation 4, 2 and 1.

It is seen how the element of 'grasping behind the maya screen' is at the turn of the story - and how the two halves of the 16 stanzas of poems 1-6 mirror each other around the mid. But even if the second half mirrors the first, something had happened around the turning point - something which made the poetic matter conform more smoothly to the poetic language - as is evidenced also in the attempt to translate it into english.

It is noticed that the two graphic stories are 1) the front page to 'Der Dornenstrauch' and 2) James Joyce reading book - in a sofa with rollerskates.

The Guadalupe revelation

The Madonna of Guadalupe revealed herself to Juan Diego in 1531 and is a very special Madonna revelation in the form of having left an 'ex nihilo' graphic imprint of herself on the visionary's coat, his 'tilma'. This has stayed fresh and unstained up to the present day and hangs on a chapel wall in Mexico. It was probably on the background of the theory of 'purkinje light' - a variant of the theme of the symmetry as in Holm's poems - the idea that if the eye is supposed to be able to perceive light it must also be able to emit light (as Trygve Madsen once pointed out) - and as this theory was coming to develop the idea took probably also shape that it would suggest that a similar phenomenon would apply to the revelation on the 'tilma': Hence by scanning and microscoping the eyes of the Madonna on the 'tilma' one should be able to find something interesting. This was done by Jose Aste Tonsmann and the photos allegedly presented in his book "The secret in her eyes". See the articles 'Towards a theory of poetic grammar' and '12 november 2020: Can light be dated?' for mention of the relevance of these graphic revelations. My source for the reproductions I have used here is http://www.amen-etm.org/Milagre5.htm. Here are some comparisons of these reproductions with the 'indian' image:

The mirrored character 1 resembles the indian

The second character can be recognized in the 'mountain' - whereby the main difference (seen in tilted form here) is in the direction of the dark field under his ear: This corresponds to the hat of Juan Diego which is that part of the original Joyce image which later was wiped away by the crystallization.

The third character resembles (in the mirrored form) with his nose and white cheeks the bovine custody in its entirety.

Juan Diego has the backwards-extending protrusion on his head which was lost from the 'Joyce' original (the bent elbow on the sofa back) and in the crystallized version one year later had taken on form of a hand in front of the mouth of the 'indian'

The 5th character resembles the face of the the bovine custody - the Madonna form. Cp. also Munch's Madonna artwork.

The 6th character has a beard which looks like one rotation of the indian.

One speculates that these forms are telling of the redundancies in the human psyche.

Tiepolo's 'Flora' artwork can also be conveniently compared with the 4 rotations of the 'indian' - the 'bovine custody' with nakedness, only one leg and a cat under the arm, behind her wheelchair the shape onto the 'reflector disc' of the young woman's face, the woman in red skirt with a hand lifted to the head, and the rest.

The Guadalupe data support the hypothesis that Holm's poetic work is about the universality in various metaphysical realities. It is because of the relevance of the Guadalupe data (that is, the universal semiotic character) that one can postulate a general relevance of my graphic ex nihilo's or my poetic work in general for Holm's work - otherwise there would be no direct connection between them.

Horace

The study has focussed on the graphics of rotation in four versions. This has also an important role to play in my study of Horace and the chinese radicals - as far as concerns radical 95 which is assigned the fragments from Satire II.iii.240,6-256,5 and Epistle I.xiv.14,4-30,6. (It can be observed that the coloured rotations above map onto the black-and-white by vertical alignment in the two outer ones and an 'X' swap in the two mid ones - in fact, to pull things a little by the nose, one could see outlines of roman numerals IXI = I.xi - and, to pull it even further, when there is a 'v' in both the two righthand graphics, one could perhaps even spot an I.xiv for this epistle of Horace - and the pulling comes full circle round by adding the two verses to a perfect 'π'). A closer study of the details of this particular graphic-rotation phenomenon in Horace is worth it: The fragment from Epistle I.xiv.14,4-30,6 contains appr 16 lines from the epistle and the four rotations have rather approximately 4 lines each:

nunc urbem et [rotation 1→] ludos et balnea villicus optas:
me constare mihi scis et discedere tristem
quandocumque trahunt invisa negotia Romam.
non eadem miramur; eo disconvenit inter
meque et te. [rotation 2→] nam quae deserta et inhospita tesca
credis, amoena vocat mecum qui sentit, et odit
quae tu pulchra putas. fornix tibi et uncta popina
incutiunt urbis desiderium, video, et quod
angulus iste [rotation 3→] feret piper et tus ocius uva,
nec vicina subest vinum praebere taberna
quae possit tibi, nec meretrix tibicina, cuius
ad strepitum salias terrae gravis; et tamen urges
iampridem non tacta ligonibus arva bovemque
[rotation 4→] disjunctum curas et strictis frondibus exples;
addit opus pigro rivus, si decidit imber,
multa mole docendus aprico parcere prato.
Nunc age, quid nostrum concentum dividat audi.
15

20

25

30

What seems to have attracted special interest in political history is the role of the second rotation, the 'brothel' or 'mountain', notably by the form

Fornix tibi et uncta popina
brothel [for you] and greasy cookshop

'Fornix' means 'vault, arch' but also 'brothel'. By the norwegian 'gris' = 'pig', it seems that this form (probably by the role of anglophony) could have been the basis for the construction with the Pigs Bay invasion on Cuba in 1961, followed by the 'Cuban missile crisis' in 1962 which then likewise could have continued the play on 'ku-ben' = 'cow-leg' = 'crowbar' = 'cooks-hop' - whereby the 'hop' could be in the form of a leap comparable to the one of Holm's stanza 14. See also this 1969 story from 'Vike-bukt' = 'Vike Bay' - cp. 'Pigs Bay' - wherein the form 'e må pisse' could have been a 'secret' - however ridiculous - encoding of 'Epistle'. Would one also find the names of e.g. the 'Clintons' (which could be telling of the interests in modern politics for these matters) in this 'Fornix tibi et uncta popina' formula? Could be one needs to align it against these 'indian' rotations. The secret could have been in the alignment of this fragment from Horace with the chinese radical #95, which, though, I in my study have shown the reality of via my own studies and without access to any secrets or archive material, so it should not count as secret any longer. For the rotation 2, the correlate in Holm is stanza 4 of appendix poem 2:

Skal eg klampe meg upp mot floget
or gnag-tyngdi sår?
Lat meg drage or attljod-soget
fram svarmhåtta år!

'Attljod' means 'sound that is thrown back' while 'soget' means that it is 'sucked back' - as if it were not about a normal echo but a sound that were sent out and 'sucked' back again - as a counterpoint to the idea of a material cowleg pulled up from a bog-strand ('Vikebukt' is close to 'Våg-stranda'). (Ideas to sound associations by W.Stray).

See also how the change in the hand of the indian (discussed above) correlates with "Non eadem miramur" ('we do not admire/esteem the same') vs the back-formation on the indian's head (former elbow on sofa back) - similar to the masked cancan dancer's shoe - in "strictis frondibus exples" = "drawn-together with frons filling-up/satisfying" (the 'strictus' could mean the elbow joining or drawing together the two parts of the arm): 'Frons' can be either as here 'frons/frondis' = 'leaves, foliage' or 'frons/frontis' = 'forehead, army frontline, apparence/look'. (Cp. the voicing or voting of Ukraine and the current frontline that could serve to lift the matter down onto Rome - not far from the Siena cathedral).

There is also in photo 2 (in this file) an 'iron curtain' to grasp behind - with cancan dancer with mask and shoe and a 'd' as in 'frondis', 'frondibus'.

It can be observed that in Venice there are several cases of "Calle & Ponte del Forno" which probably tend to invoke associations to "Falle & Conte del Porno" (cp. also Propertius' 'Cynthia' - more extrensively listed here) and from there to "Palle & Fonte del Corno" - as a counterpoint to "fornix & uncta popina" → "pornix & functa opina" → porcupine = raccoon = panda. To see how this could be part of the political history, it can be noticed that a central person in the socalled 1963 Kings Bay affair was norwegian minister 'Kjell Torbjørn Holler' → 'Kjeltring Holder' = 'smallcrook suffices' - say, as index for invoking the association to the mask of this raccoon / panda (cp. also the mask of the cancan dancer and the historical bronze age form of radical 95). It could probably not have been an impossible theory that the function of covid-19 could have been to collect the world's population behind these 'masks' of this porcupine raccoon or panda - a puzzling phenomenon which arises when one studies Horace at least in relation to the chinese radicals - the appearance of a dark 'mask' around the eyes. Whether this phenomenon would have been a background of the fact that my background family lived for the year 1970-71 in 'Kongensgate 8' in Fredrikstad, I dont know: I am not a 'smallcrook' even if my name could suggest so (and if an 'octogon' were planned and contained in the numeral 8 of the street, it would probably count as improper politics to label the 'Judenblut' as 'smallcrooks' by that semiotic mask). It would probably be considered doubtful whether so much secrecy on these matters can be defended - even if or precisely because the semiotic material is interesting.

The political history

It is seen that the essential aspect of these details from assumed political history could serve to 'pace-lift' one such rotation over onto the place of another, thereby creating a sort of 'rotary motor' or something like that. However, the semiotic phenomenon would likely be found in the correlate to the above description of how Holm's work encodes the basic concepts in what I call 'the fundamental theorem of linguistics'.

It is seen that Holm's 'fyrestev' describes well the historic background of Henry VIII's exodus from the catholic church - with the later french revolution and PTRSIM PIK program leading to desperately difficult problems for norwegian poetry - being targets of a global campaign which could serve to swap 'technical ridicule' with 'technical divinity' - cp. also the current situation of Ukraine with the president apparently elected on background of being the actor in a popular TV comedy series - which should not be mistaken to mean that I am only an actor in my role as poet for my work: I am the true author, not an actor or impersonator. The poems of Holm can be seen as an attempt to solve these problems of norwegian poetry: The 'fyrestev' describes the fundamental theorems of linguistics and logic in stanzas 2 and 3 and the 'environmental issues' ('sulpherous divinity', cp. also Heraclitus) in stanzas 1 and 4. The last appendix poem 'Gladness' - as the end of the cycle - describes the nature of the inner poetic articulations in the framework of precisely these original difficulties - of where the inner articulations come from - and through the turning point about half way through the appendix poems the conception is turned from 'saturnal' pessimism to an optimistic outlook at the nature of poetic articulations.

Conversely, a british program aiming at endowing a quasi-divine authority to the supreme head of the church would strive towards a maximal merger of the components. It can be noticed that princess Diana's bodyguard (allegedly a passenger also in the car when it crashed in 1997) was called 'Trevor Rees Jones' and the norwegian of line 4 is 'um rygdi frå myrkni rýs' = 'when wonder from darkness calls/sobs'. (There is also the story of the 11 year old boy called 'Rhys Jones' who was shot dead a few days before he turned 12 by another boy aged 16 - this happened on a day 22 August 2007 when my TEQ contains the word 'France' - written probably in the night to 22 August 2007 - which it also does for the day 12 august 2002 which is a date of significance of several cues, and this could probably add reason to recognizing the name of 'Rees Jones' as related to this complex). This could be in reference of the mystery called 'sobibor' - borrowed by Hitler for his death camp but probably being an old jewish-philosophical mystery: I myself experienced this in 2015 (I think I had just completed 'Der Dornenstrauch') when seeing a tall drill - maybe some 10 metres tall or so - spinning around and going up and down continuously for 3-4 days without anybody controlling it - while loud sobs could be heard from the neighbourhood in periods of an hour or two, then followed by silence for several hours before it started again. The sobs were too regular to be a human source but too vivid to be a machine, and the decibels were too many to allow for sleep without sound protection and closed windows. The difference between the sobs and the drill ('bore') would have been in the different sensory modalities and in the temporality of continuity vs intervals (discontinuity). 'Rýs' in this sense of 'heavy breath' or 'sob' is likely to be the meaning in Holm's poem - which here is paralleled (in the form 'ovmod' = 'arrogance') with something like the rooster's crow in the early morning (if roosters are considered 'arrogant' - I dont know if they are).

Hitler's 'Sobibor' death camp was administratively under the same complex as 'Treblinka' in the socalled 'Aktion Reinhard' structure - probably planned to constitute a sort of 'backbone' for the 'dritte Reich' - as a natural philosophical problemshift for his own background with apparent 'beerhallputsching' from Wittgenstein. It is possible that Hitler borrowed the ideas of 'sobibor' and 'treblinka' from jewish philosophy - or, quite simply, that these were what Wittgenstein had hoped to meet as a reflex (poetic revelation) of his own work with his logical principles developed in his 'Tractatus' - in the form of classic jewish-philosophical mysteries - but this poetic revelation as a cultural-semiotic reflex of his logical work was 'beerhallputsched' by Hitler in this form (see e.g. this article) and in the later holocaust with Sobibor and Treblinka etc and the wedging-in - whereby Hitler wedged in between Wittgenstein's original logical study and the revelation of it which he had hoped to study - was expanded by the western world in its apparently obsessive occupation with e.g. 'steppenwolfs' a la Fred Astaire / Ginger Rogers. In the worst case, Hitler could even have tried to exterminate all jews only for preventing Wittgenstein from coming to the mysteries as a poetic revelation developed in the framework of his logical principles. Ah ja, this sad and senseless obstinacy could still be up an going - and people do perhaps not even think of why but it could in the course of a century even have come to develop into a culture of 'bad habits' only - wherein a letter (or 'brief') does not go easily through the post because so much 'biz' can be obtained in the mean time by holding it back while the expectation of waiting (a la Wittgenstein for his revelation) could be inflated by way of terror-and-monkey-business. It is possible that this is new generations that have learnt bad habits somewhat uncritically from the former - since, as goes such a sad and horrendous idea, Hitler would have had a 'historic right' to such obstinacy simply because there was 'something still left there'. Of course there was something still left there - that was the study the philosopher was doing for the sake of the development of the new information technology.

Sources:

Holm, H.H.: 'Hard-røynd frå havland og dalsògur', Gyldendal, Oslo 1972.

Horace: Satires, Epistles and Ars Poecitia. With an english translation by H.Rushton Fairclough. Harvard University Press, Cambridge, Massachusetts / London, England 1978.

http://www.amen-etm.org/Milagre5.htm

From farmsoil we pull the produce:
Salvation from heaven falls.
Haughtiness balances tiredness	supported/often against haughtiness is consolation in the tiredness
when wonder from darkness calls.	wonder from darkness sobs.

The mind is life's same and its sameness:
Desire is not to grope.
Between the patience and patience
keep steady course up in hope.

The mind is the soil around the farmhouse -
that the dread is in shadowing stealth.
Be peaceful and see how the armhouse	and interpret in the world/values
is a sign of our Creator's wealth.	then you believe our Creator well

Both you and the angry neighbour
return from indistinct dark.
Let us meet again at the Saviour	again at the Bigman
under his well-disposed arc!	in well-disposed childhood dåm/scent (?)

The dew condenses on grassland,	1.
humidity moistens the mound.
Deep in the childsuck remember
I laughter and weeping sound.	OR: laughter and weeping around.

"White fate-spots encircle the moon-disc"	2.
old grandmother frequently said.
She knew how to tell from the birdcries
what is luck and what is accident.

My feeble and aging heart senses,	3.
transformed to a prison cage wall,	a prison cage
how sinister threatening condenses
the din of the waterfall.

Spring by spring it tapped me	4. 'sokke' = bark removed around tree trunk foot
for this graveyard dearth.
Earlier it trapped me,
then fell paled to earth.	which paled off with the leaves

Bubbles in a cauldron	5.
thereover on hot hearth stone
or a swishing shortage
sings from mental bone.	singing from stiffened/settled hindrance

Lovely is the youthhood	6. the [pampered?] youth
where one often treads -
over wagging greenhood
shines high-blue clarity.

Should I climb the mountain	7.
from this gnawing wound?
Let me pull my fountain	Let me pull from the echo-suck
from this thawing boon.	through halfconscious perception

Legends, myths my childhood drew	8.
towards the sunpeak, sighwoods through.
Missing things me steeply put
on the trails the landscape cut.

Well I knew desire's been	9.
bottom's gnaw towards hilltop's grate.
I have grasped behind the screen
making my own lifehood's fate.

Desire makes might courageous	10.
in various sorts and ways
conjuring up hearts for favours	elaborating?
to more than the lightbeam stays.

Of all that my sighs collected	11.
for weaving ingrediences' fate
bad conscience my step infected
and need gave my substance rate.

In longing the might is to suffer	12.
the glades of achievement's unease
that strengthen from mass expansion
the truth out of fantasies.

The body of green grows furry	13.
forgetting the famous and steep
glints of the holy that hurry
over oblivion's deep.

Do voices rise from the inner joy -	14.
up from the secret heart's alloy?

Both futile and wondrous provisions	15.
make beauty's composite scent
envoy what heaven auditions
from happiness in a glent.

Childhood grew strong from its sadness -	16.
strong rose from hope wishes and praise.
Do sunrays dazzle the gladness
when the heart enlightens its rays?