Holm and the nazis

John Bjarne Grover

The article discusses some poetry from Hans-Henrik Holm's 6-volume "Bygdir i solrøyk" for considering the theory that Hitler' nazism was nothing but this poetic work of Holm - to an extent that one could assume that even the identities in Hitler's government were tailored on this poetic work. The identities discussed are the ones of Hitler's foreign minister Ribbentrop (by cycle #31 from the beginning) and his interior minister Himmler (by cycle #30 from the end) - leading to the tentative conclusion that even Hitler himself can have been a false identity derived from this poetic work of Holm. Since Holm is a good poet and there is no nazism therein at all, it is possible that the entire nazi history, including the development of the postwar era which has so far not brought these details to daylight, could have been a mere rape of the poet's work - for abusive political interests dressing up in it like a wolf in granny's appearance. As the article suggests, the postwar phenomenon of 'rock-and-roll' could have been based on the first cycle discussed here by its first and last words - it could have been the same cycle 'Måkur i haust-røyta' which also gave rise to the term 'holocaust' - from 'Holm-mock-haust'.

In the article Ablikhos' poem 'On prayer' I explored the theory of a cuneiform basis for the vision (or event) of 5 military helicopters flying low over the water of the Danube river on 22 september 2013 - a possibly 'Ezekiel'-related event.

The logic in question concerned the idea of the river as a 'Wasserlauf' being contained in the 'Wasserbehälter' of the landscape. This could in principle be considered the same as the phenomenon discussed in e.g. this article - how there seems to be synchronic traces in my DDS of a diachronic phenomenon which I call 'the opening door' - how the ancient hebrew and sanskrit (Moses, Rigveda) seem to exhibit a mutual parallelism which tells that if the one of them refers to a door, the other is a doorframe, or if it is a low cloud in the landscape, the other is a valley. Here it be about a river qua body of water running through a channel in the landscape - with cuneiform representation like this:

= pa5 = PAP.E = 'Wasserlauf'   = dug = DUG = 'Wasserbehälter'

The interpretation in the article on Ablikhos' poem 'On prayer', it is the apparent structural movement from the cuneiform PAP to the left - the horizontal wedge with the slanting wedge across it - to the two small slanting wedges at the end of DUG, which imitates the movement of the river - with the military helicopters moving low over it in the opposite direction. The 'cuneiform logic' - or even this logic as the basis for this helicopter formation - is recognized further by the idea of the sign KAŠ₄ (DU-šeššig) = 'Lauf', 'laufen', 'schnell', 'Kurier', 'Fremder' showing the riverrun in the parallel horizontal wedges, the bridge to the right and the formation of military helicopters in a quite dense cluster in somewhat oblique and sideways ('crab') movement low over the water:

I showed how this logic can be used to recognize similar elements in the poem of Ablikhos, and how it could be assigned explanatory value also relative to the 3rd secret of Fatima. The revelation of Fatima with its 'miracle of the sun' on 13 october 1917 was followed by the russian revolution only a few days later, and some days after that again Mikelis Ablikhos died. When the Soviet Union eventually was dismantled more than 60 years later, it was under Michael Gorbachov whose name can be taken to associate with the form 'Michael Obliquos' - and hence his name can be seen to suggest a role for the greek poet also in the formation of the russian revolution of 1917 - could be even including this correlation with the apparition of Fatima which on its last occurrence on 13 october 1917 attracted many dozens of thousands of visitors to observe the 'miracle of the sun' which the Madonna had promised some months earlier - as she stood reportedly on a Holm-oak in Cova da Iria in Fatima. (One guesses that the children had shown where she had been standing and that this was identified as a 'holmoak').

The theory as the background for this article - that Hitler's nazism was a construction for dressing up like a wolf in granny qua Holm's poetry - is that this background from 1917 also could have been the basis for a hypothetical attempt on Lenin in 1924 by way of a poem of the norwegian poet Hans-Henrik Holm, born in 1896. I do not know when this poem could have been written but one guesses that it could have been written before 1924. If it were not published, which it probably was not - his poetry seems to have been published in 1949-1951 - it would have been among his manuscripts - and one would have to assume some sort of access to this of the intrigue-constructors. Holm wrote in cycles of poetry - his 6-volume 'Bygdir i solrøyk' 1949-1951 contains more than 1260 poems in 138 'cycles' (on the average about 10 poems in each such cycle) which deal with various poetic topics or 'objects' each of them. The discussion later in this article suggests that two of Hitler's main collaborators Joachim von Ribbentrop (foreign minister) and Heinrich Himmler (interior minister) both were constructions driven like 'helicopters' (Ezekiel style) on basis of one cycle each - even mirror-symmetrically distributed in Holm's wellordered 6-volume work. (Holm wrote this poetry probably up to the beginning of the 1930's - after which he embarked on the 7-volume epic starting with 'Jonsoknatt' in 1933). The nazi program would then have been a terrible rape of this poetic work - for the program of turning the roles around so that Hitler looked like Holm and vice versa. It seems that when pope Benedict XVI sensationally abdicated in 2013, it could have been on Heaven's order for the purpose of stopping this role-turning. Hitler - and his comrades in an 'international secret intelligence liga' - would probably have claimed that it was on his or their order - but history would likely show that this was the role-turning which had to be stopped. Holm seems to have been so bogged down in this history that there could have been attempts to drive him out of the norwegian literary history as a poet of only minor literary value - and the nynorsk basis for the dialect he wrote in has in modern times been so flattened that there is little left of the original nynorsk (it has been normalized to look like 'bokmål') and his poetry is today hardly understandable for a normal norwegian ear. In many of his poems I have to look up maybe half of the words or even more and for many norwegians they are classified as 'totally incomprehensible' - much more difficult to understand than e.g. swedish, danish or even german. If I were to translate the following excerpt from poem 1 in 'Skyrpa med sylvdusti', I could look up 17 of the words, among which maybe a good handful of them I would perhaps guess but not feel very certain:

Could be there still are a few hundred souls left who read it easily - and then there are few left who can evaluate the literary quality therein. The nazi game could then be to claim that Hitler was Holm's inspiration and not the other way round.

They talk 'nynorsk' on TV but that is nearly only a diphtongized variant of bokmaal and easy to understand.

In a normal norwegian bookshop it is probably much easier to find a german dictionary than a valid nynorsk one, and a nynorsk dictionary in a bookshop solves only a small part of the riddles in Holm's poetry. One needs the 1919 etymological dictionary of Alf Torp for solving many of them. The question is if it is as bad as this: That 'Adolf Hitler' of 1933 is the same as 'Alf Torp' = 'Adlf Orp'. Torp seems to have died not so long before his nynorsk etymological dictionary was completed (cp. also Monier-Williams?).

The conclusion is likely to be that Holm is a good poet and that is the reason for the success of the nazis and their postwar followers. But many norwegians have difficulties with reading Holm. It is likely that his language is rooted not only in his folkloristic and linguistic studies but also in an intuition of the original norwegian language - which means that the normalization of the official language with the emergence of modern mass media ran in parallel with a hitlerish rape of the original language, averaging it to a pale shadow of what it originally was.

The lost poet

There seems to exists a theory that History had prepared for an important poet in Norway in the 17-18 century or thereabout - a veritable Shakespeare or Homer - who wrote his work as History had planned but when he died the papers he left behind were just thrown in the garbage by the locals instead of being carried over to the priest who could have had a chance to consider its literary value or at least stored them in his attic untill they were discovered some decades or centuries later. His work could have been of decisive importance for the state of the global knowledge but nothing came out of it - except for a certain sad 'transcendent luminosity' that shone over the horizon on that afternoon - 'such a beautiful day it was' - when it went in the garbage and in the following years and centuries. Later it came to be the hallmark of british interests in the 'aurora borealis' when the european swastika (which arose with Norway of 1814 as a norwegian counterpoint to Italy - if not to the 'Elfenbeinsküste') turned 90 degrees - and Mussolini's fascism even modelled the harvesting of this northern lights in the collection of 'fascies' in Italy before the swastika turned back again. In the secrets of Fatima it could be this light which is called 'the overnatural light'. This myth of 'the lost norwegian poet's work' seems to have such a high explanatory value for understanding the history and its limp that it probably is generated 'automatically' by history itself - if this poet did not exist the myth of this Atlantis oeuvre would have been created by the redundancies of history itself. The redundancies can suggest that when Norway was established as an independent state in 1814, it was in an attempt to lend a new administrative basis for a culture wherein this grandiose error would not happen again. Alas, history is sometimes a little stubborn and it came to go partly wrong way or at least it was a heavy turn - so that the conception arose that the new state of 1814 were not a desperate attempt to mend a deplorable wound but on the contrary a reward for having done the right thing - "such a beautiful day it was". This came to be the basis for Hitler's nazism which threw the best parts of european culture in the garbage with his 'Holm-o-caust' - in a philosophy which considers genocide 'such a beautiful day'.

Petter Dass was a norwegian priest in the far north whose poetic work 'Nordland's trompet' could have served the function of being a quasi 'plagiarism' of this unknown poet's work - as if the papers had been carried over to the local priest and stored in his attic - for the desperate idea that maybe they still exist and can be found one day - they had been carried over to the priest, they were not thrown in the garbage by this rural culture up there in the north. The prelude of Dass (his name means 'outdoor loo') invokes the hope that this work will transcend the local limitations and spread in the larger world: "Min Fader er en Klerk / Iført en Nordlands Messe-Serk, / Og boer blant kolde Tuer" = "my father is a clerical / dressed in a Nordland's surplice / and lives among cold tussocks" - suggesting in nazi mythology that the lost manuscript can be retrieved from maybe wax images of 'Madame Tussock's' - which would have been in a sad misconception of this poetry as the gospel of terror (here as dropped from the 'spoon' in open landcape) spreading out from Norway - such as the idea which assigns responsibility to the death of Lenin by Quisling (who had the bolshevik's confidence) - hence this name for 'traitor' in all languages.

The story of Holm and the nazis is then likely to be an attempt to construct 'the norwegian poet's lost manuscript' - which was not entirely lost after all and hence world history can be rescued, however desperate the story could have been. This, however, means Holm as the nazi's pretext for terror - including the attempted couping of the russian revolution - and it overclouds the poet's work with a thick smog of intrigue and confused secrets. Use of Holm's poetry as the costume of the nazi terror would therefore likely have been rooted in this political mythos - which could have lent to the power-hungry nazis a quasi pretext which could have enjoyed some popularity and sympathy. However, it is still possible that Holm's poetry cannot really be rescued and hence can come to suffer the same fate as the mythological poet - being turned into a springboard for terror.

The phenomenon of the 'trumpet' with a 'nordlander' (me) can be observed also in the story of the 'heavenly Josef-trumpet' in Szolnok told in this article - but then it has a different principled rationale. 'Heinrich Luitpold Himmler' is likely to be a name which could have been constructed also for describing just this 'final hebrew F' - in the heavenly trumpet hebrew name of 'Josef': This final 'F' looks like a Madonna who stands slightly forwards-leaning ('lute') on the 'L' ('po-L-d') holding the heavenly child in her hands.

If 'Adolf Hitler' is a historic name because of the 1919 etymological dictionary of 'Alf Torp', a nazi trick could be to claim that 'Adolf Hitler' was prescheduled by History long before this - and point to Ibsen's 'Eyolf Little' from the 1890's - which he wrote about the same time as 'John Gabriel Borkmann' (cp. me) and 'Wild Duck' (cp. the story of the 'child wuck' of me in 1957). Further theories could claim that Ibsen were but an agent for (or at least got his material from) some international intelligence service involved perhaps in the construction also of Hitler - if so, that would mean that Hitler were not mere foam on the surface of Torp's dictionary (see the story of the foam or dust on the surface of certain books in my bookshelf - search 'Watkins' - notice also the below mention of Holm's "Skyrpa med sylvdusti"). I have no knowledge on this - but would not be surprised to learn that the 'mere foam' (cp. also the 'Hableany' story) theory is closer to the historic truth and that Szolnok could have been invoked for lending substance to a theory that the 'Führer' were more than only Torp and Holm.

Before I return to a discussion of the role of Hitler's nazism based on a couping of this russian revolution by dressing up in the poetry of Holm, I discuss the nature of one of Holm's poetic cycles for showing how there is a logic therein which resembles Ablikhos told in this article.

The first cycle

Hans-Henrik Holm's "Bygdir i solrøyk" is the 6-volume work of poetry - published in 1949-1951 - with more than 1360 poems in 138 chapters or cycles. As I show in the present article, the cycle called 'Måkur i haust-røyta' = 'Gulls in whithering autumn' = vol.II, chapter viii, poems 1-9, constitute a poetic object of considerable complexity and philosophical value. I translate and discuss this cycle from the viewpoints also of its high relevance for understanding the mystery object found on the seaside of Rekvika in Troms (source) - here another photo of the same - search this article for 'Rekvika' (with 'Hagelin') for a description of the theme. This article brings further evidence of the status of this mystery object - which (from the photo) seems to have been found as 'integrated' into a piece of decayed timber that had drifted ashore. The mystery object can be identified as Apollo's lyre (see also this observation on Pindar's first pythian ode), as the formal structure of my 2016 "Stillhetens åndedrag", and various other formats - here by Holm the (angel) wing shape of the 'gull in whithering autumn' comes to it - the autumn whithers with 'falldown' of this ex nihilo object into the historic reality. My 'Ezekiel-like' vision of 5 helicopters at the riverside in 2013 with the cuneiform interpretation of Ablikhos' poem "On prayer" brings further elements to the present interpretation - it shows that Ablikhos' and Holm's poems can be brought on a common format via the present interpretation based on a cuneiform format relative to the apparition of the Madonna of Fatima in 1917.

See also this story from mystic airplane 'on wings' at the strand of a 'holm' in Greece.

'Måkur i haust-røyta': 'Røyta' means (by Torp) 1) to make rotten, decayed (like the log of Rekvika), humidity that causes decay, loss of hair, 2) to throw aside, 3) a poor and miserable person. Hence it is possible that the title has been interpreted by 'holm' = 'gulls' place' for 'holm-mock-haust' as the basis for the nazi 'holocaust'.

The question is how literary or literal I should make the translation - for showing the structural affinity to the cuneiform substructure. I follow an inbetween solution and discuss some of the elements thereafter. My tentative translation goes as follows:

Here is the original text to 'Måkur i haust-røyta' (scanned from Holm 1949-51)

Here follows the translation:

Gulls in the whithering autumn

1. Roaring waterwalls         (= 'Ròkgarde')

A heavy sea sizzles.
Towards rockface it flings
the bay, lifting darkness in kettlesteep rings.
The undertow evil in echoing claps
burn under the seabed its hellfire traps
and giants are sore with the threatening crags -
their whiteknuckled fists
towards heaven they lift.

2. Strandman / Strand sheds         (= 'Strandbuar')

The gulls are crying at the seaside
outsounding guillemot and thrush.
Storm pipes from the faraway countries
in sudden and thundering gusts.
Out in the ground swell is washing
a vessel with staggering mast.

Life has its honours and pleasures
like flows and ebbs in the seas.
Pronounce not the grace in its measures
before it is resting in peace.
Slowly through fame it is washing -
the good and the bad of its deeds.

3. A rambling heart         (= 'Villstyring')

I had guested many lands,
then returned to my home strands.
When travelling the morals were meagre.
What gains it a youngsters hip?
Now I'm roaming in my home village
with dreams that are filled with the ships.

4. Warning rumble in seaside gap         (= 'Vâr-marm frå havgapet')

Pale by infusions I feverish step.
My wife stepped off in the spring of last year,
my children have drifted off from their home.
Lonely I saunter, lax and sore,
between old men in the dusk of their dawn.

The depths are drinking each spirited brook:
So talkative is the bottom that shook.
I feel how the ocean swells in my chest
through ribs that cluster in rastered look.
Often I sneak out when evening jests
in sleepy movements of vaulted mist.

5. Seaways         (= 'Sjovegar')

Hard it is to untie the girdle
when gout has settled in man.
I look at the seaside's hissing hurdle
of paleness in deathsoaked land.

The maelstrom desirous and urgently greedy
in foam with its sharkwhite teeth:
Here up in my shelter the spring has come
        in joy of its reddish heat.
Quick pretext mixes its pleasures and weights
as long as our hopes are youth's makeshift states.
How much of my time will be needed
before it my deathbells rings?
How much will be left of my poetry's mind
        after wants and hoariness stings?

6. Whistling murmur among the skerries         (= 'Skvál-tòt i skjèrgarden')

Cold winds fill the sails of the sloops.
The wind in the smoke vent peeps.
My wish for adventures wakes up.
As fit as a fish in the fjord/seas
my boyish feelings sprang up.

The prides of my youth were the stores
that spurred me in ribs of my chest
and spurred with their courage and force
and converged what expectancy blessed
of my entire experience's course.

Now my courage is low and gray is the sky
and I sit in tangled seaweed
and peep at the tiny fry
that hurry in shoals of the breed
of all my desire's memory.

7. Death is our redeemer and the courage gets low        
(= 'Dauden er vår reidar og hyra vert snaud')

Conscience lulled in struggle of death
often breathes in aural breath.

In your bed of last disease
all you need is frugal ease.
Do you think what life has gripped
makes you rich at death's lantern-way?
Now fate's arbitrarity ship
lies anchored in inmost bay.

In this harbour poor you pay from
wages of youth's exodus
by the meagre means of searching
over a drain of weights.

8. I have been on the bier/wave a faithful man        
(= 'Eg hev vore på båra ein heilfaren kar')

All the joy that in me sank
from the bluebog seas I drank.

Green seaweed should under my decayed timber grow.
I must fall from a stained sickbed now.

Soft organsound whistles greetings from the sea.
The needs of the greedy bier/wave
wont give me peace in the death.
When my lights are quenched
it must be in the seas of the ebb.

9. Forest dream         (= 'Skogsdraum')

When outworn boats are consumed
in crackling fires of tar,
it happens the flames are fumed
with a glittering gleaming sprout/spar/birch/rice.

In the swaying swing of these brushes
of the crackling salty bowl -
the ribs of dawn in this bushes
of fire unfold its soul.

Or, more literally - the last lines:

In this swaying swing
of the faraway-resounding/smelling crackling-play -
softly the ribs in a bush-cluster
of fire-branches unfold its soul.

Comments on a couple of words: Poem 1 'Gryte' means often 'kettle' but also 'rock', here by the 'rockface' - it is the word 'kokar' = 'boils' of line 1 which suggests the kettle - in addition to the intuition that Holm would not have chosen an empty fillup word in line 3 for what were already in line 2. Poem 2 line 2 "outsounding guillemot and thrush" is right but I had initially a poetic intuition on "outsounding convolvulus, thrush" which is hard to defend but may be right from other and more unclear reasons. In the last poem my original interpretational freedom went perhaps too far - salt crackles when burning and if the boat had been in the seas etc. There are of course several such cases and the interested reader should study the original in any case.

Discussion of the poetry cycle

This cycle of 9 poems seems to complete the complex of the third secret of Fatima by the formula PAP.E → DUG discussed in the article Ablikhos' poem 'On prayer' - see the beginning of this article. The theory I consider here is whether the same logic applies to Holm's cycle, more specifically if there is a basis for recognizing the poems 1-9 as interpreting the cuneiform 'transform' in a simple one-to-one fashion:

The essence of this logic seems to be that the two leftmost wedges in 'PAP.E' (the horizontal and the slanting crossover which are the PAP sign) = 'Wasserlauf' are lifted over the E onto and transformed into the two rightmost (slanting) wedges of 'DUG' = 'Wasserbehälter' symbolizing the 'duo of angels with aspersoriums' in the third secret of Fatima (the original text is on the Vatican web page). DUG can be seen as composed of the E plus these two slanting wedges.

(For a theory telling of Petter Dass' literary work as a plagiarism or 'wave-surfing' on the lost poetic work, could be the priest had the manuscript in his attic after all, the idea of 'DUG.PAP.E' in the sense of 'dass-papir' = 'loo-paper' could find its historic rationale in Dass - but with a deplorable interpretation potentially pretending that 'it was right, after all, to throw the loopaper in the garbage/toilet' - like making talents who could have enriched culture - only for squeezing them out - for 'a beautiful day feeling').

What is interesting here is that the two leftmost wedges - the sign PAP - correspond to the 2 first poems (1-2) in Holm's cycle while the two last wedges of 'DUG' correspond to the 2 last poems (8-9) - while poem #3 can then be seen to be about that movement from the end to the beginning. The mid poems 4-7 can be compared with the wedges left in the middle - the signs

TAB

A

What is noteworthy here is the role of the following signs:

= GIŪ
= TAB
= A
= GAM

plus possibly also

= PA

It is seen how poem #8 seems to bend the straight horizontal wedge of PAP into one of the two downwards-pointing slanting wedges at the end of DUG: "When my life is quenched / it must be in the seas of the ebb".

There is a notable symmetry in the poems supporting this suggested 'movement' of the cuneiform wedges - such as the organ pipes of poems 2 and 8 - calling forth associations also to the 'pipes' or quasi 'syringes' of the mystery object from Rekvika.

The first word ROK in the title of poem 1 can (by Torp) be related to 1) pelicanus ater (the bird - with 'symmetric wings' = wedges slanting down and up), 2) whirlwind of humid type = vertical wedge, 3) a fireplace poker = horizontal wedge - relating to the last poem. A theory could suggest that if this cycle of poems have that essential role for defining the nazism of the 20th century, it is noteworthy that the first (ROK) and the last (SJEL) words could be the basis for the postwar phenomenon of 'rock-and-roll'.

A frequent theme in the mid of the cycle is the ribs of the chest - which unfold in the ribs of the burning boat in the last poem. See also the discussion in the beginning of this article - the theme of the 'Rüste'.

It is seen that poem 8 has a particular relevance for the mystery object from Rekvika - which can be spotted in the context of the volcano of Iceland e.g. also in Pindar's 1st pythian ode qua 'Apollo's lyre' relative to the volcano Etna.

I here list the glosses for these cuneiform signs that are given in Hübner/Reizammer. Each cuneiform sign has often many possible assumed phonetic realizations, my source for this variation is Ellermeier's 'Sumerisches Glossar' (I have only the volume with the sign inventory available), and some of these are listed in Hübner/Reizammer. The ones I have reproduced here are hopefully enough to give an idea of what a phonetic realization of the assumed cuneiform sign can be about. My reproduction of the following alternatives in Hübner/Reizammer is not entirely exhaustive but should suffice.

= PAP = poems 1, 2
kúr = fremd, Fremdland, Feind, schädlich, anderer, anders, ändern, unharmonisch, unstimmig, gekrümmt, ein Gewand, entfernen, sich empören; (Fleisch)
pa₄ = Graben, Kanal, Rinne, Bruder, (Schattenleib, vornehmen)
pab = bewachen, Erstgeborener
pap = Bruder, Vater, Summe, bewachen


Poem 3 = the movement

= TAB = poems 4, 5
tab = beide, doppelt sein, paarig geordnet, verdoppeln, Zwilling, Fremd, Genosse, Gefährte, Brandwunde, brennen, Fieber, Leute, Summe, anlegen, dazugeben, einsetzen, hinstellen, hinzufügen, versehen mit, vervielfachen, verriegeln, Anfang, einweihen, eilen, drücken, ergreifen, halten, umklammern, abreissen, losreissen, deutlich machen, hervorbringen, verwirklichen, einebnen, niederwalzen, gelb werden (krankhaft, vom Haar), rot färben, bedecken, ebenbürtig sein, läutern, prüfen, spriessen, zwirnen, Krankheit, Stich, Vorteil, Witwe

= A = poems 6, 7
a = Wasser, Bewässerung, Kanal, Sohn, Vater, Mutter, Bresche im Deich, Dammdurchstich, Kanaldurchstich, Begattung, beischlafen, Erzeugung, Koitus, Samen, Sperma, zeugen, Zeugung, ach, oh!, wehe, es ist genug!, auf, hierher, in, im, was, bauen, schaffen, Weichheit, hinlegen, niederlegen, werfen
dur₅ = hell leuchtend, feucht, frisch, sich krümmen, schlängeln, weich werden
duru₅ = Feuchtigkeit, Lapislazuli, Lasurstein, Türkis
e₄ = such abkühlen, beruhigen
ea = Erzeugung, Sperma
me₅ = Bad, Badekult, Ganzwaschung, spülen, überschwemmen, Feuchtigkeit, bauen, schaffen, ich, weichheit

= GIŠ = poems 4, 5, 6
giš = Baum, Holz, Stück 'grünes Holz', Joch, Querholz, Werkzeug, Saatpflug, Stock, Waffe, Armkraft, Macht, Ohr, Verstand, Weisheit, junger Mann, männlich, Männchen, Besitzer, Erfolg, Feuer, Hand, Himmel, Instrument (Musik), Knochen, in Ordnung sein/kommen, Penis, Zeichen, aufrichtig, schreiben

= E = poems 4, 5, 6, 7
e = hierher, nein, oberhalb von, was ansprechen, Befehl, Bescheid, erklären, genannt werden, Heil sagen, sagen, sprechen, Deich, Graben, Gelände (von Deich umgeben), Wassergraben, Kanal

= GAM = poems 8, 9
gam = sich beugen, beugen, biegen, knien, sich krümmen, an die Kandare nehmen, sich unterwerfen, zähmen, aufwickeln, drehen, einrollen, einknicken, Kreis, sich zusammenziehen, rund, Bresche, Einbruchstelle, Loch, sterben, tot, Verfall, abnehmen, durchbohren, fortführen, (Griff?)
gúr = sich beugen, sich unterwerfen, sich niederwerfen (vor Gott), zu Tode bringen, töten, vernichten, Bresche, Loch, Scharte, Ring, Kreis, durchbohren, sich krümmen
gurum = beugen, sich beugen, sich tief beugen, gebeugt, sich bücken, Huldigung, ein Krummholz, Ring, weibliche Scham


It is seen that the correlations make much sense: Nearly every line in Holm's poems can find a not so bad relevance among the meanings associated with the corresponding cuneiform sign.

For the relevance of the mystery object from Rekvika in Troms, I add the observation of the sign = PA for which, among its range of meanings, one can find 'stechen', 'Holz', 'weisse Koralle', 'Flügel', 'Nase', 'Ziegel'. This seems to constitute a quite interesting reference in poem #6 to the 'wing'-shaped organ-pipe object discussed in the article 'Rafael as proof of the authenticity of the mystery object in Rekvika'. Considering poem #6, one can see traces of this PA in the Rafael work like an indicator gliding left-right along the TAB sign untill it is converted into a GIŪ sign at the end of poem 6.

= PA
kún = hell
pa = Ast, Baum, Gezweig, Holz, Stengel, Blatt, Laub, Keim, Sproß, Szepter, Stab, Himmelshöhe, Zenith, Aufstehen, weiße Koralle, Muschel, atmen, blasen, Abzweigung, Ansiedler, Flügel, Hand, Nase, Zügel, stechen, weit werden
sìg = im Kampf besiegen, übermächtigen, töten, (Baum) fällen, schlagen, abreißen, Gewand herunterreißen, sich abkühlen, beruhigen, zum Schwanken bringen, Gewebe, weben, Erstarrung, ganz still, füllen, reinigen, schleudern, vertreiben, zittern, wachen, zupfen, den Gang zurückwenden
ugula = Aufstehen, Bürgermeister, Leutnant, Obmann, Vorsteher, schreiben

More interesting, perhaps, is the presence of this 'fall-down' from logical into historic space in the two lines of poem 8:

Green seaweed should under my decayed timber grow.
I must fall from a stained sickbed now.

The mystery object seemed (from the photo) to have been attached to an old and very decayed timber log - whereto it had been 'integrated'(?) - that may have drifted ashore at Rekvika, and in fact poems 8 and 9 could have been about this Apollo's lyre found on the beach.

I notice from Torp's dictionary:

For poem 8 'green seaweed should under my 'skryte[t]' grow': skryte (n.) = decayed wood/timber, a row of (skeleton?) bones

For poem 7 'Death is our 'reid'-ar': 'Reid' = nest, flock, anchoring site, long (wooden) plank - the 'redeemer' for 'reidar' is an interpretation only - on basis of more normal norwegian 'redder' = 'redeemer', 'saviour' - but that may be a misunderstanding of the original word used by Holm. Notice also norw. 'for-be-rede' = 'to prepare'. 'Reide' = event, punishing sermon, elucidate, equip.

The 'gulls of the whithering autumn', as they hereby are understood, would then correspond to the mystery object of Rekvika near Tromsø in Troms - an object which seems to constitute the formal structure of my poetry book "Stillhetens åndedrag" ('The breathing of silence'). This formal structure of my book is explained in my volume 4 pages 952-954 - it is seen how this formal structure resembles the form of the mystery object (source of photo in here from www.tv2.nothis article).

In addition, there was the distance of approximately 1823 km to the volcano of Geldingadalur on Iceland - for which one can see traces in poem 1 and 9 - as for the transference of the locus from 'Rekavik' ('Reykjavik') to 'Rekvika', corresponding to the transference of the two first wedges of DUG.PAP.E to the last.

The mystic value of the poetic complex in this chapter of Holm is clearly related to my 'Ezekiel-like' vision at the riverside near Donau.

The roaring waterwalls of the first title are thereby clearly relating to the roaring helicopters - which have a mirroring counterpart in the burning boat in the last line - like that burning bush of Moses. The vision (or event) was in september 2013 and I completed my 'Der Dornenstrauch' in 2015 after having written its parts II and III from november 2013 to september 2014 - followed with part IV in 2015.

(Alas, it is possible - at least on background of its intro video - that this poetry work of mine could have been a part of the background of the US TV series 'The Dynasty' which reached TV screens from 2017 onwards. In late 2018 I fell seriously ill).

The identity of Ribbentrop

I had translated the whole cycle 'Måkur i haust-røyta' and worked with these cuneiform matters comparing with Ablikhos before I started pondering the 'ribs' theme and it struck me that Hitler's foreign minister Ribbentrop had a name which could have been related to this. I quickly found that the essential indexes of Ribbentrop in fact seemed to fit in well with this poem - and his five names seemed to apply to the principle of movement from the first two poems to the two last:

Ullrich Friedrich Willy Joachim Ribbentrop

= the wet foam of the humid strand of poem 1 = the theme of the poem 2 = the rambling heart 'willig', also to transfer/move - poem 3 = joa-dream, shoah-dream, poem 8 = the unfolding ribs of the burning boat = poem 9

He was born on 30 april 1893 in Wesel, Preussen. 'Wesel' = the 'vessel' of poem 2 which lifts over to the comparable place in poem 8 where the line tells of 'falling from a stained sickbed', as well as the boat of poem 9. 'P-røysen' = 'in the heap of stones' = 'a bed of steiner' = 'stained bed'.

Hence 'dirty april' could mean this lift-over from 1-2 to 8-9 via 3 lifting like Ezekiel's aircraft - in which case '1-89-3' is this liftover in poems 1-9.

He was allegedly adopted by an aunt with aristoratic background which is what lent to him the 'von' of the Ribbentrop - that could have added this 'movement' to the name.

Hence one could speculate that Holm could have had a central function in Hitler's political program and therefore Ribbentrop was foreign minister - because his indexes encoded the 'Ezekiel' vision as a strong movement forwards. Holm would have been the target of these intrigues because the Madonna of Fatima stood on a 'holm-oak' when she talked to the children - and this is said to have released the russian revolution - which Hitler tried to coup.

An alternative explanation to Ribbentrop is that his name and other indexes could have been outright constructed on basis of Holm's cycle of poems.

A 'holm-mock-haust' on basis of this cycle could also have meant this name of 'Ribbentrop'.

This cycle is #31 from the beginning of the 138 cycles there are in the 6-volume work of Holm - alas, what a fate for such a work if those who organized it tried to turn it into 'a golden era' of norwegian history - like vikings or something like that - by way of hit-and-run terror (Lenin?) and the entire nazi program for making a 'powerful poetic contribution' to the history of the not-so-old norwegian state. Such an unfortunate poet.

Is it possible that the vikings never existed but sources referring to them were made as historic swindle? 'Heimskringla' could have been one of them - about the proud series of golden age kings of medieval Norway. It is probably possible that these never existed - and that the first norwegian king was as late as 1905 - he took the name Haakon VII - because there were lots of Haakons in the ancient golden ages, such as tells Heimskringla. But if these are very unreliable data - would it be that the myth of 'the lost norwegian poet' (homeric size) rather be about 'the lost historic sources'? I dont know what were the official reason for the 're-establishing' of Norway as an independent state in 1814, but there is this feeling around that it was for re-establishing the state lost in some distant past. These problems could have been a part of the background of nazism - on basis of that mythos of the lost poetry manuscript. (It is noticed also that Norway is not a full member of EU, only associated via the EFTA, if I have got it right.

The second cycle

If Hitler's foreign minister should have a 'balanced couterpoint' in his interio minister, should that be the mirror cycle to 'Måkur i haust-røyta'? That should be #31 from the end of the 138 cycles. That makes not so much sense to me - but #30 from the end does: It is in volume 5 (out of the 6), cycle #9, containing 8 poems - it is called "Vi hev trakka våre lengtings hagar mot fyrste framslengs-år" = "We have stepped our longings' gardens towards first puberty year" - which even could be the basis for the definition of Hitler's 'dritte Reich' in the 'mock' sense of this cycle as a trans-mother rape of a puberty boy with his penis transplanted onto her. In fact that seems to encode in a similar fashion the name and other indexes of Hitler's interior minister Heinrich Luitpold Himmler who was responsible for the holocaust. Since this aspect could be a vital question for assessing this abuse of Holm, I therefore reproduce and translate even this cycle - of 8 poems - which seems to encode Himmler's indexes.

Here is the original text to 'Vi hev trakka våre lengtings hagar mot fyrste framslengs-år'

Here is the translation:

We have stepped our longings' gardens towards first puberty year

1. Beaming         (= 'Åsbrun')

Screening little bosom swarm
wonders rising brittle, warm.

Round the log in younger threshold
sunshine beamed in harder glow
as I little was in measure.
I looked higher up than now.

None among the farming boys
sembled big or dangerous.
In the pass between the mountains
angels watched the angelus.

2. White-blossoming village         (= 'Grendi med kvitbrûsar' )

Trembling gold from soil to cloud:
Doorpost's new mirage.

Are your fertile mesmerized
child desires aglow,
you can see the sun can dance,
hear the grasses grow.

Through the manifold it shines.
Your recall reminds?
He who lifts his nose upwards
moss-buds, lichen ignores.

Wonder shines among the straw.
Who pride powers high
soil's adornment do withdraw.
While we're small as child
manifolds tell from the small.

Oft I dived in memory -
great grandmother sighed (to me),
said old Øygunn: Happily
shines she among the stars.
Little Turi wont be marred.
Constellations guard
small girls crowned as bride afar,
voice speaks in their hearts:

You reach for God's white lily -
it tells "I miss you" apart.

3. Speedy recovery         (= 'Helsevon' )

Lie still little Turi
through critical might.
If death wants to hurry
he is stayed on his ride.

Lie still little Turi.
Through wick of the night
strong angels contour him -
the man with the scythe.

4. Sweet from longing is our young shy/bashful mind         (= 'Søt av lang-vent er vår ungbljuge hug')

Shy with birdsense eye I stepped
towards my boy desire.
Daydreams up and down I leapt.
Nightfall turned the gyre.
Danger sensed the time - I dreamt
eagles falling dire.

Candles that I lit I picked
from temptation's fire.
Up my bosom flattery licked
lively furry liars.
But my suffering I tamed till
evening sobs went by here.

5. Under maternal eye         (= 'Under morsaugo')

"You fall asleep now into fishes deep"
said mother when into sleep I fell.
Oh had I a childhood's book-keep
returned like a sleepy spell.
I'm drowsy in beauty's dark deep
where time is aligned with itself.

"Chimes ring in the starry mountains"
said mother when young I wept.
Would chimes of maternal countenance
follow me step by step!
Now evil eye darkens its ground-sense
of forests in shadowing nets.

6. In angelic fields         (= 'På englevang')

Who's playing makes the fiddle stream
heart's music where soul spins its seam.

All soft that our secret desires
encourages us to refresh
the dreams that sound from nocturnal
humming and sweet caress.

From the bottom of twilight's swishes/hushes
our lonely appeal for less -
in silence we all need resounding
fantasy waiting the best.

The soul is glad to enrich
in magic of brideswear shod,
its stepping by heart's ignition
humbly before its God.

When sun shines in heated hazes
it is marked in advancing dance
of everlasting princes
in her bright surrounds.

See wonders in finest detail
of delicate stalks and straw
enabling your human lifecourse
deep in the dusk to go.
Silent mist trembles in shyness
of boy-heart and girlish hay
and time heavy in heavy gray.
See experience in the formal
and you will accomplish much.
There's wonder in what is normal
for he who endures to watch.

7. Travel-need         (= 'Utferds-mått')

Generosity was my mentality.
I liberated from my village and valley.

For summer pastures I went for a hike
along with my sister dear.
Dreams accumulated at shepherd's path
from foliages near.
So horny we steepest mountain observed -
our longing resounded from bird to bird.

Tightly we struggled, advancing in two.
Volition grew stronger from hue to hue.
Turi a business man married in town.
I myself got my own savings account.
None of us have in our lifecourse acquired
anything of all sensation's fire.

8. Still childhood blossoms wild and wonderful         (= 'Stilt barnehugen blømer yr og underfull')

The struggle and the cravings/treasures
the rich can tear apart:
A frugal life in measures
or burdened glorious class,
a child in whited pleasures
of juicy lily grass.

Among moonsnow, sunglistens
fine spirits tread among
those to whom angels listen
that know salvation:
A child sees birds as sisters,
bewitched brothers as animals.

Comment: In the original version I believed that I recognized these two very interesting possibly ex nihilo 'stickers' - the 'Philosopho' in the first line of the first stanza and the 'Royal land' in the second stanza: Hence the two stanzas were earliest translated "Philosophy is struggle/treasures / the rich can tear apart/ ..." in the beginning of the first stanza and the second "In royal land of moonsnow / fine spirits tread among / ...".

Discussion

The theory is that while the 'Ribbentrop' cycle could have been used for constituting Himmler's holocaust, this quasi-mirror cycle could have been used for the idea of a 'hand-ring lut-på-L himmler' - possibly the idea of taking the marital ring off for an extramarital affair - but by Himmler's mid name putting it onto the penis 'L' in its 'heaven-reaching' condition. This could have been the basis for a construction of Hitler's 'dritte Reich' by the idea of the penis of a puberty boy (fyrste framslengs-år = first puberty year) being transplanted onto the mother for use in a rape of the 'ring' of the puberty boy - here by 'våre lengtings hagar' = 'our longings' gardens' as the boy developing his sexual desires through the 'longing's gardens' of his early relation to his mother - and by puberty this turns into a strange idea of that type when the longing is recognized in the flesh of the body. This would have been installed into the concept of 'dritte Reich' via Himmler's holocaust rape and recognized in the name of Ribbentrop.

The two cycles are not entirely symmetric - there is a 'pushdown' from #31 to #30 in the second of these. The following analysis shows that this 'pushdown' seems to constitute the basis for an interpretation based on my own personal history by the names in the socalled 'Octogon' - a 'ribben-trop' of females of the years 1977-82. It appears that it is possible to apply these names for an explanatory framework for the understanding of the relation of Hitler to Holm - but I have no data which could tell that these females were involved in political activities relating to this complex. It must counts as observations on redundancies in data.

It was once in the year 1970-71 that the one who was in the role of my official father (who took the role by an apparent replacement in the summer 1969 - I have elsewhere discussed the theory that the new person could have been a rebuilt Hitler himself) at the dinner table told of a Johan Borgen parody on a "Worker's day" banner slogan: "Arbeid er vårt yrke / idrett gir oss styrke":

Arbeid er vårt yrke = work is our profession
idrett gir oss styrke = sport gives us strength

whereby 'idrett' = 'sport' could suggesest the rewite 'dret-i' = 'excreted-in/on' = the 'homo' who 'gives us strength' in the sense of a 'false identity' - here of the new 1969 version of the father who never told his real name - and who thereby in principle could have been a rebuilt Adolf Hitler - and since his wife (or the wife of the first version) would have been a collaborator on the 'project', she could in principle have been Heinrich Himmler. My puberty onset was in the summer-autumn 1970.

'Drett-i' means strictly speaking 'breed-in' = 'avl-i' - could be for the idea of 'Alf Torp' 1919 as the possible origins of the identity of 'Adolf Hitler'. Cp. also 'Ablikhos' (pronounced 'avlichos' - the name of 'Michael Gorbachov' in the sense of 'Michael Obliquos' could have been in reference of just the greek poet and not of a Hitler identity).

This gives the background of the following interpretation - based on the names of the 8 females of the socalled 'octogon' relative to their profession ('arbeid') and the 'false identities' ('homo' by 'idrett'/'drett-i') that could be associated to them on a general structural basis. These 3 indexical aspects (name, profession, false identity) are applied in a 'pushdown' format - for each such triad as 'pushdown' from the PREVIOUS and as 'pushdown' onto the NEXT. The conclusion is that this allows for the recognition of a RING or 'möbius' form which is the theme of the 'hand-reach/ring' - and which constitutes an element in my own original name - and the name of the official father up to 1969 - 'John Grøver' which can be seen to contain a RING not only in the sense of a 'ROUND g-Røver' but also in the sense of the 'bottom' or 'anus' (cp. 'dritte Reich') RING in the 'Røver' - a potential mix or swap which applies also to the title of the first cycle 'Måkur i haust-røyta' if this be the basis for the 'holm-mock-haust' via the logic that a 'holm' associated with the 'mock' or 'måk' in the sense of being the home of 'måkur' = 'gulls' - as well as the idea of 'mock' by 'røyta' = the shedding of hair, fur, here leaves from autumn trees - it would be about a 'natural' mock ('måke' = 'to shuffle/shave' something away) - for which reason these two forms of MOCK can recognized in the two forms of RING in the name form 'John Grøver'. Himmler wore near-ly 'Round Glasses'. I notice also the name of the austrian foreign minister 'Alois Mock'.

Cp. the two John Grover titles of British Library.

My own identity contains also the mid name 'Bjarne': 'Barne[t]' = 'the child'.

The question for this analysis is whether the resulting ring-shaped/revolving pushdown on the names and identities of the octogon can be read from the titles of this V-ix cycle of Holm.

An argument in favour of the idea that these poems of Holm can have been used by intrigue for connecting to my person via the octogon is found in the last lines - wherein 'jocular' or 'mock' terms for human 'types' can be recognized: Berte, drubbe, purke (Odysseus' bewitched crew at Kirke), trulte.

Berre dei som englane lystrar kan kjenne sæla ør. For eit barn er fuglane systrar                     og dyri trylte brør.

quasi 'berte' i Sommerset/Sunnmøre lystrar cp. Berchtesgaden 'Åsbrun' (Chamberlain?) quasi 'for eit barn er drubbe' quasi 'og purke og trulte'.

'Lystre' is a word which means partly 'to obey order', partly it can mean night-time fishing through a hole in the ice by lanterns luring the fish up for biting the hook or even for spear-in (cp. 'Albert[e!] Speer'). Hence if this be about a mock 'type' it would also be suggestive of the idea of Himmler quasi 'luring' jews to the camps like fish to the ice hole attracted by the lanterns by night. The idea could have been to claim that the jews had gone to Himmler's camps on own free will - for 'sæla ør' = 'salvation/rapture 'swindle'/dizziness'.

I here list the names, professions, attached false identities of the 'octogon' in the order suggested in this article - based on probably impressions from the Eisenhower doctrine of 1957 and other aspects of the story.

1. Åsbrun
1. Edge of mountain ridge (seen from below)

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Ellen Berger Karen Anne Axelsen / Tulla Elieson Tordis Skjærven Søderlind Kindergarden Ceramist Gymnastics school teacher Marianne Moore ? Anne Sexton

Comments:

The poem's title for a normal norwegian ear means 'hill-brown' and the names could apply to this by associations to excrements. 'Karen Anne' could then be the 'J' hanging down from the bottom into the toilet or 'landscape', while 'tulla a liaison' = 'joked a liaison' would, on a similar associative scheme, be significant of 'loopaper', cp. Dass and the manuscript etc. ('Axelsen' was the original name by birth - she changed her name to 'Elieson' after some time).

Some associations to this could be imposed on the poem if the 'cabinet' is associated with the mirages (hilder) of our reality. This would be the 'creation of reality' contained in the ceramist's art. The 'kindergarden' would invoke associations to the opening of an infant's head for leaving 'substance' on the cortex, while the scissoring would be recognized in the 'skismøring' of 'thi sV-ix cycle' by 'ski i gutebrautom' and 'gardlagsgutom' down at 'Samvirkelaget' (the 'super' in those days) or thereabout. This aspect would be contained in the schoolboys with gym.

This association to child head opening is furthermore maintained in the 'adult' meaning of the name of 'Marianne Moore' - and 'Anne Sexton' qua 'he is 16' is contained in the two second last lines. My own interpretation of this as 'angels watching the angelus' in the sense of 'watching the celebration of the incorporation/[trans]substantiation of Christ' - the angels being contained in the light beams that break across the hilltop ridge - would then be a matter of assigning quasi-mystic value to the infant head opening - for this 'Christ' or 'Messiah' to be couped by 'politicians' of that type.

Conclusion to this first poem is that the 'Ring' of 8 rotating names etc = 'Round gRover' - thereby pointing towards the mid cycle at Holm IV-ii 'Skyrpa med sylvdusti' = 'sprinkled with silver dust' as for the angels' aspersoriums at the conclusion of the third secret of Fatima written down in 1944 and in Himmler's Kristallnacht of 1938 - assigning quasi-theologic value to the violence against the infant child - quasi-mystic value to the abuse of the child - by way of this installed interpretation of Holm's poem - and if this swindle be accepted by the society, the conclusion could come to be that Holm was a 'nazi' poet. The construction could have aimed at swapping the roles of Hitler (and his government - and maybe the 'secret intelligence' business generally) and Holm.

I cannot evaluate the relevance of the idea of 'Grace Kelly' in this framework - but notice the relevance of her name (qua 'gray skully') for the concept generally. It may be that they needed this concept for the construction but could not really apply the name of the famous film star. I think I recall - as far as I remember, but it is a little unclear - that my official mother some time in the second half of the 1960's referred to a lethal car accident of Grace Kelly - while the original identity continued her official life in Monaco untill the 1980's. It could mean that Kelly herself was not involved but the construction could have made use of the 'gray skully' concept and hence associations to her name. I do not know if Kelly's name would be associated with this complex or not - it may be a farfetched idea only.

2. Grendi med kvitbrûsar
2. The village with white flower-brushes/bushes/tufts/bouqets

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Karen Anne Axelsen / Tulla Elieson Tordis Skjærven Søderlind Jette Råboe Larsen Ceramist Gymnastics school teacher Librarian ? Anne Sexton Janis Joplin

Comments: This poem #2 can in fact be read in parallel with the 9 names, professions, false identities listed here from top to bottom. Whether this is an optimal interpretation I dont know but it suffices for showing the relevance. There are 25 lines in the poem - these can with larger or smaller success be matched against these 9 indexes as follows:

1 = lines 1-2 (on basis of poem 1),
2 = lines 3-4,
3 = lines 5-6,

4 = lines 7-8,
5 = lines 9-10,
6 = lines 11-15 ('leib-rear-ian'),

7 = lines 16-19,
8 = lines 20-23,
9 = lines 24-25.

3. Helsevon
3. Health hope

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Tordis Skjærven Søderlind Jette Råboe Larsen Ayo Jardar Gymnastics school teacher Librarian handicraft, applied art (textile) etc Anne Sexton Janis Joplin Jimi Hendrix

Comments: This poem likewise seems to follow the indexes in their order 1-9 - the trick being that the little and sick child is 'out of work' and hence #6 is skipped.

Lie still Søderlind

little Skjærven

Turi Tordis

Lie Lie

still brar

little ian

Turi
handicraft, applied art (textile) etc

4. Søt av lang-vent er vår ungbljuge hug
4. Sweet from long-waiting is our young-bashful mind

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Jette Råboe Larsen Ayo Jardar Kirsten Ribu Librarian handicraft, applied art (textile) etc artist Janis Joplin Jimi Hendrix Jim Morrison

Comments: It seems that this could be organized more on the dimension of

Indexes for NOW (2, 5, 8) = the title
Indexes for PREVIOUS (1, 4, 7) = the first stanza
Indexes for NEXT (3, 6, 9) = the last stanza

This is at least a possible interpretation although other versions can probably also be seen. The three famous names from the history of 'ROK-and-roll/sjel' all died around 1970 - the year of puberty onset with 'young-bashful mind'.

5. Under morsaugo
5. Under mother's/maternal eyes

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Ayo Jardar Kirsten Ribu Tonje Kolle handicraft, applied art (textile) etc artist kindergarden Jimi Hendrix Jim Morrison Sylvia Plath

Comments: This could follow the same logic as in poem #4, only that the order is a little different:

Indexes for PREVIOUS (1, 4, 7) = the title - a 'give it to me' claiming mother
Indexes for NOW (8, 5, 2) = the first stanza
Indexes for NEXT (3, 6, 9) = the last stanza

6. På englevang
6. In/On angel fields

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Kirsten Ribu Tonje Kolle Herdis Eggen artist kindergarden publisher / student Jim Morrison Sylvia Plath Saul Bellow

Indexes for NOW (2, 5, 8) = title + lines 1-10
Indexes for PREVIOUS (1, 4, 7) = lines 11-20
Indexes for NEXT (3, 6, 9) = lines 21-29

7. Utferds-mått
7. Exodus strength

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Tonje Kolle Herdis Eggen Ellen Berger kindergarden publisher / student kindergarden Sylvia Plath Saul Bellow Marianne Moore

Indexes for NOW (2, 5, 8) = title + lines 1-2
Indexes for PREVIOUS (1, 4, 7) = lines 3-8
Indexes for NEXT (3, 6, 9) = lines 9-14

8. Stilt barnehugen blømer yr og underfull
8. Silently/Still childhood (child-mind) blossoms wild (giddy?) and wonderful

1. Name of previous: 2. Name: 3. Name of next: 4. Work/profession of previous: 5. Work/profession: 6. Work/profession of next: 7. Possible false identity of previous:         8. Possible false identity: 9. Possible false identity of next:

Herdis Eggen Ellen Berger Karen Anne Axelsen / Tulla Elieson publisher / student kindergarden ceramist Saul Bellow Marianne Moore ?

Indexes for NOW (2, 5, 8) = title
Indexes for PREVIOUS (1, 4, 7) = lines 1-6
Indexes for NEXT (3, 6, 9) = lines 7-12

The conclusion seems to be that these constructions allow for a revolving RING which can be recognized in the name of ROUND g-LASSES/G-røver.

For the idea of a 'revolving' structure, I notice also the 14 titles to Beatles' record 'Revolver' - the 8 first seem to apply to the 8 poem titles of this cycle. For example, the first title 'Taxman' is said to have been inspired by the top income tax of 95% of some sort of income - which here would correspond to Holm's first title "Edge of mountain ridge (seen from below)". 'Rigby' = 'to offer rig' could be a play on the 'white flowers' in the sense of parts of skin whiter than the surroundings = 'another sex-ton'? Title 6 'Yellow Submarine' could be a play on the name of 'Sylvia Plath' etc. It is possible that the last 6 songs on that record can index some of the names of the Octogon in the above order - such as 'And your bird can sing' which could start on #5 Kirsten Ribu and move upwards to #1 ('swing' for 'axle' etc).

Clearly if this be the phenomenon - that postwar entertainment business installed and consolidated the nazi rape of Holm's poetry, there could be reasons for a re-evaluation of its cultural value. The historic framework for this could be the political myth of 'the lost norwegian poet'. However, it is high time that all this circus be told as what it really was - so that the world gets a chance to move out of the whirlpool of nazi swindle and return to reality.

The mid poem and its parallel

Given these two cycles from Holm's "Bygdir i solrøyk" in nearly mirror-symmetric distribution around the mid, for Hitler's foreign and interior ministers, one should believe that Hitler himself would be found in the middle. That seems not to be the case - rather it seems that my own name is in the middle - or, more precisely, the name of my official father John Grøver - something which could contribute to the idea that the new person who took his role in 1969 could have been associated with the name of 'Adolf Hitler'.

There are 138 cycles in total. The mid cycle is then #69 which is vol.4:ii 'Skyrpa med sylvdusti' = 'sprinkling with silver dust' which contains 5 poems. This mid cycle title seems to encode the name of 'John Grover/Grøver'. I do not translate the full cycle - it suffices with the mid lines from the mid poem #3 which is called 'Greini med doggpryda'. This poem has 32 lines. The middle of the poem is the red line:

Only the noble-minded horny/sexual-drive-inspired procreate
experience up from drive to soul.

Quickly all that is un-shy/bashful like grass shall we shorten/flatten
when it demands its growth in our breast/chest.

------------------
Deeply in the sexual drive has lust its web.
Little we manage in 'frank of bold' to apply
to give us the beauty by the wishes it gives

The two mid lines "when it demands its growth in our breast/chest. / Deeply in the sexual drive has lust its web" could then comment on the phenomenon of leftsided gynecomasty as a result of early child head opening - including masturbation on the cortex and scissoring off of a part of its lower occipital lobe - such as I seem to have been victim of. It is seen how these mid lines also could apply to social sexual life in general. More specifically, it could concern also toplevel names in norwegian politics in recent decades. I notice the Chernobyl disaster at 01:23 in reactor 4 as potentially related to 'noble-minded horny/sexual-drive-inspired' etc. But this nazi-related (Ribbentrop, Himmler) phenomenon is something which public administration/politics should have informed the people about - it should not be left to me (on, say, the 'octogon' background).

But if this IV:2 is the mid of the mid, where is Hitler in this structure? He could be two volumes earlier - in II:2 = 'Sjomannsbrur' = 'Sailor's bride'. 'Showman's bride' could be this 'Adoll Fitler'. This is cycle #26 among the 138 in total - which also means before #31 of Ribbentrop.

The mid poem of II:ii is #4 out of 7 - that is in fact the poem I have translated earlier without knowing about this phenomenon - Holm's 'Bygdir i solrøyk' II-ii-4 = Strandrug i kveldsrode':

Sedges in evening red

Sweet flattery from a playful trick
of evil gets by poison quick.

All fate becomes through ages
a statutory care
but after humid rages
the profits often flare.
Expensive are the pages
that count belonging's fare.

Our mental shares do suffer
the thread of treason's guess
and/but after stings and shuffles
[comes] harmonious blessedness.
Sea tangle softly buffers
heart's innermost recess.

Among these 14 lines, the mid are lines 7-8 which seem to encode the secret of the name:

Dyrt må i stur   vi svar
  ety  må logisk oerbog

vår beste eignarlut
alf  torp   nienorsk

hence Alf Torp: "Nynorsk etymologisk ordbok" - the key to Holm's poetry. And the key to Adolf Hitler's identity?

This cycle is #2 in part 2 of 6, hence a 262, the car number T-262 which my official father acquired in the early 1960's, while the mid cycle of the 138 is in #2 in part 4 of 6 - which means that the redirecting link from my name to Hitler would be from 4 to 2.

See my study of Ablikhos relative to my 23 photos: Example 14 shows a comparison of an excerpt from Tizian's 'Bacchanal' - the central unit of four characters - which can be recognized in my thresholded photo #12 with its 4 characters: It is seen that what is #2 and #4 in my photo is #4 and #2 in Tizian's. Hence there could be some basis (on 'archetypal' level probably - my photo #12 seems to be identifiable as 'man-on-wagon' seen from a 90 degree angle).

Now since 'Alf Torp' resembles 'Adlf Opr' or 'Adolf Pr' for 'Adolf Hitler', not much is needed for turning roles around - could be in 2-4 style - for creating the impression that Adolf Hitler is the key to Holm's poetry - while of course it really seems to be the other way round - that Holm's poetry is the key to Adolf Hitler's government. That is likely to be why Torp is assigned such importance - since it enhances the Hitler swindle.

Noteworthy is this 'ADLF RoP' in the sense of an 'adel flop' - which could have been intended on my role - if one had conjectured that I would take pride in an aristocratic Stammbaum - and then it turned out to be nothing.

Now for the clue: Those who believe in Hitler and the truth of administrative power will be inclined to celebrate my studies of the relation between the work of e.g. Mikelis Ablikhos and my 23 photos - and believe that the evidential arbitrarity contained in my photos meets the poetry of Ablikhos because of the historic role of Adolf Hitler - and take this as proof of the quasi divinity of the 'Führer'.

The one who was in the role of my official father once used the word 'Köpenickiade' and I asked what it meant - he said it meant a lot of false identities. I cannot find the word anywhere but if this were Hitler's program, it would not have been the reason for the title to my book "If you're going to København". But it would be the same sort of problem.

This is where I say that it is the other way round: It is a proof that the 'Führer' is not divine - or at least that there are very different reasons for the correlations of Ablikhos' poetry with my 23 photos. Could be therefore also do I transcribe Ablikhos' name with a classic B - cp. 'Gorbachov' as an 'Oblique-os' - while an 'avl-i-trop' would emphasize the 'V' as for Adolf Hitler as the divine origin of Holm's poetry.

If Hitler were the reason for these correlations, there would not have been arbitrarity but conventionality - a field of administrative-gravitational clusters which packs the coincidences tightly together.

This means that there is no reason for a new religious cult celebrating this nazi control with my finger when it pressed the shutter button on the camera for my 23 photos.

There is a lot of work needed for reaching this conclusion. Had I not made all this work, it is possible that such a nazi cult could have taken shape. This tells of the importance of keeping up clear demarcations in order to prevent that the nazi power that has arisen via the occupation (or rape) of the poetic object created by Holm is recognized as the character of the transcendent field which is the theme of Holm's poetry.

It is likely that the confusion is nourished by the belief in the lost norwegian poetic corpus - cp. also 'Måkur' poem 5 the end.

Some guessworks

On basis of what I have described here, I could conjecture some historic phenomena:

1) One could guess that all prominent names of Hitler government could have been selected or even modelled on basis of Holm's poetic work. Would Hitler have been the only authentic identity? There could have been political interests out for rescueing Hitler's authenticity - not the least for attempting the complete swap with Holm - who could have constructed the possible political structures in Szolnok, discussed in this article. The proof that Hitler was preplanned and known to Ibsen would then have been in his play 'Eyolf Little' from the 1890's - from the time when he also wrote 'Wild Duck' and 'John Gabriel Borkmann'. Is that a proof that my identity 'John Bjarne Grøver' and the opening of my infant head in 1957 = 'Child Wuck' were planned along with 'Eyolf Little'? There exists the more natural interpretation that Adolf Hitler is a mere parasite on Holm and that he originally had another identity but took the name Adolf Hitler from Alf Torp and his 1919 etymological dictionary (which can open Holm's poetry) - I notice also that Oslo originally was called 'Kristiania' or 'Christiania' and changed to 'Oslo' in 1925 - and that my identity and the program of infant head opening was planned perhaps in the 1920's for lending substance to the idea that Hitler was evidenced in Ibsen's play - and therefore Hitler himself could have designed the plan on Szolnok in order to make it look as if Ibsen wrote his 'Bygmester Solnes' for the idea of 'business is Szolnok'. The norwegian Labour party acquired 'Utøya' - the site of the 2011 Oslo terror - in 1933 when Hitler came to power in Germany: Today it is easy to recognize this 'Utøya' in 'Sziget Utca' in Szolnok ('sziget' = 'øy') - and 'Utøya' can also mean a derogatory term for low-class people such as the meaning of 'Torp' listed in Torp's own dictionary:

'Ringe mennesker', 'pak' = 'lowclass people' - and the word RING is discussed above to the cycle associated with Himmler. In this article on Torp in Torp one can also spot some forms from the 'octogon' discussed above: 'Triibum' contains the 'Ribu', 'Thorp' contains the 'Plath' backwards, 'skare' (german 'Schar') associates with 'Skjærven'. cp. 'skjære' - 'eggen' is the tool used for that. 'S-kare, flok av ringe' = 's-Karen Anne Akselsen'? (Would all the names of the 'octogon' find their place and order in this 'Torp' of 'Torp'?) What should have been the purpose with all this - its historic rationale? One could guess that it would have been about preserving the original language and knowledge - contained in Holm's poetry - through the modernization of the language by mass media - thereby preserving a link back to Holm and the mythos of the 'lost norwegian Homer' in the form of the modern mythology constructed around Hitler and the postwar world - such as e.g. the Beatles record mentioned above. However, it is hard to see how this could lend sufficient reason to Hitler and his politics - with World War II and the holocaust. It is likely that this historic rationale is only a pale pretext for the more general problem of political power arising from abuse of cultural values - and then a 'lost original identity of Hitler' by the role of Szolnok and possibly accompanying 'Black Sea Loop' would have served to lift a 'historic rationale' by the lost norwegian poet over onto the exploitative politics. Modernization of culture is also potentially contained in the issue of computation theory since Grassmann - and the Hitler program with 'Black Sea Loop' could be the real theme of 'non-paperflat symbolism' which can be spotted in the disease name 'non-Hodgkin lymphoma' - from which both Jozsef Antall and the Shah of Persia died. The latter of these died on the mid point exactly between the birth of his daughter Leyla and the death of the one who was in the role of my official father John Grøver in the end of november 1990 - probably 27 november. If so, the birthday of princess Leyla could have been the PAP = 1,2 which is lifted by 3 over the Shah of Persia = 4,5,6,7 onto 'John Grøver' = 8,9 - for that 'DUG.PAP.E' = 'do-papir' = 'loopaper' symbolism. But clearly that would mean that Hitler - being assigned an origin in the mystic Unknown - could have been tentatively associated with a divine authority which would be somewhat naively invoked in that 'non-paperflat symbolism' by a 'Black Sea Loop'. The current Ukraine crisis could be concerned with a part of the same complex. Clearly this is not a healthy development of new computation theory.

2) For the idea of the cycle #31 'Måkur i haust-røyta' having a defining role for the holocaust program, not the least for the purpose of the 2-4 swap function of Hitler vs Holm, by 'Haust' = 'autumn' I have noticed the nazis' 'Aktion Erntefest' which could have been for lending emphasis to this cycle of Holm - it included the massacre of 43000 jews in the Lublin district. Zinckgasse intersects with Märzstrasse which seems to alternate in administration with Färzstrasse or Fartstrasse. There was a famous Hollywood actress called Faye Dunaway whose name could have been a play on 'Maye Dunaway' which could mean just this massacre of Lublin - 'meie' can mean 'runner' on a sledge but is also used about machine gun fire sweeping ('feie') over a crowd of people - the word could be 'meie'. I recall my official mother born 'Ragna Eidsvig' around 1961 putting 'meier' under the child pram (containing my younger sister) for pushing it on the winter snow when we were going to the 'dairy' shop = 'meieri'-utsalg - and she directed my attention to these 'meier'. One could speculate that this were about the background times of the formation of 'The Beatles' (my official father had also acquired a white 'beetle' VW with number T-262 around those times).

3) Hence it seems that much efforts could have been invested into proving that Adolf Hitler's identity were authentic and not constructed on basis of Holm's poetry - and this proof could seemingly go via Ibsen's authorship. Now the ISBN system seems to have been developed around 1966-1967 (!) on basis of an idea by David Haddon Whitake (not David Dwight Haddonacker! - cp. Dwight David Eisenhower and the streetnames around 'Vas Gereben') called 'the Father of the ISBN'. (The book by Krarup Nielsen I got from the official father probably in 1968 if not 1967 has no ISNB). 'Faye Dunaway' is also a name resembling this formula. It is of course possible that the ISBN system has been developed (by the international secret intelligences?) for protecting the 'integrity' of Adolf Hitler.

4) The phenomenon of concentration camps for jews in the 'holm-o-caust' could in principle have come directly from the word 'dogg-pryda' in Holm's poem 'Greini med doggpryda' - when 'dogg' = 'dew' concentrates on the twig. Would that have been the reason also for the nazi concentration camp Grini at Oslo - or even the phenomenon of 'nazi concentration camps' in general - how the dew condenses or 'concentrates' as 'dew-pride/embellishment' on the branches/twigs? The 'jews' as 'dews'?

The burglaries of my house in Szolnok

As is seen from the discussion of 'Måkur i haust-røyta', its form (also with high explanatory value for understanding the nazi intrigue) can be brought on the general cuneiform phonetics of

PAP TAB A GAM
or
PAP GISh GAM

spooning into

PAP TARZan GAMma
= 1st burglary, the burglar climbing like a Tarzan in through the window of my adobe house: 'Gamma' was the word for the earthen hut/house of the samis in the far north.

PAP GIB A GAMma
= 2nd burglary, many items stolen ('gi bort' = 'give away')

PAP DUG GAM
pap dusja gamma

PAP GIK STOHANSSON
PAP DUSja GAMma
= 3rd burglary, several rooftiles for a hole left in the roof through many months - hence the rain 'showered the house' (DUSJa GAMma).

The latest burglary would have been this breakup of the attic padlock from ladder ('stige') - for assinging to me this PAP GIK STOHANSSON (cp. 'Stig Johansson') and hence the responsibility for the watering of the GAMme = earthen hut = the adobe house in Szolnok.

In conjunction with this, on the day of my arrival for finding the house in this condition, the carrier 'Fremantle Highway' was put on fire. 'Guy Freemantle' was the first owner of 'Visthouse' - which was sold to 'William Lawson' ('låsen' = 'the lock', cp. this padlock).

The intended conclusion from all this burglary could have been the intrigue's wish to make the house + me pronounce the name of Ribbentrop as the 'proper identity' - and his role in the government of Hitler would then assign to Hitler the role of being associated with this Szolnok - could be for lending substance to the idea that Hitler's authenticity is proven through Ibsen's plays.

I have speculated if this Ribbentrop identity has been associated with my elder sister. It is not she (or anybody else) who has written my literary works - that I have done myself. But there could perhaps be some quasi-political plans of assigning to her (with or without her knowledge of it) the responsibility of my works - and possibly only at a much later time point.

Conclusion

It seems that there are reasons to believe that Hitler's nazism gained its power by dressing more or less completely up in Hans-Henrik Holm's poetry - published only later, in 1949-51, 6 volumes with 138 cycles containing more than 1260 poems. Holm's poetry may have been used for an attempted nazi couping of Lenin's revolution because the Madonna of Fatima reportedly appeared on a Holm-oak when she said to the 3 young visionaries that Rusia had to turn around - and the russian revolution broke out a few days later. The idea could have been that if the nazi intrigue dressed up in Holm's poetry, like a wolf in granny's bed, they hoped to be vestiged in the confidence that christians took in the Madonna.

The discussion has suggested that Adolf Hitler could have been in a purely exploitative relation (i.e., had no other political program than to try and turn the credits for his authorship into theirs, and therefore could have advanced in principle any political program or personal indexation which could have served to obtain this goal) to Holm's poetry and that may have been the entire story - even Hitler's name may have been only a rewrite of 'Alf Torp' (the key to opening Holm's poetry) qua 'Adolf Pr'. The program on Szolnok can possibly have been made only for hiding this detail away - pretending that Adolf Hitler were the theme (by possibly secret intelligence data) of Ibsen's 'Eyolf Little' - and even the early infant opening of the 'Child Wuck' of 'Wild Duck' could have been made for such purposes in 1957 - with me as 'John Gabriel Borkmann'. 'Szolnok' would then have been chosen (by Hitler himself, probably) for reasons of Ibsen's 'Bygmester Solnes'. The ÖVP story could be all and only this 1223 for constructing that pretext - the false identity of Adolf Hitler. The Oslo terror probably likewise.

However, inspecting more critically whether this conclusion is entirely waterproof, it must be admitted that it probably is not. If it were, the nazis would be more easy to take. The data on Ribbentrop are a little convincing - but the above evidence against Himmler could admittedly have been the result of a construction made after the war. I don't know when one started using the term 'holocaust'. Therefore, if Hitler's autheticity is proven (for example by Ibsen, ISBN etc), Himmler's could perhaps be rescued as well. This could be the reason for the construction - to show that the identities of the nazis were not false - but it it possible that it would not alter the role of Holm's poetry.

Considering the option that the nazis had no other purpose or program than attaching to Holm's poetry, what should have been the reason - and why such extremely exploitative and abusive politics? It would seemingly have been for the purpose of pasting these epithets on Holm's poetry and for harvesting the honours and spiritual profits from his work.

What I now see as extremely important is that my own poetry, in particular TEQ, shall not suffer the same fate as Holm's. There could have been US TV soap and earthquakes in Turkey which could be indicative of the idea that such a program could have been been launched against my work as well. It is of course possible that certain power-craving politicians could dress up in any of my 16 poetic functions (the 16 books in TEQ), or, say, one of the 43 chapters in the 4 last books with Talmud parallel text - 693 hebrew fragments 1+213+207+66+206 in interesting parallel to Wittgenstein's 693 elements in the first part of his 'Philosophische Untersuchungen'. See e.g. his #355 against my TEQ #1388. If such politicians should enter the stage, they are likely to talk and behave similarly to me - except that they lend priority to power and use corresponding methods. That is of course not good politics - if it be about a variant of Hitler imitating Holm indexically.

Of course I hope to avoid being replaced with a copy - in particular Adolf Hitler would be unsuitable.

(Did 'Kristiania' change to 'Oslo' in 1925 as part of the construction on Torp's dictionary? T-oslo? There was on 1 january 2020 a new county 'Viken' (norwegian article) established around Oslo - this is going to be dissolved again on 1 january 2024, in a few week's time. I hope that concerns the county and not my book, and I should ideally take it as a positive move. After the story with the 'J' in the sofa in Budapest 1984 told in this article (the 'J' into a dog would have been a story that did not come about), probably a few years later I rented another flat in Budapest when one evening I returned and the owner was there washing the dishes with the question 'störe ich?' - it was only much later that I understood that perhaps he had this 'J' in the sofa in mind. The story with the 'Fremantle Highway' on the day when I found the 3rd burglary in my house in Szolnok - cp. Visthouse-owner William Lawson for 'låsen' = 'the lock' - could be suggestive of the idea that a certain reference to the above-mentioned complex around 'Greini med doggpryda' could have been invoked with this Fremantle Highway on fire, which looks like a less positive move. I hope the plan is not to put me on fire - a story that did not come about? - and closing down 'Viken' a hundred years after the death of Lenin - while a copy takes my place. The 'brief comment' of 8 september 2023 could be suggestive of the problem that much power seems to rest on my person in the political construction - such as this 'Greini med doggpryda' in the mid of the mid. Could be there is much norwegian 'Labour' power piled up there. Of course many people hope for this story of the nazi power now being brought to an end - but that should not be done by e.g. replacing me with Hitler. The burglaries of my house in Szolnok look perhaps not so promising from this point of view. If the pressure on me comes to be too heavy, it is possible that the profits will rise in the banking system - while I risk falling ill again. I probably cannot take up a bank loan for buying a home under such circumstances).

11 march 2024: I would guess that it is possible that the whole homo circus - with homo marriages and all that - is done only as a global smear on Hans-Henrik Holm's name - for the eventual effect that people cannot take more of it and Hitler can celebrate the eventual triumph. Of course this Sodoma and Gomorra homo circus ('condom and the smear' - was that the reason for the AIDSHIV pandemic?) has to come to an end. 'Han-skjener' means 'he is slanting', 'he moves slantingly forwards', 'he swerves'. Does early infancy head opening with removal of a part of the occipital lobe and masturbation on the other cortex lead to a slanting erection of the victim? How could this end up in own 'colon'? If this is supposed to mean 'dirty beast in the revelation' in Hitler's world view, if the concept is not only a mock on Holm's name, the whole story is probably that it would be naive to believe that the name were the reason for the apparent exploitation and suppression of Holm - I would say it would rather be that the name makes it possible to ignore the fact that it is the good poet which is the reason for the attempted hijack. It is very important that his poetic work "Attljód frå gamaltidi" be published. I think it still exists only in handwritten form.

Search the ABC for 'MLR oct 1978' to see the evidence that AIDSHIV probably was set in circulation for such reasons: Title 6 could be indicative of just that 'han skjener i kolon' while title 3 could be about 'condom and the smear'.

It means that 'homo is nazi' - yes, but probably in that 'Ernst Röhm' sense of it - and it probably is the plan that people shall become so sick and tired of all the homo nonsense that they turn away from it - and that will be the triumph of nazism.

Sources:

Ellermeier, F.: Sumerisches Glossar, Band 1, Teil 1. Sumerische Lautwerte, Lieferung 2. Theologische und orientalische Arbeiten aus Göttingen 4. Selbstverlag Dr.Friedrich Ellermeier. Nörten-Hardenberg bei Göttingen 1980.

ELLERMEIER/STUDT, Sumerisches Glossar, CD-ROM zu SG 3,3

Holm, H.-H.: Bygdir i solrøyk I-VI. Gyldendal, Oslo 1949-51. (Bound in 3 volumes).

Hübner, B. & Reizammer, A.: Inim Kiengi. Sumerisch-Deutsches Glossar (+ Deutsch-Sumerisches). Selbstverlag Dipl.-Ing.Univ. Albert Reizammer, Wichernstr. 3, 8590 Marktredwitz 1985.

Torp, A.: Nynorsk etymologisk ordbok, Aschehoug, Kristiania 1919.

http://vivl-lixour.kef.sch.gr/?page_id=553&lang=el - the source for the poems of Ablikhos

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

© John Bjarne Grover
On the web 10 september 2023
Last updated 11 march 2024