Horace and chinese radicals

John Bjarne Grover

Abstract: The study presents a comparison of the entire work of Horace relative to the author's own poetry work 'Der Dornenstrauch' - 'eine Studie in poetischer Mystik' - of 440 poems and concludes that it is possible to find in this an interesting correlation for most or all of Horace's work. Since 'Der Dornenstrauch' also is a surprisingly precise parallel to the 214 chinese 'Kangxi' radicals (counted up and down again = 214 * 2 = 428 poems for the 214 radicals), it is conjectured that the work of Horace can be subjected to the same comparison along the distribution found in the comparison with 'Der Dornenstrauch' - and the study presents an exact concordance table showing that each and every part of Horace finds a correlate in a chinese radical, thereby allowing for a principled explanation to the historical forms and semantic interpretations of the chinese signs. The corollary follows how this even can lead to conjectures on the historic development of meaning elements of the chinese signs back to oracle bone origins. Some examples of the comparisons are discussed.

(I have on the internet found the following source texts that can be consulted unless one has more uptodate resources available - see the sources at the end of this article: 1. Horace's works in english, 2. Horace's works in latin, 3. Horace's works).


Horace and Der Dornenstrauch

In my "Der Dornenstrauch" (= 'DDS'), written in 2009-2015, there is my poem DDS #136 which contains a puzzle in the form of the socalled 'Rüste': It looks like a board going vertically on the outside of the wooden ship for reinforcing the conjunction of the parallel horizontal boards that constitute the hull of the ship, and it is therefore natural that this board can touch the ground under the boat when it comes close to the coast. However, for once, such a vertical board is natural on the inside of a boat but not, even if possible, on its outside. Secondly, this is not what a 'Rüste' really is: Traditionally a Rüste - probably the same word as 'armament' - is a horizontal side-board on the outside of a ship over which the ropes from the mast are running for being attached to the outside of the ship under this Rüste, but from my poem that looks puzzling: How can such a 'Rüste' come to my 'tiefem Grunde'? Hasnt the poet mixed up horizontal and vertical boards on the shipside? There is the rescue for the poet in the phenomenon of a 'Rüste' on the 'Kohlenmeiler' whereby the Rüste is at the root of the burning heap - and then it makes sense - but then the element of water is replaced with fire and the inside is outside and vice versa.

It was when I leafed in the Reclam edition of Horace's work that I found on p.788 the following illustration to Horace's Epode #10 - the woodcut illustration from the 1498 edition of Horace:

This clearly is about just this phenomenon - of the vertical and horizontal boards of the ship's outside, the ropes from the mast, and I looked up the Epode #10 for a comparison with my DDS #136 - and was impressed by the esthetic value of the parallelism between the two poems.

I notice also the 'boxed word' in the righthand side of the unit of two halves of the ship - as for the 'boxed word' WELCOME in my DDS #126 - on a significant turning point of the book. DDS 126-136 - there are 10 poems between them. Champollion reportedly deciphered the hieroglyphs by way of the boxed words.

From this I decided to check for a parallelism of my DDS with Horace's work in general - and the results I tell of in this article suggest that the latin poet can be seen to have explored the principles of seriality/ordinality or order (or 'wellorderedness') which also surface in chinese radical mysteries relative to my DDS.

In fact it seems that Horace's entire work - his Odes, Epodes, Satires, Epistles and Art of poetry - can be matched systematically onto my DDS for a complete parallelism between his full (extant) work and my full DDS. This emerges when one can use the chinese radicals as a metric of comparison - and it is from this that one can draw the conclusion that Horace's work can be systematically aligned against the chinese radicals - which means a principle of logical ordinality.

To study this in more detail it is necessary to consider the structure of my DDS - see this file for a more detailed discussion and this file for a briefer overview under 'The structure of 'Der Dornenstrauch'' of which I repeat the main outlines here:

My poetry work 'Der Dornenstrauch' was written in the years 2009-2015, generally from beginning to end. It consists of 440 poems in four parts:

Part I    = 294 poems in four parts: Hunde, Grenze, Baum, ROP
Part II   =   66 poems - Vorwort + 64 poems of 14 lines + Nachwort
Part III  =   64 poems of 16 lines
Part IV  =   16 poems of 20 lines

Part 1 has two enumerations (see the concordance table): The RELATIVE enumeration from 1 to 187 contains many illogical 'subtrees' - such as 107, 107a, 107b ... 107g, 107ga, 107h ... 107p, and some numbers are even lacking (110 does not exist). The ABSOLUTE enumeration assigns just a new number to each poem successively from 1 to 294. I associate the relation between these two enumeration systems with chomskyan phrase structure - the subtrees have a meaning and function which are telling of the human psyche and are not just any concentration of elements in subgroups.

The 440 poems of Parts I-IV have been shown to correlate with the 214 chinese Kangxi radicals - primarily in the absolute enumeration 1-214 but secondarily also in the mirror set 215-428 - mirroring down again from #214 to #1. The remaining 12 poems are not used (but see mention below).

In addition to this formal structure of my four-part work (2009-2015), it is important to observe the role of the 'responses' from nature or its reality form which followed the completion of the last three of these - and from these to make a conjecture on the first. After the completion of the second part there was the story of the graphic elements, one of which constitutes the cover illustration to my own DDS edition: I was standing looking into the bathtub and suddenly a 'maya screen' seemed to part before my vision and a small scroll of some gauze-like material on a wooden pin was washed into an ocean coast in the lower part of the tub (near the drainhole) after which 3-4 black spots took shape on the white enamel of the tub. One of these suddenly detached and ran like a small black spider up the bathtub wall, but inside a droplet of water, like an astronaut in a glass bowl. I took an artist's palette knife and tried to rub one of the black spots (later understood to be a piece of mystic matter behind the maya screen) off the enamel - the rub or scratch left some black stuff on the metal blade which I smeared on a microscope glass - but I had to stop the scratching when a deep canyon seemed to open under the palette knife and exposed 'a deep ratch' in the enamel underneath. (This later healed and the tub was soon normal again). The black stuff that I had smeared over the microscope glass could then be put under a microscope or magnifying glass and photographed - it exposed a series of 'magic illustrations's one of which came to be the cover to my book. Another one was the magic view of James Joyce with rollerskates reading in a sofa - this later dried up on the microscope glass and was turned via the intermediate mirrored form into the 'indian' in a process which seems to have added extra and probably ex nihilo matter onto the form (see the difference by the hand pointing towards the mouth) in order to make for a 'humanoid' shape - see the comment on this below - as if it had been adjusted by the principles of a Schimmelbild. The cover illustration to my book

shows on the front page a three-partite shape which seems to be composed of 1) the archetypal singer ('Caruso', sort of), 2) possibly a breasted 'fenris-wolf' or dog with a mouse sleeping peacefully in its mouth, and 3) the running horsehead suddenly coming into a lightbeam while running in darkness. Turning this illustration 90 degrees (see the end of this article discussion on the four turnngs of the the 'indian' explaining the relation between Horace and Kangxi radical 95) there emerges what looks like a singing dog and a woman playing either a violin or a fish/mermaid tail and a big birdlike angel touching her like in the beginning lines of Rilke's Duino elegies:

Wer, wenn ich schriee, hörte mich denn aus der Engel
Ordnungen? und gesetzt selbst, es nähme
einer mich plötzlich ans Herz: ich verginge von seinem
stärkeren Dasein. Denn das Schöne ist nichts
als des schrecklichen Anfang, den wir noch grade ertragen,
und wir bewundern es so, weil es gelassen verschmäht,
uns zu zerstören. Ein jeder Engel ist schrecklich.

On the back side of the book one can see symbols of the three ancient languages that constitute evidential matter for the understanding of my DDS: Chinese (the poultry in the circle), vedic sanskrit (the gaping noseless form) and hebrew (the gauze bottle - which is a photo of the scroll added to the illustration later). See this file (search for 'Rigveda 1-11-8') for some comments on the relation between vedic sanskrit and hebrew interpreting the odd grammatical forms in my work (the 'noseless' forms). It is the chinese which is the essence of the present study relative to Horace's work: The chinese Kangxi radicals from 1-214 follow my poems in absolute enumeration 1-214 in part I called 'Kinderhilfe', hence about 'Aufziehung' = counting or 'pulling' ordinals up from 1 to 214. It is the principle of ordinality which probably is the same in Horace's work and which allows for the compilation of the concordance table given below.

This being the description of what happened at the end of the writing of part II in my book, there is the story of what happened at the end of part III: That is when the assumed 'lapis philosophorum' took shape in my kitchen sink. (Another 'lapis' took shape while I was writing the white-metre book some years later). Finally there is the story of the end of part IV - when I wrote the last dot at the end of the last line in the full work, the end of part IV - what happened then? Then Mount Everest trembled (by an earthquake in Nepal) and shook dozens of mountaineers down in avalanches from the epaulettes of of snow on its shoulders. This leads to the question what happened at the completion of part I: This is a little more difficult to time since the main bulk of this part (of 294 poems) was written between the end (december) of 2009 and the end (december) of 2011 - and another poem - the last of relative enumeration #187, which is absolute enumeration 291 - was added on 7 january 2012 - while the last three (the Nachwort of 292-294) were written in november 2013. In the mean time, the story goes that I in probably about mid november 2012 had sent my poem TEQ #613 to Swami Divyanand in Herrischried after having read volumes 2-3 of his inspired Rig-Veda translation 'Vedamrit' planned to be in 80 volumes. I made 2-3 special print copies of my 'A deep ratch' = book 10 in TEQ wherein this poem is #8 out of the 88 poems in the book. I sent the book to Divyanand with special mention of the poem TEQ #613. It is later that I can recognize the 'Heelmuriband, Downtrack and Saw' as 'Endmorgan, Dornenstrauch and SÅ', the last being short for 'Stillhetens Åndedrag'. (See also Tiepolo's "Triumph of Flora" for a relevant account of the metaphysics in my poem).

What happened as the completion of part I? What happened after I had sent the book to Divyanand was that there some time later appeared a very strong and somewhat awe-inspiring impulse going through the spiritual space, and this impulse was repeated some time later, on 10 february 2013 - and the news followed that pope Benedict had announced his resignation in the early morning thereafter, on 11 february 2013. (The interval between the days 23-24 january 2000 when I wrote the poem and the days 10-11 february 2013 of the second strong impulse and the pope's resignation is 5132 days). Hence if this story be seen as the end of part I, these are the elements:

Part I
Part II
Part III
Part IV        
-         pope's resignation
-         graphic form (scroll and boook?)
-         lapis philosophorum
-         Mount Everest trembled (thee big 'white stone')

The story of Moses and the burning thornbush is the jewish counterpart to the christian holy communion.

My TEQ can be thought of as 'the climbing of the mount of mystic enlightenment' and the four metres (blue, red, yellow, white) are the way down again. TEQ is written by way of inner poetic articulation, and when it came to the yellow and white metres, these had turned around from inside to outside for the inspiration of the poet to come from observable sources in the historic reality - which means that the poet conceived of himself as living in a poetic revelation. This poetic revelation could then have been the externalization of the inner poetic articulations of TEQ. (I first heard the word 'externalization' from Henrik Sinding-Larsen). See more on this below - under 'Der Dornenstrauch' as a 'poetic revelation in history'.


The alignment of Horace and my Dornenstrauch

Of essential value for understanding the alignment of Horace's work against my DDS is the role of the 'petrification' at the end of part III. I had written part II as 12-liners and had passed 64 of those and were into the 70 and some such 12-liners when it came to a halt and I decided to divide the last poems (from #65 onwards) into rhyming couplets that could be appended to the end of the 64 first 12-liners - thereby turning them into what looked like a sort of shakespearean sonnets. As I embarked on part III, I had plans of a large number of poems which I wrote as 'shakesperean sonnets' (in fact I thought of this as a new book of type which could be called an 8000-metre for a mountaineer - like the 365 poems of 14 lines in my 'POLAKK English Bloggi' = 'PEB', the socalled blue metre) but when I had written 77 of those and was into #78, it came to a complete halt and I had to give up and (as with part II) reduce even these to 64 by appending two lines to the end of even these. It was in the process of this reduction from 77,3 poems to 64 that the 'lapis philosophorum' took form probably 'ex nihilo'.

This role of the 'petrification point' is essential for understanding the relation between Horace's work and the chinese radicals that follow my DDS. In the course of the work with recognizing Horace in my DDS, I concluded that his Satires would correspond to my part III - and that means up to the petrification point. However, there are naturally two such petrification points: One is at the end of part III, the other is in part I in the poem of relative enumeration #77,3 = one third (line 5 of its 17 lines) into poem #78 (search this file for '#78'). That is absolute enumeration #111. This turned out to have a high relevance in the mapping of the 2121 lines of Horace's Satires onto my DDS: I took the ratio 64/77,3 (of the reduction process when giving final form to DDS part III) and multiplied this ratio with the 2121 lines which gives 1756 lines against the remaining 365 lines. I then divided the 365 last lines (corresponding to the poems 65-77,3 of the original form of part III) evenly over the 64 poems of part III, corresponding to the process of reducing 77,3 to 64 leading to the 'petrification') up to the second petrification point, and the first 1756 lines I distributed evenly over the poems up to the second petrification point at part I relative #77,3 = between the poems of absolute enumeration 110-111. The two petrification points in the scheme of the mapping between Horace and my DDS - discussed in more detail below - then looks as follows (see here for the scheme) - the two petrification points then occur after the evenly distributed 1756 lines of the Satires for the first petrification point and after the remaining 365 Satire lines for the second:

It is understood that the two petrification points - cp. the two strong impulses in the spiritual space before the pope's resignation - have a strongly defining role to play in the relation between the two works.


The Odes and Epodes

These are aligned with my DDS on basis of the correlation described above for the woodcut of 1498 for Epode 10 relative to my DDS #136 = absolute enumeration 225. From this Epode #10 at absolute enumeration 225 I count forwards to Epode #1 on absolute enumeration 216 = chinese radical 213, which is close to the turning point at 214 for absolute enumeration 215-214. Taking it that the Odes reflect the Epodes, the 103 Odes will in fact fill in exactly from absolute enumeration 213 down to the first petrification point at the end of the 1756 Satire lines - at poem of absolute enumeration 111. This means that there is the end of the 214 Kangxi radicals at DDS absolute enumeration #214 if each Kangxi radical is aligned against each poem of absolute enumeration - there it turns on 214 and counts the radicals down again from 215 to 428. Hence DDS absolute enumeration 214-215 will be the last radical, and the Epodes from 216 and forwards will have their reflex or mirror in the Odes: That is when the exact interval of 103 Odes between the end of the Satires and this turning point of the last radical #214 has some evidential value. It is, so to speak, the reason why Horace wrote or rather published just 103 Odes. The Odes of Horace are in four books, related here to DDS in absolute and relative enumeration:

Horace
Carminum Liber I
Carminum Liber II
Carminum Liber III    
Carminum Liber IV

= 38 odes    
= 20 odes
= 30 odes
= 15 odes
DDS absolute    
= 111-148
= 149-168
= 169-198
= 199-213
DDS relative    
= 78-107h
= 107i-109i
= 109j-114j
= 114k-124

This means that the Odes in their parallelism with my DDS start on precisely the poem of the Guadalupe Madonna with relative enumeration #78 = absolute enumeration #111 - see also this article - that is, precisely on the point of 'petrification' in DDS part I corresponding to the formation of a 'lapis philosophorum' in the writing of DDS part III.

This petrification point 1 will therefore be the beginning of the Odes - and the end of the first part of the Satires. See discussion below of examples of how the characters shown in the surroundings of the Madonna's eyes exhibit a peculiar relevance for the chinese radicals.

Between these Odes and the Epodes there will be the two poems DDS rel #125-126 = abs #214-215 = Kangxi radical #214, which then conjecturally would correspond to Horace's Carmen Saeculare, including the boxed word WELCOME (in rel #125, that would be). In the illustration from 1498 there is a box on top of the righthand side of the ship. The 17 Epodes then start on rel #127 = abs #216 = Kangxi radical #213 and end on rel #142xa = abs #232 = Kangxi radical #197.


The epistles

Horace's work consists in the Odes (Carmina - including the Carmen saeculare), Epodes, Satires, Epistles and De arte poetica.

The odes have been shown to be 'Der Dornenstrauch' = DDS abs I:111-213 while the epodes are DDS abs I:216-232. It was shown that the satires are equivalent to DDS III which ended in a petrification mystery and thereby they fill in DDS I:1-110 which ends in the principle of petrification described in this article. Then what are the epistles?

What remains is DDS part I abs enum 233-294 and DDS part II which is 66 poems - one Vorrede, 64 poems and one Nachrede. It is 'the same' as DDS III of 64 poems - but with two poems attached. It seems to be this '2 poems' which is the epistles.

'Carmen saeculare' here fills in the gap between the odes and the epodes - between radical 213 up and 213 down - that is, poems abs #214-215.

What remains of DDS part I after the epodes (abs 216-232) is just 62 poems: 294-232 = 62 poems. A solution is to see these as the mirror to 62 of the 66 poems of part II.

The epistles are in two books - the first with 20 epistles = 1006 lines and the second with only 2 epistles = 486 lines - once again this '2 poems'.

My solution was therefore to divide the 1006 lines of the 20 epistles of book 1 into 62 and divide these over the two parts of my book. That gives 16,2 lines of Horace per poem of mine.

The remaining 2 epistles can of course conveniently be considered relative to the 2 groups of 2 poems on each side of part II - and to the two strong spiritual impulses. What are their solution? The two remaining Epistles are 'To Augustus' and 'To Florus' - and the above reference to Tiepolo's "Triumph of Flora" is obvious: Indeed this artwork on what is behind the maya, another metaphysical reality, is well captured by the opening gap of the form of radical 134 = 臼, and hence one naturally ascribes Epistle II:i (which contains many such potential references to Tiepolo's artwork) to radicals 134-133 = 臼-至. There is an opening gap or 'opening door' (of the sanskrit-hebrew diachrony) also in radicals 70-69 = 方-斪. It was Epistle II:ii:44-45 that suggested to me that my 23 photos could be of relevance for understanding the logic in the manner of the chinese film from the 1960's - and there seem to be two ways of doing this: Either dividing the epistle into 22 segments from beginning to end, or dividing it into 23 elements spread out over the 216 lines. My 23 photos even recognizes this in the displacement of photos 18-19. It seems that the logic follows the relation of the Bhagavadgita relative to my PEB - and I therefore start the mapping at photo #7 which I recognize in line 125 - for the role of the cyclops described above. With this as starting point, the rest follows automatically. With a divison into 23: 7 = line 125 (from beginning to end of line 125, that is), 8 = 134,4 (that is, from e.g. line 133,4 = 0,4 into line 134 onto line 134,4 = 0,4 into line 135), 9 = 143,8 etc up to 23 = 59,3, 2 = 68,7, 1 = 78, 3 = 87,4, 4 = 96,8 etc. With division into 22 segments: 7 = 125, 8 = 134,9, 9 = 133,7 etc 16 = 213,4, 17 = 7,2, 18 = 17, 19 = 17 (here is the repeat, the parallel = 方), 20 = 26,9 etc. It is natural to assign the division with 22 vs 23 to radicals 70 vs 69. There is a sensational similarity of the chinese film at the image at 00:55:51 with my photo #13: It is for the division with 22 the line "Cur alter fratrum cessare et ludere et ungi / praeferat Herodis" whereby I notice that latin for 'raft' (apparently on fire - or is it like that thornbush?) is 'ratis' and hence there is a 'fratrum/f-ratim kissare' etc in the relevant Horace line. One can of course speculate on a phonological (surface) reference in the one and a semantic in the other. See also the two alternatives for photo #12 - line 172 (for division with 23) = "Sit proprium quidquam, puncto quod mobilis horae" or line 174,1 (for division with 22) = "Permutet dominos et cedat in altera jura. / Sic...". For the hebrew fragment in parallel with the poem TEQ #613 above, see the 'anglophony' of the hebrew relative to Tiepolo when עמלק derives from עמל which means 'toil, fruit of labour' having an anglophonic spoon in Tiepolo in the form of the 'foil, truth of labour' - this is interesting in light of the obvious 'spoonerisms' in Tiepolo's metaphysics when the two persons to the left relate 'with X in CO' to the two main female characters of the other reality. Whether there are such spoons also in Horace's latin, I dont know. Anglophony seems to be an important parametre in 20th century political history.


De arte poetica = The art of poetry

This work of Horace should then expectedly be a variant of DDS IV. Could be it is, but there is a simpler interpretation of it. My DDS contains 440 poems and 'De arte poetica' contains 476 lines. It seems that there is some sophistication in the simple one-to-one reading of the poems in absolute enumeration with the lines of this work.

The 440 DDS poems against the 476 Horace lines leads natural attention to line 440-441 of Horace:

440: bis terque expertum frustra, delere iubebat
441: et male tornatos incudi reddere versus

440: If, after two or three vain trials, [...], he would bid you blot it out
441: and return the illshaped verses to the anvil.

In fact it happened on 1 january 2021 that my PO Box was closed and many months of post therein was 'returned to sender', while one month later there was a coup d'etat in Burma (not 'Bumra[ng]' - returning to sender!). Whether this could have anything to do with this relation between Horace and my book, I dont know. 'Hora ti[l/u] 'S'' = 'the whore of [u]S' for 'he done i[s]t[e]' is probably not a reason.


Examples of my DDS aligned with Horace

For a comparison with my DDS, I here refer to some of the poems from DDS which are already found in other articles on this website.

1) The article 'Logical order' contains these:

DDS rel #107b = DDS abs #141 = Ode I.xxxi
DDS rel #107e = DDS abs #144 = Ode I.xxxxiv
DDS rel #91 = DDS abs #124 = Ode I.xiv
DDS rel #113f = DDS abs #187 = Ode III.xix
DDS rel #109a = DDS abs #159 = Ode II.xi

2) From the article 'Anomalism in a new esthetic space':

DDS rel #111b = abs #172 = Ode III.iv
DDS rel #114c = abs #191 = Ode III.xxiii

3) From the front page:

DDS rel #61 = DDS abs #76 = Satire II.ii.73,3-89,2.
DDS rel #74h = DDS abs #97 = Satire II.iii.272,5-288,5
DDS part II:30 = DDS abs #325 = Epistle I.ix.9,3-x.12,5
DDS II:59 = DDS abs #354 = Epistle I.xviii.107,9-xix.12,1
DDS part III:21 = DDS abs #381 = Satire II.vi.72,4-77,7


Alignment of Horace with the chinese radicals

Now for the essential theme of this study - the conclusion that since Horace can be aligned principly against my DDS and my DDS runs in systematic parallel with the chinese radicals, it follows that one can make a systematic concordance between Horace and the chinese radicals.

What is interesting is that it seems that the work of Horace distributed as in such a concordance table (based on my DDS) - see the end of this paper - seems generally to tell the graphic form of the chinese radicals in the first half and the semantic form of these signs in the mirror fragment in the second half. (But not always - see the below observations on the Guadalupe data).

It seems that the fragments in the first half tend to expose not only the graphic properties of the radical sign but also and most interestingly the historic development of the sign from the earliest attested forms ('oracle bone') in the beginning to the forms of the modern day - or of the times of Horace around the birth of Christ.

What is an interesting question - which perhaps Horace can be used to find a solution to - is whether the same applies to the semantics of the signs - that is, whether the fragments of Horace also could be used to lend cues to a hypothesis of the semantic development of the signs. I have not followed up this theory in the present study, also since it would be quite speculative within the present limited framework, but indeed that is an idea which could call for deeper studies of historic material - whether the semantic values of the earliest stages of the chinese script can be reconstructed on basis of the work of Horace.

For this question, I point also to the few comments I have made of a possible match and refinement of the semantic interpretation in the second mirror half in the fragment adjacent to the graphic interpretation in the first half - such as the example of radical 116 which has its graphics in Ode I.vi and its semantics in the mirror fragment of Epistle I.v.28,6-vi.13,8 - and this semantics seems to receive an interesting update by the semantics to the adjacent Ode I.v - which could lead to interesting corollaries for the syntagm-paradigm theory of my fundamental theorem of linguistics - in the simple idea that 'logical order is the same as semantic assignment'.


Discussion of some examples

See this 'wikipedia' article for an overview of and links to the 214 Kangxi radicals which are discussed in the following.


RADICAL 116

RAD 116 = 穴: = 'hole, grave, cave' etc

Graphics = Ode I.vi which tells of the imitation of the graphics in the radical, assuming that it is a stylized bird with downfolded wings in early forms and outstretched wings in the current times, telling the diachrony of the sign. There are five stanzas in the ode: The first describes the left wing, the second the 'muscle' under the left wing, the third the little 'head' on top (where the 'talent' is but not much muscle), the fourth and fifth are mirror symmetries to the second and first.

The semantics = Epistle I.v.28,6-vi.13,8 where one finds all the essentials in the story of Odysseus in Song 9 in the cave of the cyclops and how the cunning hero escaped with his men bound underneath rams (appr. Song 9:425f) flanked symmetrically by another two rams which the cyclops touched like Isaac on the fur of Jacob's arms. It could be the archetypal CAVE - echoing perhaps the story with Calypso.

However, in Horace it is not really Ode I.vi that tells of a cave, it is the immediately preceding Ode I.v (for radical 115 = 禾 = 'grain, cereal, rice plant') which tells of a CAVE, a grotto, for the flirt which in its literary form could be recognized in Leonardo da Vinci's Madonna in the grotto (source Zöllner) - in which one can recognize the graphic shapes of radicall 115 in its historical forms - such as the early oracle bone form or the modern form of the radical sign. It can perhaps be conjectured that da Vinci's artwork contains the main forms of this sign in its historic development.

Hence the SYNTAGM (= 'logical order') of Ode V:5 → Ode V:6 tells of the step SEMANTICS ('cave, grotto') → GRAPHICS while the PARADIGM of the symmetric Ode V.6 → Epistle I.v.28,6-vi.13,8 (= 'semantic assignment') tells of how this syntagm is recognized in the paradigm - and how culture develops in historic TIME in the logic of the blue metre: This story of Odysseus escaping the grotto of the cyclops is just precisely the PEB 190-191 (if my dating of the Odyssey is right, which it consequently seems to be) wherein the number 190 is told in PEB #191:

I was cautioned
by the society.
Folks were portioned
at 190.

In the parallel from Genesis there is the story of Noah sending out birds on their wings to see if the waters had dried up.

This relation of SEMANTICS and GRAPHICS tells of how, by the fundamental theorem of linguistics, logical order (115-116) is the same as semantic assignment (across the mirror symmetries).


RADICAL 204

RAD 204 = 黹 = 'to do needlework' = Epode x - the one discussed by the woodcut illustration of 1498 in the beginning of this paper - on this poem = relative enumeration #136 = absolute enumeration #204 (as the mirror to #225).

The graphics to this radical 204 would be in Ode IV.vi which supports the assumption of a graphic diachrony of the sign - such as in stanza 5 which could be relevant to the small seal script form (like a mother with children hiding under her skirt), or struggling Achilles in the bronze age form.

The semantics to this sign 'to do needlework' is in Epode x which tells of the things going up and down (e.g. of the surface of the sea), like the needle in the linen of embroidery.


RADICAL 20

The tentative subdivision lends a very satisfying result for the testing of radical 20 since it seems to provide an independent proof that the characters derived from analysis of the Guadalupe Madonna's eyes are authentic and relevant:

RAD 20 = 勹 = basically 'to wrap' = the sign studied in this file under "The fourth stanza":

The table tells that the radical 20 is found under Satire I.iii.48,3-64,3 and under Satire II.vii.105,6-111. It is the latter of these which provides very interesting material for assessing the authenticity of the Guadalupe character:

                                    ... obsonia captas?
Nempe inamarescunt epulae sine fine petitae.
Illusique pedes vitiosum ferre recusant
Corpus. An hic peccat, sub noctem qui puer uvam
Furtiva mutat strigili: qui praedia vendit,                         110
Nil servile gulae parens habet? Adde, quod idem

It tells that the feet refuse to carry the body. It mentions a slave who has stolen something, like a thief with a sack on his back, and on the the upper part of the back of the body there seem to be traces of a 'grape' that interacts with a 'comb' or is it 'flesh-comb' somehow? It looks very precise to the description of Horace for outlining the graphic form of the sign - resembling the sack on the back like on a thief, here sitting on the ground.

No doubt, this is the graphic half of the sign, even if it is in the second and mirror half - and notice that the Guadalupe character must generally be mirrored before they are recognized in a chinese sign - this 'double mirroring' thereby resembles the phenomenon discussed under radical 116 above - whereby 'logical order is the same as semantic assignment'. However, the typical semantic description should then be in Satire I.iii.48,3-64,3. Indeed this looks like a description of the impression which the Guadalupe reconstruction gives of the character, the psychological type, of the young man sitting on the ground and holding his rucksack. The description in Satire I.iii.48,3-64,3 seems to be a discussion which encircles this character type (in contrast to the idea that it could have been a thief, which it clearly is not) in a manner which could be said to be to wrap the impression up by way of the discussion, to encompass it - and hence the discussion is the semantic interpretation of the radical - it enwraps or encompasses it.

The two fragments of Horace seems to be sufficient proof that the character of the Guadalupe 'tilma' is authentic. Eureka!


RADICAL 5

RAD 5 = 乙 = 'the second = 2nd;', 'the first copy', 'ethanol' etc.

This is another impressive proof of the relevance of this subdivision of Satires over the chinese radicals in the correlate it provides for the radical 5: The first part is under Satire I.i.63,9-79,8, the second under Satire II.viii.68,2-73,5.

The story is told in this file, including the falldown to the ground. I looked not in a money-safe but in a postbox etc.

This story of the avatars seems also to be told in Shijing #114 - there even the police follow the story I could tell, although I could not find mention of the police in these fragments of Horace.


RADICAL 54

RAD 54 = 廴 = 'long stride', 'to stride'

The scheme tells this to be at Satire I.viii.36,1-ix.2 for the graphic description and at Satire II.vi.40,1-45,5 for the semantic. To take the latter first, there is no doubt that 'long stride' or only 'to stride' is a simple reading of this fragment. It is the first of these which tells the graphic shape and again it is the Guadalupe character (from this study) who gives the answer. The graphic shape of 廴 is well described by the white beard (see also the historical forms of the sign), and the story from the avatars can be taken to be telling of the slanting posture of his head when I looked into the postbox.


RADICAL 30

RAD 30 = 口 = 'mouth, entrance, gateway, hole, port, perimetre, government organ, department'

I have identified Juan Diego on the tilma as MING = 命 wherein the relevant radical is #30, even if #26 is interesting in addition.

The semantics should be Satire II.vii.52-57,3

Tu cum projectis insignibus, annulo equestri
Romanoque habitu, prodis ex judice Dama
Turpis, odoratum caput obscurante lacerna,                         55
Non es quod simulas? Metuens induceris, atque
Altercante libidinibus tremis ossa pavore.
Quid refert,

wherein the perfumed head with the cape-hut on top is particularly interesting as well as the entrance through the gateway.

However, the sign MING = 命= 'the will of God' contains also (under the 'roof') the element RADICAL 26 = 卩 = 'seal' which then has its semantics defined by Satire II.vii.73,4-78,8 wherein one finds another meaning element that can be recognized in the image of Juan Diego of Guadalupe:

                                                frenis natura remotis.
Tune mini dominus, rerum imperiis hominumque                         75
Tot tantisque minor, quem ter vindicta quaterque
Imposita haud unquam misera formidine privet?
Adde super dictis quod non levius valeat: nam
Sive vicarius est qui servo paret,

where the lines 75-77 tell of the burdens superimposed 3-4 times on his head, under the 'rod of freedom' in his nose. It looks very precise.

The graphic form of this radical 26 - and perhaps even more so in its historical forms - emerges perhaps from Satire I.iv.2,1-18,1.


RADICAL 110

RAD 110 = 矛 = 'spear, lance'. Graphics = Satire II.v.59-75, semantics = Epistle I.vii.27-43,2.

The graphic part tells of the daughter of Nasika who marries Coranus: The historical forms given on the wiktionary page tells of a bronze version (as the oldest form given) resembling a pregnant woman. If the transcribed ancient script is the last in the historic development, it could be contained in the twining forms towards the end of the fragment: "Laudes, lauderis ut absens" etc.

The semantic part tells of the fox penetrating through a narrow channel into a store of food, eats himself full but is then too fat to get out again. The story-teller likewise eats himself full etc. This could be aspects of the semantics of this radical. Horsemen were also knights etc.

Search also this file for #110 (= DDS I:77) = the relevant poem to this radical in DDS: "Was unter [transparenter] Plastik verweilt / bleibt in der Schönheit des menschliches Herzens / verwandelt" - could be that fox who could not get out again, or the wellfed storyteller.


RADICAL 126 + RADICAL 141

The epistles distribute symmetrically in 2 * 62 parts over the mirror radicals 196 down to 71 (minus mid 133-134). It means that a fragment of an epistle should apply with expectedly semantic interpretation to two different radicals. I try the example of the fragment from Epistle I.i.97,4-ii.5,6 which applies to radicals 126 and 141.

RAD 126 = 而 = 'and, then, but' plus particles for 'cause, purpose, manner, hypothetical condition, tendency/immediate action' - these are particles which partly will overlap with the conjunctions and which probably can be spotted in the text of Epistle I.i.97,4-ii.5,6

The graphics to this radical should be in Ode I.xvi. It is probably possible to spot the historic development of this radical symbol diachronically in this ode - such as the oracle bone form in lines 2-4 and the modern 而 in line 21.

RAD 141 = 虍 = 'pattern of tiger fur'. Like the particles of radical 126 shifts back and forth, so does the same text perhaps in tiger fur pattern format.

The graphics to this radical would be in Ode I.xxxi which likewise seems to make much sense if one thinks of it as the historical development from oracle bone form in stanza 1 to the modern form in the last stanza 5.

The theory of syntagm-paradigm ordinality applies here to Ode I.xxx taken to associate with the semantics to the graphics of radical 141 in Ode I.xxxi. 'A tiger in bed' is perhaps a universal association, and 'mercury stripes' would be the end of the ode.


RADICAL 149 + RADICAL 118

RAD 149 = 言 = 'language' - various aspects of speech, language, documents. The fragment is Epistle I.iv.12,2-v.12,4. A brief scanning of this seems to suggest that 'there is nothing of the semantics of this radical here'. However, it is possible that Horace is very advanced - and that this fragment is so precise to the radical as it is possible to get it. But it is not so easy to find the formula which holds the solution. For once, when I was about to study the foundations of the distributional aspects of natural language in 1991, I soon ditched in the apparent paradox I have described in this file - and by a closer study of it one eventually comes to the conclusion that if lightbeams can be dated at all, the age of light is likely to be by way of just this formula. But that is a good part of this fragment from the Epistles - conjecturally on the radical for 'language' - the end of the age of light, the end of the day, by sunset. There you can find the author as a fat swine from the flocks of Epicurus - precisely at the border to what human language is. People reclined at the table probably mainly on one side. A sketch of grammatical structure will perhaps tend to look like the twigs on which the wine-grapes grow.

RAD 118 = 竹 = 'bamboo' - the same fragment from the Epistles. Where is the bamboo? Could be it is characterized by similar principles, here by segments of alternatives.


(Added 8 march 2022: See also this interesting study of radicals 28-31).


'Der Dornenstrauch' as a 'poetic revelation in history'

It is seen that the discovery of Horace relative to chinese radicals could be done probably only by way of my DDS. How come? I wrote the DDS as an 'externalized' reflex of the inner poetic articulations of TEQ - the work with the more than 20.000 inner poetic articulations lasted for 11 years (1997-2008) without weekend or holiday since every day had to count in the temporal scheme. The question of interest is where these inner poetic articulations came from - did they come from divine sources, from propaganda, from the poet's own personal experiences? The poet did not write anything before it articulated itself clearly in the inner mind. A study of the distributional properties of these articulations - spread out over a time scheme of 11 years - probably suffices for proving that they could not have come from propaganda or intrigue. It is likely that they have been articulated through some prism of collective historic conciousness which also is a prism for the distributions in the progress of history. This was also the difference between TEQ and DDS: The former had its inspiration from inner poetic articulations, the latter from outer observable events - much of it is written in coffee points around town. When, therefore, the work with DDS went from late 2009 untill the spring 2015, it is likely to have been on inspiration from an unfolding in this inner poetic structure of TEQ. It can be conjectured that this - along with the poet's general understanding of poetic structure - is the reason why DDS provides the basis for the discovery of the relation between Horace and chinese radicals. The DDS may contain deeper mysteries than this - I have earlier also presented some examples from the deep diachrony of the relation between ancient hebrew and vedic sanskrit which could be derived from the form of DDS, and one can guess that the reason for these findings would be of a similar kind of inner poetic articulations turned into a 'poetic revelation in history' for the poet in the process of writing.

A final point should be mentioned: It was while I was writing the DDS in coffee points around Vienna that an apparent political attempt of 'beerhallputsching' seemed to take place of the poetic revelation in history which I was then harvesting after the 11 years of constant inner writing: While it was normal that females worked in the coffee points which normally was only a bakers shop with espresso machine and a couple of tables, there started after some time to appear males in their places - and where there formerly had been a sympathetic woman working, there started to appear hairy muscled males selling the white loaves. I quickly understood that it could have been political surveillance who followed my whereabouts and tried to wedge inbetween me and the 'poetic revelation' in an attempt to coup it, to hijack it for their political needs, for presenting it to the public voters with a "look what an interesting reality I can offer". This phenomenon seemed to spread out from Vienna and soon there was hardly a bakers shop in Europe which did not sell by the males. Alas, this was the wrong 'revelation' - and in the final parts of the work I normally shuttled back and forth to Bratislava and Györ for keeping it going. It is my view that this unwanted intrusion and attention-claiming involvement of political interesters in the historic context - when the externals once again turned internal again in the flow and ebb of history and spirituality - came to return in the form of unwanted viruses called covid-19 flushing in from the metaphysics and being difficult to control. I was just working with translating Shijing from chinese (see e.g. my translation of 'Shijing #145' - which indeed seems to 'preherald' by the cover my TEQ) when covid-19 broke out in Wuhan in China. It may have been the same story that happened with Wittgenstein and the spanish flue and which later led to the rise of Hitler in Germany for couping the historic revelation of the 'steppenwolf' that arose from his Tractatus - and american culture created Fred Astair and Ginger Rogers for stepping around in the filling in of the coup. History has shown that it was probably not so smart - and Vienna had produced Sigmund Freud to tidy up in the mess. Could be the normal way for people to undertake such studies in the semiotic constitution of their psyche is in their sexuality via the sexual act - and then they study how the presence of the other person lends shape to the form of their psyche - and then it can be felt as embarassing and people started giggling and laughing when Ludwig went around town for studying the precisely organized logical formulation of this semiotic constitution of the psyche. A pity he was not allowed to do that - if the cultural response was a lot of 'steppenwolf' harassment.

The Annaberg terror took place in Melk and when I later came to the monastery and gave them a copy of my blue PEB, the prior Kowarik died probably later in the same day. I would guess that it was not because he looked at my book but rather perhaps somebody wanted to 'hijack the revelation'. It must be understood that there could still be some way to walk before the world understands this history. Kofi Annan was chief of UN's peacekeeping forces which could have stopped the Rwanda genocide but did not and that could have been the reason why he became chief of UN. A 'verandah' or 'Carnap' curve of the underground U2 is being built in Vienna these days and the drilling of that - in Mariahilferstrasse and Lindengasse - could have been the reason for the genocide on the 'Tutsies'. I had not masturbated before the school dentist destroyed my white and healthy-looking teeth in 1970 - in a school dentistry which could have started on the day when Rudolf Carnap died. My official mother is called 'Ragna' but my genetics could be 'Judenblut'. There was little left of mutual confidence in 1945 and then renewed confidence could only be built on mutual terror and therefore the innermost truth had to be kept secret and therefore only the secret intelligences could administer the needed peace and mutual confidence. But it cannot continue like that and what looked inevitable in 1945 no longer does. Today it is understood that it is not really necessary any longer to squeeze the poet out - and it should not really be necessary to call the third 'covid-19' vaccine a 'booster jab', and the people should not get vaccinated against my 'The Endmorgan Quartet', nor should this work become the tumbleplace for new international secret intelligence service controlled terror. Could be the 'secret intelligences' dream about an innermost truth sufficiently paradoxical to be a lasting foundation of mutual confidence - but the innermost truth is probably only that confidence depends on the time since the last terror and therefore the world is much served with avoiding a new Hitler.

It can be added perhaps also that the medication against covid-19 which I had suggested in my theory published in april 2020 could have been used by WHO organizing a developer of this - but without explicit crediting of me as the source of the theoretic basis: It is of course the theoretic basis which is the prerequisite for making such a drug, although the technology and experience are out of reach for me. I do not have much reason for claiming such an immediate connection between my theory published on the internet in april 2020 and the pill against covid-19 launched by Pfizer on 21 december 2021 beyond the fact that Trump pulled USA out of WHO rather immediately after I had presented the theory - and one naturally speculates that WHO had made a quick test of the theory and found very promising results and - as goes the speculation here - had contacted Pfizer for developing the drug. The reason why I make these speculations is that a new film 'Being the Ricardos' was launched on the internet on 21 december 2021 on the same day as Pfizer launched its drug 'Paxlovid' against the coronavirus of covid-19. This launching day was accompanied by an underwater volcanic eruption on Tonga (leaving the island rather much in need of help thereafter) and a most exceptional rise in the global covid-19 curve started on the same day: If the theory should have a rooting in reality that covid-19 simply is the result of a massive misbalance between physics and metaphysics arising from abuse of my work without crediting of the source, the idea being that the metaphysics continues to pump new coronavirus variants into the physics untill balance is regained, each variant running up to herd immunity after which a new variant again is 'launched' from the metaphysics untill misbalance caused by the abuse is flattened out, then of course an uncredited use of my original theory - based exclusively on the theoretic implications that can be drawn from the structure in my The Endmorgan Quartet (1997-2008) - of how to find a medication against covid-19 expectedly could come to result in just such a massive rise in new infections. It could, on basis of this, be speculated that this could have been the reason why Trump so abruptly pulled USA out of WHO. (There was also a socalled 'sofagate' announced around 12-13 april 2021 when EU leaders von der Leyen and Michel was on a trip to Turkey). However, the extreme rise in the global curve which started on 21 december 2021 and made the curve look nearly 90 degrees turned could perhaps also have the appealing interpretation that it means the end of the pandemic rather than the beginning of a new chapter. Time will show and it is permitted to hope the best.


A revelational function

There seems to be a basis for assuming in the work of Horace a study of those principles of logical order which came to be formalized only many centuries later in the Kangxi radicals. It would mean that Horace's work, like the chinese radicals and maybe the chinese script in general, is a sort of Schimmelbild relative to heaven - telling of how humans relate to the divines - and how the script arises in the redundancies that constitute a matrix of shared understanding between these realities. See also this study on this Schimmelbild for the Kangxi radical 97 ('KUA' = the humid 'melon') with its semantic interpretation in Epistle I.xiii.0,9-17,1. This correlation with Horace is convincing when one has the 'Schimmelbild', otherwise it could be difficult to see how it means 'melon'. The graphic correlate is easier if one takes the historical origins to resemble a gallows with a 'freedman' opening of the loop in the inbetween stages. The study has discussed some examples from the Guadalupe 'tilma' which lend credibility to the suggested concordance - but clearly some of the suggested correlations can be difficult to verify without such exceptional evidence. However, what is available so far could give reason to optimism for the validity of the suggested assignment. I refer also to the interpretation of the 'indian' that reshaped from 'James Joyce' reading Ulysses with rollerskates in a sofa via the mirrored form (cp. the mirrored forms of Guadalupe) - in a reshape as 'controlled' by mystic 'entelechies' whereby the new form took on 'humanoid' meaningfulness. The interpretation makes some sense in seeing this new form as a variant of radical 95 - Mathews gives this form for radical 95 - not only in the graphics of Ode I.xvii [17/3-22: looks like a printing error of mine - cp. mid col. on rel.enum. - should probably be Satire II.iii.240,6-256,5] but perhaps even more in Epistle I.xiv.14,4-30,6 wherein one can read a successive fourfold turning of the new form - via the 'brothel', the 'bovine' custody and the protection of the meadows from too much viewlight:

One notices also the similarities with the Guadalupe character 1 - and the similarity of the 'brothel' turning and the 'inspector' mentioned also in this file. (See also this file).

The logic then goes that the chinese script 'takes on form' by itself, like blots of china taking shape on the white paper (such as this 'radical 95' attaining the black spots of the indian's hand where there originally were no forms at all) like the inner poetic articulations taking shape by themselves in my mind when I was writing TEQ. It would be in the meetingplace between physical and metaphysical reality - on that place where the human semiotic constitution gives shape to the world. It means that the constitution of the chinese script should be conceivable in light of the socalled 'fundamental theorem of logic' and hence possibly also be concerned with the conjectured 'age of light'. My guess is that the chinese script can be understood as having its form from what can be called a 'revelational function' in human reality.


Concordance DDS, Kangxi radicals and Horace

See here for an overview of the relation between Horace's work and my 'Der Dornenstrauch' = 'DDS'.

In the below concordance list, column 1 shows the absolute enumeration of the 440 poems in my DDS. Column 3 shows the enumeration of the 214 chinese Kangxi radicals - these go in parallel with my absolute enumeration up to #214 and thereafter they go down again to 1 - for two mirrored lists. Horace's works are listed in books, poems and verses in column 4. For example, the correlate to Kangxi radical #5 is in Horace's Satire I.i from line 63,9 to line 79,8 = from appr. "Athenis / sordidus..." to appr. "...temptatum frigore", which here is assumed to be the interpretation of the graphic aspects of this radical, possibly even in its historic development. This radical has also a mirror definition (here the 'semantic' interpretation) at my absolute enumeration #424 at Satire II.viii.68,2-73,5 (= from appr. "male conditum..." to appr. "nudare solent"). Column 2 is the relative enumeration of my DDS.

For a listing of the Kangxi radicals 1-214, see this 'wikipedia' article. By clicking on the radical number in the lefthand column, one gets up an article on the radical, and underneath the main symbol there is a link to a 'wiktionary' page with data on historical forms and semantic definitions. For example, under 196 'bird' there comes up the page Radical 196 and underneath the symbol there is to the left of (U+9CE5) "bird" a link to the page on this word. (This also conveniently contains the HTML code for this sign). Here one can consult the semantic definitions under pronunciation 1 and 2 for considering relative to Epistle I.xx.11,8-28 and the graphics of the historical forms (oracle bone, bronze, seal script) relative to Ode III.xxviii - is there a historic development of the signs reflected in Horace's ode?

The conjecture is that, in principle, the graphic form of the chinese radicals is described by the Horace fragment in the first half 1-214 while the semantic form is in the second half 215-428.

Some text sources that probably can be used:

Horace's works in english
Horace's works in latin
Horace's works



Col.1 Col.2 Col.3 Col.4
DDS DDS Chinese Horace
Abs enum       Rel enum       radicals       book, poem, line
DDS part I
1 1a 1 Satire I.i.0-16
2 2a 2 Satire I.i.16-31,9
3 3a 3 Satire I.i.31,9-47,9
4 4a 4 Satire I.i.47,9-63,9
5 5a 5 Satire I.i.63,9-79,8
6 6a 6 Satire I.i.79,8-95,8
7 7a 7 Satire I.i.95,8-111,7
8 8a 8 Satire I.i.111,7-ii.6,7
9 9a 9 Satire I.ii.6,7-22,7
10 10a 10 Satire I.ii.22,7-38,6
11 11a 11 Satire I.ii.38,6-54,6
12 1 12 Satire I.ii.54,6-70,6
13 2 13 Satire I.ii.70,6-86,5
14 3 14 Satire I.ii.86,5-102,5
15 4 15 Satire I.ii.102,5-118,5
16 5 16 Satire I.ii.118,5-iii.0,4
17 6 17 Satire I.iii.0,4-16,4
18 7 18 Satire I.iii.16,4-32,3
19 8 19 Satire I.iii.32,3-48,3
20 9 20 Satire I.iii.48,3-64,3
21 9ab 21 Satire I.iii.64,3-80,2
22 10 22 Satire I.iii.80,2-96,2
23 11 23 Satire I.iii.96,2-112,2
24 12 24 Satire I.iii.112,2-128,1
25 13 25 Satire I.iii.128,1-iv.2,1
26 14 26 Satire I.iv.2,1-18,1
27 15 27 Satire I.iv.18,1-34
28 16 28 Satire I.iv.34-50
29 17 29 Satire I.iv.50-65,9
30 18 30 Satire I.iv.65,9-81,9
31 19 31 Satire I.iv.81,9-97,9
32 20 32 Satire I.iv.97,9-113,8
33 21 33 Satire I.iv.113,8-129,8
34 22 34 Satire I.iv.129,8-v.2,8
35 23 35 Satire I.v.2,8-18,7
36 24 36 Satire I.v.18,7-34,7
37 25 37 Satire I.v.34,7-50,7
38 26 38 Satire I.v.50,7-66,6
39 27 39 Satire I.v.66,6-82,6
40 28 40 Satire I.v.82,6-98,5
41 29 41 Satire I.v.98,5-vi.10,5
42 30 42 Satire I.vi.10,5-26,5
43 31 43 Satire I.vi.26,5-42,4
44 32 44 Satire I.vi.42,4-58,4
45 33 45 Satire I.vi.58,4-74,4
46 34 46 Satire I.vi.74,4-90,3
47 35 47 Satire I.vi.90,3-106,3
48 36 48 Satire I.vi.106,3-122,3
49 37 49 Satire I.vi.122,3-vii.7,2
50 38 50 Satire I.vii.7,2-23,2
51 40 51 Satire I.vii.23,2-viii.4,1
52 41 52 Satire I.viii.4,1-20,1
53 42 53 Satire I.viii.20,1-36,1
54 43 54 Satire I.viii.36,1-ix.2
55 44 55 Satire I.ix.2-18
56 45 56 Satire I.ix.18-34
57 45a 57 Satire I.ix.34-49,9
58 46 58 Satire I.ix.49,9-65,9
59 47 59 Satire I.ix.65,9-x.3,9
60 48 60 Satire I.x.3,9-19,8
61 49 61 Satire I.x.19,8-35,8
62 49a 62 Satire I.x.35,8-51,7
63 50 63 Satire I.x.51,7-67,7
64 51 64 Satire I.x.67,7-83,7
65 52 65 Satire I.x.83,7-99,6
66 53 66 Satire I.x.99,6-II.i.15,6
67 54 67 Satire II.i.15,6-31,6
68 54a 68 Satire II.i.31,6-47,5
69 55 69 Satire II.i.47,5-63,5
70 56 70 Satire II.i.63,5-79,5
71 57 71 Satire II.i.79,5-II.ii.9,4
72 57a 72 Satire II.ii.9,4-25,4
73 58 73 Satire II.ii.25,4-41,3
74 59 74 Satire II.ii.41,3-57,3
75 60 75 Satire II.ii.57,3-73,3
76 61 76 Satire II.ii.73,3-89,2
77 62 77 Satire II.ii.89,2-105,2
78 63 78 Satire II.ii.105,2-121,2
79 64 79 Satire II.ii.121,2-iii.1,1
80 65 80 Satire II.iii.1,1-17,1
81 66 81 Satire II.iii.17,1-33,1
82 67 82 Satire II.iii.33,1-49
83 68 83 Satire II.iii.49-65
84 69 84 Satire II.iii.65-80,9
85 70 85 Satire II.iii.80,9-96,9
86 71 86 Satire II.iii.96,9-112,9
87 72 87 Satire II.iii.112,9-128,8
88 72a 88 Satire II.iii.128,8-144,8
89 72b 89 Satire II.iii.144,8-160,8
90 72c 90 Satire II.iii.160,8-176,7
91 72d 91 Satire II.iii.176,7-192,7
92 72e 92 Satire II.iii.192,7-208,7
93 73 93 Satire II.iii.208,7-224,6
94 74 94 Satire II.iii.224,6-240,6
95 74f 95 Satire II.iii.240,6-256,5
96 74g 96 Satire II.iii.256,5-272,5
97 74h 97 Satire II.iii.272,5-288,5
98 74i 98 Satire II.iii.288,5-304,4
99 74j 99 Satire II.iii.304,4-320,4
100 74k 100 Satire II.iii.320,4-iv.10,4
101 74l 101 Satire II.iv.10,4-26,3
102 74m 102 Satire II.iv.26,3-42,3
103 74n 103 Satire II.iv.42,3-58,3
104 74o 104 Satire II.iv.58,3-74,2
105 74p 105 Satire II.iv.74,2-90,2
106 74q 106 Satire II.iv.90,2-v.11,1
107 74r 107 Satire II.v.11,1-27,1
108 75 108 Satire II.v.27,1-43,1
109 76 109 Satire II.v.43,1-59
110 77 110 Satire II.v.59-75
111 78 111 Ode I.i
112 79 112 Ode I.ii
113 80 113 Ode I.iii
114 81 114 Ode I.iv
115 82 115 Ode I.v
116 83 116 Ode I.vi
117 84 117 Ode I.vii
118 85 118 Ode I.viii
119 86 119 Ode I.ix
120 87 120 Ode I.x
121 88 121 Ode I.xi
122 89 122 Ode I.xii
123 90 123 Ode I.xiii
124 91 124 Ode I.xiv
125 93 125 Ode I.xv
126 94 126 Ode I.xvi
127 95 127 Ode I.xvii
128 96 128 Ode I.xviii
129 97 129 Ode I.xix
130 98 130 Ode I.xx
131 99 131 Ode I.xxi
132 100 132 Ode I.xxii
133 101 133 Ode I.xxiii
134 102 134 Ode I.xxiv
135 103 135 Ode I.xxv
136 104 136 Ode I.xxvi
137 105 137 Ode I.xxvii
138 106 138 Ode I.xxviii
139 107 139 Ode I.xxix
140 107a 140 Ode I.xxx
141 107b 141 Ode I.xxxi
142 107c 142 Ode I.xxxii
143 107d 143 Ode I.xxxiii
144 107e 144 Ode I.xxxiv
145 107f 145 Ode I.xxxv
146 107g 146 Ode I.xxxvi
147 107ga 147 Ode I.xxxvii
148 107h 148 Ode I.xxxviii
149 107i 149 Ode II.i
150 107j 150 Ode II.ii
151 107k 151 Ode II.iii
152 107l 152 Ode II.iv
153 107m 153 Ode II.v
154 107n 154 Ode II.vi
155 107o 155 Ode II.vii
156 107p 156 Ode II.viii
157 108 157 Ode II.ix
158 109 158 Ode II.x
159 109a 159 Ode II.xi
160 109b 160 Ode II.xii
161 109c 161 Ode II.xiii
162 109d 162 Ode II.xiv
163 109e 163 Ode II.xv
164 109f 164 Ode II.xvi
165 109fa 165 Ode II.xvii
166 109g 166 Ode II.xviii
167 109h 167 Ode II.xix
168 109i 168 Ode II.xx
169 109j 169 Ode III.i
170 111 170 Ode III.ii
171 111a 171 Ode III.iii
172 111b 172 Ode III.iv
173 111c 173 Ode III.v
174 111d 174 Ode III.vi
175 111e 175 Ode III.vii
176 111f 176 Ode III.viii
177 111g 177 Ode III.ix
178 111h 178 Ode III.x
179 111i 179 Ode III.xi
180 112 180 Ode III.xii
181 113 181 Ode III.xiii
182 113a 182 Ode III.xiv
183 113b 183 Ode III.xv
184 113c 184 Ode III.xvi
185 113d 185 Ode III.xvii
186 113e 186 Ode III.xviii
187 113f 187 Ode III.xix
188 114 188 Ode III.xx
189 114a 189 Ode III.xxi
190 114b 190 Ode III.xxii
191 114c 191 Ode III.xxiii
192 114d 192 Ode III.xxiv
193 114e 193 Ode III.xxv
194 114f 194 Ode III.xxvi
195 114g 195 Ode III.xxvii
196 114h 196 Ode III.xxviii
197 114i 197 Ode III.xxix
198 114j 198 Ode III.xxx
199 114k 199 Ode IV.i
200 114l 200 Ode IV.ii
201 114m 201 Ode IV.iii
202 114n 202 Ode IV.iv
203 114o 203 Ode IV.v
204 115 204 Ode IV.vi
205 116 205 Ode IV.vii
206 117 206 Ode IV.viii
207 118 207 Ode IV.ix
208 119 208 Ode IV.x
209 120 209 Ode IV.xi
210 121 210 Ode IV.xii
211 122 211 Ode IV.xiii
212 123 212 Ode IV.xiv
213 124 213 Ode IV.xv
214 125 214 Carmen saeculare
215 126 214 Carmen saeculare
216 127 213 Epode i
217 128 212 Epode ii
218 129 211 Epode iii
219 130 210 Epode iv
220 131 209 Epode v
221 132 208 Epode vi
222 133 207 Epode vii
223 134 206 Epode viii
224 135 205 Epode ix
225 136 204 Epode x
226 137 203 Epode xi
227 138 202 Epode xii
228 139 201 Epode xiii
229 140 200 Epode xiv
230 141 199 Epode xv
231 142 198 Epode xvi
232 142xa 197 Epode xvii
233 142xb 196 Epistle I.xx.11,8-28
234 142xc 195 Epistle I.xix.44,5-xx.11,8
235 142xd 194 Epistle I.xix.28,3-44,5
236 143 193 Epistle I.xix.12,1-28,3
237 144 192 Epistle I.xviii.107,9-xix.12,1
238 145 191 Epistle I.xviii.91,6-107,9
239 145a 190 Epistle I.xviii.75,4-91,6
240 145b 189 Epistle I.xviii.59,2-75,4
241 146 188 Epistle I.xviii.43-59,2
242 147 187 Epistle I.xviii.26,7-43
243 148 186 Epistle I.xviii.10,5-26,7
244 149 185 Epistle I.xvii.56,3-xviii.10,5
245 150 184 Epistle I.xvii.40,1-56,3
246 151 183 Epistle I.xvii.23,8-40,1
247 152 182 Epistle I.xvii.7,6-23,8
248 153 181 Epistle I.xvi.70,4-xvii.7,6
249 154 180 Epistle I.xvi.54,2-70,4
250 155 179 Epistle I.xvi.37,9-54,2
251 155a 178 Epistle I.xvi.21,7-37,9
252 156 177 Epistle I.xvi.5,5-21,7
253 157 176 Epistle I.xv.35,3-xvi.5,5
254 158 175 Epistle I.xv.19-35,3
255 159 174 Epistle I.xv.2,8-19
256 160 173 Epistle I.xiv.30,6-xv.2,8
257 160xa 172 Epistle I.xiv.14,4-30,6
258 160xb 171 Epistle I.xiii.17,1-xiv.14,4
259 160xc 170 Epistle I.xiii.0,9-17,1
260 160xd 169 Epistle I.xii.13,7-xiii.0,9
261 160xe 168 Epistle I.xi.27,5-xii.13,7
262 161 167 Epistle I.xi.11,2-27,5
263 162 166 Epistle I.x.45-xi.11,2
264 163 165 Epistle I.x.28,8-45
265 164 164 Epistle I.x.12,5-28,8
266 165 163 Epistle I.ix.9,3-x.12,5
267 166 162 Epistle I.viii.10,1-ix.9,3
268 167 161 Epistle I.vii.91,9-viii.10,1
269 168 160 Epistle I.vii.75,6-91,9
270 169 159 Epistle I.vii.59,4-75,6
271 170 158 Epistle I.vii.43,2-59,4
272 171 157 Epistle I.vii.27-43,2
273 172 156 Epistle I.vii.10,7-27
274 173 155 Epistle I.vi.62,5-vii.10,7
275 174 154 Epistle I.vi.46,3-62,5
276 174xa 153 Epistle I.vi.30,1-46,3
277 174xb 152 Epistle I.vi.13,8-30,1
278 174xc 151 Epistle I.v.28,6-vi.13,8
279 175 150 Epistle I.v.12,4-28,6
280 176 149 Epistle I.iv.12,2-v.12,4
281 177 148 Epistle I.iii.31,9-iv.12,2
282 178 147 Epistle I.iii.15,7-31,9
283 179 146 Epistle I.ii.70,5-iii.15,7
284 180 145 Epistle I.ii.54,3-70,5
285 181 144 Epistle I.ii.38-54,3
286 182 143 Epistle I.ii.21,8-38
287 183 142 Epistle I.ii.5,6-21,8
288 184 141 Epistle I.i.97,4-ii.5,6
289 185 140 Epistle I.i.81,1-97,4
290 186 139 Epistle I.i.64,9-81,1
291 187 138 Epistle I.i.48,7-64,9
292 12a 137 Epistle I.i.32,5-48,7
293 13a 136 Epistle I.i.16,2-32,5
294 14a 135 Epistle I.i.0-16,2
DDS part II
295 Vorrede 134 Epistle II.i
296 1 133 Epistle II.i
297 2 132 Epistle I.i.0-16,2
298 3 131 Epistle I.i.16,2-32,5
299 4 130 Epistle I.i.32,5-48,7
300 5 129 Epistle I.i.48,7-64,9
301 6 128 Epistle I.i.64,9-81,1
302 7 127 Epistle I.i.81,1-97,4
303 8 126 Epistle I.i.97,4-ii.5,6
304 9 125 Epistle I.ii.5,6-21,8
305 10 124 Epistle I.ii.21,8-38
306 11 123 Epistle I.ii.38-54,3
307 12 122 Epistle I.ii.54,3-70,5
308 13 121 Epistle I.ii.70,5-iii.15,7
309 14 120 Epistle I.iii.15,7-31,9
310 15 119 Epistle I.iii.31,9-iv.12,2
311 16 118 Epistle I.iv.12,2-v.12,4
312 17 117 Epistle I.v.12,4-28,6
313 18 116 Epistle I.v.28,6-vi.13,8
314 19 115 Epistle I.vi.13,8-30,1
315 20 114 Epistle I.vi.30,1-46,3
316 21 113 Epistle I.vi.46,3-62,5
317 22 112 Epistle I.vi.62,5-vii.10,7
318 23 111 Epistle I.vii.10,7-27
319 24 110 Epistle I.vii.27-43,2
320 25 109 Epistle I.vii.43,2-59,4
321 26 108 Epistle I.vii.59,4-75,6
322 27 107 Epistle I.vii.75,6-91,9
323 28 106 Epistle I.vii.91,9-viii.10,1
324 29 105 Epistle I.viii.10,1-ix.9,3
325 30 104 Epistle I.ix.9,3-x.12,5
326 31 103 Epistle I.x.12,5-28,8
327 32 102 Epistle I.x.28,8-45
328 33 101 Epistle I.x.45-xi.11,2
329 34 100 Epistle I.xi.11,2-27,5
330 35 99 Epistle I.xi.27,5-xii.13,7
331 36 98 Epistle I.xii.13,7-xiii.0,9
332 37 97 Epistle I.xiii.0,9-17,1
333 38 96 Epistle I.xiii.17,1-xiv.14,4
334 39 95 Epistle I.xiv.14,4-30,6
335 40 94 Epistle I.xiv.30,6-xv.2,8
336 41 93 Epistle I.xv.2,8-19
337 42 92 Epistle I.xv.19-35,3
338 43 91 Epistle I.xv.35,3-xvi.5,5
339 44 90 Epistle I.xvi.5,5-21,7
340 45 89 Epistle I.xvi.21,7-37,9
341 46 88 Epistle I.xvi.37,9-54,2
342 47 87 Epistle I.xvi.54,2-70,4
343 48 86 Epistle I.xvi.70,4-xvii.7,6
344 49 85 Epistle I.xvii.7,6-23,8
345 50 84 Epistle I.xvii.23,8-40,1
346 51 83 Epistle I.xvii.40,1-56,3
347 52 82 Epistle I.xvii.56,3-xviii.10,5
348 53 81 Epistle I.xviii.10,5-26,7
349 54 80 Epistle I.xviii.26,7-43
350 55 79 Epistle I.xviii.43-59,2
351 56 78 Epistle I.xviii.59,2-75,4
352 57 77 Epistle I.xviii.75,4-91,6
353 58 76 Epistle I.xviii.91,6-107,9
354 59 75 Epistle I.xviii.107,9-xix.12,1
355 60 74 Epistle I.xix.12,1-28,3
356 61 73 Epistle I.xix.28,3-44,5
357 62 72 Epistle I.xix.44,5-xx11,8
358 63 71 Epistle I.xx.11,8-28
359 64 70 Epistle II.ii
360 Nachrede 69 Epistle II.ii
DDS part III
361 1 68 Satire II.v.75-80,4
362 2 67 Satire II.v.80,4-85,7
363 3 66 Satire II.v.85,7-91,1
364 4 65 Satire II.v.91,1-96,5
365 5 64 Satire II.v.96,5-101,8
366 6 63 Satire II.v.101,8-107,2
367 7 62 Satire II.v.107,2-vi.2,6
368 8 61 Satire II.vi.2,6-7,9
369 9 60 Satire II.vi.7,9-13,3
370 10 59 Satire II.vi.13,3-18,7
371 11 58 Satire II.vi.18,7-24
372 12 57 Satire II.vi.24-29,4
373 13 56 Satire II.vi.29,4-34,8
374 14 55 Satire II.vi.34,8-40,1
375 15 54 Satire II.vi.40,1-45,5
376 16 53 Satire II.vi.45,5-50,9
377 17 52 Satire II.vi.50,9-56,3
378 18 51 Satire II.vi.56,3-61,6
379 19 50 Satire II.vi.61,6-67
380 20 49 Satire II.vi.67-72,4
381 21 48 Satire II.vi.72,4-77,7
382 22 47 Satire II.vi.77,7-83,1
383 23 46 Satire II.vi.83,1-88,5
384 24 45 Satire II.vi.88,5-93,8
385 25 44 Satire II.vi.93,8-99,2
386 26 43 Satire II.vi.99,2-104,6
387 27 42 Satire II.vi.104,6-109,9
388 28 41 Satire II.vi.109,9-115,3
389 29 40 Satire II.vi.115,3-vii.3,7
390 30 39 Satire II.vii.3,7-9
391 31 38 Satire II.vii.9-14,4
392 32 37 Satire II.vii.14,4-19,8
393 33 36 Satire II.vii.19,8-25,1
394 34 35 Satire II.vii.25,1-30,5
395 35 34 Satire II.vii.30,5-35,9
396 36 33 Satire II.vii.35,9-41,2
397 37 32 Satire II.vii.41,2-46,6
398 38 31 Satire II.vii.46,6-52
399 39 30 Satire II.vii.52-57,3
400 40 29 Satire II.vii.57,3-62,7
401 41 28 Satire II.vii.62,7-68,1
402 42 27 Satire II.vii.68,1-73,4
403 43 26 Satire II.vii.73,4-78,8
404 44 25 Satire II.vii.78,8-84,2
405 45 24 Satire II.vii.84,2-89,5
406 46 23 Satire II.vii.89,5-94,9
407 47 22 Satire II.vii.94,9-100,3
408 48 21 Satire II.vii.100,3-105,6
409 49 20 Satire II.vii.105,6-111
410 50 19 Satire II.vii.111-116,4
411 51 18 Satire II.vii.116,4-viii.3,8
412 52 17 Satire II.viii.3,8-9,1
413 53 16 Satire II.viii.9,1-14,5
414 54 15 Satire II.viii.14,5-19,9
415 55 14 Satire II.viii.19,9-25,2
416 56 13 Satire II.viii.25,2-30,6
417 57 12 Satire II.viii.30,6-36
418 58 11 Satire II.viii.36-41,3
419 59 10 Satire II.viii.41,3-46,7
420 60 9 Satire II.viii.46,7-52,1
421 61 8 Satire II.viii.52,1-57,4
422 62 7 Satire II.viii.57,4-62,8
423 63 6 Satire II.viii.62,8-68,2
424 64 5 Satire II.viii.68,2-73,5
DDS part IV
425 1 4 Satire II.viii.73,5-78,9
426 2 3 Satire II.viii.78,9-84,3
427 3 2 Satire II.viii.84,3-89,6
428 4 1 Satire II.viii.89,6-95
429 5
430 6
431 7
432 8
433 9
434 10
435 11
436 12
437 13
438 14
439 15
440 16





Added 22 february 2022: A brief story
Added 28 february 2022: Aftermath of the publication







Sources (in addition to the internet 'wiktionary'):

Horace: Odes and epodes. With an english translation by C.E.Bennett. Harvard University Press, Cambridge, Massachusetts / London, England 1995.

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

Horaz/Horatius, Q.F.: Sämtliche Werke. Lateinisch/Deutsch. Mit den Holzschnitten der Straßburger Ausgabe von 1498. Mit einem Nachwort herausgegeben von Bernhard Kytzler. Philipp Reclam jun. Stuttgart 2006.

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

Rilke, R.M.: Sämtliche Werke (12 Bänden), Insel 1955.

Zöllner, F.: Leonardo da Vinci. Sämtliche Gemälde und Zeichnungen. Taschen, Köln 2015.

https://www.worldometers.info/coronavirus/

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

Horace's works in english

Horace's works in latin

Horace's works





© John Bjarne Grover
On the web 21 february 2022
Last updated 17 march 2022