John Grover: The Endmorgan Quartet (1992-2013)

John Grover: The Endmorgan Quartet (1992-2013)

John Bjarne Grover

The Endmorgan Quartet is the name of various levels of the work, from a small sonnet in book 3 at the 'bifurcation point' up to the full three-volume work of 2013 - or at least this title could tentatively be used for this three-volume edition, for reasons outlined below:

Volume 1 = 1266 pages
1. 'The Dreamer' (1994-1995), prose, 635 p, on the form of place
2. 'POLAKK English Bloggi' (2008-2010), poetry, 379 p. on the form of writing
3. 'My mention e Anna' (2010-2012), poetry/prose, 253 p, on the form of being

Volume 2 = 1881 pages
4. 'The Endmorgan Quartet' (1997-2008), poetry, 1881 p, on the form of time

Volume 3 = 1264 pages
5. 'A waist of time' (1992-97), scientific prose, 626 pages
6. 'Poetic semiosis' (2012-2013), scientific prose, 665 pages

It is only 'Poetic semiosis' which is new of 2013, the rest have been issued in independent books earlier. However, there is an important difference in the new edition of vol.2: For once, the poems have been numbered from 1 to 1719, and this enumeration, which can be done in various ways, is of essential importance for understanding the semiotic theory in vol.3 - theory which explains the form of the work in total and puts it into a systematic historic framework. Secondly, there is in the new edition only one poem per page and the former english-language parallel texts have been replaced with their original greek and hebrew versions - this is also of essential importance for understanding the semiotic theory in vol.3 wherein many examples are discussed in terms of the linguistic relation of the original greek and hebrew with my english poems. Therefore, even if one should have a former edition of TEQ = vol.2, the old edition (2007) is difficult to use for studying the semiotics of vol.3, in particular if the enumeration is necessary. Finally, the three-volume edition has the character of an angelic body (vol.2) with two isomorphic wings (volumes 1 and 3), and this structure - wherein the study of a poem in vol.2 is counterpointed with the study of the isomorphic parts of volumes 1 and 3 - makes even vol.1 necessary if the essential isomorphic function is to be included in the studies.

The classic mystic archetypes exist in some variant or other in most religions and constitute a sort of intermediate level between the historic and the poetic-mystic-religious reality which is the quasi-eternity which modern culture can have any hope of reaching technologically. The historic reality - including the human organism and human thinking - is a transform of the poetic reality and when one tries to understand the poetic reality from the thoughts of the historic reality, the archetypes arise as an intermediate level - a sort of more or less distorted mirror. It is likely that the archetypes are the same as Chomsky's innate language types, plus/minus a little for the new historic time. Since Henry VIII was excommunicated, England has been at war with the Vatican, and since about John Locke, this war has been centered on a war against the archetypes. Assuming that Hitler was made by England, his job was to defend the archetypes which England opposed, and after the war everybody were happy that the nazis and the archetypes were thrown into the past and the world looked naively into a future of symbols well-ordered and permuted. The aim of the political war had, though, been to block the people's understanding of the spiritual world, delimit the people's spirituality to Donald Duck and to reserve the glimpse into higher spheres for a small elite of angloamerican power-holders who thereby could confuse and control the people with their esoteric knowledge. How could the people regain their spiritual freedom after the war was over? The chance they had was to regain grounds by way of the inner poetic articulation of the muse, and the next step of the political intrigue-makers - for consolidating the control which they had acquired by way of the world war - seems to have been after the war to try and turn the inner acoustics of poetic articulation around from having its inspiration in the poetic muse to having its inspiration in the world of gunsmoke and bangbang from the international secret services: That means international terror, and, it seems, the artificial earthquakes of underearth rockpedo bombs which apparently trigger a good portion of the earthquakes reported on a daily basis, not the least the biggest and most disastrous ones. People still believe that it is Divine Nature who talks to them in this way - while it could be nothing more than the angloamerican intrigue-makers from the war who by this gunpowder tried to look like the Divine Muse of the inner poetic articulations. My work probably proves that this is not going to succeed and that it is possible to regain the grounds for the people's spiritual world of poetic logic which WWII threatened to erase from the world.

My three-volume work constitutes a sort of angelic body with the angel of inner articulation in the mid volume, with its two wings in vols. 1 and 3.

Cover illustrations on the back pages of vol.1-2 (vol.2 left, vol.1 right):

suggest 'the poet and his muse', where the poet seems to find his spiritual background in the world's oldest documents - be that Rig-Veda or Homer - and the fusilladic fuel of those days was of a lyric rather than a gunpowder kind. One notices also the appealing symmetry with a certain role for 'technology of writing' to the left. Some readers will perhaps think that the work came out a little 'highbrow' with all the greek and hebrew, but it is hopefully not too bad.

What sort of 'esoteric knowledge' was it that the angloamerican intrigue-makers wanted to reserve for their own manipulative control? That was contained in the simple fact that tellurian isolation can be broken only by way of a poetic logic which allows for information transmission through the quasi-eternal poetic reality - that is, faster than light. There are only two alternatives to this, and none of them can be taken seriously: Either souls sent out on space travel with 'Mengele chemicals' - and it is an illusion to believe that this can bring any interesting results - or one can wait 50.000 years for the interstellar email to be answered. Therefore the egoistic war in an attempt to wring the archetypes out of the hands of the people of the world for gaining exclusive control with the spiritual world which can put 'administration' in contact with the rest of the universe - and, of course, the britons could have dreamt of getting the whole universe under their control, like that old german flounder.

The three-volume work is a study of the relation between what is called the poetic and the historic reality. The need for finding a way out of the tellurian isolation means that a solution to the problems of the epistemology of the quasi-eternal reality must be found. It means that a poetic logic must be developed, and it will not resemble aristotelian logic at all. My work is a study of this poetic reality which can come to provide for such a solution. The main interest is in volume 2 which contains 16 books of poetry defining 16 'poetic functions' bridging between the two realities. It is pioneering work attempting to understand the form of the poetic reality to an extent which can allow for a first tentative formal logic on the relation to the historic physicalist reality. There are, in 'Poetic semiosis' (2013), four main types of functions defined: The red metre of 2 seconds duration, the blue metre of 1000 years duration - these two merge in the individual consciousness of the human psyche - plus the socalled 'redaction function' which explains rational thought, and the fourth main type called 'revelation function' - how the poetic reality finds its embodiment in the historic reality. The thesis is that the historic reality is a projection from the poetic reality, and if we can understand the logic of the poetic reality, then we can make a new physics, new information and semiotic sciences, new technologies and new poetry.

The work must count as serious poetic logic. It is totally devoid of any role for political intrigue or modern political mythos. It does not contain 'bad jokes'.

The main part, volume 2, contains 1719 poems written in the course of 11 years, in parallel with greek and hebrew ancient texts (cp. the role of the historic consciousness in red-blue metre). It is of vital importance for understanding the poetic functions (although not for reading the english poems) that one consults the original language of these ancient texts - and clearly the work can have much appeal not only for ordinary academic scholars but also for language enthusiasts who like to study old languages in their spare time and indulge in etymological adventures past midnight. For example, the important function 11, which constitutes a sort of parabola antenna (comparable to the three bows of the angels in Rafael's 'Triumph of Galatea') from the totality of vol.2 onto the revelation function 12, deals exclusively with the interpretation of the essential aspects of the relation between the english poems and their parallel ancient texts in the original language - a translation will not do. Functions 9, 10 and 13 can even be recognized or at least traced in the history of redaction of these holy texts - I have (in vol.3) studied the historic 20th century redactions of the new testament by Aland relative to 19th century Tischendorf/Hahn and found quite interesting reflexes which I thereby can interpret as a modelling of what can be called a philosophical conceptualization of rational thought - situated in the interface between red and blue metre on the one side and revelation function on the other.

Volumes 1 and 3 are of another sort of character: They constitute the wings on the angelic body of vol.2. Vol.1 is 'literary' while vol.3 is 'theoretic' (linguistic/semiotic theory), but each of them can be read with an opposite valuation. For example, an important function of the 365 sonnets of PEB (vol.1) is that they model the 1000 year interval of the blue metre to an extent which even allows for a dating of literary texts. My own dating of the Odyssey by way of these sonnets to the years 833-780 BC could be major progress for classic philology. Clearly these are 'theoretic' aspects of the texts, but I personally also read the theories of vol.3 in a 'literary' way, which does not reduce their theoretic value. The rustling sounds of the feathers when vol.1 or 3 is compared with the isomorphic parts of vol.2 is perhaps more interesting than a mere algorithmic rule would have been.

Vol.1 constitutes a sort of function 11 if vol.2 is the revelation function 12, which means that vol.3 is comparable to the critical redaction function 13 - of TEQ (vol.2).

This means that one can read the books in a normal way from beginning to end, or it is fully possible to just find a poem in vol.2 which looks interesting and study it from all possible angles and functions - leading up to an understanding of the poetic object it relates to in the poetic reality. This poetic object or phenomenon will not be reduceable to a short definition, but it can be understood poetically nevertheless in this way.

An example

Poem 14 in book 15 of vol.2 is the very short poem #1468 in the work of 1719 poems:

On how it took a week, or even as much as two:
Like you - I'm talking to you!

Sirius

The connection between hebrew and english is easy to spot: The first hebrew word = like you and the second = I'm talking to you. The student resembles the teacher like one week resembles another. Function 11 for this poem 1468 can be looked up in vol.3 (chapter 17) and turns out to be the line "which is by art, which is by art". It can suggest two lines in parallel, not intersecting. One spots the immediate relevance in function 11 (which studies the relation between the english and the greek/hebrew in each poem) of this repeat. There exists for some of the poems two variants of function 11, one including a part of book 10 and another with this moved to the end of book 11 (both are listed in chapter 17). The latter applies to this poem with the variant "M, this". This invokes the symbol on the miraculous medal of Catherine Laboure from the Madonna revelation in Paris in 1830: Two hearts, one with a crown of thorns and one penetrated by a sword, and one big M curving around a horizontal bar, with a cross on top of it. The hearts clearly represent the red metre and the M the blue. The symbol group can be seen to represent the four main types of poetic functions. This suggests that the alignment of function 11 to the poems (at least up to this poem #1468) is correct. The fundamental theme of this poem in function 15 (book 15) is likely to be about how the symbol group of 4 reduces to 3 when the interpretation in the historic reality transforms to the poetic reality - could be it also is about the relation of jewish and christian realities.

To consider the leftside wing of the angelic body one finds the isomorphic correlate by 1468/1719 * 1266 (pages in vol.1) = 1081.14 = a little into page 1082:

She had a smile on her lips, but it was drawn so heartily and mechanically backwards in the corners of her mouth that one could not avoid thinking of talk-sound tapes. Had she changed her mind, or was it too far away from the world of young men to be understood what was on her mind? One of the young men turned towards her - it was a nice summer day with a blue sky - and made a sign with his hand planted in the inside of the other elbow. It was about such things as have to do with food. The group of four gathered and regathered as they moved forwards towards a nearby road intersection. She had hurried up to join them - now the group of four seemed to contract to a denser mass of visual appearance in a subjective field of attention.

which indeed is a little impressive. Doing the same in vol.3 there is 1468/1719 * 1264 = 1079.44, an excerpt from book 16 in parallel with Midori's (and MacDonald's) recording of Bartok Sonata #1 for violin and piano, movement 2 (chapter 20 in vol.3):

0112      Comecon

0114     He performs an Oslo [...] first now, swept a three percent canal.
0116     Maintenant
0118           le force[r]ouis ou la forcerelle
0120     can be shown to have a similar function.
0122     That because it

0124     don't come
0126     if
0128     Sier[r]a [can type, Jeep!]
0130     [landet patently crones!] fully target.

where the Sirius and the Sier[r]a are obvious correlates. It suggests a connection to the vision described in vol.1 p.157 (corresponds to poem 213 in vol.2), a bus-sized motorcycle coming in from outer space and making a crater where it crashes into a road intersection at Eventyrveien in Oslo. This is also in the cover illustration to vol.3 - first piano chord (at 0125) on back page, second (at 0130) on front page. It makes for one of the central mystic archetypes which is essential for understanding the semiotics of the hebrew alphabet. The photo to the cover was taken after I wrote the poem (chapter 26 in vol.3) - another typical trait of poetic logic - here on the form of time - which ordinary logic cannot understand. The poem 111 in book 16 is #1631 - where vol.1 and 3 can be recognized as the angelic wings called 'force[r]ouis ou la forcerelle' - and even the talmudic hebrew seems to tell in 2007 about the bookbinding of the work in three volumes in 2013. (It really should be bound in 3 volumes and not the 9 volumes which ordinary cheap printing can make). The character of volumes 2, 1 and 3 (plus possibly a fourth) are also contained in poem #24, written in 1997: "I have a list, / a broadway / and a crown. / I couldn't have changed a word".

The solution to the riddle of the correlation between Midori's recording and my book 16 - written without exposure to the outer acoustics of the record - is one of the main themes of vol.3. It can be said that my poetry is inner acoustics while her recording is outer acoustics - and the theoretic inquiry in vol.3 (see enclosed contents overview) is about how these find a shared interpretation. The thesis is that the poetry correlates with the music not because of political manipulation and control but because of a poetic semiotics which applies to the genetic/esthetic knowledge-space. Nelly Sachs has given the explanation to the correlation in her poem "In der blauen Ferne" (in 'Und niemand weiss weiter'), in a framework of what can be recognized as blue and red metre, redaction and revelation functions. This explains also the series of photos from #2 to #23 in johnbjarnegrover.com/valery.htm.

In chapter 23 of 'Poetic semiosis' I discuss the local function 14, a universal structure which runs through several important works of poetry - on work level. The global function 14 is of a quite different type - it is studied in chapters 1 and 10 and constitutes a formal semantics on basis of the temporal distribution of words in the work, theoretically of words in the history of the language (in the blue metre). It is when one postulates the hypothesis that local and global functions necessarily are one and the same that it gets interesting: It means that the universal structure on work level of poetic works is the same as the formal distributional semantics in the history of the language. It is postulated that there are local and global functions to all the 16 books - with comparable corollaries for all of them.

Why are the books not published in an ordinary way?

Why do I make these books of mine myself? Why are they not published by an ordinary publisher? This is the story which I have tried to outline on johnbjarnegrover.com/chap16.htm (which is the same as chapter 16 in vol.3). There seems to be a political history of persecution - a variant of antisemitism (variant? it is probably an essential aspect of just that) - which was the cold war after Hitler's imprint on the western world and which still waits for being dismantled totally. This means that there could be much progress for 'western nazism' if I try to submit my books to publishers in normal ways - in 1994 it triggered the Rwanda genocide and even if that is soon 20 years since now I still lick the wounds. In the mean time, I make the books myself and give them to libraries and hope that a decent publisher who reads the book in a library will take to the senses and understand that not only is it important that this reaches a broader public, it could even (it is a pity I have to say it myself) be of great value for a publisher to be the first on this bone - and the publisher can contact me for a contract. In the mean time, I relax on this stressing point, make the books myself and continue my work. I pity the western world and its impressive cultural neurosis.

I have been self-publishing my work since my first book in 1995 (I gave up after some further submissions after the Rwanda genocide and the Oklahoma bombing) by self-made copies donated to libraries, and have been doing that regularly since then. There are some in Norway, England, Lithuania, Russia, Austria, China, Italy, Switzerland and some other countries. My TEQ should exist in its 2007 edition (small types, running text and english parallel texts - instead of one poem per page - packed it down to some 800 pages) in some libraries, although some may have kept it under the desk - or at least it is not always visible on internet catalogue. It is serious work for which publication is hampered by this political history - and it could perhaps also be that some of it is a little too advanced to be understood right away. The full value of TEQ is perhaps difficult to estimate as of today. It is fully possible that it is the type of work which emerges only very rarely - and it could take some time for it to be understood.

This also means that one should not listen to national or political 'services' who want to keep the work off the attention of the public, if that should happen to be the case. My work is for poets, mystics, scholars, the interests of the people, not for political or business intrigue. It should not be kept locked down for 'service' purposes a la the fate of the baroque composer Jan Dismas Zelenka, whose supersecret name could have been leaked by the name-change from Ceylon to Sri Lanka after he had been abused for the Kennedy assassination and later pathetic mythos production.

Therefore I give it to libraries who can make it accessible for the public, not to libraries who want to keep it off the public and reserve it for political and business intrigue. It is not made for abuse - it is made for progress of the human society and knowledge in general.

I make the books and give them to libraries - so far I have not sold any of them. Therefore they are also without ISBN.

Volumes 1 and 3 are in 80 grams paper, volume 2 in 50 grams. All of them are sewn with 32 page folders. To sew them with 16 page folders would have made the sides a little more even but it would have been excessively much work (4400 pages!) and turned me into a bookbinder rather than a poet - and the result as it is should be goodenough. The books are laser printed but I have so far (since about 2005) not found any interesting errors due to the printing except for some characters printed white instead of black around 2006 and a handful diacritical characters misinterpreted when moved from Windows XP to Windows 7.

Volume 4 or rather 3,5 = ca. 1300 pages

It is possible that a 4th or rather 3½th volume will be added at a later stage: If so, it could contain the handwritten manuscripts to TEQ (volume 2) - 'I couldn't have changed a word' - probably about 1300 pages. A close study of function 11 shows an amazing precision which, though, is dependent on exact alignment of book 11 relative to each and every of the 1719 poems in volume 2, and if a mistake be made in the beginning of the alignment it can displace the whole list for the function to come out totally wrong. This alignment was not possible without access to the handwritten manuscripts - to find out exactly how many 'poetic articulations' there were in the book. If comparable studies shall be made of the other 15 functions, locally and globally, then access to the handwritten manuscripts can be of much importance. In addition, many of the entries in the manuscript are equipped with not only date but also time point of writing, and this could in principle have some value. If and when this fourth or rather 3½th volume comes into being, I don't know so far. It is also a little difficult technically with my resources. Could be the volume will count only as a sort of addition containing useful information.

Vienna 5 april 2013

John Bjarne Grover
Pf.15, 1152 Vienna, Austria

Contents to vol.3 'Poetic semiosis', about the structure of the 16 poetic functions of the work

Introduction - page 615
A brief overview of the book and its intentions: My works TD, TEQ 1-16, PEB and Anna and how these relate to the blue/red metres, the redaction and revelation functions

Chapter 1. The blue metre - page 623
The chapter describes what I call 'the blue metre' over a 1000 years' interval in terms of the structure of TEQ books 1-4 and 14 plus the PEB

Chapter 2. The red metre - page 637
Discusses the books TEQ 5-8, 16 and 'Anna' for the red metre of 2 seconds interval, the 23 photos and 48 sonnets relative to Rilke and Shakespeare exemplifies the functionality of the red metre

Chapter 3. The redaction function - page 657
Discusses TEQ books 9,10,13 for the socalled redaction function: Although this is a philosophical concept for conscious thought generally, it is exemplified by way of a study of 19th century redaction history of New Testament texts which follows the logic of my literary work.

Chapter 4. The revelation function - page 665
Discusses the relation between TEQ books 11 and 12: Book 11 contains the 'consciousness' of the whole work and book 12 contains a revelation of poetic reality into the historic reality.

Chapter 5. The Dreamer - page 674
Discusses this novel from 1994-95 in light of a talmudic text which serves as 'understructure' - that is the same parallel text as for TEQ books 13-16.

Chapter 6. Conclusion to chapters 1-5 - page 681
This chapter concludes the discussion so far with a general model which can lead to the understanding of the acoustic basis for inner poetic articulations. It also discusses Caravaggio's artwork 'Seven works of mercy' which shows remarkable similarities with the overall structure of my literary work.

Chapter 7. Word etymologies, art history - page 691
Adds to the theory of chapter 1 (the blue metre) a number of examples from art history relative to PEB and TEQ 1-4

Chapter 8. Form of writing, hebrew alphabet graphics - page 717
Adds to the theory of chapter 1 a number of examples from PEB and the hebrew alphabet

Chapter 9. 1000-year cycle in literary form - page 732
Adds to the theory of chapter 1 (the blue metre) a number of examples from literary history relative to PEB

Chapter 10. Distributional semantics - page 755
Adds to the theory of chapter 1 a number of examples from TEQ 14

Chapter 11. Hebrew mirror symmetries - page 765
Adds to the theory of chapter 2 a number of examples of mirror symmetry in the hebrew verses that are parallel texts to TEQ 5-8 - a symmetry which can be recognized in part 3 of 'Anna'

Chapter 12. Redaction function - page 775
Adds to the theory of chapter 3 a number of examples of how the redaction of the New Testament in the 19th century confirm the hypothesis of the redaction function in my TEQ books 9,10,13.

Chapter 13. Function 11 - page 791
Adds to the theory of chapter 4 a number of examples of how function 11 (TEQ books 10-11) applies to the relationship between the ancient parallel texts and the poetry of TEQ

Chapter 14. The revelation in Paris - page 824
Adds to the theory of chapter 4 more examples from the story of the meeting with the refugee in a park in Paris considered a case of poetic revelation - the poetic reality projecting into the historic reality. This is a discussion of TEQ book 12.

Chapter 15. The Dreamer - page 838
Adds to the theory of chapter 5 the analysis of how the text of Talmud Erubin applies to my novel, as well as the talmudic text itself segmented into 693 fragments. These are also the fragments of TEQ books 13-16. The chapter presents also some further examples of how the parallel talmudic text can be seen to apply to the novel

Chapter 16. Hitler and the archetypes - page 877
Adds to the theory of chapter 2 and 5 the political history - the fate of the mystic archetypes in modern times and how this concerns the understanding of the relation between the blue and the red metre. This chapter contains an analysis of some of the fragments from the Talmud of chapter 5 which seem to have been abused by Hitler.

Chapter 17. Function 11 - the enumeration - page 916
The discussions in chapters 4 and 13 are of course utterly dependent on an enumeration of all poems of TEQ with their corresponding 'key lines' from books 10-11. These are enumerated here, according to the enumeration of the summer 2012

Chapter 18. The 23 photos - page 961
Adds to the discussion of chapter 2 the 23 photos from the grove of the Danube island

Chapter 19. 48 sonnets, Rilke, Shakespeare - page 982
Adds to the theory of chapter 2 the 48 sonnets in parallel with corresponding sonnets by Rilke and Shakespeare - for the particular transform of +16. This chapter forms the material for a function 5.

Chapter 20. Midori's recording - page 1032
Adds to the theory of chapter 2 the empirical basis for the establishment of the 2 seconds interval of the red metre: This chapter contains the text of poems 1-155 from TEQ book 16 aligned with the time data of the recording of Midori Goto and Robert McDonald's sonatas by Bach and Bartok

Chapter 21. A waist of time - page 1101
Adds to the theory of chapter 6 the concluding chapter from my 1997 PhD dissertation 'A waist of time': This shows how the model of chapter 6 on the literary structure of the work can be seen to be on the same form as the model of analysis of acoustic speech data. This chapter is not needed here since it also occurs in 'A waist of time'

Chapter 22. Commentaries from the writing of TEQ - page 1102
When I wrote TEQ 1997-2008, I added some explanatory remarks on ambiguities. These add to the marked ambiguities in the text of TEQ for an interpretation of a global function of TEQ book 6.

Chapter 23. The rainbow - page 1131
Adds to the theory of chapter 1 some examples from other works of the universal rainbow phenomenon of TEQ book 14. This is an example of a local function 14 in contrast to the global function 14 discussed in chapter 1

Chapter 24. Some other stories - page 1152
The writing of the literary work has been surrounded by some 'stories' which could have some explanatory value. It is suggested that these constitute a function 9 of TEQ.

Chapter 25. Syllable poems, car numbers - page 1195
The original edition of the novel The Dreamer (see chapter 5) included some material which was associated with the writing of the novel - in particular some poems written as finger exercises over some significant syllables and the car numbers of the novel presented in a list, included in this chapter.

Chapter 26. Some photos - page 1221
While I was writing TEQ book 16, I also made some photos which I had 'seen internally' before I photographed them externally. This material on ambiguity in time could be suggestive of a function 7.

Chapter 27. On translation of the parallel texts - page 1234
Some data on translation difficulties for the parallel texts and sources that can be consulted. For the greek of Xenophon used in TEQ book 9 first half, which are difficult to find in segmented form, this chapter contains a translation following the enumeration of the summer 2012.

References - page 1243