The Madonna of Märzstrasse

The Madonna of Märzstrasse

John Bjarne Grover

It was on 3 september that I came across a second-hand book of Rupert Brooke: 'The complete poems of Rupert Brooke', Sidgwick & Jackson, Ltd. London 1932. It contained the signature of its first owner 'Norman Blus William J. 1933', which was not the reason why I bought it, and the suspicious similarity of Brooke's signature (on the front page) with 'August Strindberg' wasn't the reason either - it was rather that I opened the book on some coincidental place and read the poem there - it was 'Dining-room tea' - and I immediately recognized the teapot I saw in a shop in probably 1985 - it emitted a strangely opium-warm ever-changing light of remarkable beauty and I marvelled the very strange phenomenon for a while: It was quite supernatural (although I ascribed the phenomenon to an extraordinary mood of mine). The same happened again in a Midland bank in London (Stamford Hill) in the spring 1998 where I was queued up for some errand - and the banknote that I held in my hand suddenly starting emitting the same kind of strangely beautiful light. I have later understood that this seems to be an archetypal pair - the teapot and the banknote emitted a strange warm beautiful light, slightly ochre but changing all the time. For example, it is possible that the name of Ed Miliband, who became chief of british Labour in 2010 soon after the completion of my blue metre book POLAKK English Bloggi (a thousand-year metre, a sort of milli-band for dating texts), could have signified this mystic banknote (by the 1-mm-narrow metallic stripe in the paper) as much as my blue metre book. 'Oppe på bruke[t]' echoes 'Baruch Obama'. 'Bruke ropert' = 'to use megaphone' (cp. also the socalled 'Annaberg terror' in Melk).

[Added 14 sep 2020: If the Annaberg terror were organized, it could have been for the formula 'Oppe på bruket' possibly with the Johnstrasse district in Vienna as 'Bruket' - and hence the district around could be seen as described in the articles 'Cuneiform and hieroglyphs in the political construction' and 'Friedrich Delitzsch's 'Assyrisches Handwörterbuch' (1896)'. I used to walk across the Johnstrasse district and down on the other side but sometimes met a person I wondered could have a 'stalking' role, but maybe that could have been due to other factors].

I bought Brooke's book and tried to find the banknote poem.

The word from the front cover of the book, the Rupert = August, is in line 4 from the mid, depends on how you count the broken line. The poem itself is #5 from the end of 'Experiments'. The poem #5 from the beginning of 'Experiments' is 'Sonnet' which contains the interesting line "an old song's lady, a fool in fancy dress" which I recognized from the 2 crossings of the bridge-o-brooke in Venice: One of them looked like Midori Goto, the other had an impressive shirt and reminded me of the british intelligence chief. But are there beauteous banknotes in this poem of Brooke? I could not see any there. The poem immediately preceding this, #4 in this 33-poem part, is also a 'Sonnet' - it is one of the somewhat romantic obsessions or rather concerns with death that seems to be present in this poet's work. This poem could be seen as relevant to the possible Madonna I saw in Märzstrasse in Vienna some days after I saw a man resembling Ehud Olmert. 'Gerstof' pronounced with initial glide ('jerstof') means in norwegian 'I am stuff', 'I am substance' ('stoff' is used also about textiles and drugs). Assuming this glide to be a minor error of speech, it could be the correlate to the 'lisp' of my poem #5 from 'Stillhetens åndedrag' if the young next to her would count as the 'yawn' - see also the two white-stone sculptures at the entrance to the music academy in Venice. Having observed this correlation, I notice that even the Madonna of Fatima could have had a minor error of pronounciation - if she said to the three young children 'Lucia must turn around' it sounded like 'Russia must turn around', something which has been seen as what released the russian revolution a few days later. Lucia, the one of the three children, was still young. I sent her a letter from Vilnius after the publication of the third secret.

I believed that it was a normal person standing there in Märzstrasse but it is not normal with such overnatural beauty. 'Alabaster' is perhaps the right word - a white stone of some kind. It happened in the temporal vicinity to my finding of the ex nihilo gold on 10 may 2018 - see also Brooke's poem 'The goddess in the wood' immediately after the teapot poem. In the summer 2018 I went to Venice and wrote 'Rosens triangel' (one could fancy that the ultimate triangle is Josef, Mary and God), and in the late autumn I fell ill and nearly died - but survived with an alternative title to my poem #5 of 'Stillhetens åndedrag' = 'The breathing of silence' (poem 5 initially had the title 'Jeg er død' = 'I am dead' but I got cold feet and changed it into 'Når tidene kanter seg' = 'When the times are edging themselves'). The world is currently in a crisis due to 'silence of breathing' but the pandemic is held under control with social distancing ('And wages we got the distance from' is the alternative title).

But in the first 17-poem part of the book, the poem #4 'In examination' could be more to the point for the banknote mystery - even if one cannot say that it contains enough for calling it the correlate to the teapot.

Brooke died early - as a soldier in Greece in 1915. It is not impossible that the problems which Greece had with finding enough banknotes in the financial crisis some years ago could stem from this lack of obvious counterpoint to the teapot. Could be Brooke died before he had found it. This theory of the banknote crisis in Greece makes sense also relative to the name of Ed Miliband.

It is of course possible that the covid-19 is the adjustment of the human immune system to the message from heaven qua Madonna in Märzstrasse. Was it a divine revelation (such stuff as dreams are made of) or was it more ordinary human business? If it were divine, there should be some reflex of it in PEB line 12: It happened on the station Beingasse to tram line 9 around 10 may 2018 - that suggests 2018-2009 = 9 years offset = 9 * 0,366 = 3,294 which subtracts from 366 = 362,706 = line 12 in PEB #363: That is the line "a quarter's fowler". A quarter can be (Penguin dictionary) one fourth of something, a compass point, it can be a limb from an animal or carcass, typically a hind leg, it can be a region in a town or a station or post, an accomodation or a merciful consideration of an opponent. My disease included a trombosis in the left leg by the hip - this developed quickly after I had come to Venice and I could not walk on the left leg. Beingasse could be the relevant station or limb of a quarter - see also the ex nihilo clot with the detail. I notice also the 'quartz' of alabaster. A clock of poultry? My TEQ = on form of time. 'A quarter's fowler' resembles also 'forfatter Grover' = 'author Grover' - or 'John Bjarne Grover'. The complementary line 12 is in PEB #4: "A beauty walks the most" - cp. 'a beauty Strasse März' etc.

Of course this is no proof if line 12 were deciphered before it happened - but it is interesting anyhow. Bad it would be if the Beirut bomb were for couping a divine Madonna revelation in Märzstrasse in Vienna. (Some persons in the history could resemble Brooke somewhat, such as Thorleif Grue - [Added 14 september 2020: I dont know when the freezer was invented - if it were in 1920 a modern direct offspring of Brooke would have made a 'porter' = norw. 'bærer' necessary, cp. the bomb in the Beirut port]). The trombosis (or at least dysfunction) of the left leg I know something about - it developed quickly in the form of a muscular strain which made it difficult to move the left leg forwards - and soon the muscles started to 'disappear' - my body weight diminished and the legs were rather meagerly dressed in muscle stuff in the hospital (the knuckle of the knee was bigger than the thigh itself) - this happened in the course of surprisingly few days. I had just completed 'Labyrinth 101' on 20 february 2012 plus a few days after-work when I met the female archetype in the same intersection Märzstrasse/Beingasse and we went together down Märzstrasse to the next intersection at Hackengasse. It is interesting to observe the interval of 101 years minus 3 days since the first Fatima revelation to this 'Madonna of Märzstrasse, Vienna' on 10 may 2018 (or maybe the day before).

Parallel to Märzstrasse is Goldschlagstrasse. I dont remember if it were before or after this 'revelation' in Märzstrasse but it happened once when I went past 'Friseur Vienna Style' in Goldschlagstrasse 58 that a group of people were coming on the same sidewalk in the opposite direction and I could not avoid overhearing one of them say (in a voice which perhaps could have been playback from hidden loudspeaker, or probably not) 'I could always love someone'. This sounds nearly like an 'old schläger' which could have 'made some gold'.

The corona curve has since end of june been rising strongly again in France and is now far beyond the crisis in the spring - but the number of deaths remains close to zero. A similar pattern is found in Italy. What is the reason?

Added 12 september 2020:

If the lisp of Fatima is the Russia/Lucia, the yawn could be the placename Fatima itself: Humans do not want to eat because that makes it difficult to be friendly, but a bigger force opens their mouth and forces the food in. That is like a yawn. Christendom is a remedy against this problem because it makes it possible to eat without turning hostile.

If the Madonna of Märzstrasse really were a Madonna from heaven and not only a normal person, what should be the lisp and yawn? The lisp would not have been all those 'service' variants of 'Märzstrasse' one could think of - but could be the placename 'Wien' suggests a problemshift a la the one mentioned in the beginning of 'Added on 25 august 2020' - that is, the question whether the truth table has to be mirror symmetric or not. It would mean my discovery by TEQ book 14 that there exists a phonological logic in the symmetry to the semantic logic. If the mirror symmetry of the truth table were self-evident, it would be meaningless, otherwise not.

My palm was quite worn with 'leathery eczemas' before I left Austria on 27 july 2020. It is now almost completely healed. I refer also to my poetry book 'Der Dornenstrauch' part 1 poem #111g (ending with the line 'Mitte März') which in absolute enumeration is poem #177. Chinese radical 177 in the 214 system is the symbol for 'leather' - and for 'reform', 'remove'. The Vatican announced before the covid-19 broke out that there would be a small change in the translation of the paternoster prayer.

(It can be added that of course this potential Madonna would have had nothing to do with the official mother Ragna Grøver in any aspect).

Added on 14 september 2020: It must be added that the combination of Olmert and such a Madonna has a close correlate in my poetry work 'Der Dornenstrauch' the 16-poem part 4 'Die Schönheit der Welt' with the poem 13: Die lange Feder des Fasanes for the Madonna ("Dann erzählen die Flügelschläge / dass hier wohnte ich, ich, manchmal bevor / bevor ich die Flügelschläge erläge / bevor ich der Schädel erfuhr", which could be my disease in 2018-19 (and my discovery of the scissored righthand occipital lobe - or, better, before I was the 'skull' between Olmert and the Madonna). The poem mentions also the gold. The mirror point in this 16-poem part is in the beginning of poem 4: In dem schmalen Fenster: "Am Ufer vor dem Gebäude des Abstands / wir gingen zur Kirche und Staat" which could be the role of Ehud Olmert (or the one resembling him, could be a little shorter of body height) - like Moses before the thornbush. It seems that this story penetrates the corresponding poems of parts 1-2-3 as well. Mount Everest trembled 'very exceedingly' on the day when I completed part 4 and the work was finished.

(26 september 2020: See also this comment).