Shijing and the naked woman
John Bjarne Grover
The chinese collection of poetry 'Shijing' is among the oldest poetry that has survived to modern times. The poems I discuss here are probably from 700-800 BC. According to Karlgren, the chinese literature on Shijing - discussions, interpretations etc - has been rich for at least 2000 years, so there are reasons to believe in its authenticity. The notation of it must have changed somewhat, when comparing with the script on the bronzes and the Chu silk, but it is likely that the original intention is reasonably well preserved.
The three poems 15-16-17 which I have translated here are interesting since they seem to contain material of relevance for the marian revelations of Knock (1879) in #15 and Fatima (1917) in #16 and #17 - and thereby shed some light on these. The three poems are also recognizable as descriptions of birds - which is interesting relative to the marian apparitions.
Poem #15 is easily annotated with the elements from Knock, while #16 can be seen to contain in its three stanzas the three secrets of Fatima - and #17 in its 5 stanzas the concept of numerality which probably is an essential aspect of the repeated apparitions of Madonna in Fatima - 6 times it was but on one of the occasions the visionary children were prevented from coming.
I associate #15 with a swan swimming on the river, now and then dipping its head into the 'imperial house window' of the water surface, #16 with a dove's wisdom and #17 with a crow.
Here are my translations:
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#15 Go on with picking duck-weed where the southern creek comes down. Go on with picking sea-weed in heavy rain's surround. Go on with making many the baskets you extend when boiling weed of Xiangjiang on cauldron legs depend. Go on with sacrificing the imperial house window: Who rises from the dead brings young woman's tender love. #16 The shade of trees is a pleasant room/space not cut and not reducéd calling the senior to a land of lust. The shade of trees is a pleasant room/space not cut and not defeated calling the senior to a land of rest/[rust]. The shade of trees is a pleasant room/space not cut and not respected calling the senior to a land of thrust. #17 Serene the damp determined dew: How come dawn differs from the night? Thus spoke the most determined jew. Thus speak small birds without much might: What instrumental preposition are we worth? Thus speak women that we invite to instrumental prepositions prisoned off. Were we a litigation to arouse for jail - a house not good enough? Thus speaks a speechless toothless mouse: What instrumental prepositions pass through walls? Thus speak women without a house: What justice tells before our mouth suppose to prison we invite? No woman ploughs from north to south. |
= Mary Beirne = Mary McLoughlin = John evangelist = Josef = altar = angels = Jesus = Madonna = 1st secret of Fatima = 2nd secret of Fatima = 3rd secret of Fatima |
#15 tells of the visionaries of Knock in the first stanza, including contextual elements, next John the evangelist and St.Josef in the second stanza, and finally the altar and angels plus Jesus & Madonna in the last stanza. It is clear from the poem that the 'cauldron' swimming on the water of the river (the 'imperial window') is a swan.
The following #16 tells of Cova da Iria and the three secrets of Fatima. 'A pleasant room/space' is really about a pleasant open space in a hillside landscape and would be the space of Cova da Iria. It can also mean 'reception room' or 'court of justice' a la St.Peter's where he picks people to this and that.
For the last line of #17, see Mathews #6919.
The unconstitutional power
Now for the puzzling observation that Swansea in England is approximately mid way between Fatima in Portugal and Klipra in Norway. That is interesting in light of the apparent swan in #15 - swimming on the 'imperial house window' of the water's surface.
Is this a proof that the international secret intelligence services organized both apparitions - or at least the second of them - for lending celestial force to the 'Klipra connection' - could be even for an intrigue on a high level for constructing a new Jesus or similar? I would say the chinese poems rather tell the opposite: They are a proof that both apparitions were authentic. They were a part of the same poetic-mystic reality as these ancient chinese poems were - that is, the human reality and what is beyond the surface of apparition.
My volume 4 is about the metaphysics beyond the surface of human reality. The socalled PTRSIM PIK construction is an attempt to create a CORK which stops this new knowledge from developing - for replacing them with power-intrigue and unconstitutional mafia control.
I say that the three poems are proof of authenticity of the two apparitions (Knock, Fatima), but is is very possible that it could be in the scope of interests of some international secret intelligence services to pretend that it means the opposite - that it is a proof that they themselves could have been involved in enigneering the 'performance' at Fatima (ventriloquism etc) on basis of #16 and #17 after Knock for #15. I notice the last line of #17 which in chinese is 'yi bu nü cong'. It is of course possible to see in this line a faint phonological relevance of the name of 'Ribu, Kirsten' - my girlfriend in 1980-81: I have speculated if this would have been #5 on the octogon - see also the Eisenhower Doctrine #5 last line - furthermore also if there could have been 'links' to Jim Morrison of 'The Doors': He died in 1971 around the time of Janis Joplin and Jimi Hendrix - entertainers of very extensive spread globally - they are still heard around in public spaces and have a high mythological value. The link to the potential interests of the international secret intelligence services of integrating into the religious feelings and faiths of people - for gaining unconstitutional power therefrom - could then have been in the idea that the religious apparitions were 'butte dream'. A 'butte[r]d rim' ('dås' is norwegian for 'box', can mean 'vagina') could then be spotted in the last line of #16 'shao bo suo shuo' in the form of 'a boss-show of shoe'? Could it have been the 'Cuban crisis' ('kuben klissis' could in norwegian be comparable with the sound of a cow pulling its leg up from a boghole after having gone astray into it) with 'sus i serken'? ('Sko-horn' = 'shoe-horn' while 'skoern' = 'skolen' = 'the school'). Robert Frances Kennedy was minister of justice in Kennedy's government - and if there had been a rape of me at age 6 months in Brinken 2, Kampen, Oslo, such a sound could have been among the few 'significant sensorial memories' I had from it - to which the natural response is that 'such a small child is too smallbodied for such auditive phenomena'. Last line in #15 is 'you qi ji nü' = 'you chichi nü' - the 'nudity' of the child with open skull a few days after birth? 'Dridri' would mean 'excretes into' or 'do not care about at all' - the opposite of the masturbator and a potential opposition to the idea recognizable in PTRSIM PIK qua 'penis' with its opposite the other bodily way. The chinese 'chichi' would then - in this interpretation - mean that it would be the masturbator who were the 'caring' part of the story.
It is possible to see elements of this hypothetical 1-2-3 from my early childhood in these chinese poems of much relevance for an understanding of the apparitions of Knock and Fatima. If there should have been unconstitutional political power involving into them in these ways, it could have been for 'couping' the poetic-mystic metaphysics from traditional religion, for moving them over onto the 'mafia' of unconstitutional power. I notice that Edward Kennedy's story from Chappaquiddick (with a potential relation to my hypothetical meeting with Nelly Sachs outside Jarle's shop in 1964 or 1965?) could have had a possible reference in 'chippadaquack' = 'ski på taket' = 'skis on the roof' = 'ski ging' = 'Shijing'. 'Tjukk i hodet' = 'fat in the head' is a colloquial norwegian term for 'unintelligent'. 'Gikk i taket' = 'went into the ceiling', typically the corks of champagne celebrating victory.
It is perhaps possible for me to recognize elements from my own story and from possible undertext names in the Eisenhower doctrine. But clearly if Knock and Fatima can share mystic elements with the ancient chinese poems, then of course modern political story can share phonological elements with names of girlfriends of mine. I do not have access to any data from archives or elsewhere that could indicate that the names of girlfriends of mine were politically motivated.
If I had got such data (which I have not), I would not have been allowed to tell them. And without such data, my discussion remains speculative. It is the secret intelligence which holds the whole unconstitutional power. They seem to take illegal copies. The octogon could have been a construction for blaming me for 'illegal copying'. I have earlier pointed to a potential role of the name of 'Janis Joplin' for a 'Jensen jumping/doubling' in Modern Language Review (started around the time of the birth of my grandmother Laura Devold) for the issues just before and after Fatima 1917. It could be taken to be a hint that Jensen (born in Klipra in 1916) was a proof that the Fatima revelations were controlled by e.g. the 'intelligence services'.
I suppose the end conclusion to all this story is that the information technology of the third millenium is something which is going to resemble chinese script - and the way of thinking associated with it - and therefore that all the tragic ado with apparent intrigues from international western secret intelligence services and unconstitutional power interests are but a clumsy attempt to integrate into chinese culture for these purposes. They envy them! But then the western political establishment must stop playing those games and understand what this really is.
The naked woman
The article The chinese sign WO showed the presence of the sign WO in photo 2 from the Danube island - extended evidence in the above listing. The article Beachy Head and Valery showed the strong correlation between the 23 photos and the poem "Au Platane" of Paul Valery.
This article tells some further strong correlations of high interest for understanding the nature of chinese script.
Now there seems to be a very strong presence of Valery's poem in my own 'The Endmorgan Quartet'. The first line in my work is the title to the first poem called "A plier of platonicy" which can be read 'Palier of Platanicy' = 'Valery: Au Platane'. See also this article for further mention of 'Valery' from that work - the title poem in the third book. The corollary to this is that the mystic aristotelian entelechies that guided my hand when I took the 23 photos in a grove on the Danube island can be seen as the result of my climbing of the mount of mystic enlightenment throughout the books 1-16 of TEQ: It is after this work that I can take those 23 photos of complete arbitrarity in the grove and find the strong semiotic relevance therein.
It is a matter of the new logical operator LINEBREAK.
The article The chinese sign WO shows how the chinese sign WO relative to the photo 2 (vol.3 chapter 18) receives support from poem 27 (vol.3 chapter 19) from the LINEBREAK version of TEQ book 5 - it contains 48 poems without linebreak or 48 'sonnets' (14-liners) with LINEBREAK. One finds that photo #1 = poem #26 while photo #3 = poem #28 - and from there via photo #4 = poem #29 etc it goes in parallel to the end of the book poem #48 = the last photo #23. Rilke's and Shakespeare's 48 sonnets go in very nice parallel.
Now the WO-sign can be seen to be the first photo in the series and in fact it is possible to read the rest of that title VALERY: AU PLATANE plus the first line of his poem "Tu penches, grand Platane, et te proposes nu" broken up into chinese syllables for the rest of the poems and photos - such that the last photo #23 correlates with the chinese sign NÜ which means 'WOMAN'. In french it means 'naked' - hence the idea of NAKED WOMAN can be seen to be the concluding correlation. It is the same 'nü' as in the last line of Shijing #17.
All this means that THE NAKED WOMAN is the concept which unites the chinese and the european way of thinking. It turns anglophonic when one understands that the idea of 1-2-3 as child abuse will create what can be called a 'nay-kid' - cp. the leaping lamb/kid in my photo 2 from the Danube island - the Lamb of the apparition of Knock - the child who had been rejected by a 1-2-3 of maximally unfortunate development in the early stages of life - lifting of skullcap + onanism on cortex a few days after birth, rape at age 6 months and injection of bad chemicals at age 18 months. Now the essential aspect of this anglophony would be not in this nay-kid but in the nay-kid woman, the rejected child's mother - who then will fill in the slot of the Madonna in that catholic cultus which was rejected by protestantism including anglicanism - cp. the northern Ireland conflict.
If it is true that the blue metre can only be arrived at via an understanding of the resurrection of Jesus in the form of the birth of his mother, then the whole story is explained with the historic emergence of the blue metre as described by me.
Nü = chinese 'woman', french 'naked' - there could also be a western intrigue value therein by claiming that the woman (China) is wrong when treating her child so badly and the 'nay-kid' child (France, Europe) is right. It could be the western envy, quite simply - fuelled by the fears of the courtroom of PTRSIM PIK in Shijing #16.
The lost poetry notebooks contained some poems of much potential value for understanding the role of chinese script relative to the 23 photos and the poems of Valery, Rilke, Shakespeare and me. Luckily I had a handwritten copy of those four poems. The evidential value was in the role of the concept of 'new moon' - for the 'NÜ' - in contrast to e.g. a political 'sun god'. The semiotic evidence is contained in the two last lines of the fourth and last of these poems - from the word 'ny-månen full' = 'the new moon full' - a third meaning of the same morph 'NÜ'. The last stanza of the poem written on 30/7-2017 goes
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Du vet hun er vakker og god som det gull
som morgensol takker, som nymånen full. I huset - her bor jeg og her vil jeg bo men noen tror jeg skal tape min tro. |
You know she is beautiful and good as that gold which morning sun thanks, like the new moon full. In the house - here I live and here I shall/want-to live but some believe that I shall/will lose my faith. |
Like the title and first line of Valery's poem can be seen to run in precise parallel with the 23 photos, so can these two last lines as well - from that NÜ of 'ny-månen full'. I here list these two lines as groups of four elements: 1) photo # from the Danube island, 2) syllable in chinese (Mathews' transcription) approximating the norwegian, 3) the sign for this syllable in chinese by number in Mathews' dictionary (wherefrom one can see how the chinese sign has a graphic correlate in the photo from the Danube island), 4) the norwegian word or syllable:
23-NÜ-4776-ny, 22-A-1-månen, 21-FOU-1902-full, 20-I-3016-i, 19-RIH-3125-hus, 18-RIH-3124-se[t], 17-HAI-2005-her, 16-BU-5363-bor, 15-YEH-7326-jeg(='yei'), 14-O/E-1739-o[g], 13-HAI-2010-her, 12-WENG/WEI-7146/7056-vil, 11-YEH-7313-jeg, 10-PU/bu-5378-bo, 9-MEN-4418 (cp.also 4423)-men, 8-NGO-4779-noen, 7-TSUO-6794-tror, 6-YEH-7315-jeg, 5-SHAI-5621-skal, 4-TA/TA-5974/5943-ta, 3-PE-4985--pe, 1-MING-4537-min, 2-WO-4778-tro
This turnaround on the 'hook' (here the last lines from NÜ - vs the first line untill NÜ of Valery) can be seen as relevant to that 'female archetype' which Hitler seems to have offered to the germans.
The story is contained in the sign for photo 1 - the sign MING which means 'God's will'. It is not a matter of causality in the correlation between the photos and the poetic lines - it is a case of what the mystic inquiry tells is the constitutive principle of being: The world in a mystic state does not proceed in the form of causal relations between things - but in the form of relations constituted by God's will. That is also when a deeper reality can be revealed to the mystic. It is this mystic inquiry that my volume 4 tries to open for. That is not the same as the PTRSIM PIK program which seems to try and cork it.
I notice how the fire in Notre Dame recently could look as if french administration had put fire to it in an act of sacrifice for balancing the east-west things off right - this seems to be the style of modern terror, that it is based on an apparently 'goodenough reason' for the victim to have done it by own intention - and if it were not classified as an accident it could have made things politically difficult - but if it had been a case of 'insult against the heavenly throne', it could have been a high divide-and-conquer impetus from unconstitutional power. Could be the west believes that China or the chinese script culture is the 'nay-kid' while the west is the woman with the bad conscience. But that is just when NAKED vs NAY-KID is the whole story. Could be this is taken to be about the logical operator LINEBREAK on word level.
PS If indeed there were such a giant intrigue on Shijing 15-16-17 qua Knock-Fatima, had the intrigue discovered the 'birds' themselves? Or had they plundered some [later unknown] poet? If it were not their copyright, who was this poet? I do not want to land in such a fate myself.
Sources
Das neue chinesisch-deutsche Wörterbuch. Beijing 2004
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.
Pocket chinese dictionary - english/chinese chinese/english. (Based on earlier work by Martin H. Manser). Oxford University Press 1999
Simon, R.: Shijing. Das altchinesische Buch der Lieder. Chinesisch/Deutsch. Übersetzt und herausgegeben von Rainald Simon. Reclam Bibliothek 2015.
© John Bjarne Grover
I have not consulted other translations for my own translation of Shijing #15-16-17, but refer to e.g. the literally intended translation of Karlgren for alternative readings.
On the web 18 december 2019
