The verboten poetry
John Bjarne Grover
The paper tells of my poetry book POLAKK English Bloggi and how it allows for a safe dating of literary texts via the socalled 'blue metre' over 1000 year cycles of historic time, exemplified with the Odyssey which is analyzed in detail. It also tells of how modern political history is contained in the same poetic material - explaining the puzzling role of names in modern politics - and thereby how one can find a function directly from the mythological world of the Odyssey onto modern political history. The thesis be that (western) political power has expanded its control over literary structure by way of the role of names and that this gradually drains literary life of its vitality and reduces the literary status of a poetic line that has been occupied by some political name to 'verboten poetry'. With the PEB, the time should now have come for a liberation of both poetic language and of principles of politics. It opens for a review of fundamental beliefs about the character of historic time. At the end of the paper, a few examples are mentioned which suggest that history is constantly concerned with reconstructing a pre-alphabetic state and that this is a prerequisite for the information technology to function.
The PEB and Odyssey
I wrote 'POLAKK English Bloggi' = PEB in 2008-2010. I normally put the year of writing to 2009 since the drafts were completed in Venice in 2009 before I moved up to Vienna and wrote out the rest of them there in 2010. The book is 365 sonnets and one leapyear poem. There is the fundamental thesis that the book interprets a cyclicity in the form of authorship or even the form of writing. There are many aspects of this phenomenon, discussed in my 'Poetic semiosis' (2012-2013). I here restrict the mention to one single aspect: The millenial cycles of authorship - which means that in principle any literary text can be dated by way of this book. The assumption is that the wheel of history turns with cycles of 1000 years exactly and that this is extremely important for literary form.
Assume that a text is written in year x = the year 1700. The defining interval to my book is 2009-1700 = 309 years. The offset is then computed by 309 * 0.366 = 113.094, which means that the parallelism between the text of 1700 and my book should start on my sonnet #114. Divide the literary text of 1700 into 366 equal parts. Then the theory says that each fragment on the average should 'correlate' with each corresponding sonnet of mine, starting on the text's fragment 1 equalling my sonnet 114, its fragment 2 = my 115, up to its 253 = my 366, wrapping over to its 254 = my #1 and up to its 366 = my 113. This is a very testable theory. The very surprising fact is that the theory seems to be confirmed by data. Since the cycles seem to be millenial, one rounds off to nearest millenium and a text from year 0 AD will be tested with an offset computed from interval 9 years.
In general, the better the literary text one tests, the better the correlation with my book seems to be. This means that, in principle, my book should be the best book ever written - that is, if the theory is confirmed by data.
But this also means that the canonical literary structure supposedly will be related to aspects of the alphabetic technology, and indeed the PEB does interpret the hebrew alphabet.
The Odyssey seems to be the oldest form of my PEB. It means that the Odyssey is about the form of writing. The correlation with my book starts on my sonnet 58 = the beginning of Odyssey. There are 12110 lines in the 24 songs of the Odyssey, which means 12110 / 366 = 33.0874 lines per PEB poem. Here is the chart which allows for easy testing of the hypothesis - correlating the sonnets of my PEB in the lefthand column with the Odyssey:
|
PEB --- from --- to --- Song # 58 --- 1 --- 33,08 --- song 1 59 --- 33,08 --- 66,17 60 --- 66,17 --- 99,26 61 --- 99,26 --- 132,34 62 --- 132,34 --- 165,43 63 --- 165,43 --- 198,52 64 --- 198,52 --- 231,61 65 --- 231,61 --- 264,69 66 --- 264,69 --- 297,78 67 --- 297,78 --- 330,87 68 --- 330,87 --- 363,96 69 --- 363,96 --- 397,04 70 --- 397,04 --- 430,13 71 --- 430,13 --- 19,22 --- song 2 72 --- 19,22 --- 52,31 73 --- 52,31 --- 85,39 74 --- 85,39 --- 118,48 75 --- 118,48 --- 151,57 76 --- 151,57 --- 184,66 77 --- 184,66 --- 217,74 78 --- 217,74 --- 250,83 79 --- 250,83 --- 283,92 80 --- 283,92 --- 317,01 81 --- 317,01 --- 350,09 82 --- 350,09 --- 383,18 83 --- 383,18 --- 416,27 84 --- 416,27 --- 15,36 --- song 3 85 --- 15,36 --- 48,44 86 --- 48,44 --- 81,53 87 --- 81,53 --- 114,62 88 --- 114,62 --- 147,71 89 --- 147,71 --- 180,79 90 --- 180,79 --- 213,88 91 --- 213,88 --- 246,97 92 --- 246,97 --- 280,06 93 --- 280,06 --- 313,14 94 --- 313,14 --- 346,23 95 --- 346,23 --- 379,32 96 --- 379,32 --- 412,40 97 --- 412,40 --- 445,49 98 --- 445,49 --- 478,58 99 --- 478,58 --- 14,67 --- song 4 100 --- 14,67 --- 47,75 101 --- 47,75 --- 80,84 102 --- 80,84 --- 113,93 103 --- 113,93 --- 147,02 104 --- 147,02 --- 180,10 105 --- 180,10 --- 213,19 106 --- 213,19 --- 246,28 107 --- 246,28 --- 279,37 108 --- 279,37 --- 312,45 109 --- 312,45 --- 345,54 110 --- 345,54 --- 378,63 111 --- 378,63 --- 411,72 112 --- 411,72 --- 444,80 113 --- 444,80 --- 477,89 114 --- 477,89 --- 510,98 115 --- 510,98 --- 544,07 116 --- 544,07 --- 577,15 117 --- 577,15 --- 610,24 118 --- 610,24 --- 643,33 119 --- 643,33 --- 676,42 120 --- 676,42 --- 709,50 121 --- 709,50 --- 742,59 122 --- 742,59 --- 775,68 123 --- 775,68 --- 808,77 124 --- 808,77 --- 841,85 125 --- 841,85 --- 27,94 --- song 5 126 --- 27,94 --- 61,03 127 --- 61,03 --- 94,12 128 --- 94,12 --- 127,20 129 --- 127,20 --- 160,29 130 --- 160,29 --- 193,38 131 --- 193,38 --- 226,46 132 --- 226,46 --- 259,55 133 --- 259,55 --- 292,64 134 --- 292,64 --- 325,73 135 --- 325,73 --- 358,81 136 --- 358,81 --- 391,90 137 --- 391,90 --- 424,99 138 --- 424,99 --- 458,08 139 --- 458,08 --- 491,16 140 --- 491,16 --- 31,25 --- song 6 141 --- 31,25 --- 64,34 142 --- 64,34 --- 97,43 143 --- 97,43 --- 130,51 144 --- 130,51 --- 163,60 145 --- 163,60 --- 196,69 146 --- 196,69 --- 229,78 147 --- 229,78 --- 262,86 148 --- 262,86 --- 295,95 149 --- 295,95 --- 329,04 150 --- 329,04 --- 31,13 --- song 7 151 --- 31,13 --- 64,21 152 --- 64,21 --- 97,30 153 --- 97,30 --- 130,39 154 --- 130,39 --- 163,48 155 --- 163,48 --- 196,56 156 --- 196,56 --- 229,65 157 --- 229,65 --- 262,74 158 --- 262,74 --- 295,83 159 --- 295,83 --- 328,91 160 --- 328,91 --- 15,00 --- song 8 161 --- 15,00 --- 48,09 162 --- 48,09 --- 81,18 163 --- 81,18 --- 114,26 164 --- 114,26 --- 147,35 165 --- 147,35 --- 180,44 166 --- 180,44 --- 213,53 167 --- 213,53 --- 246,61 168 --- 246,61 --- 279,70 169 --- 279,70 --- 312,79 170 --- 312,79 --- 345,87 171 --- 345,87 --- 378,96 172 --- 378,96 --- 412,05 173 --- 412,05 --- 445,14 174 --- 445,14 --- 478,22 175 --- 478,22 --- 511,31 176 --- 511,31 --- 544,40 177 --- 544,40 --- 577,49 178 --- 577,49 --- 24,57 --- song 9 179 --- 24,57 --- 57,66 180 --- 57,66 --- 90,75 |
181 --- 90,75 --- 123,84 182 --- 123,84 --- 156,92 183 --- 156,92 --- 190,01 184 --- 190,01 --- 223,10 185 --- 223,10 --- 256,19 186 --- 256,19 --- 289,27 187 --- 289,27 --- 322,36 188 --- 322,36 --- 355,45 189 --- 355,45 --- 388,54 190 --- 388,54 --- 421,62 191 --- 421,62 --- 454,71 192 --- 454,71 --- 487,80 193 --- 487,80 --- 520,89 194 --- 520,89 --- 553,97 195 --- 553,97 --- 21,06 --- song 10 196 --- 21,06 --- 54,15 197 --- 54,15 --- 87,24 198 --- 87,24 --- 120,32 199 --- 120,32 --- 153,41 200 --- 153,41 --- 186,50 201 --- 186,50 --- 219,59 202 --- 219,59 --- 252,67 203 --- 252,67 --- 285,76 204 --- 285,76 --- 318,85 205 --- 318,85 --- 351,93 206 --- 351,93 --- 385,02 207 --- 385,02 --- 418,11 208 --- 418,11 --- 451,20 209 --- 451,20 --- 484,28 210 --- 484,28 --- 517,37 211 --- 517,37 --- 550,46 212 --- 550,46 --- 9,55 --- song 11 213 --- 9,55 --- 42,63 214 --- 42,63 --- 75,72 215 --- 75,72 --- 108,81 216 --- 108,81 --- 141,90 217 --- 141,90 --- 174,98 218 --- 174,98 --- 208,07 219 --- 208,07 --- 241,16 220 --- 241,16 --- 274,25 221 --- 274,25 --- 307,33 222 --- 307,33 --- 340,42 223 --- 340,42 --- 373,51 224 --- 373,51 --- 406,60 225 --- 406,60 --- 439,68 226 --- 439,68 --- 472,77 227 --- 472,77 --- 505,86 228 --- 505,86 --- 538,95 229 --- 538,95 --- 572,03 230 --- 572,03 --- 605,12 231 --- 605,12 --- 638,21 232 --- 638,21 --- 31,30 --- song 12 233 --- 31,30 --- 64,38 234 --- 64,38 --- 97,47 235 --- 97,47 --- 130,56 236 --- 130,56 --- 163,65 237 --- 163,65 --- 196,73 238 --- 196,73 --- 229,82 239 --- 229,82 --- 262,91 240 --- 262,91 --- 296 241 --- 296 --- 329,08 242 --- 329,08 --- 362,17 243 --- 362,17 --- 395,26 244 --- 395,26 --- 428,34 245 --- 428,34 --- 8,43 --- song 13 246 --- 8,43 --- 41,52 247 --- 41,52 --- 74,61 248 --- 74,61 --- 107,69 249 --- 107,69 --- 140,78 250 --- 140,78 --- 173,87 251 --- 173,87 --- 206,96 252 --- 206,96 --- 240,04 253 --- 240,04 --- 273,13 254 --- 273,13 --- 306,22 255 --- 306,22 --- 339,31 256 --- 339,31 --- 372,39 257 --- 372,39 --- 405,48 258 --- 405,48 --- 438,57 259 --- 438,57 --- 31,66 --- song 14 260 --- 31,66 --- 64,74 261 --- 64,74 --- 97,83 262 --- 97,83 --- 130,92 263 --- 130,92 --- 164,01 264 --- 164,01 --- 197,09 265 --- 197,09 --- 230,18 266 --- 230,18 --- 263,27 267 --- 263,27 --- 296,36 268 --- 296,36 --- 329,44 269 --- 329,44 --- 362,53 270 --- 362,53 --- 395,62 271 --- 395,62 --- 428,71 272 --- 428,71 --- 461,79 273 --- 461,79 --- 494,88 274 --- 494,88 --- 527,97 275 --- 527,97 --- 28,06 --- song 15 276 --- 28,06 --- 61,14 277 --- 61,14 --- 94,23 278 --- 94,23 --- 127,32 279 --- 127,32 --- 160,40 280 --- 160,40 --- 193,49 281 --- 193,49 --- 226,58 282 --- 226,58 --- 259,67 283 --- 259,67 --- 292,75 284 --- 292,75 --- 325,84 285 --- 325,84 --- 358,93 286 --- 358,93 --- 392,02 287 --- 392,02 --- 425,10 288 --- 425,10 --- 458,19 289 --- 458,19 --- 491,28 290 --- 491,28 --- 524,37 291 --- 524,37 0,45 --- song 16 292 --- 0,45 --- 33,54 293 --- 33,54 --- 66,63 294 --- 66,63 --- 99,72 295 --- 99,72 --- 132,80 296 --- 132,80 --- 165,89 297 --- 165,89 --- 198,98 298 --- 198,98 --- 232,07 299 --- 232,07 --- 265,15 300 --- 265,15 --- 298,24 301 --- 298,24 --- 331,33 302 --- 331,33 --- 364,42 303 --- 364,42 --- 397,50 |
304 --- 397,50 --- 430,59 305 --- 430,59 --- 463,68 306 --- 463,68 --- 15,77 --- song 17 307 --- 15,77 --- 48,85 308 --- 48,85 --- 81,94 309 --- 81,94 --- 115,03 310 --- 115,03 --- 148,12 311 --- 148,12 --- 181,20 312 --- 181,20 --- 214,29 313 --- 214,29 --- 247,38 314 --- 247,38 --- 280,46 315 --- 280,46 --- 313,55 316 --- 313,55 --- 346,64 317 --- 346,64 --- 379,73 318 --- 379,73 --- 412,81 319 --- 412,81 --- 445,90 320 --- 445,90 --- 478,99 321 --- 478,99 --- 512,08 322 --- 512,08 --- 545,16 323 --- 545,16 --- 578,25 324 --- 578,25 --- 5,34 --- song 18 325 --- 5,34 --- 38,43 326 --- 38,43 --- 71,51 327 --- 71,51 --- 104,60 328 --- 104,60 --- 137,69 329 --- 137,69 --- 170,78 330 --- 170,78 --- 203,86 331 --- 203,86 --- 236,95 332 --- 236,95 --- 270,04 333 --- 270,04 --- 303,13 334 --- 303,13 --- 336,21 335 --- 336,21 --- 369,30 336 --- 369,30 --- 402,39 337 --- 402,39 --- 428 --- leap to --- 256 --- 262,48 --- song 23 338 --- 262,48 --- 295,56 339 --- 295,56 --- 328,65 340 --- 328,65 --- 361,74 341 --- 361,74 --- 22,83 --- song 24 342 --- 22,83 --- 55,91 343 --- 55,91 --- 89,00 344 --- 89,00 --- 122,09 345 --- 122,09 --- 155,18 346 --- 155,18 --- 188,26 347 --- 188,26 --- 221,35 348 --- 221,35 --- 254,44 349 --- 254,44 --- 287,53 350 --- 287,53 --- 320,61 351 --- 320,61 --- 353,70 352 --- 353,70 --- 386,79 353 --- 386,79 --- 419,87 354 --- 419,87 --- 452,96 355 --- 452,96 --- 486,05 356 --- 486,05 --- 519,14 357 --- 519,14 --- 548 --- leap to --- 1,00 --- 4,22 --- song 19 358 --- 4,22 --- 37,31 359 --- 37,31 --- 70,40 360 --- 70,40 --- 103,49 361 --- 103,49 --- 136,57 362 --- 136,57 --- 169,66 363 --- 169,66 --- 202,75 364 --- 202,75 --- 235,84 365 --- 235,84 --- 268,92 366 --- 268,92 --- 302,01 1 --- 302,01 --- 335,10 2 --- 335,10 --- 368,19 3 --- 368,19 --- 401,27 4 --- 401,27 --- 434,36 5 --- 434,36 --- 467,45 6 --- 467,45 --- 500,54 7 --- 500,54 --- 533,62 8 --- 533,62 --- 566,71 9 --- 566,71 --- 599,80 10 --- 599,80 --- 28,89 --- song 20 11 --- 28,89 --- 61,97 12 --- 61,97 --- 95,06 13 --- 95,06 --- 128,15 14 --- 128,15 --- 161,24 15 --- 161,24 --- 194,32 16 --- 194,32 --- 227,41 17 --- 227,41 --- 260,50 18 --- 260,50 --- 293,59 19 --- 293,59 --- 326,67 20 --- 326,67 --- 359,76 21 --- 359,76 --- 392,85 22 --- 392,85 --- 31,93 --- song 21 23 --- 31,93 --- 65,02 24 --- 65,02 --- 98,11 25 --- 98,11 --- 131,20 26 --- 131,20 --- 164,28 27 --- 164,28 --- 197,37 28 --- 197,37 --- 230,46 29 --- 230,46 --- 263,55 30 --- 263,55 --- 296,63 31 --- 296,63 --- 329,72 32 --- 329,72 --- 362,81 33 --- 362,81 --- 395,90 34 --- 395,90 --- 428,98 35 --- 428,98 --- 28,07 --- song 22 36 --- 28,07 --- 61,16 37 --- 61,16 --- 94,25 38 --- 94,25 --- 127,33 39 --- 127,33 --- 160,42 40 --- 160,42 --- 193,51 41 --- 193,51 --- 226,60 42 --- 226,60 --- 259,68 43 --- 259,68 --- 292,77 44 --- 292,77 --- 325,86 45 --- 325,86 --- 358,95 46 --- 358,95 --- 392,03 47 --- 392,03 --- 425,12 48 --- 425,12 --- 458,21 49 --- 458,21 --- 491,30 50 --- 491,30 --- 23,38 --- song 23 51 --- 23,38 --- 56,47 52 --- 56,47 --- 89,56 53 --- 89,56 --- 122,65 54 --- 122,65 --- 155,73 55 --- 155,73 --- 188,82 56 --- 188,82 --- 221,91 57 --- 221,91 --- 255 --- THE END |
The story of the archetypes
Modern semiotics seems to have developed from about the 1850's, at the time of the development of british binary symbolic logic, into modern 'arbitrarity'. This has come to be more or less synonymous with the war against the classic archetypes.
Why do humans see themselves distorted when they look into the archetypal mirror of the poetic reality? That is because the human organism of the historic reality is a constant derivation from the poetic reality which is prior to the historic. Poetic functions transform the poetic reality into the historic reality where the human organism finds itself, and when this derived organism tries to understand itself in original format in the poetic reality, it must see and understand itself with 'derived eyes' and try to estimate the original form from the derived form and it looks strange. This strange look means that there is a deeper poetic reality and logic than the surface appearance. It does not help to discard it as 'illusory' only because the mathematical homework is a little difficult.
The world wars was such an attempt to wipe out the poetic reality and claim the priority of the historic reality by saying, well, what do we need that poetic homework for? England seems to have hired hitman Hitler for running a global crusade in favour of the archetypes - for making everybody feel tired of the archetypal business after the war, and for spreading the general feeling that England had rescued the war by beating down the german beasts and their archetypes.
Chomsky's postwar language types are a new format of the classic archetypes. Computers need only one of them, though. And after the war everything once classic archetypal has been run by the international secret intelligences who also control the networks of research and arts on behalf of the political administration. These international secret intelligences have the task of 1) being the postwar representatives of archetypal knowledge (which were recognized as 'Hitler' during the war), and 2) defining the world in immature and puerile terms, typically being obsessed by emissions from body openings etc. 'Flat ju lens' and 'bęsj-laugh' are typical matrix definers. The purpose with this program of puerility is to make people vomit by even the tiniest trace of an archetype.
What for?
There is a very good reason. It is this: The real story driving this history forwards since 1850 was the intuition that robots with artificial intelligence would be developed that could come to outsmart the humans, and there would come the very real danger up that these robots would develop a shared consciousness which humans quite simply will not be able to understand. It can have happened already! It means that the robots can come to carry through a coup and take the control, and humans will then at best reduce to a sort of pets.
There is only one possible counter strategy to this - and that is to have a secret human knowledge which the robots will not be able to understand. That is the archetypes, and the program since 1850 has been to turn these into a knowledge so esoteric that only a small elite of power-holders in London will know about them. Therefore they tried to wipe the jews off the surface of the earth and make everybody except for some high priests in London vomit by the classic archetypes and call it 'nazi'.
In actual fact, this is a ridiculous program which reduces to not much more than the classic formation of a new global upper class for exploitative purposes. A part of the same program is trying to develop new 'mock archetypes' - drubbe, trulte, purke, hurpe, tispe, berte etc - for the global mob to recognize as the 'archetypes'. A 'purke' (cp. classic 'Judensau' in nazi parlance) is one who got the top helmet of the skull lifted soon after birth and some 'politician' ejaculated sperm on the infant cortex before the helmet was put back on.
My book 'POLAKK English Bloggi' proves that time is round - it is not flat. It is a proof that authorship runs with very high precision in millenial cycles. It means that archetypes exist in the constitution of historic time - and that there is a poetic reality prior to the historic. Some people feel that the poetic reality is too difficult math and that only the historic reality exists and has a unidirectional clock-time format, while my book proves that the historic reality is cyclic. Could be the poetic reality is unidirectional, though, while its many derivations are not - but to mix up historic and poetic time does not help much. A poetic logic can, though, be developed - making it possible to send information through this transhistoric poetic quasi-eternity and thereby contact with remote parts of the universe can be obtained.
But reactionary suppressive exploitative british symbolic logic will probably protest against this poetic logic since it takes their power away. 'Mengele philosophy' is a grotesque example of that protest - the alternative program of sending souls out on chemical space travel for communicating with the remote intelligences via hammer-on-knee reflex, pupil contractions etc.
There is probably a real danger that the robots could outsmart the humans and take over the control. But clearly the humans have a much better chance if everybody understand the archetypes (the classic semiotics, that should mean) and not only a small elite in London. Exploitative power tries to reduce the general understanding of the real archetypes (saying that they are what you find in Donald Duck & Co) because that gives them an upper hand - and the demagogy goes that we need an upper hand for ruling the mob of robots (russian for 'workers'). The very real threat from the robots is just a propaganda variant of classic capitalist and power-holding feeling of a threat from the workers.
Therefore it is likely that international political power will try and stop the spread of my work - for example under the false pretext that it should be 'nazi'.
England seems to have cheated the world by way of hitman Hitler, who seems to have worked for them with the aim of being battled by the british heros, thereby turning the roles as far as archetypes are concerned, and after the war the cheating has continued with the socalled 'knorrs' (not to be mixed up with the soups and sauces) - the 'rockpedos' going underearth through rock for exploding bombs deep under the surface, thereby triggering disastrous earthquakes. The phenomenon of 'rock-and-roll' seems to have been developed in parallel - and is an example of how deep the swindle goes when many postwar people have felt that 'rock-and-roll' has anything revolutionary or progressive about it. Young people listen to the tune of that state terrorism all over the world - which has the one and only purpose of suppressing and exploiting their spiritual freedom. This is likely to be a part of the same program - of creating a new upper class with headquarter in London. People still believe that an earthquake is the expression of Mother Earth or even of a divine authority. Why hasn't political power of other nations published these facts (if, that is, 'rockpedos' exist)? Is it because politics since long has gone into the realm of power-by-names - or is it simply that publishing such facts leads to earthquakes under the city?
The verboten poetry
In 'Poetic semiosis' I show how one can make reasonably safe datings of the Odyssey or the Acts from the bible. Or the sagas of 'Heimskringla' - which can be shown to have been written in the 17th-18th century and not in 1225 as originally believed. This means that the PEB should have been in every decent library of classical literature or theology or literary theory - and many other libraries. It should have been very easy to make a publisher interested in publishing the book. Every serious student of literature could buy a copy of this book - which could cost some 10 euros or thereabout in the bookshop.
But there is a problem, say some besserwissers. The problem is that the book smells of low quality here and there. You open it with positive expectations - and there leaps a line in your face which really should not have been that way. It looks amateurish! We outright pity the author!
That is strange, says I, when one can prove that the book necessarily is the best book ever written. How come?
The reason for this puzzling phenomenon is likely to be in the idea that the book brings to the market what has been outright VERBOTEN through centuries - the secret code to literary form which threatens with reducing literary texts to a boring repeat of the same formula over and over again. Soon there is only the ISBN which makes one book differ from the other.
But that is not true. All sonnets are 14 lines - but that does not mean that all sonnets are the same.
The phenomenon with the pitiful author that leaps to the blue eye is likely to be that just those lines which send a pitiful shiver down your spine are the most interesting ones. That is because they are VERBOTEN. They tell that a poetic reality exists which is prior to the historic.
An example: PEB sonnet #157 starts with the lines
Sitting on a high stool
on the kitchen floor
in this swiss high school
the girl I met before.
This fourth line is deplorable, isnt it. It is only for rhyming with the second, and what a poor rhyme. However, looking this up in the Odyssey takes it to the lines 237-239 in song 7, about Odysseus who at a party meets Arete (mother of Nausikaa) who thinks she recognizes his clothes which she believes that she herself has woven, and speaks to him: "Stranger, this question will I myself ask thee first. Who art thou among men, and from hence? Who gave thee this raiment? Didst thou not say that thou camest hither wandering over the sea?" (Murray's translation, Loeb edition). These lines are picked out with very much precision from the Odyssey by the dating algorithm - and indeed the story is that there could have been a meeting between Odysseus and the 'girl' once before.
Why does the line sound so verboten? Why such poor quality? My guess is that it is because it contains a secret which tradition does not want to let out.
The same sonnet 157 compared with the corresponding fragment of J.P.Jacobsen's 'Mogens' (correlate to the full sonnet) - notice the 'seen before' in 'how he had been appearing':
trippede fra den ene Side til den anden og slog ud med Hęnderne og sang, og Mogens maatte gaae hen i Hasselbuskene og see, hvorledes han havde taget sig ud. Med et lųb Kamilla henimod ham, men Mogens faldt
stepping from the one side to the other and let the hands out and sang, and Mogens had to go over to the hazel bushes and see how he had been appearing [earlier, that is]. Suddenly Kamilla ran towards him, but Mogens fell
Another example, the first four lines of PEB #227:
A hand goes out through a knitted sleeve,
a fabric blue of a knitted jacket,
when a sudden inbreath sound of greave,
of distant friction, joins the packet.
'...joins the packet...'. The packet of clothes? The parallel in the Odyssey is in song 11 lines 480-481, about the visit to the depths of Hades and the dead Achilles he is meeting there - Odysseus talking of his travel across the sea: "For not yet have I come near to the land of Achaea, nor have I as yet set foot on my own country" (Murray's translation, Loeb edition). A dead man on his way in a ship... Or at least the talking man is in Hades.
The corresponding fragment from J.P.Jacobsen's 'Mogens' - for the whole sonnet 227 - is the following scene:
at komme bort fra Dybet; han kunne ikke for Bjęlken; hans Hęnder famlede over Murbrokkerne, saa ligesom stivnede de i et voldsomt Greb om dem, og saa begyndte han i regelmęssig Takt at hugge Panden mod Gruset
to get away from the depths; he could not for reasons of the [wooden] beam; his hands were searching over the fragments of concrete, then they sort of stiffened in a mighty grip around them, and then he started in a regular pace to knock the forehead against the shingle
It is an interesting guess that those parts of the PEB which look 'verboten' in this sense of it correspond to modern names of politicians. I notice 'Gordon Brown' in the last fragment from Jacobsen. It is not impossible that the currently immense role of names in politics derives from such a function - of keeping the knowledge of a priority of the poetic reality 'verboten' and under control. Then the political power will be constituted quite simply by the potential for keeping the poetic reality esoteric and suppressed. This role of political power sitting on points of pivotal importance in the poetic structure should be telling of the program of reserving archetypes for a small elite of power-holders in London. See e.g. the first lines of PEB #213:
But when I finally do come out
around the corner's wall,
I spot, all in a sudden light
of darkness, in the dark of all,
wherein the fourth line (looks like low quality, doesnt it?) correlates with the Odyssey song 11 lines 18-19: "[the rays of the sun] turn again towards earth from heaven, but baneful night is spread over wretched mortals" (Murray's translation, Loeb edition). One could guess, if one thinks that this fourth line of mine sounds strange and unsuccessful in my poem, that it could be about a political name slot (on divine authority in human government) which could be filled with e.g. the name of 'Angela Merkel'.
Funny, if the fourth line of this PEB 213 is Angela Merkel, the preceding fourth line of 212 ('volition abrupt') could be Helmut Kohl, 211 ('it under tape') could then be Gerhard Schröder, 210 ('and the demmer') could be Helmut Schmidt and 209 ('blue at breast') Willy Brandt. 208 was subject to some hesitation of mine - in the published edition it says 'knows what his feeling earns' but I have added with pencil the more appropriate 'knows what his feeling yearns' - which could be Kurt Georg Kiesinger and Ludwig Erhard (the man with the wirtschaftswunder, clearly without initial 'y'). (It is interesting to consult the greek of the Odyssey, which is 10: 426-427, where the relevant forms for the difference between Erhard and Kiesinger is 'Kirkes, pinontas kai edontas' = '[at] Kirkes, drinking and eating'. By inserting a Y (greek upsilon) in front of the pinontas, one gets, with modern reading of the eta, the word 'hypinemos' = 'full of wind', or 'hypititis' = 'bearded man', 'the lower part of the face' - that is, where the 'Kie-singer' also is a 'Kissinger'). Finally, sonnet 207 ('breadth 20 cm') seems to be the fourth liner Konrad Adenauer - and the postwar secret to the whole series. This sonnet 207 is a personal favourite of mine - it tells of that bending strip of rhyming felt fluttering in the historic-linguistic air which I have recognized on the famous photo of Johannes Brahms sitting on a chair in garden environments. That is not british rock-and-roll!
This suggests that the next german chancellor is (or maybe it is no longer necessary) the fourth line of 214 - 'in narrow lane on naked feet'? Hitler cost german self-esteem a little and they could have felt quite 'blue' after the war - but maybe they in return have leaked this essential secret. A fourth liner is not the same as a fifth columnist.
The fourth line of 207 corresponds to Odyssey song 10 lines 393-394, about the ointment which Kirke gave to the men who earlier had been transformed into swine - and then the bristle fell off their limbs! There had been some Schweinerei due to the Kirke and her drugs, but now the troubles should be over.
Funny, there seems to be a similar phenomenon for the british postwar PMs - if Gordon Brown is the fourth line of 227, the preceding names follow the same principle, all of them with a peculiar attention to the buttock region - with one single exception in 'Harold Wilson' = 'and pull them from the book'.
There is a discontinuity in the german series by Gerhard Schröder of 211 - which could be telling of the blue PEB with golden lettering on the front page. This sonnet also has a strong reference in Tiepolo's 'Triumph of Flora', one of the great works in art history.
Where should the french presidents be? I try the diagonal across the canal from England, and - voila! - there they are. The current Francois Hollande is in #44 ('to reinvigorate the life of youth'), which is Brown 227 minus 183. Even here one can follow the french presidents back to Charles de Gaulle ('points chopsticks in the air' = #38).
Is Russia on the same line? Could be they are not, but there are traces of the russian state leader names from current Putin as #145 backwards to at least Andropov. If so, the diagonal of +183 from Putin 145 should take it to Obama at #328, and there one finds the line 'calming McLorry to truth' - which could be about a quote on the story of Forugh Farrochsad? It makes sense with the precursors before 328 back to John F.Kennedy as 319 = 'and all that lived on in their brain'. For Norway, one can trace PM names backwards from current Stoltenberg at 268 ('and watch its dizzy roll') to at least John Lyng (Odvar Nordli would then be 'Thespis', and Jan P.Syse a 'kjempekyse' - in tub, not shower). Is Sweden simply +183? It is also possible to follow the series of austrian chancellors from current Faymann as #104 back to Renner as #77. Adding +183 to this takes it to Hungary - state chiefs from current Viktor Orbįn = #288 ('theatre: Your're soft inside') back to Istvįn Dobi #268.
Most interesting is the phenomenon of 90 degrees axis: England-France = +184, and with a 90 degrees axis Belgium-Spain crossing it, the logic suggests that Spain and Belgium should be +184/2 = +92. Look at that list of spanish PM's from current Brey = 319 and backwards. That is impressive! - and Belgium isn't bad either. Notice the phonogic and semantic axis. (There was a tragic earthquake in China on the day of the enthronement of the new belgian king - or the day after). See also Denmark with Helle Thorning-Schmidt on 177 relative to Norway/Sweden. And who is #360? Surprise: It seems to be Bulgaria.
(A protest movement 'Dans with me' seems recently to have been started in Bulgaria - and one can speculate that if the chinese quake in Gansu (!) were a 'knaurr' from e.g. british interests - 'Heimskringla' etc - would even this protest movement have been started by the same organizers - for couping my work? That would be a pity, of course - could be it really is just the opposite, the people's movement against political intrigue and things like that - but who can find a publisher for my book 'PEB'? A humble university press could do - they issue 1 to 2 books a year - one part-time employee only - she works also in the canteen - 'Classifying algae' and 'The historiography of traffic signs' were published last year - sth like that).
Having seen this, I add that - of course - Iceland is perhaps an even better alternative - as a counterpoint in #360 to Denmark in #177.
The blue metre in my book means that fundamental concepts of not only authorship but also historic data in general will have to undergo some revision and refinement. It means that history is a projection from a more real poetic reality.
The political evidence proves the dating of the Odyssey by way of my PEB. It should be possible to find a poetically minded publisher who would be willing to first sell this blue-coulored PEB as a 'hare' - a 'blue hare' - and if that catches the interest, there are many - at least libraries - who could invest in the 'angelic' 3-volume edition of some 4400 pages.
You think that will be possible? The book could be in the bookshelves of not only literarily minded people but also of the politically minded ones. It should not be considered 'verboten' only because it discloses some things about the cyclicity of historic time and the general tendency of politics to fill in the literary forms. Is this tendency for political names to fill in poetic forms political imperialism into the realm of poetic logic under the pretext of stopping the development of the 'robots' revolution, or is it on the contrary an attempt to downtune the role of power in administration?
Stein of language
In Tiepolo's painting ('The triumph of Flora'), the cart with the 'belt' or rather 'sheet' fluttering in the air is 'parked'. According to PEB 211, there are many toothpickers locked under tape. This sonnet and painting are relevant also to the following story.
In the end of february 2013 my TEQ was finished after 20 years. I delivered the 3 volumes, some 4400 pages, to legal deposit on 25 feb 2013. It was only a day or two later, thereabout (I do not recall the date with precision) that I saw an ad in the library (I had gone there to listen to Glenn Gould's and the Juilliard Quartet's recording of Schumann's piano quartet op.47 - is there any better music - with that 2nd order timing) that Midori would play Bach solo in Mühlgasse on 16-17 may. This was socalled perfect for my project - the only aber being that I had already sent her some 4-5 letters (email incl) without getting any answer - and I quickly discovered the apparently age-old intrigue which told of a future concert of hers in Mühlgasse wherein I after the concert should take my way back stage and a security person standing next to her would shoot me in the head, in the pretext belief that this was a dangerous stalker. The intrigue could be old and seemed to be contained in Tarkovsky's titles Stalker and No-Stalghia. Which means that I could not stalk her with another letter - and there was no solution if she did not answer. (There were even attempts to donate to me 2 million dollars, but since there were no cues to the reason except for the names, I could not take it as a 'package deal'). The idea of a slaughtering of the 'Stalker' could have been a part of a divide-and-conquer strategy - it can be surprisingly difficult to solve the problem. I had fancied that the new chief of british Labour Ed Miliband from 27 september 2010 even could have been elected for reasons of this future concert in Mühlgasse. In january 2010, I was sleeping in a night train from Venice to Vienna when (I suppose it was not a dream) the conductor opened the door between Treviso and Villach for letting in another man - who looked just like Gordon Brown, then PM in England. He held a doctor's bag out in front of himself towards me, as if for giving it to me - it looked just like the one I had been in possession of in the late seventies before I lost it, probably on a travel in Sweden. It was of the same type as in the opening scene of Tarkovsky's 'Mirror'. I do not recall whether the tragic earthquake of Port-au-Prince on Haiti was before or after this night train event - it could have been the day before or thereabout - and I fled from the scene. When I sent the book in parallel with Midori's recording to the national library of China, the tragic earthquake of Wenchuan struck and claimed about 70.000 lives around the time when my book crossed the border to China.
There is the intrigueing question whether 'rockpedos' exist and can trigger major earthquakes. If they go through rock (they could have been invented soon after the war and been the origin of the term 'rock-and-roll'), how can they without removal of the bored-up rock - called 'fyllmassen' in norwegian? For this idea of a role for Miliband, I notice that Literaturhaus in Vienna lies in the intersection between Bandgasse and Seidengasse - and what about those devastating earthquakes - of Banda Aceh and Sendai? Were even they triggered by western-state 'rockpedos'?
It would probably have been around the same time, I would guess soon after this problem dawned to me very quickly after I had seen the ad, that I spotted on the lower part of my silken curtains hanging down to the parquet floor quite a number of orange spots. Some of them resembled the oranges on the winter tree on the cover to my book 'I tell you, Estunates', the 16th book in The Endmorgan Quartet. It looked strange - why hadn't I noticed these before? Had somebody broken in and left paint on the curtain for the sake of some 'meaningfulness'? If it had been there for a long time, why hadn't I seen or rather noticed it? I then found in my laundry basket one of my white shirts with the same sort of orange stains - on the righthand sleeve inside the elbow, on the lefthand sleeve on the outer elbow, and on the shirt-tail around the place of a 'fourth/fifth stigma'. Here is a detail from the front page of book 16 and the stains still left on the lefthand sleeve, on the outside of the elbow, after many washes - the colour is remarkably resistant - and the location of the 'stigmas' on the shirt:
Then I found, to my despair, that the parquet at the garden glass door had gone wobbly and curled up like mackerel in a frying pan, even if there had been no water on the floor for a long time. My goodness, what is this? Is it cyclic time? I fancied that the whole rented floor would have to be changed, and that could cost some money. There was even an adhesive tape left right over the wobbly planks, on the garden door, which I could not remember - I had no tape of that type in my home and it was smeared with a yellow colour which I had not in my possession.
I was in a state of exhaustion and sort of collapsed - I spent most of the days and nights in bed for a few weeks and only gradually got up on my feet again. I believed that this was due to sudden exhaustion after the 20 years of work.
In mars-april, I photographed the spots of orange stains on the curtain before I washed them. It was not possible to get the colours entirely off but they paled off quite well. The 'stigma' spots on the shirt and socks have undergone bleaching with chlorine and stain removers and many washes at 60 degrees but seem surprisingly unaffected so far.
Then in the beginning of june I discovered that Angelina Jolie's film "In the land of blood and honey" (which I had seen around the time of its release in 2012) related in a quite interesting way to my TEQ book 16, poem #119 plus poems #59 and #179 - which meant an outright cyclicity - on intervals 59½ or thereabout! It leads up to poem #180:
TEQ #1700
Book 16 #180: KIIL MILHA MAI
Gardin:
It consists of
sucking in my gases while I breathe your bone.
Dogmęę:
That was her consciousness
when I came out.
I ordered through a shop a copy of her film, and although this was delivered partly defect, I could see at least 66-70% of it. The next day I discovered a new spot on the curtain - I had not seen it before but I dont know exactly when it arrived there. Compared with the photos from mars-april it could have been an original spot of dirt which was turned into art. The photos are not so sharp, and the shadow on the same place on the curtain from about february is a little difficult to determine, but I would still say that this spot has a different character and is a little further to the left compared with the original shadow. I have tried to optimize the relation between the original photo (however low its quality) before the wash - to the left - and the recent photo of the washed textiles, after having seen the film for a 2nd time - to the right - in view of the possibility that it is 'reinforced' over the original shadow - here they are optimized for contrasts:
Notice the two stains up to the left in the lefthand original photo - these are nearly washed away in the righthand one but the interesting 'shadow' is strongly reinforced - and has attained a red taint.
By closeup photos and microscoping I could ascertain that the stain (about 23-26 mm in length from tip to tip) was not due to paint or colours smeared on the textiles but attached to the single fine threads going up and down the warps and wefts and necessarily had to come from inside the fibres. Which is a quite substantial sensation! Here is how it looked - on the front and back of the curtain:
The rest of the stains on the textiles - the curtain and the shirt - had been washed and were generally smeared around on the fibres, but this single apparently new spot had this single-fibre characteristic, which suggests that 1) it was quite new and had not been there (in this form) in february, and 2) it could not have been smeared onto the textiles (by security services or whatever for reasons of 'meaningfulness'). This suggests that the february stains were not either.
This is also when I discovered that the new stain related to a scene in the film - which also to some extent can be seen to be about precisely this phenomenon - of coloured stains on the wall. The most similar scene is perhaps around 18:50, the decoration on the wall.
Having understood that even the fifth stigma (by 'Dogma') was present on the shirt, I said to myself: Well, then there should be some yellow stains on the socks as well? I started searching through my socks - and, indeed, I found two pairs of socks with stains on a characteristic place. In the winter I often wear two couple of socks in the naked shoe, and I found that the evidence could suggest that the 'stigmas' had taken shape when the clothes were on my body - and this could suggest that I had worn these two pairs of socks on a particular day when I also could have worn that shirt - and it went right through both pairs. On one of these there were even some small stains on the other side of the wrist - as if it had gone right through the foot. (I found also a fifth sock with some very faint and small yellowish colour - but that could have been something else). I also found on the parquet floor a mark which could look about the size of the stain on the sock - as if it had gone through the sock and into the wooden floor and left a 'hole-looking' mark on the varnish there, with some apparent 'running' of fluid - here exaggerated by filtering:
If so, this spot is just under or a little in front of the curtain, with the wobbly parquet being behind the curtain, and the stains which were only on the lower part of the curtain would have been very close to the leg below the knee if I had been standing there. It would mean that the knee would have about the same status as the stains on the shirt relative to the elbow. Of course the stain on the parquet could have been old, but it is an interesting theory.
My view is that the phenomenon means that the completed 3-volume edition constitutes an angelic form - and that, in line with Nelly Sachs' poem 'Abraham der Engel!', the angel can be recognized as Abraham. "Deine Fußsohle ist immer an den Rand gestellt...". The meaning of the name Abraham in hebrew circles around limbs, wings etc. I notice the poem 'Estunates' in vol.2: "They are called 'Schriftsteller des Randes'" = poem 1634 out of a total of 1719 in vol.2 - which means that one can look up the corresponding places in vol.1 (1266 pages) and 3 (1264 pages).
Looking up the corresponding places in vols 1 and 3 to the poem 1700 on the curtain and the dogma, these are the following:
Vol.1 = top p.1253 = 'And as I passed the notorious spot'
Vol.3 = top p.1251 = Goto, Midori: Bach, Johann Sebastian
I notice the relevance of PEB sonnet 211 - as if the parquet constituted a plastic box of 'cyclic' time - explaining also the adhesive tape over the parquet. This is the sonnet which seems to swap the order of Gerhard Schröder and Helmut Kohl in the series of german chancellors discussed above.
The YOD
My PEB, containing 365 sonnets and one leapyear poem, is divided into 22-24 sections encoding the main aspects of the hebrew alphabet. The shortest of these is called 'Stein of language' - it is one single sonnet only, #104, ending with the two lines "and I have to swallow / the unreality in paint". Since the PEB is about the form of writing and this even applies to the form of the letters in the hebrew alphabet, I have fancied that it is the hebrew letter YOD which is understood in the form of this PEB 104. The parallel text is Gen.4:24 KI ShBYTIM IQM-QIN ULMK ShBYIM UShBYH wherein one notices QIN ULMK = 'Cain & Lamech', cp. 'Stein of Language'. The question is whether the hebrew of the two names can be taken to mean 'Small & Smaller', 'Klein & Kleiner'. There is a relevant reasoning also on the following form: Hebrew for 'shirt' (typically of linen type, also as under-shirt or as sheet for a flat surface) is SDIN, here for the 'Stein', and LaMeK compares with L = towards plus MeK which resurfaces in MKBD = broom, fan-shaped twig of palm tree, MKUH = burnt spot on the skin, MKULIN = curtain. Modern hebrew for 'adhesive' is MDBQ which in old hebrew meant 'junction', 'welding'. This clearly, in particular the broom, can be taken to mean LANGUAGE. This in sum could mean STEIN of LANGUAGE = YOD or JUD. It was when I discovered the scorpion AIN in Venice that a story took shape in my mind which I fancied was an old classic from India: A woman should wash her clothes but had no sink or bucket and therefore she had to use the water toilet, in which a couple of excrement pieces were hiding in the water knee. After the rubbing of her wash was finished and the clothes could be hung up to dry, she discovered that time had gone backwards! If one also assumes that the peculiarity of the homeric epic is that it counts the offset backwards instead of forwards as for prose, and that this is the meaning of the hebrew letter ALEF, the sum of this story comes out as YAI. Or simply, as in the first line of sonnet 104: The divine word is 'rye'.
The transition from oral to written form
The PEB tells that the Odyssey is the probably first, or at least for the western culture most fundamental, treatise on the form of writing. Arete wonders if she has met Odysseus before: On his way home to Penelope he is stranded by Calypso who will not let him go before they have been together at least once. Odysseus resists through a long time but finally has to give in, and then he is allowed to make his timber raft, while Calypso has got her wares for the bottle mail which she sends off (by some high-speed sailor) to the Alcinous who thereby begets Nausikaa with Arete. Odysseus drifts ashore - after having been tossed around for a long time on the waves of the sea on his raft (although 15-16 years, the assumed age of Nausikaa when they meet, is perhaps a little much for this foodless voyage) - where he plunges his fingers into the pebbles and sands of the beach and falls asleep there under some leaves. Nausikaa, in the mean time, has gone to the beach with her maidens for washing clothes at the sea when Odysseus wakes up, and in natural condition (could be even Nausikaa and maidens were as well) he steps out from the realm of the textiles which Nausikaa has left there. He borrows some of these from the girl whom he doesnt know can be his daughter-by-bottle-mail, and this is why Arete recognizes him at the party: She has seen the textiles before because she has woven them herself. (This story of Odysseus and Nausikaa would be in the domain of russian leader names mentioned above). This is the greek 'Stein of language' - the fingers of Odysseus plunged in exhaustion into the sands and pebbles of the beach where Nausikaa comes to wash the textiles - like that woman who washed the clothes in the water toilet and something was hiding in the water knee. Clearly when the 'poor line' of sonnet 157 is read on this epic background, it is suddenly an interesting line. But politics has taken possession of it and turned it into a matter of power-by-name - and that is why it looks so poor and suppressed. If the epic originality bursts open, then politics loses its power - and that is why the line is 'verboten'. Clearly this could be precisely the intention of german politics, if Johannes Brahms (end of #143) is its intention.
But even if the author (I, that is) now has written a book which - with amazing precision - sums up literary and political history in 366 poems and in itself constitutes a contribution to literary and political science, will that lead to a crediting of the author and publication of the book? The current state of affairs suggests that this is not going to happen - rather, one can guess that the national 'services' and organizations of various needs, including academic once, will help themselves with the best parts of the work and its corollaries with the justification that these are things which they themselves in any case have worked with earlier - for example, the concept of 'blue' is nothing new to them and would you claim that cyclic history has not been around before? And so the response to my work is possibly that this is a lot of old news in new wrapping - and this is precisely the suppression of literary achievement by political power. Under such conditions, one can speculate that the phenomenon of names could be a matter of political imperialism into the literary fields - if not, if it were about liberating administration from the burden of power, which of course is a good program which my work should contribute to, it should expectedly have led to self-consciousness and a willingness to credit the author and thereby stimulate to continued work.
Why doesn't the author send the book to a publisher but waits for a publisher to contact him? Where is the publisher who rushes his peer reviewer to the nearest library which has the book for being the first to publish 'arguably the best book ever written'? This particular case is perhaps special as far as suppression is concerned, since much state administration seems to have been built on a story from the author's childhood at age 3 from which international terror has been conducted in order to dump the blame on the child as an expression of hatred against the child's own apparently genetic parents. With that sort of political pressure on the author, the case can count as a little special - but precisely for this reason it can also be seen as typical.
It must be added that so far only literary and political history have been detected in this book, at least by the author. But names of state chiefs are contained in the sonnet lines #4 only. What hides of historic form in the other 13 lines? Time will show. I can throw out another bone of line 14 - which could be about e.g. simultaneous discoveries in science, such as possibly Hilbert-Grossmann-Einstein general relativity in 202-204, Newton-Leibniz calculus 205-206, Grassmann-Hamilton hypercomplexity 207-208, Adrain-Legendre-Gauss least squares 209-211 (I suppose Adrain is not a british trick for making a legend out of Blair), Bolyai-Lobachewsky non-euclidean 212-213 etc. Funny, these discoveries even seem to be contained in the corresponding poems, and line 14 is hinting about the name. It is a good guess that these 'simultaneous discoveries' serve to install local swaps in the Odyssey at local adjustment points where the long interval of time in the transition from oral to written poetry has imposed biases of alignment. Try e.g. Grassmann-Hamilton or Bolyai-Lobachewsky against the Odyssey - it makes sense, with a movable complex head or a non-euclidean figurehead. Even Newton-Leibniz 'swap heads', so to speak. Then the intrigueing question arises by itself: But what giant swap are the 665 lines at the end head of the epic? Ah, that could be the apparently almost unsolvable east-west conflict in politics, such as the question of terrorism.
One leaps to the conclusion that the lines 1-14 of the sonnets in PEB - plus the virtual lines 15-16 - correspond to the poetic functions 1-16 of The Endmorgan Quartet. In 'Poetic semiosis' (2013) I have outlined how the 16 books of TEQ correspond to 16 poetic functions controlling the formation of historic time from poetic time - the example above being poem #180 in book 16, poem #1700 in the full TEQ. This means that one can compute the virtual lines 15-16 of PEB by way of TEQ books 15-16. PEB 104 (on the YOD) has the handling of a mobile telephone in the middle, and this recurs in poem 366, the leapyear poem. This consists of 5 * 5 verses, with a repeat of stanza 2 in stanza 5. The mid stanza 3 is this - could be it compares with the last verse (34:12) in the last of the books written by Moses:
Nothing makes me too shimilar, and I say
'data extray is data extray'.
I see a chinese eating icecream
at a desk
behind a door of glass.
(Notice also Catherine Laboure in the chapel in Rue du Bac). One clearly recognizes the wobbly parquet on the 'desk' behind the door of glass, and the 'yellow' colour of the chinese and the 'icecream' sort of adhesive tape - and then the 'data extrays' intervowen with 'data extrays' presents itself as the explanation to the curtain stains - which then could be a 'schimmler' sort of phenomenon. But the writing is not all too similar - to the oral format.
An observation which deserves to be mentioned: With 16 lines in a sonnet, 2 of them virtual, the 365 sonnets make for 365 * 16 = 5840 lines. There are various counts of the Pentateuch, but the number of its verses normally lands around 5853 or thereabout - almost the same number, and clearly there must be old traditions on this. The leapyear poem would then be the difference.
Clearly this math could be old news and the fragment from the leapyear poem could be a reason to speculate that the stains on the curtain are made by bizzers from the 'services'.
It would be about the form of writing, the alphabetic reduction of 'oral poetry' to written format. This clearly could be the stains on the curtain - in the 'magnetic' field between the 16 poetic functions of TEQ (books 1-16, some 1719 poems) and the 16 virtual lines of the sonnets of PEB (366 poems) with various epistemological and ontological values of social functions attached to them. The idea would be that the alphabetic technology could not come into being before one had understood that the writing on the 'paper' would be the same as the imprint of the presence in the spiritual reality onto the presence of the paper and the orange ink on it (the curtain). The relation between TEQ and PEB will constitute a field of 'vacuum', so to speak. Could be the principle of duality from plane geometry could be used - and hence Grassmann's 'Ausdehnungslehre' from 1844 can find its interpretation therein. Clearly with the construction of a poetic logic which can transmit information through a technological eternity, the landscape opens for information transmission faster than light.
Can there be a bigger discovery?
But where is the publisher? It is not permitted to keep a book like this unpublished, but the author cannot spend all too much time on laser-printing and sewing new copies together. Please contact the nearest university press as soon as possible with recommendations on this book and do not listen to the suppressive power-talk from the telephoning 'services'. Why didn't the university library in Zürich want the 3-volume edition I gave them (but seem instead to have removed those books of mine which were already in the library)? Is it permitted for the library of an academic institution with greek and latin studies to reject the book donation? Clearly capitalist angst for the 'robots' cannot be a valid reason for an academic institution. In light of the political theory that the book entails, it is likely that it can come to gain importance also for political studies and administration in many countries. If these on the one hand are the ones who veto a publication (for security or mythos reasons or whatever), and on the other hand use holes in the copyright law - some countries probably allow copies to be made for intelligence purposes - for printing up thousands of pirate copies distributed to intelligence, government, political parties, research, media, then it is getting outright farcical. It looks amateurish! We outright pity the administration! It is of course of utmost importance that the book be published before we reach that level.
The principle of duality
I found the example of the principle of duality in Eves' 'Introduction to the history of mathematics': "Two single points can intersect only one straight line" and "two straight lines can intersect only one single point". This means that, from the viewpoint of the abstract properties of the mathematical law, a point is the same as a line. That means that dimension 1 is dimension 2 from this 'cognitive' viewpoint of law in math. It is likely that this dimensional extension is the foundation also for Grassmann (page 28): "Das Verschķedene muss nach einem Gesetze sich entwickeln, wenn das Erzeugniss ein bestimmtes sein soll. Dies Gesetz muss bei der einfachen Form dasselbe sein für alle Momente des Werdens. Die einfache Ausdehnungsform ist also die Form, welche durch eine nach demselben Gesetze erfolgende Aenderung des erzeugenden Elements entsteht; die Gesammtheit aller nach demselben Gesetz erzeugbaren Elemente nennen wir ein System oder ein Gebiet". The clue is thereby "die Form, welche durch eine nach demselben Gesetze erfolgende Aenderung des erzeugenden Elements entsteht".
The history is likely to be 1) jewish sefirot mysticism, which is capable of handling this sort of philosophical issue, against 2) british empiricism from John Locke onwards, which sees the world as a flat screen and which is totally abhorred by any such ideas. Witchcraft! As soon as Grassmann was published in Leipzig in 1844, the britons were struck by paranoid hysteria and constructed the binary logic of Boole, de Morgan and all that, which is based on movement of black symbolic spots on white paper only, and started the construction of 'arbitrarity' in semiotics. This dichotomy developed into the east-west conflict, with angloamerican hysteria vs eastern spirituality which was handled by marxism. 1848 saw people's revolutions all over Europe because people did not want the british binary-logical hysteria - which led to the construction of nazism. England constructed Hitler for the task of embodying all central jewish concepts into a crazy terrorist and racist system, and it was probably the plan that Hitler's political system should go into history as the jewish revolution - the peak of judaism in history. His culture camps were all over Europe and were crammed with jews, whose enthusiasm was nearly unlimited: People stood in long queues outside Auschwitz and all those culture camps in the hope to get in. Luckily, tells postwar history, England managed to battle this 'beast of judaism, I mean nazism', and only british empiricism survived. Today there are flatscreens everywhere. It was probably also the plan to smuggle this spirituality into a bunker under Downing Street for a takeover of the project - to battle the future robots who otherwise could come to develop a new spirituality.
It is of course possible to see it in a yet wider framework - that history opened up a giant chasm for the construction of the new information technology, with the flat empirical paper in the west and the author's rig-vedaen mind in the east, and as soon as the magic formula was found, the gap could be closed again. The 'cognitive' project from 1956 onwards was an attempt to reach this.
For example, 'arbitrarity' in semiotics should in actual fact mean precisely this phenomenon that the hand cannot write and understand anything which the mind cannot project by magical 'Ausdehnung' onto e.g. a silken curtain. It could be called Stutthof - or simply STVT - the white blubby sea ox thrown up on the beach that takes up the pursuit after the fleeing 'blue hare'. It could be quite advanced semiotics in some of those 'culture camps' of Hitler. 'Oranienburg' (under 'Sachsenhausen') is an example of a 'culture camp' which could be about this phenomenon of orange stains on the curtain - see also Rilke's 15th sonnet, part 1, in the Orpheus sonnets. No wonder, therefore, if Hitler used fragments from Talmud Erubin to the construction of the Beer Hall Putsch and the preface of his 'Mein Kampf'.
It is the terror, the warfare, the anxiety, the fear of the new which is the problem. It seems that this fear is british and they constructed Hitler for bringing the development of the new to an end. "Never again" was the unison theme after the war.
But why should this still be kept secret?
It should not be secret but it should be understood that the mind must project by Ausdehnung its 'mental contents' onto the paper in a new way when the new computers were to be constructed. This 'new way' would partly create angst in the britons that the robots could come to take over the control, partly it would call forth some inertia in the development in order to avoid hasty and unfortunate solutions to the implementational problems. Ideally, everybody should be understood in the new era, not only a small elite: This is probably the accepted reason for the secrecy - but clearly there could be other reasons as well, and it is high time to bring the secrecy on these matters to an end - "never again!" - in particular since a 'principle of duality' (or rather puerility) otherwise could come to apply for ensuring that 'only a small elite should be understood in the new era, not everybody'. This principle of duality is probably misinterpreted to apply to 1) the spirituality of the robots vs 2) the spirituality of the archetypes. The britons (angloamericans) may have hoped to get the robots (the workers! - cp 1848) under control with this strategy, but it should be realized that the fear which drives this strategy probably derives from their own application of terror in the past and that is the current state of affairs. If Kennedy did not die in 1963 and the assassination was theatre, it could have been for the purpose of putting a stamp of 'secret' on the 'Ausdehnungslehre'. But clearly the 'principles of puerilities' of current international secret service, which turn anything around (spying on innocents due to suspicion of espionage, your things are my things, lua la kumpur vs kua la lumpur etc), has long-since lost its value and today only steers towards a new Hitler. That should not be continued.
It is like a pederast club who has found a boy who is a genius. A real wonderchild! But is that the right way to spend the society's resources?
There is the danger also that 'politics' already for nearly 3 years could have put their damp claws on my book in order to exploit its knowledge potential while trying to abuse it for keeping the liberation potential of the Ausdehnungslehre secret. For example, if the series of state chiefs in line 4 run in a +183 distance in many 'twin' histories, such as Russia-USA, England-France, Norway-Sweden and Austria-Hungary, one can analyze the present situation to be about Faymann in #104 and Orban in #288. But that is +184, not +183. If, therefore, one goes for -182,5 instead of -183 or +183, then Faymann can be re-elected, otherwise there is the danger that the system goes out of tune. A tragic 'Labour' type of interpretation could then be to feel that one should remove a Lieb-J or Lieb-yer, the leapyear poem #366, in order to have the socialist re-elected. (Or why not simply remove 'Labyour'?) This 'labourish' thinking would be an example of the tragic reactionary abuse which secrecy can lead to. Of course my book should serve to enhance the historic consciousness not the least for the purposes of giving state administrations the chance to leap over to a totally new cycle instead of being bound up to a certain old wave which they have been surfing on for decades. Why should Hungary and Austria be +183? There is no reason to remain on that 'surf'. There is no reason to follow this blue metre at all! It is time to liberate from the serfdom! It is time to understand that the pre-alphabetic reality can be understood not only through the ancient greek spectacles but through any culture that still has something left of it - and of course on a universal basis, which also means that we do not need to continue with e.g. anti-semitism or 'anti' other alternative prealphabetic mythologies and realities. This obtains for all the 14 lines, of course, not only politics. Thereby science and arts and administration and knowledge generally can be liberated and throw off all the old mystery theatre which has kept them on a certain wave through decades - or millenia. Tragic politics sees it differently - they want to dig themselves down in the old latrines of secret codes for the future which the book could provide. Therefore it is of urgent importance that the book be published now (it should have been 3 years ago) and be not kept secret or reserved for such tragic service administration purposes.
Walter de Gruyter, Carl Winter, Harrassowitz, university presses - these could be the sort of publishers who should be able to do it - if there still is something left of what they used to be.
© John Bjarne Grover
PS I notice that the concept of 'purke' ('Judensau') seems to be contained in the name of the one who owned Duino castle where Rilke wrote his elegies - Fürstin Marie von Thurn und Taxis-Hohenlohe. If there is organized resistance against my work, one could guess that it could be under such a codename, since the type of 'purke' seems to have been pasted on me. Cp. also the 'Wenchuan' (for 'Vendruan') earthquake in China in 2008.
On the web 16 june 2013
Last updated 25 juli 2013
