<html> ਀㰀栀攀愀搀㸀 
<meta name="author" content="John Bjarne Grover">਀㰀洀攀琀愀 渀愀洀攀㴀∀䐀⸀䌀⸀刀椀最栀琀猀∀ 挀漀渀琀攀渀琀㴀∀☀挀漀瀀礀㬀 䨀漀栀渀 䈀樀愀爀渀攀 䜀爀漀瘀攀爀∀㸀 
<meta name="date" content="2023-06-11">਀㰀琀椀琀氀攀㸀 
਀吀栀攀 䔀渀搀洀漀爀最愀渀 儀甀愀爀琀攀琀 愀渀搀 琀栀攀 栀椀攀爀漀最氀礀瀀栀猀 
਀㰀⼀琀椀琀氀攀㸀 
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<font face="times, arial">਀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
<font size="6">਀㰀戀㸀 
਀吀栀攀 䔀渀搀洀漀爀最愀渀 儀甀愀爀琀攀琀 愀渀搀 琀栀攀 栀椀攀爀漀最氀礀瀀栀猀 
਀㰀⼀戀㸀 
<font size="4"><br><br>਀㰀椀㸀䨀漀栀渀 䈀樀愀爀渀攀 䜀爀漀瘀攀爀㰀⼀椀㸀 
<font size="5">਀㰀戀爀㸀㰀戀爀㸀 
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਀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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<font size="5"><b><i>Introduction</i></b><font size="4"></p><p align="justify">਀ 
On 9-11 april 2023 I solved what could be called 'the most pressing problem of politics' - a solution which I quickly published in the two small additions of those days to <a href="correggio.htm">this file</a> (added to example 3). The solution is in the discovery of a structure in my own TEQ ('The Endmorgan Quartet') for the socalled 'global function 15' on 'logical order' which shows that the 'needle's eye' of Szolnok - that is the final hebrew 'F' at the end of <a href="joseftrumpet1.jpg">the celestial trumpet of the name of 'Josef'</a>, the fancied imagery in the alphabetic letter 'F' of the Madonna holding the Jesus infant in her hands - which camels try to go through on their way eastwards is but a special case of a more general semiotic phenomenon which can be described by the TEQ structure. This means that Cantor reduces to the special case of Grassmann that even Grassmann's theory - which can be seen as a mathematical modelling of the 'faculty of faith' - had to be printed on flat paper. Could be the story is that paper-print technology now is about to see its end with the computer technology - and the concomitant 'pressing problem' thereby whether the faculty of faith - conceived as a precondition for 'philosophical consciousness' - will come to be a part of the computer technology.            </p><p align="justify">਀ 
'<a href="onethreefivestepseries.htm">Tables for interpretation of the global function 15 of TEQ poems 1455, 1458, 1473, 1483 with Caravaggio correlates</a>' is an integral part of the present study - but it is too long and detailed for being included in the overall exposition in the following.     </p><p align="justify">਀ 
The complex is discussed in the following chapters:           </p><p align="justify">਀ 
1. The italian renaissance seen through my TEQ and DDS - this discusses the point of departure in the analysis of Caravaggio's total work relative to one work of Correggio.           </p><p align="justify">਀ 
2. COVID-19 - as a pandemic crisis in this knowledge - how this particular Caravaggio-Correggio phenomenon could be observed in the start and spread of the pandemic          </p><p align="justify">਀ 
3. Vas Gereben 1984 - the 'pressing problem' seen in a streetname structure of Szolnok in Hungary          </p><p align="justify">਀ 
4. Panini and Nono - the theory of universal phonetic and logical form being mirrored (which is a sensible theory) finding a modern-day example in Panini's sanskrit grammar read backwards in 'universal' english - 'what a detour'! This theory on Panini is not what I advance but can be seen as a theory that historically could have served to fill in a vacuum hole in a probably irrelevant way - instead of the phenomena discussed in chapters 1 and 7 which are structurally similar but empirically sound.           </p><p align="justify">਀ 
5. The qubit - the isomorphy in this crisis in knowledge - the idea that quantum computing applies to the same epistemological format as the basic linguistic nucleus          </p><p align="justify">਀ 
6. How were my TEQ and DDS written? Of course a general theory based on the relation between art history and my TEQ and DDS requires knowledge of the epistemological status of these works of mine          </p><p align="justify">਀ 
7. Function 15 and the hieroglyphs - the theory of visual art generalized relative to my TEQ as a basis for a global function 15 and a general semiotic theory explaining the story with Grassmann and Cantor. The empirical material for this is found <a href="onethreefivestepseries.htm">in this file</a>. </p><p align="justify">਀ 
8. Some concluding remarks          </p><p align="justify">਀㰀戀爀㸀㰀戀爀㸀 
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਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 
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<b><i>1. The italian renaissance seen through my TEQ and DDS</i></b></p><p align="justify">਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀  
The 16 books of my TEQ (1997-2008) are assumed to constitute 16 'poetic functions' that in their totality constitute the poetic reality - the form of the human psyche. In the article <a href="textandimageinteq.htm">Text and image in TEQ</a> I show that there is a strong tendency for prominent names of art history to be concentrating on any one of these poetic functions - that is, it can be shown that most of the works of e.g. Tiepolo can be 'essentially' interpreted by way of some poem from TEQ book 6 because, as tells this theory, Tiepolo is of a type who is a 'function 6' artist. Delacroix, on the other hand, seems to have focussed on 'poetic function' 7, since his works find reflexes in book 7 but not in book 6. <a href="textandimageinteq.htm">Antonio Balestra</a>, on the other hand, seems to be a typical function 2 artist. Rembrandt seems to be function 7, same as Delacroix. For more examples, see <a href="artstudylinks.htm">this list</a>.        </p><p align="justify">਀ 
It can be concluded from these correlations that art probably relates essentially to the poetic functions defined by my TEQ. This should also mean 1) that my TEQ is not a failed program, and 2) that its ability to interpret art = cultural history is of essential importance. I return to this point below.       </p><p align="justify">਀ 
The present study continues from <a href="caravaggiodornenstrauch.htm">the correlation of Caravaggio with my DDS</a> - a correlation which assigns a special order of the works of Caravaggio and - as the following discussion shows - follows the 1-step cycle (column #2) in the titles or 1st line and 5-step (column #3) in signatures or last line of the poems of TEQ.       </p><p align="justify">਀ 
See <a href="correggio.htm">the discussion of Correggio's work relative to my TEQ</a> - the example 3 with discussion of the global function. It is the discovery told of in the additions of 9 and 11 april 2023 that shows the essential phenomenon I discuss in the following.       </p><p align="justify">਀ 
The example is '<a href="https://en.wikipedia.org/wiki/Antonio_da_Correggio#/media/File:Correggio_-_Mystic_Marriage_of_Saint_Catherine_with_Saint_Sebastian_-_Louvre.jpg">The mystic marriage of St.Catherine</a>' (from <a href="https://en.wikipedia.org/wiki/Antonio_da_Correggio">this source</a>) which finds a very precise - surprisingly precise - interpretation in the first poem of TEQ book 15 'Gentlemen' - that is <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1586" target="_new">TEQ #1455</a>  (<font size="3">= <a href="johnbjarnegrovercollectedworks.htm">volume 2 page 1586</a><font size="5">). The method is to consider this a 'global function 15' and take TEQ #1455 to be in the one endpoint of the span of 1191 poems in the total number 1719 of poems in TEQ: (1719-1455) = 264 poems on either side leaves a total of 1719-(264*2) = 1191 poems in the global scope of this poem.       </p><p align="justify">਀ 
As to the socalled 'global scope' of this function 15, I notice that the last poem in book 15 is #1520 which is 199 poems from the end of book 16 - while poem #198 from the beginning of book 1 is signed 'The Endmorgan Quartet' - which thereby comes to be a sort of 'title' to the global scope from #199 to #1520. This means that there is an extra poem - it would have been a perfect balance if this signature were to poem #199 - and this single extra could be the same phenomenon as I discuss below - see 'convex and concave' below.       </p><p align="justify">਀ 
In this global scope I compute the ratios 1/3, 1/4, 1/5 ... 1/10 (as well as 9/10, 8/9, 7/8 ... 2/3) and find the poem for which I consider the first and the last line which is read backwards (with wrapover) from the corresponding ratio point and the resulting form is tested against the corresponding 'baroque' work of Caravaggio (according to <a href="caravaggiodornenstrauch.htm">the list in columns 2 and 3</a>) who worked appr. 100 years after 'renaissance' Correggio. Correggio is appr 500 years before my TEQ and Caravaggio appr 400 years.         </p><p align="justify">਀ 
It turns out that the correlations with Caravaggio has such a high relevance that one can probably conclude that this phenomenon is even what constituted the artistic quest of Caravaggio - an example could be found in <a href="https://en.wikipedia.org/wiki/The_Taking_of_Christ_(Caravaggio)">Caravaggio's "Judas kiss"</a> - the character to the left looks as if he is facing the situation from a certain ratio 1/8 or something like that from a wrapover point. See also e.g. his two 'Conversion of St.Paul' in the below discussion.       </p><p align="justify">਀ 
There are in <a href="caravaggiodornenstrauch.htm">the list in columns 2 and 3</a> four cycles of 16 works each in the 64 elements that are listed - the works of elements 4, 20, 36 and 52 are the same in both columns. I here discuss the span between elements 20 and 36 and consider all ratios between 1/3 and 1/10 = 8 ratios, plus the 'converse' ratios 2/3, 3/4, 4/5...9/10 for the remaining 8 elements. The ratio 1/2 is not included here - I return to that below - because it is always the same mid point - the poem ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㤀㘀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㘀　㰀⼀愀㸀⸀      
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<table>										<tr valign="top" align="left"><!br><td valign="top" align="left"><b><i><u>	#</b></i></u>	</td><td valign="top" align="left">	<b><i><u>ratio</b></i></u>	</td><td valign="top" align="left">	<b><i><u>1-step</b></i></u>	</td><td valign="top" align="left">	<b><i><u>5-step</b></i></u>	</td><td valign="top" align="left">	<b><i><u>ratio</b></i></u>	</td></tr><tr valign="top" align="left"><br><td valign="top" align="left">	਀ऀ㈀　ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㈀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀愀氀氀椀渀最开漀昀开匀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀愀氀氀椀渀最 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀愀氀氀椀渀最开漀昀开匀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀愀氀氀椀渀最 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ 
	21	&nbsp; &nbsp; </td><td valign="top" align="left">	1/3	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Jupiter,_Neptune_and_Pluto">Jupiter, Neptune and Pluto</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Salome_with_the_Head_of_John_the_Baptist_(Caravaggio,_London)">Salome and the baptist's head (1609-10)</a>  &nbsp; &nbsp; 	</td><td valign="top" align="left">	9/10	</td></tr><tr valign="top" align="left"><br><td valign="top" align="left">	਀ऀ㈀㈀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㐀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀氀漀洀攀开眀椀琀栀开琀栀攀开䠀攀愀搀开漀昀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀Ⰰ开䴀愀搀爀椀搀⤀∀㸀匀愀氀漀洀攀 愀渀搀 戀愀瀀琀椀猀琀 栀攀愀搀 ⠀㄀㘀　㤀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䔀渀琀漀洀戀洀攀渀琀开漀昀开䌀栀爀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䈀甀爀椀愀氀 漀昀 䌀栀爀椀猀琀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㠀⼀㤀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ 
	23	&nbsp; &nbsp; </td><td valign="top" align="left">	1/5	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Penitent_Magdalene_(Caravaggio)">Regretting Mary</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Burial_of_St._Lucy_(Caravaggio)">Burial of St.Lucia</a> 	</td><td valign="top" align="left">	7/8	</td></tr><tr valign="top" align="left"><td valign="top" align="left">	਀ऀ㈀㐀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㘀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀⌀⼀洀攀搀椀愀⼀䘀椀氀攀㨀䌀愀爀愀瘀愀最最椀漀开⠀䴀椀挀栀攀氀愀渀最攀氀漀开䴀攀爀椀猀椀⤀开ⴀ开匀愀椀渀琀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开ⴀ开䜀漀漀最氀攀开䄀爀琀开倀爀漀樀攀挀琀⸀樀瀀最∀㸀匀琀⸀䨀漀栀渀 琀栀攀 䈀愀瀀琀椀猀琀 ⠀㄀㘀　㈀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䴀甀猀椀挀椀愀渀猀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀漀渀挀攀爀琀 漀昀 礀漀甀琀栀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㘀⼀㜀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ 
	25	&nbsp; &nbsp; </td><td valign="top" align="left">	1/7	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Conversion_on_the_Way_to_Damascus">The conversion of Paul (1602)</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Jupiter,_Neptune_and_Pluto">Jupiter, Neptune and Pluto</a> 	</td><td valign="top" align="left">	5/6	</td></tr><tr valign="top" align="left"><td valign="top" align="left">	਀ऀ㈀㘀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㠀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀漀渀瘀攀爀猀椀漀渀开漀昀开匀愀椀渀琀开倀愀甀氀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀吀栀攀 挀漀渀瘀攀爀猀椀漀渀 漀昀 倀愀甀氀 ⠀㄀㘀　　ⴀ　㄀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀⌀⼀洀攀搀椀愀⼀䘀椀氀攀㨀䴀椀挀栀攀氀愀渀最攀氀漀开䴀攀爀椀猀椀Ⰰ开挀愀氀氀攀搀开䌀愀爀愀瘀愀最最椀漀开ⴀ开匀愀椀渀琀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开椀渀开琀栀攀开圀椀氀搀攀爀渀攀猀猀开ⴀ开䜀漀漀最氀攀开䄀爀琀开倀爀漀樀攀挀琀⸀樀瀀最∀㸀䨀漀栀渀 琀栀攀 䈀愀瀀琀椀猀琀 ⠀㄀㘀　㈀ⴀ　㌀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㐀⼀㔀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ 
	27	&nbsp; &nbsp; </td><td valign="top" align="left">	1/9	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Boy_with_a_Basket_of_Fruit">Ragazzo con canestra di frutta</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/The_Crowning_with_Thorns_(Caravaggio,_Vienna)">Incoronazione di spine</a>	</td><td valign="top" align="left">	3/4	</td></tr><tr valign="top" align="left"><td valign="top" align="left">	਀ऀ㈀㠀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㄀　 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀椀渀琀开䨀攀爀漀洀攀开圀爀椀琀椀渀最∀㸀匀琀⸀䜀攀爀漀氀愀洀漀 眀爀椀琀椀渀最 ⠀㄀㘀　㔀ⴀ　㘀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀氀攀攀瀀椀渀最开䌀甀瀀椀搀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀匀氀攀攀瀀椀渀最 䄀洀漀爀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㈀⼀㌀ⴀ㄀⼀㌀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ 
	29	&nbsp; &nbsp; </td><td valign="top" align="left">	9/10	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Martha_and_Mary_Magdalene_(Caravaggio)">Martha und Magdalena</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/The_Denial_of_Saint_Peter_(Caravaggio)">Peter's denial</a> 	</td><td valign="top" align="left">	1/4	</td></tr><tr valign="top" align="left"><td valign="top" align="left">	਀ऀ㌀　ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㠀⼀㤀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀椀渀琀开䌀愀琀栀攀爀椀渀攀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀吀栀攀 栀漀氀礀 䬀愀琀栀愀爀椀渀愀 漀昀 䄀氀攀砀愀渀搀爀椀愀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀氀漀洀攀开眀椀琀栀开琀栀攀开䠀攀愀搀开漀昀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀Ⰰ开䴀愀搀爀椀搀⤀∀㸀匀愀氀漀洀攀 愀渀搀 戀愀瀀琀椀猀琀 栀攀愀搀 ⠀㄀㘀　㤀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㔀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀 
	31	&nbsp; &nbsp; </td><td valign="top" align="left">	7/8	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Crucifixion_of_Saint_Peter_(Caravaggio)">Crucifixion of Peter</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Nativity_with_St._Francis_and_St._Lawrence">Birth w Lorenzo & Francisco</a> 	</td><td valign="top" align="left">	1/6	</td></tr><tr valign="top" align="left"><td valign="top" align="left">਀ऀ㌀㈀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㘀⼀㜀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀一愀爀挀椀猀猀甀猀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀一愀爀挀椀猀猀甀猀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䄀渀渀甀渀挀椀愀琀椀漀渀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䄀渀渀甀渀挀椀愀琀椀漀渀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㜀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀 
	33	&nbsp; &nbsp; </td><td valign="top" align="left">	5/6	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Salome_with_the_Head_of_John_the_Baptist_(Caravaggio,_London)">Salome and the baptist's head (1609-10)</a>  &nbsp; &nbsp; 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Portrait_of_Maffeo_Barberini">Maffeo Barberini</a> 	</td><td valign="top" align="left">	1/8	</td></tr><tr valign="top" align="left"><td valign="top" align="left">਀ऀ㌀㐀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㐀⼀㔀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀⌀⼀洀攀搀椀愀⼀䘀椀氀攀㨀䴀椀挀栀攀氀愀渀最攀氀漀开䴀攀爀椀猀椀Ⰰ开挀愀氀氀攀搀开䌀愀爀愀瘀愀最最椀漀开ⴀ开匀愀椀渀琀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开椀渀开琀栀攀开圀椀氀搀攀爀渀攀猀猀开ⴀ开䜀漀漀最氀攀开䄀爀琀开倀爀漀樀攀挀琀⸀樀瀀最∀㸀䨀漀栀渀 琀栀攀 䈀愀瀀琀椀猀琀 ⠀㄀㘀　㈀ⴀ　㌀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䴀愀爀琀礀爀搀漀洀开漀昀开匀愀椀渀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀吀栀攀 洀愀爀琀礀爀搀漀洀 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㄀⼀㤀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀 
	35	&nbsp; &nbsp; </td><td valign="top" align="left">	3/4	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Nativity_with_St._Francis_and_St._Lawrence">Birth with Lorenzo and Francesco</a> 	</td><td valign="top" align="left">	<a href="https://en.wikipedia.org/wiki/Penitent_Magdalene_(Caravaggio)">Regretting Mary</a> 	</td><td valign="top" align="left">	1/10	</td></tr><tr valign="top" align="left"><td valign="top" align="left">਀ऀ㌀㘀ऀ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㈀⼀㌀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀椀渀琀开䘀爀愀渀挀椀猀开椀渀开倀爀愀礀攀爀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀匀琀⸀䘀爀愀渀挀攀猀 椀渀 洀攀搀椀琀愀琀椀漀渀 ⠀㄀㘀　㘀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀椀渀琀开䘀爀愀渀挀椀猀开椀渀开倀爀愀礀攀爀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀匀琀⸀䘀爀愀渀挀攀猀 椀渀 洀攀搀椀琀愀琀椀漀渀 ⠀㄀㘀　㘀⤀㰀⼀愀㸀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀ऀऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀ 愀氀椀最渀㴀∀氀攀昀琀∀㸀 
</tr>											਀㰀⼀琀愀戀氀攀㸀ऀऀऀऀऀऀऀऀऀऀऀ㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
       </p><p align="justify">਀㰀戀爀㸀 
਀䔀砀愀洀瀀氀攀 漀昀 爀攀愀搀椀渀最 椀渀 琀栀攀 戀攀氀漀眀 搀椀猀挀甀猀猀椀漀渀㨀 䤀渀 琀栀攀 ㄀ⴀ猀琀攀瀀 挀漀氀甀洀渀Ⰰ 琀栀攀 爀愀琀椀漀 ㄀⼀㌀ 㴀 瀀漀攀洀 ⌀㘀㘀㄀ 眀栀椀挀栀 栀愀猀 昀椀爀猀琀 氀椀渀攀 ∀䤀琀✀猀 渀漀琀 甀渀氀椀洀椀琀攀搀∀⸀ 䈀愀挀欀眀愀爀搀猀 琀栀椀猀 椀猀 ∀搀攀琀椀洀椀氀渀甀 琀漀渀 猀琀椀∀ 眀栀椀挀栀 琀栀攀渀 椀猀 爀攀愀搀 昀爀漀洀 ㄀⼀㌀ ⠀眀栀椀挀栀 戀愀挀欀眀愀爀搀猀 洀攀愀渀猀 ㈀⼀㌀⤀ 㴀 ∀漀渀 猀琀椀 搀攀琀椀洀椀氀渀甀琀∀ 眀栀椀挀栀 琀栀攀渀 椀猀 挀漀爀爀攀氀愀琀攀搀 愀最愀椀渀猀琀 琀栀攀 爀攀氀攀瘀愀渀琀 愀爀琀眀漀爀欀 氀椀猀琀攀搀 甀渀搀攀爀 ㄀ⴀ猀琀攀瀀 昀漀爀 攀氀攀洀攀渀琀 ㈀㄀ ⴀ 眀栀椀挀栀 洀攀愀渀猀 䌀愀爀愀瘀愀最最椀漀✀猀 ∀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀甀瀀椀琀攀爀Ⰰ开一攀瀀琀甀渀攀开愀渀搀开倀氀甀琀漀∀㸀䨀甀瀀椀琀攀爀Ⰰ 一攀瀀琀甀渀攀 愀渀搀 倀氀甀琀漀㰀⼀愀㸀∀⸀ 䐀漀攀猀 椀琀 洀愀欀攀猀 猀攀渀猀攀 昀漀爀 琀栀攀 愀爀琀眀漀爀欀㼀 吀栀攀 愀爀琀眀漀爀欀 猀栀漀眀猀 愀 ✀猀琀攀攀搀✀ 眀栀椀挀栀 椀渀搀攀攀搀 椀猀 瀀爀攀猀攀渀琀 椀渀 琀栀攀 戀愀挀欀眀愀爀搀猀 昀漀爀洀 ⴀ 愀渀搀 琀栀攀 琀攀猀琀 椀猀 琀漀 猀攀攀 眀栀攀琀栀攀爀 漀琀栀攀爀 愀猀瀀攀挀琀猀 漀昀 琀栀攀 愀爀琀眀漀爀欀 椀猀 瀀爀攀猀攀渀琀 椀渀 琀栀椀猀 戀愀挀欀眀愀爀搀猀 昀漀爀洀 ⴀ 愀猀 挀氀漀猀攀 琀漀 琀栀攀 戀愀挀欀眀愀爀搀猀 昀漀爀洀 愀猀 漀渀攀 挀愀渀 最攀琀 椀琀 ⴀ 椀搀攀愀氀氀礀 琀栀攀 猀愀洀攀 戀甀琀 渀漀爀洀愀氀氀礀 愀渀 愀瀀瀀爀漀砀椀洀愀琀椀漀渀 漀渀氀礀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀 ✀琀礀洀瀀愀渀✀ 椀猀 搀攀昀椀渀攀搀 愀猀 愀 搀爀甀洀 洀攀洀戀爀愀渀攀 漀爀 愀 琀栀椀渀 瀀氀愀琀攀 椀渀 愀渀礀 洀攀挀栀愀渀椀挀愀氀 愀瀀瀀愀爀愀琀甀猀 猀甀挀栀 愀猀 愀 瀀栀漀渀漀最爀愀瀀栀㨀 䤀渀搀攀攀搀 琀栀攀 眀栀椀琀攀 搀椀猀挀 椀渀 琀栀攀 洀椀搀 漀昀 琀栀攀 愀爀琀眀漀爀欀 挀漀甀氀搀 戀攀 愀 ✀琀礀洀瀀愀渀✀ 愀渀搀 椀琀 挀漀甀氀搀 栀愀瘀攀 椀琀猀 琀爀愀渀猀昀漀爀洀 椀渀 琀栀攀 猀甀爀瀀爀椀猀椀渀最 ✀昀椀猀栀昀椀渀✀ 漀爀 ✀昀椀猀栀琀愀椀氀✀ 昀漀爀洀 漀昀 琀栀攀 猀琀攀攀搀✀猀 昀攀攀琀⼀栀漀漀瘀攀猀⸀ 䠀攀渀挀攀 琀栀攀 戀愀挀欀眀愀爀搀猀 爀攀愀搀椀渀最 最漀攀猀 琀攀渀琀愀琀椀瘀攀氀礀 ✀漀渀 猀琀攀攀搀 愀 琀礀洀瀀愀渀ⴀ渀甀琀✀ ⴀ 漀爀 ✀漀渀 猀琀攀攀搀 愀 琀礀洀瀀愀渀椀✀ ⴀ 渀漀琀 愀 瀀攀爀昀攀挀琀 洀愀琀挀栀 戀甀琀 挀攀爀琀愀椀渀氀礀 挀氀漀猀攀 攀渀漀甀最栀⸀ 吀栀攀 最攀渀攀爀愀氀 琀栀攀漀爀礀 愀爀椀猀攀猀 琀栀愀琀 琀栀椀猀 昀甀渀挀琀椀漀渀 攀瘀攀渀 椀猀 挀漀渀猀琀椀琀甀琀椀瘀攀 昀漀爀 䌀愀爀愀瘀愀最最椀漀✀猀 眀漀爀欀猀 ⴀ 栀攀爀攀 椀琀 眀椀氀氀 洀攀愀渀 琀栀攀 ✀爀攀愀猀漀渀✀ 昀漀爀 琀栀漀猀攀 昀椀猀栀ⴀ洀攀洀戀爀愀渀椀挀 攀渀搀 漀昀 氀攀最猀 漀昀 琀栀攀 猀琀攀攀搀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀匀漀洀攀 漀昀 琀栀攀猀攀 愀爀攀 焀甀椀琀攀 椀洀瀀爀攀猀猀椀瘀攀⸀ 匀攀攀 攀⸀最⸀ 琀栀攀 琀眀漀 ㄀ⴀ猀琀攀瀀 ✀䌀漀渀瘀攀爀猀椀漀渀 漀昀 匀琀⸀倀愀甀氀✀ 漀爀 ✀⌀㈀㘀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀⌀⼀洀攀搀椀愀⼀䘀椀氀攀㨀䴀椀挀栀攀氀愀渀最攀氀漀开䴀攀爀椀猀椀Ⰰ开挀愀氀氀攀搀开䌀愀爀愀瘀愀最最椀漀开ⴀ开匀愀椀渀琀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开椀渀开琀栀攀开圀椀氀搀攀爀渀攀猀猀开ⴀ开䜀漀漀最氀攀开䄀爀琀开倀爀漀樀攀挀琀⸀樀瀀最∀㸀䨀漀栀渀 琀栀攀 䈀愀瀀琀椀猀琀 ⠀㄀㘀　㈀ⴀ　㌀⤀㰀⼀愀㸀✀ 昀漀爀 琀栀攀 㔀ⴀ猀琀攀瀀 昀漀爀洀 ✀最渀椀最爀漀攀最 搀爀漀氀 渀漀琀✀ 㴀 ✀琀栀攀 挀爀甀琀挀栀 ☀ 搀爀漀氀氀 渀漀琀✀⸀ 吀栀愀琀 ✀搀爀漀氀氀 渀漀琀✀ 椀渀 栀椀猀 氀愀瀀 椀猀 猀漀洀攀琀栀椀渀最⸀ 䰀椀欀攀眀椀猀攀Ⰰ 琀栀攀 ✀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䄀渀渀甀渀挀椀愀琀椀漀渀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䄀渀渀甀渀挀椀愀琀椀漀渀㰀⼀愀㸀✀ 猀栀漀眀猀 愀 猀甀爀瀀爀椀猀椀渀最 昀漀爀洀 眀栀椀挀栀 最攀琀猀 椀琀猀 攀砀瀀氀愀渀愀琀椀漀渀 椀渀 琀栀攀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 漀昀 琀栀攀 昀爀愀最洀攀渀琀 昀爀漀洀 洀礀 眀漀爀欀 ⠀✀愀 猀攀椀稀甀爀攀 椀猀 氀椀欀攀 攀爀漀琀椀挀 猀渀愀欀攀ⴀ爀攀洀✀ 㴀 ✀猀渀愀欀攀ⴀ戀攀氀琀✀⤀⸀ 匀攀攀 愀氀猀漀 琀栀攀 琀眀漀 ✀䌀漀渀瘀攀爀猀椀漀渀 漀昀 倀愀甀氀✀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䈀甀琀 眀栀愀琀 眀漀甀氀搀 琀栀愀琀 洀攀愀渀 ⴀ 椀昀 䌀愀爀愀瘀愀最最椀漀 ⠀愀瀀瀀爀 ㄀㘀　　⤀ 琀漀漀欀 栀椀猀 洀漀琀椀瘀愀琀椀漀渀猀 昀爀漀洀 洀礀 吀䔀儀 ⠀愀瀀瀀爀 ㈀　　　⤀㼀 䤀琀 眀漀甀氀搀 洀攀愀渀 琀栀愀琀 洀礀 吀䔀儀 栀愀猀 愀 瘀攀爀礀 栀椀最栀 甀渀椀瘀攀爀猀愀氀椀琀礀⸀ 匀攀攀 搀椀猀挀甀猀猀椀漀渀 椀渀 挀栀愀瀀琀攀爀 㘀 漀昀 琀栀椀猀 愀爀琀椀挀氀攀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀渀搀Ⰰ 椀琀 洀甀猀琀 戀攀 渀漀琀椀挀攀搀Ⰰ 攀瘀攀渀 琀栀攀 䐀䐀匀 洀甀猀琀 栀愀瘀攀 愀 栀椀最栀 搀攀最爀攀攀 漀昀 甀渀椀瘀攀爀猀愀氀椀琀礀 猀椀渀挀攀 琀栀攀 漀爀搀攀爀 漀昀 琀栀攀 䌀愀爀愀瘀愀最最椀漀 眀漀爀欀猀 椀渀 琀栀攀 氀椀猀琀 椀猀 戀愀猀攀搀 漀渀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㐀⸀瀀搀昀⌀瀀愀最攀㴀㌀㤀㄀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀䐀䐀匀 瀀愀爀琀 ㌀ ∀䰀椀渀椀攀渀 搀椀攀 瀀爀☀愀甀洀氀㬀最攀渀 搀椀攀 匀琀攀爀渀攀渀 ☀甀甀洀氀㬀戀攀爀 甀渀猀∀㰀⼀愀㸀⸀ ⠀吀栀攀 昀漀爀洀 ✀匀琀攀爀渀攀渀✀ 椀猀 瀀漀攀琀椀挀愀氀氀礀 爀椀最栀琀 愀氀戀攀椀琀 眀爀漀渀最 戀礀 渀漀爀洀愀琀椀瘀攀 最爀愀洀洀愀爀⤀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 琀栀椀猀 瀀栀攀渀漀洀攀渀漀渀 漀昀 愀 甀渀椀瘀攀爀猀愀氀 焀甀愀氀椀琀礀 椀渀 洀礀 吀䔀儀 眀栀椀挀栀 洀愀欀攀猀 椀琀 瀀漀猀猀椀戀氀攀 琀漀 搀爀愀眀 挀攀爀琀愀椀渀 爀愀搀椀挀愀氀 挀漀渀挀氀甀猀椀漀渀猀 昀爀漀洀 琀栀攀 昀漀氀氀漀眀椀渀最 搀椀猀挀甀猀猀椀漀渀 漀昀 琀栀攀 瀀漀氀椀琀椀挀愀氀 挀漀爀漀氀氀愀爀椀攀猀 ⴀ 椀渀 瀀愀爀琀椀挀甀氀愀爀 昀爀漀洀 琀栀攀 愀瀀瀀愀爀攀渀琀 挀漀渀挀氀甀猀椀漀渀 琀栀愀琀 㰀椀㸀琀栀攀 愀爀琀 漀昀 琀栀攀 椀琀愀氀椀愀渀 爀攀渀愀椀猀猀愀渀挀攀 猀攀攀洀猀 琀漀 戀攀 瀀愀爀琀椀挀甀氀愀爀氀礀 猀琀爀漀渀最氀礀 洀漀琀椀瘀愀琀攀搀㰀⼀椀㸀⸀ 䠀攀爀攀 琀栀攀 攀砀愀洀瀀氀攀 椀猀 琀栀攀 愀爀琀眀漀爀欀 漀昀 䌀漀爀爀攀最最椀漀 猀攀攀渀 琀栀爀漀甀最栀 琀栀椀猀 瀀爀椀猀洀 漀昀 䌀愀爀愀瘀愀最最椀漀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀昀 椀琀 椀猀 昀漀甀渀搀 琀漀 戀攀 愀 瘀愀氀椀搀 愀渀愀氀礀猀椀猀Ⰰ 椀渀 琀栀攀 猀攀渀猀攀 漀昀 戀愀挀欀眀愀爀搀猀ⴀ爀攀愀搀椀渀最 眀椀琀栀 ✀挀漀渀瘀攀砀ⴀ挀漀渀挀愀瘀攀✀ 甀渀搀甀氀愀琀椀漀渀猀 漀昀 琀栀攀 爀愀琀椀漀猀Ⰰ 氀椀欀攀 椀渀 愀渀 栀漀甀爀最氀愀猀猀Ⰰ 椀琀 椀猀 氀椀欀攀氀礀 琀漀 戀攀 爀攀氀愀琀攀搀 琀漀 眀栀愀琀 䤀 挀愀氀氀 ✀䄀 眀愀椀猀琀 漀昀 琀椀洀攀✀ 椀渀 洀礀 倀栀䐀 搀椀猀猀攀爀琀愀琀椀漀渀 ⠀瀀愀爀琀 㔀⤀ 漀昀 ㄀㤀㤀㜀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀渀搀Ⰰ 漀昀 挀漀甀爀猀攀Ⰰ 挀攀爀琀愀椀渀 挀漀渀挀氀甀猀椀漀渀猀 愀戀漀甀琀 琀栀攀 爀漀氀攀 漀昀 愀渀最氀漀瀀栀漀渀礀 愀猀 最氀漀戀愀氀 氀椀渀最甀愀 昀爀愀渀挀愀 挀漀甀氀搀 琀栀攀渀 愀氀猀漀 戀攀 琀攀渀琀愀琀椀瘀攀氀礀 攀猀琀愀戀氀椀猀栀攀搀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
<i>The 1-step column reading title or first line of poem backwards:</i>  </p><p align="justify">਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀　 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀愀氀氀椀渀最开漀昀开匀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀愀氀氀椀渀最 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/2  = 264 + 1/2 * 1191 = ਀㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㤀㘀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㘀　㰀⼀愀㸀                           㰀戀爀㸀 
the mean flat                            <br>਀琀愀氀昀愀渀 攀洀攀栀琀                            㰀戀爀㸀 
emeht talfan                           <br>਀攀 洀攀琀 琀攀氀攀瀀栀漀渀攀 㴀 ✀愀 洀椀搀 琀攀氀攀瀀栀漀渀攀✀                           㰀戀爀㸀 
'a metal fan' = the coins which Matthew is counting                           <br>਀⠀猀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㠀㜀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㜀㰀⼀愀㸀  昀漀爀 ✀䈀愀渀最氀愀搀攀猀栀✀ 戀愀挀欀眀愀爀搀猀 ⴀ 猀攀攀 戀攀氀漀眀 漀渀 琀栀攀 䌀伀嘀䤀䐀 猀瀀爀攀愀搀⤀ 
<br>                           <br>਀ 
<b><i>Element #21 <a href="https://en.wikipedia.org/wiki/Jupiter,_Neptune_and_Pluto">Jupiter, Neptune and Pluto</a></i></b>                           <br>਀㄀⼀㌀ 㴀 ㈀㘀㐀 ⬀ ㄀⼀㌀ ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=750" target="_new">TEQ #661</a>                         <br>਀䤀琀✀猀 渀漀琀 甀渀氀椀洀椀琀攀搀                           㰀戀爀㸀 
on sti detimilnut                           <br>਀漀渀 猀琀攀攀搀 愀 琀礀洀瀀愀氀ⴀ渀甀琀                           㰀戀爀㸀 
(horse has fishtail hooves - a fishtail wind = (Onions) 'a breeze blows now on this side, now on that, of its main direction' - the 'main direction' being the track across the round marble disc)                           <br>਀                           㰀戀爀㸀 
਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㈀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀氀漀洀攀开眀椀琀栀开琀栀攀开䠀攀愀搀开漀昀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀Ⰰ开䴀愀搀爀椀搀⤀∀㸀匀愀氀漀洀攀 愀渀搀 戀愀瀀琀椀猀琀 栀攀愀搀 ⠀㄀㘀　㤀⤀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/4 = 264 + 1/4 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㘀㔀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㔀㘀㈀㰀⼀愀㸀                           㰀戀爀㸀 
A few offentlig rath-seer                           <br>਀⠀昀⤀漀 眀攀昀 愀 爀攀攀猀 栀琀愀爀 最椀氀琀渀攀昀                           㰀戀爀㸀 
over-far is the arch-guilt new                           <br>਀                           㰀戀爀㸀 
<b><i>Element #23 <a href="https://en.wikipedia.org/wiki/Penitent_Magdalene_(Caravaggio)">Regretting Mary</a></i></b>                           <br>਀㄀⼀㔀 㴀 ㈀㘀㐀 ⬀ ㄀⼀㔀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=595" target="_new">TEQ #503</a>                           <br>਀椀渀 昀椀最栀琀礀 礀攀愀爀猀                           㰀戀爀㸀 
(f)ni sraey ythsi(f)                           <br>਀渀攀眀猀ⴀ爀愀礀 椀琀✀猀 甀瀀                           㰀戀爀㸀 
(the row on the floor to the ray in the water bulb - up to the ball above)                           <br>਀                           㰀戀爀㸀 
<b><i>Element #24 <a href="https://en.wikipedia.org/wiki/John_the_Baptist_(Caravaggio)#/media/File:Caravaggio_(Michelangelo_Merisi)_-_Saint_John_the_Baptist_-_Google_Art_Project.jpg">St.John the Baptist (1602)</a></i></b>                           <br>਀㄀⼀㘀 㴀 ㈀㘀㐀 ⬀ ㄀⼀㘀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=545" target="_new">TEQ #463</a>                           <br>਀夀攀猀琀攀爀搀愀礀Ⰰ 琀栀攀 漀渀攀 昀攀氀氀猀 椀渀琀漀 琀栀攀 猀攀愀                           㰀戀爀㸀 
etsey aes eht otni sllef eno eht yadr                           <br>਀椀琀 猀愀礀⼀猀攀攀⼀琀栀爀漀甀最栀 攀礀攀猀 愀 琀栀漀甀最栀琀ⴀ嬀欀崀渀攀眀✀猀 氀攀愀瘀攀渀 漀昀 愀 琀栀攀愀琀攀爀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㔀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䌀漀渀瘀攀爀猀椀漀渀开漀渀开琀栀攀开圀愀礀开琀漀开䐀愀洀愀猀挀甀猀∀㸀吀栀攀 挀漀渀瘀攀爀猀椀漀渀 漀昀 倀愀甀氀 ⠀㄀㘀　㈀⤀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/7 = 264 + 1/7 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㔀㄀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㌀㔀㰀⼀愀㸀                           㰀戀爀㸀 
The press for media flow                           <br>਀攀栀琀 眀漀氀昀 愀椀搀攀洀 爀漀昀 猀猀攀爀瀀                           㰀戀爀㸀 
a thwartwise demur of seraph                           <br>਀                           㰀戀爀㸀 
<b><i>Element #26 <a href="https://en.wikipedia.org/wiki/The_Conversion_of_Saint_Paul_(Caravaggio)">The conversion of Paul (1600-01)</a></i></b>                           <br>਀㄀⼀㠀 㴀 ㈀㘀㐀 ⬀ ㄀⼀㠀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=492" target="_new">TEQ #413</a>                           <br>਀䤀昀 礀漀甀 搀椀搀 攀愀爀渀 猀漀洀攀                           㰀戀爀㸀 
fi emos nrae did noy                           <br>਀瀀栀椀洀漀猀椀猀 爀愀礀攀搀 椀渀 挀爀漀甀瀀                           㰀戀爀㸀 
(phimosis < gr. &phi;&iota;&mu;&omega;&sigma;&iota;&sigmaf; = 'a muzzling')                           <br>਀                           㰀戀爀㸀 
<b><i>Element #27 <a href="https://en.wikipedia.org/wiki/Boy_with_a_Basket_of_Fruit">Ragazzo con canestra di frutta</a></i></b>                           <br>਀㄀⼀㤀 㴀 ㈀㘀㐀 ⬀ ㄀⼀㤀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=470" target="_new">TEQ #397</a>                           <br>਀瀀愀猀琀 栀漀椀稀漀渀猀                           㰀戀爀㸀 
nezi(r)oh tsaps                           <br>਀渀攀眀猀⼀渀攀琀猀 ⠀昀⤀⠀爀⤀甀椀琀ⴀ猀愀瀀猀                           㰀戀爀㸀 
(foot-saps = 'trench' of throat-collarbone / wickerwork, his look)                           <br>਀                           㰀戀爀㸀 
<b><i>Element #28 <a href="https://en.wikipedia.org/wiki/Saint_Jerome_Writing">St.Gerolamo writing (1605-06)</a></i></b>                           <br>਀㄀⼀㄀　 㴀 ㈀㘀㐀 ⬀ ㄀⼀㄀　 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=454" target="_new">TEQ #384</a>                           <br>਀䨀漀栀渀椀                           㰀戀爀㸀 
jinho                           <br>਀最攀渀漀⠀洀攀⤀                           㰀戀爀㸀 
(the genome = DNA can be seen as a balance organ between the physical and metaphysical reality)                           <br>਀                           㰀戀爀㸀 
<b><i>Element #29 <a href="https://en.wikipedia.org/wiki/Martha_and_Mary_Magdalene_(Caravaggio)">Martha und Magdalena</a></i></b>                           <br>਀㤀⼀㄀　 㴀 ㈀㘀㐀 ⬀ 㤀⼀㄀　 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1457" target="_new">TEQ #1336</a>                           <br>਀琀爀愀搀攀爀猀                           㰀戀爀㸀 
the read-art                           <br>਀                           㰀戀爀㸀 
<b><i>Element #30 <a href="https://en.wikipedia.org/wiki/Saint_Catherine_(Caravaggio)">The holy Katharina of Alexandria</a></i></b>                           <br>਀㠀⼀㤀 㴀 ㈀㘀㐀 ⬀ 㠀⼀㤀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1443" target="_new">TEQ #1323</a>                           <br>਀䤀渀 琀栀攀 洀椀渀搀 琀栀攀礀 搀攀氀椀瘀攀爀                           㰀戀爀㸀 
viled yeth dnim eht ni re(v)                           <br>਀眀栀攀攀氀 愀琀 礀攀爀 搀攀渀椀洀 攀琀栀渀椀⠀挀⤀  ⴀ  ⠀✀搀攀渀椀洀✀ 㴀 ✀猀攀爀最攀 搀攀 一椀洀攀猀✀⤀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㄀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䌀爀甀挀椀昀椀砀椀漀渀开漀昀开匀愀椀渀琀开倀攀琀攀爀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀爀甀挀椀昀椀砀椀漀渀 漀昀 倀攀琀攀爀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
7/8 = 264 + 7/8 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㐀㈀㘀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㌀　㜀㰀⼀愀㸀                           㰀戀爀㸀 
If you come in here, I'll kiss you so                           <br>਀漀礀 猀猀椀欀 氀氀✀䤀 攀爀攀栀 渀椀 攀洀漀挀 渀漀礀 昀椀 漀猀甀                           㰀戀爀㸀 
why the clothes and the mock? and why fixes?                           <br>਀                           㰀戀爀㸀 
<b><i>Element #32 <a href="https://en.wikipedia.org/wiki/Narcissus_(Caravaggio)">Narcissus</a></i></b>                           <br>਀㘀⼀㜀 㴀 ㈀㘀㐀 ⬀ 㘀⼀㜀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1403" target="_new">TEQ #1285</a>                           <br>਀刀甀攀 䠀漀猀瀀椀琀愀氀                           㰀戀爀㸀 
tipsoh eur la                           <br>਀琀椀瀀猀 漀瘀攀爀 氀愀 ⼀ 琀椀瀀猀 漀昀 挀甀爀氀愀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㌀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀氀漀洀攀开眀椀琀栀开琀栀攀开䠀攀愀搀开漀昀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀Ⰰ开䰀漀渀搀漀渀⤀∀㸀匀愀氀漀洀攀 愀渀搀 琀栀攀 戀愀瀀琀椀猀琀✀猀 栀攀愀搀 ⠀㄀㘀　㤀ⴀ㄀　⤀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
5/6 = 264 + 5/6 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㌀㜀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㈀㔀㜀㰀⼀愀㸀                           㰀戀爀㸀 
living                           <br>਀最渀椀瘀椀氀 ⼀ 渀椀瘀椀氀最                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㐀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀⌀⼀洀攀搀椀愀⼀䘀椀氀攀㨀䴀椀挀栀攀氀愀渀最攀氀漀开䴀攀爀椀猀椀Ⰰ开挀愀氀氀攀搀开䌀愀爀愀瘀愀最最椀漀开ⴀ开匀愀椀渀琀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开椀渀开琀栀攀开圀椀氀搀攀爀渀攀猀猀开ⴀ开䜀漀漀最氀攀开䄀爀琀开倀爀漀樀攀挀琀⸀樀瀀最∀㸀䨀漀栀渀 琀栀攀 䈀愀瀀琀椀猀琀 ⠀㄀㘀　㈀ⴀ　㌀⤀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
4/5 = 264 + 4/5 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㌀㌀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㈀㄀㜀㰀⼀愀㸀                           㰀戀爀㸀 
and I have to detect her once again                           <br>਀攀挀渀漀 爀攀栀 琀挀攀琀攀搀 漀琀 攀瘀愀栀 䤀 搀渀愀 渀椀愀最愀                           㰀戀爀㸀 
ek-knorret seated at Eva I'd known again                           <br>਀                           㰀戀爀㸀 
<b><i>Element #35 <a href="https://en.wikipedia.org/wiki/Nativity_with_St._Francis_and_St._Lawrence">Birth with Lorenzo and Francesco</a></i></b>                           <br>਀㌀⼀㐀 㴀 ㈀㘀㐀 ⬀ ㌀⼀㐀 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1273" target="_new">TEQ #1158</a>                           <br>਀䨀漀栀渀 圀爀漀渀最                           㰀戀爀㸀 
Lorenzo                           <br>਀☀渀戀猀瀀㬀   漀爀眀渀栀漀樀 最渀 ⴀ 漀爀 眀栀攀渀 栀椀最栀 最攀渀攀                           㰀戀爀㸀 
&nbsp;  Francesco                           <br>਀                           㰀戀爀㸀 
<b><i>Element #36 <a href="https://en.wikipedia.org/wiki/Saint_Francis_in_Prayer_(Caravaggio)">St.Frances in meditation (1606)</a></i></b>                           <br>਀㈀⼀㌀ 㴀 ㈀㘀㐀 ⬀ ㈀⼀㌀ ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1169" target="_new">TEQ #1058</a>                           <br>਀䤀琀 椀洀瀀爀漀瘀攀猀 琀栀攀 ⴀ 䴀爀⸀䴀漀愀渀攀礀                           㰀戀爀㸀 
tsimeht sevorpmi ti yenaomre                           <br>਀琀栀攀 洀椀搀✀猀 愀 眀愀爀瀀ⴀ洀椀搀 椀渀 最攀渀漀洀攀ⴀ爀攀                           㰀戀爀㸀 
                           <br>਀                           㰀戀爀㸀 
<font size="5">਀㰀椀㸀吀栀攀 㔀ⴀ猀琀攀瀀 挀漀氀甀洀渀 爀攀愀搀椀渀最 猀椀最渀愀琀甀爀攀 漀爀 氀愀猀琀 氀椀渀攀 漀昀 瀀漀攀洀 戀愀挀欀眀愀爀搀猀㨀 㰀⼀椀㸀                          㰀戀爀㸀 
<font size="4">਀                           㰀戀爀㸀 
<b><i>Element #21 <a href="https://en.wikipedia.org/wiki/Salome_with_the_Head_of_John_the_Baptist_(Caravaggio,_London)">Salome and the baptist's head (1609-10)</a></i></b>                           <br>਀㤀⼀㄀　 㴀 ㈀㘀㐀 ⬀ 㤀⼀㄀　 ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1457" target="_new">TEQ #1336</a>                           <br>਀匀挀栀甀洀愀欀欀攀爀 ⠀栀攀✀猀 琀栀攀 漀渀攀 眀栀漀 栀愀猀 瀀愀椀搀 愀 氀漀琀 漀昀 栀漀甀猀攀猀 椀渀 爀攀挀攀渀琀 眀攀攀欀猀⤀                           㰀戀爀㸀 
necer ni sesuoh fo tol a diap sah ohw eno eht seh rekkamuhcs skeewt                           <br>਀欀渀攀眀 琀甀爀渀 椀渀 猀攀砀甀愀氀 昀漀爀攀琀漀氀搀 愀 猀礀渀愀瀀猀 漀昀 栀漀眀 漀渀攀 漀甀最栀琀 猀攀攀 爀攀欀欀愀洀甀猀栀 猀欀攀眀琀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㈀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䔀渀琀漀洀戀洀攀渀琀开漀昀开䌀栀爀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䈀甀爀椀愀氀 漀昀 䌀栀爀椀猀琀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
8/9 = 264 + 8/9 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㐀㐀㌀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㌀㈀㌀㰀⼀愀㸀                           㰀戀爀㸀 
En voice                           <br>਀攀挀椀漀瘀 渀攀 ⠀㼀⤀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㌀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䈀甀爀椀愀氀开漀昀开匀琀⸀开䰀甀挀礀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䈀甀爀椀愀氀 漀昀 匀琀⸀䰀甀挀椀愀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
7/8 = 264 + 7/8 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㐀㈀㘀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㌀　㜀㰀⼀愀㸀                           㰀戀爀㸀 
Rita                           <br>਀愀琀椀爀 ⠀㼀⤀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㐀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䴀甀猀椀挀椀愀渀猀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀漀渀挀攀爀琀 漀昀 礀漀甀琀栀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
6/7 = 264 + 6/7 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㐀　㌀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㈀㠀㔀㰀⼀愀㸀                           㰀戀爀㸀 
Val Bom                           <br>਀洀漀戀 氀愀瘀 㴀 ✀洀漀戀 氀漀瘀攀✀㼀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㔀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀甀瀀椀琀攀爀Ⰰ开一攀瀀琀甀渀攀开愀渀搀开倀氀甀琀漀∀㸀䨀甀瀀椀琀攀爀Ⰰ 一攀瀀琀甀渀攀 愀渀搀 倀氀甀琀漀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
5/6 = 264 + 5/6 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㌀㜀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㈀㔀㜀㰀⼀愀㸀                           㰀戀爀㸀 
Civiliz                           <br>਀椀氀椀瘀椀挀稀⠀椀⤀ 㴀 ⠀椀渀⤀ 氀攀瘀椀琀愀琀椀ⴀ漀渀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㘀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开⠀䌀愀爀愀瘀愀最最椀漀⤀⌀⼀洀攀搀椀愀⼀䘀椀氀攀㨀䴀椀挀栀攀氀愀渀最攀氀漀开䴀攀爀椀猀椀Ⰰ开挀愀氀氀攀搀开䌀愀爀愀瘀愀最最椀漀开ⴀ开匀愀椀渀琀开䨀漀栀渀开琀栀攀开䈀愀瀀琀椀猀琀开椀渀开琀栀攀开圀椀氀搀攀爀渀攀猀猀开ⴀ开䜀漀漀最氀攀开䄀爀琀开倀爀漀樀攀挀琀⸀樀瀀最∀㸀䨀漀栀渀 琀栀攀 䈀愀瀀琀椀猀琀 ⠀㄀㘀　㈀ⴀ　㌀⤀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
4/5 = 264 + 4/5 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㌀㌀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㈀㄀㜀㰀⼀愀㸀                           㰀戀爀㸀 
Lord Georgington                           <br>਀最渀椀最爀漀攀最 搀爀漀氀 渀漀琀   㴀 ⠀琀栀攀 挀爀甀琀挀栀 愀渀搀 琀栀攀 ✀搀爀漀氀氀 渀漀琀✀⤀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㜀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀爀漀眀渀椀渀最开眀椀琀栀开吀栀漀爀渀猀开⠀䌀愀爀愀瘀愀最最椀漀Ⰰ开嘀椀攀渀渀愀⤀∀㸀䤀渀挀漀爀漀渀愀稀椀漀渀攀 搀椀 猀瀀椀渀攀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
3/4 = 264 + 3/4 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㈀㜀㌀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㄀㄀㔀㠀㰀⼀愀㸀                           㰀戀爀㸀 
John Chretien                           <br>਀攀爀栀挀 渀栀漀樀 渀攀椀琀                           㰀戀爀㸀 
main lines of artwork suggest hebrew number 75 or 78                           <br>਀猀攀攀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=521" target="_new">TEQ #441</a>: "[no] need to invite Coy" = "neit erhc nhoj"                           <br>਀                           㰀戀爀㸀 
<b><i>Element #28 <a href="https://en.wikipedia.org/wiki/Sleeping_Cupid_(Caravaggio)">Sleeping Amor</a></i></b>                           <br>਀㈀⼀㌀ 㴀 ㈀㘀㐀 ⬀ ㈀⼀㌀ ⨀ ㄀㄀㤀㄀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1169" target="_new">TEQ #1058</a>                           <br>਀䈀䈀䌀 圀漀爀氀搀 匀攀爀瘀椀挀攀 㴀 戀椀戀椀挀椀 眀漀爀氀搀 猀攀爀瘀椀挀攀                           㰀戀爀㸀 
sdlrow CBB/icibib ecivre                           <br>਀猀琀攀攀氀爀漀眀 䌀䈀䈀 愀 焀甀椀瘀攀爀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㠀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀氀攀攀瀀椀渀最开䌀甀瀀椀搀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀匀氀攀攀瀀椀渀最 䄀洀漀爀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/3 = 264 + 1/3 * 1191 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㜀㔀　∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㘀㘀㄀㰀⼀愀㸀                            㰀戀爀㸀 
 'I am still the best up on the moon' →                            <br>਀ ✀椀琀✀猀 洀礀 渀甀洀攀爀 甀瀀 漀渀 琀栀攀 䈀攀琀栀氀✀                           㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㈀㤀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䐀攀渀椀愀氀开漀昀开匀愀椀渀琀开倀攀琀攀爀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀倀攀琀攀爀✀猀 搀攀渀椀愀氀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/4 = 264 + 1/4 * 1191 = 561,75 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㘀㔀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㔀㘀㈀㰀⼀愀㸀                            㰀戀爀㸀 
 'Orpeucter' →                            <br>਀ ✀爀漀爀攀⼀爀☀漀猀氀愀猀栀㬀爀攀嬀琀崀 琀椀氀 欀攀甀瀀✀ ⠀琀栀攀 爀甀搀搀攀爀⼀瀀椀瀀攀⼀琀漀甀挀栀 漀昀 欀攀甀瀀✀⤀ 漀爀 ✀戀攀爀☀漀猀氀愀猀栀㬀爀攀嬀琀崀 琀椀氀 欀攀甀✀ 㴀                            㰀戀爀㸀 
 'touch for keu'                            <br>਀                           㰀戀爀㸀 
<b><i>Element #30 <a href="https://en.wikipedia.org/wiki/Salome_with_the_Head_of_John_the_Baptist_(Caravaggio,_Madrid)">Salome and baptist head (1609)</a></i></b>                           <br>਀㄀⼀㔀 㴀 ㈀㘀㐀 ⬀ ㄀⼀㔀 ⨀ ㄀㄀㤀㄀ 㴀 㔀　㈀Ⰰ㈀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=595" target="_new">TEQ #503</a>                            <br>਀✀䜀☀漀猀氀愀猀栀㬀爀洀攀洀愀渀椀挀栀 䄀渀椀猀攀氀椀挀栀✀ 鈀‡                          㰀戀爀㸀 
 'Med r&oslash;[g] skilles/kiles i naken amme'                            <br>਀ ✀眀椀琀栀 爀攀搀⼀猀洀漀欀攀 椀猀 瀀愀爀琀攀搀⼀眀攀搀最攀搀 椀渀⠀琀漀⤀ 渀愀欀攀搀 戀爀攀愀猀琀ⴀ渀甀爀猀攀✀                            㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㄀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀一愀琀椀瘀椀琀礀开眀椀琀栀开匀琀⸀开䘀爀愀渀挀椀猀开愀渀搀开匀琀⸀开䰀愀眀爀攀渀挀攀∀㸀䈀椀爀琀栀 眀 䰀漀爀攀渀稀漀 ☀ 䘀爀愀渀挀椀猀挀漀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀    ⠀昀漀爀 琀栀攀 椀搀攀愀 漀昀 䌀栀爀椀猀琀 愀猀 琀栀攀 愀爀戀椀琀爀愀爀礀 洀漀爀瀀栀攀洀攀 氀攀瘀攀氀⤀                           㰀戀爀㸀 
1/6 = 264 + 1/6 * 1191 = 462,5 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㔀㐀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㘀㌀㰀⼀愀㸀                            㰀戀爀㸀 
'Peter Sharp'                           <br>਀ ✀愀 瀀爀漀甀搀 猀栀爀攀搀搀攀爀✀                            㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㈀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䄀渀渀甀渀挀椀愀琀椀漀渀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䄀渀渀甀渀挀椀愀琀椀漀渀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/7 = 264 + 1/7 * 1191 = 434,1 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㔀㄀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㌀㔀㰀⼀愀㸀                            㰀戀爀㸀 
 'The Americans endorse also Eutheia' →                           <br>਀ ✀愀攀琀栀 愀椀攀琀栀甀攀 漀猀氀愀 攀猀爀漀搀渀攀 猀渀愀挀椀爀攀洀✀                            㰀戀爀㸀 
 'a seizure is like erodnes snake-rem'                            <br>਀✀愀 猀攀椀稀甀爀攀 椀猀 氀椀欀攀 攀爀漀琀椀挀 猀渀愀欀攀ⴀ爀攀洀✀                             㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㌀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀倀漀爀琀爀愀椀琀开漀昀开䴀愀昀昀攀漀开䈀愀爀戀攀爀椀渀椀∀㸀䴀愀昀昀攀漀 䈀愀爀戀攀爀椀渀椀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀     ⠀戀礀 挀栀椀渀攀猀攀 ✀瀀甀戀氀椀挀✀ 愀渀搀 ✀㘀Ⰰ 猀椀砀✀⤀                           㰀戀爀㸀 
1/8 = 264 + 1/8 * 1191 = 412,8 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㐀㤀㈀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㄀㌀㰀⼀愀㸀                           㰀戀爀㸀 
 'Dr.Angle' = 'Doctor Angle' →                           <br>਀ ✀搀攀氀最渀愀 爀漀琀挀漀✀                            㰀戀爀㸀 
 'jerken erotico'                            <br>਀                           㰀戀爀㸀 
<b><i>Element #34 <a href="https://en.wikipedia.org/wiki/The_Martyrdom_of_Saint_Matthew_(Caravaggio)">The martyrdom of Matthew</a></i></b>                           <br>਀㄀⼀㤀 㴀 ㈀㘀㐀 ⬀ ㄀⼀㤀 ⨀ ㄀㄀㤀㄀ 㴀 ㌀㤀㘀Ⰰ㌀ 㴀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=470" target="_new">TEQ #397</a>                            <br>਀ ✀一漀爀琀栀 娀攀渀 漀昀 匀琀攀洀洀攀爀✀ 鈀‡                          㰀戀爀㸀 
 'on remmets fo nez ht'                            <br>਀ ✀栀漀渀漀甀爀 愀 洀攀琀爀攀✀猀 瀀栀漀渀攀琀椀挀✀                            㰀戀爀㸀 
                           <br>਀㰀戀㸀㰀椀㸀䔀氀攀洀攀渀琀 ⌀㌀㔀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀倀攀渀椀琀攀渀琀开䴀愀最搀愀氀攀渀攀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀刀攀最爀攀琀琀椀渀最 䴀愀爀礀㰀⼀愀㸀㰀⼀椀㸀㰀⼀戀㸀                           㰀戀爀㸀 
1/10 = 264 + 1/10 * 1191 = 383,1 = ਀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㐀㔀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㌀㠀㐀㰀⼀愀㸀                            㰀戀爀㸀 
 'Not here, but in that narrative' →                            <br>਀ ✀琀漀渀 攀瘀椀琀愀爀爀愀渀 琀愀琀栀 渀椀 琀甀戀 攀爀攀栀✀                            㰀戀爀㸀 
 'to never tire and touch need to bear it'                            <br>਀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="5">਀㰀戀爀㸀 
਀吀栀攀爀攀 愀爀攀 昀漀甀爀 漀昀 琀栀攀 㘀㐀 攀氀攀洀攀渀琀猀 椀渀 琀栀攀 䌀愀爀愀瘀愀最最椀漀ⴀ䐀漀爀渀攀渀猀琀爀愀甀挀栀 猀挀栀攀洀攀 眀栀椀挀栀 愀爀攀 琀栀攀 猀愀洀攀 椀渀 琀栀攀 ㄀ⴀ猀琀攀瀀 愀渀搀 㔀ⴀ猀琀攀瀀 挀漀氀甀洀渀猀㨀 吀栀漀猀攀 愀爀攀 攀氀攀洀攀渀琀 㐀Ⰰ ㈀　Ⰰ ㌀㘀 愀渀搀 㔀㈀ ⴀ 琀栀攀爀攀 愀爀攀 ㄀㘀 攀氀攀洀攀渀琀猀 戀攀琀眀攀攀渀 攀愀挀栀⸀ 吀栀攀 猀攀爀椀攀猀 搀椀猀挀甀猀猀攀搀 栀攀爀攀 椀猀 戀攀琀眀攀攀渀 ㈀　 愀渀搀 ㌀㘀⸀ 伀渀攀 最甀攀猀猀攀猀 琀栀愀琀 琀栀攀 攀渀琀椀爀攀 猀攀爀椀攀猀 眀椀氀氀 挀漀渀猀琀椀琀甀琀攀 琀栀攀 戀愀猀椀猀 昀漀爀 琀栀攀 昀漀爀洀愀琀椀漀渀 漀昀 ✀洀愀最椀挀 椀洀愀最攀猀✀ 愀猀 昀漀爀 刀椀氀欀攀✀猀 䐀甀椀渀漀 攀氀攀最椀攀猀 ㄀ 愀渀搀 㐀 搀椀猀挀甀猀猀攀搀 椀渀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 㰀愀 栀爀攀昀㴀∀琀攀砀琀愀渀搀椀洀愀最攀椀渀琀攀焀⸀栀琀洀∀㸀琀栀椀猀 愀爀琀椀挀氀攀㰀⼀愀㸀⸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀 渀漀琀愀戀氀攀 瀀栀攀渀漀洀攀渀漀渀 椀猀 琀栀愀琀 琀栀攀 挀漀渀瘀攀砀 愀渀搀 挀漀渀挀愀瘀攀 猀攀爀椀攀猀 愀爀攀 渀漀琀 攀渀琀椀爀攀氀礀 瀀愀爀愀氀氀攀氀 ⴀ 琀栀攀礀 愀爀攀 搀椀猀瀀氀愀挀攀搀 眀椀琀栀 ㄀ 攀氀攀洀攀渀琀⸀ 吀栀椀猀 搀椀猀瀀氀愀挀攀洀攀渀琀 椀猀 ✀挀漀洀瀀攀渀猀愀琀攀搀✀ 昀漀爀 戀礀 愀 挀漀洀瀀愀爀愀戀氀攀 搀椀猀瀀氀愀挀攀搀 爀攀昀攀爀攀渀挀攀 漀昀 琀栀攀 渀漀渀ⴀ爀攀瘀攀爀猀攀搀 漀爀椀最椀渀愀氀 氀椀渀攀 琀漀 琀栀攀 愀搀樀愀挀攀渀琀 戀愀挀欀眀愀爀搀猀ⴀ爀攀愀搀椀渀最㨀 䘀漀爀 攀砀愀洀瀀氀攀Ⰰ 昀漀爀 ㄀⼀㘀 琀栀攀 漀爀椀最椀渀愀氀 氀椀渀攀 椀猀 ∀夀攀猀琀攀爀搀愀礀Ⰰ 琀栀攀 漀渀攀 昀攀氀氀猀 椀渀琀漀 琀栀攀 猀攀愀∀ 眀栀椀挀栀 琀栀攀渀 椀渀 琀栀攀 昀漀爀洀 ∀夀攀猀琀攀爀搀愀礀Ⰰ 琀栀攀 漀渀攀 昀攀氀氀猀 椀渀琀漀 琀栀攀 猀攀攀∀ 椀渀琀攀爀瀀爀攀琀猀 琀栀攀 ㄀⼀㜀 昀漀爀洀 ∀愀 琀栀眀愀爀琀眀椀猀攀 搀攀洀甀爀 漀昀 猀攀爀愀瀀栀∀ 愀渀搀 琀栀攀 愀爀琀眀漀爀欀 琀栀攀爀攀琀漀Ⰰ 眀栀椀氀攀 琀栀攀 漀爀椀最椀渀愀氀 氀椀渀攀 漀昀 ㄀⼀㜀 㴀 ∀吀栀攀 瀀爀攀猀猀 昀漀爀 洀攀搀椀愀 昀氀漀眀∀ 椀渀琀攀爀瀀爀攀琀猀 琀栀攀 ㄀⼀㠀 昀漀爀洀 ∀瀀栀椀洀漀猀椀猀 爀愀礀攀搀 椀渀 挀爀漀甀瀀∀ 愀渀搀 琀栀攀 挀漀爀爀攀猀瀀漀渀搀椀渀最 䌀愀爀愀瘀愀最最椀漀 愀爀琀眀漀爀欀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 爀攀愀猀漀渀 昀漀爀 琀栀椀猀 ㄀ⴀ攀氀攀洀攀渀琀愀氀 搀椀猀瀀氀愀挀攀洀攀渀琀 漀昀 琀栀攀 ㄀ⴀ猀琀攀瀀 爀攀氀愀琀椀瘀攀 琀漀 琀栀攀 㔀ⴀ猀琀攀瀀 猀攀爀椀攀猀 挀漀甀氀搀 戀攀 琀栀愀琀 琀栀攀 ㄀ⴀ猀琀攀瀀 椀渀琀攀爀瀀爀攀琀猀 琀栀攀 昀椀爀猀琀 氀椀渀攀 椀渀 愀 瀀漀攀洀 愀渀搀 琀栀攀 㔀ⴀ猀琀攀瀀 琀栀攀 氀愀猀琀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀伀渀攀 渀愀琀甀爀愀氀氀礀 挀漀渀樀攀挀琀甀爀攀猀 琀栀愀琀 琀栀攀 椀渀戀攀琀眀攀攀渀 氀椀渀攀猀 漀昀 愀 瀀漀攀洀 眀椀氀氀 昀漀氀氀漀眀 愀 猀挀栀攀洀攀 漀昀 ㈀ⴀⰀ ㌀ⴀ 愀渀搀 㐀ⴀ猀琀攀瀀 挀礀挀氀攀猀⸀ 䤀 栀愀瘀攀 渀漀琀 椀渀焀甀椀爀攀搀 昀甀爀琀栀攀爀 椀渀琀漀 琀栀攀猀攀 瀀漀猀猀椀戀椀氀椀琀椀攀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䠀漀眀攀瘀攀爀Ⰰ 琀栀椀猀 琀栀攀漀爀礀 挀漀甀氀搀 挀漀渀猀琀椀琀甀琀攀 愀 戀愀猀椀猀 昀漀爀 洀礀 琀栀攀漀爀礀 漀昀 ✀䄀 眀愀椀猀琀 漀昀 琀椀洀攀✀ ⴀ 洀礀 搀漀挀琀漀爀愀氀 搀椀猀猀攀爀琀愀琀椀漀渀 ⠀㄀㤀㤀㜀⤀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 爀攀猀甀氀琀椀渀最 昀漀爀洀 漀昀 瀀愀爀愀氀氀攀氀 挀漀氀甀洀渀猀 眀椀琀栀 栀漀爀椀稀漀渀琀愀氀 攀氀攀洀攀渀琀 爀漀眀猀 眀椀氀氀 挀漀洀攀 琀漀 爀攀猀攀洀戀氀攀 琀栀攀 渀攀挀欀 漀昀 愀 最甀椀琀愀爀 眀椀琀栀 㔀ⴀ㘀 猀琀爀椀渀最猀 愀渀搀 瀀愀爀愀氀氀攀氀 昀爀攀琀猀 愀挀爀漀猀猀 ⴀ 猀攀攀 䌀愀爀愀瘀愀最最椀漀✀猀 ∀䰀甀琀攀 瀀氀愀礀攀爀∀⸀ 䴀礀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=163" target="_new">TEQ #110</a> "Jacob's ladder" contains the lines:       </p><p align="justify">਀ 
<font size="4">਀䐀漀渀✀琀 昀爀攀琀 愀渀礀 洀漀爀攀 琀栀愀渀 琀栀愀琀 眀椀琀栀 倀愀渀椀渀椀⸀                           㰀戀爀㸀 
Doctoral dissertation: Landskater with reasons f&oslash;dt,                           <br>਀愀渀搀 栀漀氀搀 漀渀 琀栀攀 氀愀洀瀀⸀                           㰀戀爀㸀 
<font size="5">਀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀渀搀攀攀搀 漀渀攀 挀愀渀 猀攀攀 栀漀眀 琀栀椀猀 昀爀攀琀琀攀搀 挀漀洀瀀氀攀砀 挀愀渀 最椀瘀攀 爀椀猀攀 琀漀 愀 挀漀洀瀀氀攀砀 ✀最攀渀攀爀愀琀椀瘀攀 最爀愀洀洀愀爀✀ 漀昀 倀愀渀椀渀椀 琀礀瀀攀 搀攀猀挀爀椀戀攀搀 椀渀 栀椀猀 ✀䄀猀琀栀愀搀栀礀愀礀椀✀  眀栀椀挀栀 洀攀愀渀猀 ✀㠀 挀栀愀瀀琀攀爀猀✀ ⴀ 漀爀Ⰰ 椀渀 挀栀椀渀攀猀攀 猀挀爀椀瀀琀Ⰰ 琀栀攀 ✀戀愀 礀愀✀ 㴀 ✀㠀 戀椀昀甀爀挀愀琀椀漀渀猀✀ 㴀 琀栀攀 ✀猀琀攀攀氀爀漀眀猀✀ 漀昀 琀栀攀 ✀戀愀✀ 漀渀 琀栀攀 愀爀洀猀 漀昀 琀栀攀 椀渀猀瀀攀挀琀漀爀 琀漀 琀栀攀 氀攀昀琀 愀渀搀 琀栀攀 ✀挀甀椀瘀爀攀✀ 漀昀 琀栀攀 ✀礀愀✀ 椀渀 琀栀攀 戀愀洀戀漀漀 琀漀 琀栀攀 爀椀最栀琀 椀渀 琀栀攀  ⌀㈀㜀 ✀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀爀漀眀渀椀渀最开眀椀琀栀开吀栀漀爀渀猀开⠀䌀愀爀愀瘀愀最最椀漀Ⰰ开嘀椀攀渀渀愀⤀∀㸀䤀渀挀漀爀漀渀愀稀椀漀渀攀 搀椀 猀瀀椀渀攀㰀⼀愀㸀✀ ⴀ 昀漀爀 琀栀攀 ✀猀琀攀攀氀爀漀眀 椀猀 愀 戀椀戀⼀戀甀戀⼀戀攀戀攀 焀甀椀瘀攀爀⼀挀甀椀瘀爀攀✀ 漀昀 琀栀攀 昀漀氀氀漀眀椀渀最 ⌀㈀㠀 ✀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀氀攀攀瀀椀渀最开䌀甀瀀椀搀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀匀氀攀攀瀀椀渀最 䄀洀漀爀㰀⼀愀㸀✀⸀ 吀栀椀猀 椀猀 愀 瀀愀爀琀椀挀甀氀愀爀氀礀 椀渀琀攀爀攀猀琀椀渀最 挀愀猀攀 漀昀 愀搀樀愀挀攀渀挀礀 ⴀ 栀攀爀攀 椀渀 琀栀攀 㔀ⴀ猀琀攀瀀 挀漀氀甀洀渀⸀ 吀栀攀 琀眀漀 攀氀攀洀攀渀琀猀 昀漀爀洀 愀 ✀昀爀攀琀✀ 眀栀椀挀栀 栀攀爀攀 椀猀 挀漀甀渀琀攀搀 甀瀀 琀漀 㠀 椀渀 攀愀挀栀 昀漀爀洀愀琀椀漀渀⸀ 䄀 琀攀洀瀀琀椀渀最 挀漀渀樀攀挀琀甀爀攀 椀猀 琀栀愀琀 琀栀攀猀攀 愀搀樀愀挀攀渀挀椀攀猀 挀漀渀挀攀爀渀 琀栀攀 ✀戀椀昀甀爀挀愀琀椀漀渀猀✀ 漀昀 氀椀渀最甀椀猀琀椀挀 戀漀爀搀攀爀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 琀眀漀 昀漀氀氀漀眀椀渀最 氀椀渀攀猀 ⠀✀䐀漀挀琀漀爀愀氀 ⸀⸀⸀ 氀愀洀瀀✀⤀ 搀攀昀椀渀攀 琀栀攀 挀漀爀漀氀氀愀爀椀攀猀 昀漀爀 猀漀洀攀 挀漀渀猀椀搀攀爀愀琀椀漀渀猀 漀昀 琀栀攀 昀漀氀氀漀眀椀渀最 欀椀渀搀 ⴀ 漀渀 洀礀 瘀椀爀甀猀 琀栀攀漀爀礀 愀渀搀 琀栀攀 椀猀漀洀漀爀瀀栀礀 漀昀 氀愀渀最甀愀最攀 愀渀搀 氀漀最椀挀 椀渀 琀栀攀 焀甀戀椀琀猀 漀昀 挀漀洀瀀甀琀愀琀椀漀渀 琀栀攀漀爀礀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀✀吀栀攀 氀愀洀瀀✀ 椀猀 漀琀栀攀爀眀椀猀攀 琀栀攀 最攀爀洀愀渀 ✀攀琀栀渀漀氀漀最椀挀 瀀愀爀愀洀攀琀爀攀✀ 昀爀漀洀 愀渀 愀渀最氀漀瀀栀漀渀椀挀 瘀椀攀眀瀀漀椀渀琀⸀ 䤀 栀愀瘀攀 洀愀搀攀 琀眀漀 攀砀琀攀渀猀椀瘀攀 猀琀甀搀椀攀猀 漀昀 琀栀椀猀 猀漀挀愀氀氀攀搀 ✀攀琀栀渀漀氀漀最椀挀 瀀愀爀愀洀攀琀爀攀✀ 昀爀漀洀 愀渀 愀渀最氀漀瀀栀漀渀椀挀 瘀椀攀眀瀀漀椀渀琀㨀 㰀愀 栀爀攀昀㴀∀栀甀渀最愀爀椀愀渀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀✀䠀礀洀攀渀✀ 漀昀 栀甀渀最愀爀椀愀渀 氀愀渀最甀愀最攀㰀⼀愀㸀 愀渀搀 琀栀攀 㰀愀 栀爀攀昀㴀∀最攀爀洀愀渀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀✀䰀愀洀瀀攀✀ 漀昀 最攀爀洀愀渀㰀⼀愀㸀⸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀氀琀栀漀甀最栀 洀甀挀栀 洀漀爀攀 昀愀爀ⴀ爀攀愀挀栀椀渀最 猀琀甀搀椀攀猀 洀甀猀琀 戀攀 洀愀搀攀 昀漀爀 愀 搀攀挀椀猀椀瘀攀 挀漀渀挀氀甀猀椀漀渀Ⰰ 椀琀 挀愀渀 愀氀爀攀愀搀礀 漀渀 戀愀猀椀猀 漀昀 琀栀攀 瀀爀攀猀攀渀琀 搀愀琀愀 戀攀 愀猀猀甀洀攀搀 琀栀愀琀 洀礀 吀䔀儀 椀渀琀攀爀瀀爀攀琀猀 椀渀 瀀愀爀琀椀挀甀氀愀爀 椀琀愀氀椀愀渀 愀爀琀 栀椀猀琀漀爀礀 椀渀 愀 猀瀀攀挀椀昀椀挀愀氀氀礀 爀攀氀攀瘀愀渀琀 眀愀礀⸀ 吀栀椀猀 猀攀攀洀猀 琀漀 戀攀 琀栀攀 攀砀瀀氀愀渀愀琀椀漀渀 琀漀 琀栀攀 䌀伀嘀䤀䐀ⴀ㄀㤀 瀀栀攀渀漀洀攀渀漀渀 搀椀猀挀甀猀猀攀搀 椀渀 琀栀攀 昀漀氀氀漀眀椀渀最⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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<font size="6">਀㰀戀㸀㰀椀㸀㈀⸀ 吀栀攀 瘀椀爀甀猀 琀栀攀漀爀礀㰀⼀椀㸀㰀⼀戀㸀       
<font size="5">       </p><p align="justify">਀ऀ 
I set forth my theory of virus and its spread in <a href="covidarticles.htm">some articles on covid-19</a> - the pandemic that spread from the end of 2019. My suggestion for <a href="coronavirusmedication.htm">how to make a medication against virus infection</a> (and hence also how to delimit the spread of a virus epidemic) is based on <a href="21april2020.htm">the outlines of my general virus theory</a>, wherefrom I quote the following:       </p><p align="justify">਀ 
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਀䄀昀琀攀爀 䤀 瀀甀戀氀椀猀栀攀搀 琀栀椀猀 琀栀攀漀爀礀 漀渀 琀栀攀 椀渀琀攀爀渀攀琀Ⰰ 琀栀攀爀攀 猀攀攀洀攀搀 琀漀 戀攀 猀漀洀攀 挀漀洀洀漀琀椀漀渀 漀渀 琀栀攀 渀漀瘀攀氀琀礀 漀昀 琀栀攀 椀搀攀愀 愀渀搀 䤀 猀漀漀渀 攀氀愀戀漀爀愀琀攀搀 琀栀攀 瀀爀椀渀挀椀瀀氀攀猀 昀漀爀 琀栀攀 瀀爀愀挀琀椀挀愀氀 爀攀猀攀愀爀挀栀 昀漀爀 昀椀渀搀椀渀最 琀栀攀 洀漀氀攀挀甀氀愀爀 猀甀戀猀琀愀渀挀攀 椀渀 㰀愀 栀爀攀昀㴀∀挀漀爀漀渀愀瘀椀爀甀猀洀攀搀椀挀愀琀椀漀渀⸀栀琀洀∀㸀琀栀椀猀 昀椀氀攀㰀⼀愀㸀⸀ 圀栀攀琀栀攀爀 倀昀椀稀攀爀 栀愀搀 甀猀攀搀 洀礀 椀搀攀愀猀 漀爀 渀漀琀 昀漀爀 琀栀攀 猀漀挀愀氀氀攀搀 ✀倀愀砀氀漀瘀椀搀✀ 瀀椀氀氀 琀栀愀琀 眀愀猀 氀愀甀渀挀栀攀搀 漀渀 ㈀㄀ 搀攀挀攀洀戀攀爀 ㈀　㈀㄀Ⰰ 䤀 搀漀渀琀 欀渀漀眀Ⰰ 戀甀琀 琀栀攀 䌀伀嘀䤀䐀 挀甀爀瘀攀 琀栀愀琀 昀漀氀氀漀眀攀搀 琀栀攀 氀愀甀渀挀栀 眀愀猀 焀甀椀琀攀 椀洀瀀爀攀猀猀椀瘀攀 ⴀ 猀攀攀 㰀愀 栀爀攀昀㴀∀挀漀瘀椀搀ⴀ㄀㤀ⴀ瘀愀挀挀椀渀攀ⴀ攀昀昀椀挀椀攀渀挀礀ⴀ椀渀ⴀ匀眀攀搀攀渀⸀栀琀洀∀㸀琀栀攀 搀愀琀愀 椀渀 琀栀椀猀 昀椀氀攀㰀⼀愀㸀⸀ 䌀氀攀愀爀氀礀Ⰰ 愀猀 琀栀攀 昀漀氀氀漀眀椀渀最 搀椀猀挀甀猀猀椀漀渀 猀甀最最攀猀琀猀Ⰰ 椀昀 琀栀攀 䌀伀嘀䤀䐀 瀀愀渀搀攀洀椀挀 焀甀椀琀攀 猀椀洀瀀氀礀 眀愀猀 愀 搀椀爀攀挀琀 爀攀猀甀氀琀 漀昀 瘀椀漀氀愀琀椀漀渀猀 漀昀 洀礀 椀渀琀攀氀氀攀挀琀甀愀氀 瀀爀漀瀀攀爀琀椀攀猀 ⠀瀀氀愀最椀愀爀椀猀洀猀Ⰰ 愀戀甀猀攀猀 漀昀 猀甀爀瘀攀椀氀氀愀渀挀攀 搀愀琀愀 攀琀挀⤀Ⰰ 琀栀攀渀 愀渀 甀渀挀爀攀搀椀琀攀搀 甀猀攀 漀昀 洀礀 椀搀攀愀 昀漀爀 洀愀欀椀渀最 琀栀椀猀 瘀椀爀甀猀 洀攀搀椀挀愀琀椀漀渀 猀栀漀甀氀搀 攀砀瀀攀挀琀攀搀氀礀 栀愀瘀攀 氀攀搀 琀漀 愀渀 椀洀洀攀搀椀愀琀攀 爀椀猀攀 椀渀 琀栀攀 䌀伀嘀䤀䐀 挀甀爀瘀攀 昀爀漀洀 ㈀㄀ 搀攀挀攀洀戀攀爀 ㈀　㈀㄀ 漀渀眀愀爀搀猀 ⴀ 愀渀搀 椀渀搀攀攀搀 㰀愀 栀爀攀昀㴀∀最氀漀戀愀氀挀甀爀瘀攀昀愀爀洀愀挀礀⸀樀瀀最∀㸀琀栀攀 最氀漀戀愀氀 挀甀爀瘀攀 猀攀攀洀猀 琀漀 猀甀最最攀猀琀 琀栀愀琀 琀栀椀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 挀愀猀攀㰀⼀愀㸀Ⰰ 昀漀爀 眀栀愀琀攀瘀攀爀 爀攀愀猀漀渀⸀ 吀栀椀猀 漀戀猀攀爀瘀愀琀椀漀渀 椀猀 椀渀琀攀爀攀猀琀椀渀最 愀氀猀漀 昀漀爀 琀栀攀 爀攀愀猀漀渀 漀昀 琀栀攀 挀漀渀挀攀爀渀猀 搀椀猀挀甀猀猀攀搀 戀攀氀漀眀 愀戀漀甀琀 琀栀攀 瀀漀猀猀椀戀氀攀 ✀猀椀最渀椀昀椀挀愀琀椀漀渀愀氀✀ 挀椀爀挀甀洀猀琀愀渀挀攀猀 漀昀 琀栀攀 猀漀挀愀氀氀攀搀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀 漀渀 ㈀㈀ 漀挀琀漀戀攀爀 ㄀㤀㘀㌀ ⴀ 䤀 渀漀琀椀挀攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀樀猀琀漀爀⸀漀爀最⼀猀琀愀戀氀攀⼀椀㈀㠀㠀㜀㐀㘀∀㸀䴀漀搀攀爀渀 䰀愀渀最甀愀最攀 刀攀瘀椀攀眀 昀漀爀 漀挀琀漀戀攀爀 ㄀㤀㘀㌀㰀⼀愀㸀 猀栀漀眀猀 琀栀攀 ㌀爀搀 愀爀琀椀挀氀攀 琀椀琀氀攀 ∀䜀爀愀爀搀 搀攀 一攀爀瘀愀氀Ⰰ 䘀椀爀攀 愀渀搀 䤀挀攀⸀ 䈀礀 一漀爀洀愀 刀椀渀猀氀攀爀∀⸀ 匀椀渀挀攀 琀栀攀 挀椀爀挀甀洀猀琀愀渀挀攀猀 漀琀栀攀爀眀椀猀攀 猀甀最最攀猀琀 愀渀 椀渀瘀漀氀瘀攀洀攀渀琀 漀昀 愀 氀愀琀琀攀爀 椀渀琀漀 琀栀攀 愀 昀漀爀洀攀爀Ⰰ 愀猀 昀漀爀 愀 ✀猀攀砀甀愀氀 椀渀琀攀爀挀漀甀爀猀攀✀ 戀礀 愀 洀愀氀攀 渀愀洀攀 椀渀琀漀 愀 昀攀洀愀氀攀Ⰰ 椀琀 挀漀甀氀搀 戀攀 琀栀愀琀 ✀䘀椀爀攀 愀渀搀 䤀挀攀✀ ☀爀愀爀爀㬀 ✀䘀椀ⴀ椀挀攀ⴀ爀攀✀ ⴀ 栀攀爀攀 昀漀爀 ✀倀昀椀稀攀爀✀ ⴀ 挀漀甀氀搀 戀攀 愀 瀀愀爀琀 漀昀 琀栀攀 瀀漀猀猀椀戀氀攀 戀愀挀欀最爀漀甀渀搀 昀漀爀 琀栀椀猀 最氀漀戀愀氀 攀昀昀攀挀琀 漀昀 琀栀攀 ✀倀愀砀氀漀瘀椀搀✀ 氀愀甀渀挀栀⸀ 吀栀椀猀 挀漀甀氀搀 愀氀猀漀 洀攀愀渀 琀栀愀琀 琀栀攀猀攀 搀愀琀愀 挀漀甀氀搀 猀甀瀀瀀漀爀琀 琀栀攀 琀栀攀漀爀礀 漀昀 愀 搀椀爀攀挀琀 挀漀渀渀攀挀琀椀漀渀 戀攀琀眀攀攀渀 琀栀攀 䌀伀嘀䤀䐀 瀀愀渀搀攀洀椀挀 愀渀搀 愀戀甀猀攀 漀昀 洀礀 椀渀琀攀氀氀攀挀琀甀愀氀 瀀爀漀瀀攀爀琀礀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 猀攀攀渀 琀栀愀琀 洀礀 琀栀攀漀爀礀 漀昀 瘀椀爀甀猀 昀漀爀洀愀琀椀漀渀 ⴀ 愀猀 愀 ✀瘀愀挀甀甀洀 瀀甀洀瀀✀ 挀爀攀愀琀攀搀 戀礀 搀椀猀琀爀椀戀甀琀椀漀渀愀氀 愀洀戀椀最甀椀琀椀攀猀 漀渀 琀栀攀 戀漀爀搀攀爀 琀漀 攀砀椀猀琀攀渀挀攀Ⰰ 攀氀椀挀椀琀椀渀最 渀攀眀 攀砀椀猀琀攀渀挀攀猀 甀渀琀椀氀氀 琀栀攀 䐀一䄀ⴀ洀攀愀猀甀爀攀搀 戀愀氀愀渀挀攀 戀攀琀眀攀攀渀 瀀栀礀猀椀挀猀 愀渀搀 洀攀琀愀瀀栀礀猀椀挀猀 戀攀 爀攀最愀椀渀攀搀 ⴀ 琀栀愀琀 椀猀Ⰰ 琀栀攀 ✀戀漀爀搀攀爀 琀漀 攀砀椀猀琀攀渀挀攀✀ 眀栀攀爀攀甀瀀漀渀  洀礀 漀眀渀 ✀㰀愀 栀爀攀昀㴀∀愀爀琀椀挀氀攀猀愀戀漀甀琀昀漀爀洀愀氀愀猀瀀攀挀琀猀漀昀氀愀渀最甀愀最攀⸀栀琀洀∀㸀昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀漀最椀挀㰀⼀愀㸀✀ 椀猀 猀椀琀甀愀琀攀搀 愀渀搀 洀攀愀猀甀爀攀猀 琀栀攀 搀椀昀昀攀爀攀渀挀攀猀 椀渀 椀渀昀漀爀洀愀琀椀漀渀 昀氀甀砀 ⴀ 椀猀 戀愀猀攀搀 漀渀 攀猀猀攀渀琀椀愀氀氀礀 琀栀攀 猀愀洀攀 戀愀猀椀挀 昀漀爀洀愀琀 愀猀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 氀椀渀最甀椀猀琀椀挀 渀甀挀氀攀甀猀 眀栀椀挀栀 愀氀猀漀 挀愀渀 戀攀 瀀漀猀琀甀氀愀琀攀搀 愀猀 琀栀攀 昀漀爀洀 漀昀 琀栀攀 挀漀洀瀀甀琀愀琀椀漀渀愀氀 焀甀戀椀琀 ⠀搀椀猀挀甀猀猀攀搀 戀攀氀漀眀⤀⸀ 䤀琀 椀猀 琀栀攀 椀猀漀洀漀爀瀀栀礀 漀昀 氀漀最椀挀愀氀 愀渀搀 氀椀渀最甀椀猀琀椀挀 昀漀爀洀 眀栀椀挀栀 琀漀甀挀栀攀猀 漀渀琀漀 琀栀椀猀 搀椀猀琀爀椀戀甀琀椀漀渀愀氀 愀洀戀椀最甀椀琀礀 戀礀 琀栀攀 猀漀挀愀氀氀攀搀 ✀猀琀爀椀渀最栀漀漀欀✀ 瀀愀爀愀搀漀砀 ⴀ 琀栀攀 昀漀氀氀漀眀椀渀最 搀椀愀最漀渀愀氀 搀攀瀀攀渀搀攀渀挀礀 氀椀渀攀 瀀甀氀氀攀搀 氀椀欀攀 愀 猀琀爀椀渀最 愀渀搀 栀漀漀欀攀搀 搀漀眀渀 漀渀琀漀 琀栀攀 氀攀昀琀栀愀渀搀 攀氀攀洀攀渀琀 ⴀ 琀栀椀猀 爀攀漀爀最愀渀椀稀椀渀最 漀昀 琀栀攀 搀攀瀀攀渀搀攀渀挀椀攀猀 挀漀甀氀搀 瀀爀漀戀愀戀氀礀 戀攀 挀漀渀樀攀挀琀甀爀攀搀 琀漀 戀攀 爀攀氀愀琀攀搀 琀漀 䌀栀漀洀猀欀礀✀猀 瀀栀爀愀猀攀 猀琀爀甀挀琀甀爀攀 最爀愀洀洀愀爀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀ऀ 
<table>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="qubitform1.jpg" height=150><br>਀㰀椀㸀䐀攀瀀攀渀搀攀渀琀 搀椀猀琀爀椀戀甀琀椀漀渀㰀⼀椀㸀 
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="qubitform2.jpg" height=150><br>਀㰀椀㸀䘀甀渀搀愀洀攀渀琀愀氀 椀渀最甀椀猀琀椀挀 渀甀挀氀攀甀猀㰀⼀椀㸀 
</td>਀㰀⼀琀愀戀氀攀㸀 
</p><p align="justify">਀ 
<font size="5">਀吀栀攀爀攀昀漀爀攀 搀愀琀愀 漀渀 瘀椀爀甀猀 攀瀀椀搀攀洀椀挀猀 挀愀渀 猀栀攀搀 氀椀最栀琀 漀渀 琀栀攀 猀攀洀椀漀琀椀挀 洀愀琀琀攀爀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䌀伀嘀䤀䐀ⴀ㄀㤀 椀猀 猀愀椀搀 琀漀 栀愀瘀攀 漀爀椀最椀渀愀琀攀搀 昀爀漀洀 圀甀栀愀渀 椀渀 䌀栀椀渀愀⸀ 吀栀攀 渀愀洀攀 圀甀栀愀渀 ⠀䌀椀琀礀⤀ 椀猀 挀漀洀瀀漀猀攀搀 漀昀 琀眀漀 挀栀愀爀愀挀琀攀爀猀 ⴀ 栀攀爀攀 攀砀挀攀爀瀀琀攀搀 昀爀漀洀 䴀愀琀栀攀眀猀 挀栀椀渀攀猀攀 搀椀挀琀椀漀渀愀爀礀 愀猀 椀渀 琀栀攀 昀椀氀攀 ✀㰀愀 栀爀攀昀㴀∀攀琀礀洀漀氀漀最椀挀愀氀挀漀爀漀渀愀⸀栀琀洀∀㸀䌀漀瘀椀搀ⴀ㄀㤀 愀猀 搀愀琀愀 昀漀爀 渀攀眀 攀琀礀洀漀氀漀最椀挀愀氀 猀琀甀搀椀攀猀㰀⼀愀㸀✀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㜀∀㸀圀唀 ☀渀戀猀瀀㬀  㴀  㰀椀洀最 猀爀挀㴀∀眀甀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㔀　㸀 㴀  㰀椀洀最 猀爀挀㴀∀眀甀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㔀　㸀 㰀戀爀㸀 
HAN =  <img src="han2.jpg" height=50>  =  <img src="han1.jpg" height=50> ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀            㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 
With &#27494; = 'wu' = soldier, military matters - it concerns the issue of geographic national borders explored in the article '<a href="epidemiologicaltheory.htm">The reason for the corona epidemic crisis</a>' (see also the <i>etymological considerations</i> under "<i>5. The deep logic in the historic collective consciousness</i>" in <a href="etymologicalcorona.htm">this file</a>). In '<a href="epidemiologicaltheory.htm">the article</a>', I tell the story of how I discovered the role of the national border outlines for the spread of the covid-19 pandemic. I had seen that the border outlines of Bangladesh and Myanmar/Burma adhered to the stories enumerated 4 and 5 in <a href="epidemiologicaltheory.htm">chapter 5 "The border" of my prose book "And hang under the Justcan keys"</a>:਀ 
<p align="center">	਀㰀琀愀戀氀攀㸀 
<td align="center"><font size="1">਀㰀椀洀最 猀爀挀㴀∀戀愀渀最氀愀搀攀猀栀洀愀瀀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀㰀戀爀㸀 
<i>Outlines of Bangladesh </i>਀㰀⼀琀搀㸀 
<td align="center"><font size="1">਀㰀椀洀最 猀爀挀㴀∀洀礀愀渀洀愀爀洀愀瀀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀㰀戀爀㸀 
<i>Outlines of Myanmar/Burma </i>਀㰀⼀琀搀㸀 
</table>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 
The Bangladesh map looks like the man (man pointing out with dog jumping under his outstretched arm) I describe in my prose piece under #4 and Myanmar/Burma the story from the 'bunker' in #5.       </p><p align="justify">਀ 
Now for the new discovery on basis of the above observations of the correlations of Caravaggio with my TEQ and DDS:       </p><p align="justify">਀ 
<font size="7">WU &nbsp;  =  <img src="wu2.jpg" height=50><font size="5">       </p><p align="justify">਀ 
resembles the Caravaggio work "20. ਀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀愀氀氀椀渀最开漀昀开匀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀吀栀攀 挀愀氀氀椀渀最 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀∀ ⴀ 眀椀琀栀 䨀攀猀甀猀 瀀漀椀渀琀椀渀最 琀漀眀愀爀搀猀 䴀愀琀琀栀攀眀 猀椀琀琀椀渀最 愀琀 琀栀攀 攀渀搀 漀昀 琀栀攀 琀愀戀氀攀 ⴀ 愀琀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 琀栀攀 挀漀爀爀攀氀愀琀椀漀渀 猀攀爀椀攀猀 ㈀　ⴀ㌀㘀 愀琀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 琀栀椀猀 愀爀琀椀挀氀攀 ⴀ 愀渀搀 椀渀搀攀攀搀 琀栀攀 挀栀愀爀愀挀琀攀爀 愀渀搀 愀爀琀眀漀爀欀 琀栀攀爀攀戀礀 愀氀猀漀 爀攀猀攀洀戀氀攀猀 猀琀爀漀渀最氀礀 琀栀攀 戀漀爀搀攀爀 漀甀琀氀椀渀攀猀 漀昀 䈀愀渀最氀愀搀攀猀栀 漀渀 琀栀攀 洀愀瀀 ⴀ 琀栀攀 洀愀渀 瀀漀椀渀琀椀渀最 眀椀琀栀 栀椀猀 愀爀洀 猀琀爀攀琀挀栀攀搀 漀甀琀 愀渀搀 琀栀攀 搀漀最 氀攀愀瀀椀渀最 甀渀搀攀爀渀攀愀琀栀 椀琀 ⴀ 漀渀氀礀 琀栀攀 瀀漀椀渀琀椀渀最 最漀攀猀 琀栀攀 漀琀栀攀爀 眀愀礀 ⴀ 椀琀 椀猀 洀椀爀爀漀爀攀搀 爀攀氀愀琀椀瘀攀 琀漀 琀栀攀 昀漀爀洀 漀昀 琀栀攀 挀漀甀渀琀爀礀 漀甀琀氀椀渀攀猀 漀渀 琀栀攀 洀愀瀀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㜀∀㸀䠀䄀一 㴀  㰀椀洀最 猀爀挀㴀∀栀愀渀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㔀　㸀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀         㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 氀椀欀攀眀椀猀攀 爀攀猀攀洀戀氀攀猀 琀栀攀 攀氀攀洀攀渀琀 愀琀 琀栀攀 攀渀搀 漀昀 琀栀椀猀 猀愀洀攀 挀漀爀爀攀氀愀琀椀漀渀 猀攀爀椀攀猀 愀琀 ⌀㌀㘀 ⴀ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀椀渀琀开䘀爀愀渀挀椀猀开椀渀开倀爀愀礀攀爀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀匀琀⸀䘀爀愀渀挀攀猀 椀渀 洀攀搀椀琀愀琀椀漀渀 ⠀㄀㘀　㘀⤀㰀⼀愀㸀∀ ⴀ 栀漀氀搀椀渀最 漀甀琀 愀 猀欀甀氀氀 椀渀 栀椀猀 栀愀渀搀猀 漀瘀攀爀 愀 挀爀漀猀猀 琀栀愀琀 爀攀猀琀猀 漀渀 愀 猀琀爀甀挀琀甀爀攀 爀攀猀攀洀戀氀椀渀最 琀栀攀 猀欀甀氀氀⸀ 吀栀攀 挀漀爀爀攀猀瀀漀渀搀椀渀最 瀀栀攀渀漀洀攀渀漀渀 漀渀 琀栀攀 洀愀瀀 椀猀 䴀礀愀渀洀愀爀⼀䈀甀爀洀愀 眀栀椀挀栀 爀攀猀攀洀戀氀攀猀 䌀愀爀愀瘀愀最最椀漀✀猀 愀爀琀眀漀爀欀 ⴀ 愀渀搀 椀渀搀攀攀搀 琀栀椀猀 愀猀瀀攀挀琀 椀猀 琀栀攀渀 樀甀猀琀 眀栀愀琀 椀猀 渀攀攀搀攀搀 琀漀 爀攀挀漀最渀椀稀攀 椀琀 愀氀猀漀 椀渀 琀栀攀 挀栀椀渀攀猀攀 猀椀最渀 䠀䄀一 㴀 ☀⌀㈀㠀㐀㔀　㬀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 猀攀攀渀 琀栀愀琀 椀昀 琀栀攀 瀀甀爀瀀漀猀攀 漀昀 琀栀攀 䌀伀嘀䤀䐀 瀀愀渀搀攀洀椀挀 眀攀爀攀 琀漀 刀䔀䜀刀䔀吀 琀栀攀 搀攀瘀攀氀漀瀀洀攀渀琀 琀栀愀琀 栀愀搀 戀攀攀渀 猀琀愀爀琀攀搀 愀渀搀 琀栀攀 搀攀氀愀礀 漀昀 椀琀猀 琀甀爀渀愀爀漀甀渀搀Ⰰ 挀愀氀氀椀渀最 昀漀爀 洀愀猀猀椀瘀攀 戀爀愀欀椀渀最 漀昀 琀栀攀 栀椀猀琀漀爀椀挀 搀攀瘀攀氀漀瀀洀攀渀琀Ⰰ 昀漀爀 琀栀攀 琀眀漀 搀攀瀀攀渀搀攀渀挀椀攀猀 猀栀漀眀渀 椀渀 琀栀攀 甀瀀瀀攀爀 氀攀昀琀 漀昀 䠀䄀一 焀甀愀 ✀䴀椀氀欀礀 圀愀礀✀ 漀渀攀 漀昀 琀栀攀猀攀 挀愀渀 戀攀 琀甀爀渀攀搀 琀漀 最漀 琀栀攀 漀琀栀攀爀 眀愀礀 愀猀 椀渀 琀栀攀 琀栀攀 椀猀漀洀漀爀瀀栀礀 漀昀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 氀椀渀最甀椀猀琀椀挀 渀甀挀氀攀甀猀 昀漀爀 愀渀漀琀栀攀爀 猀椀最渀 䠀䄀一 㴀 ✀爀攀最爀攀琀✀㨀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㜀∀㸀 
਀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀琀椀漀渀愀爀礀⸀漀爀最⼀眀椀欀椀⼀─䔀㘀─䈀䌀─䄀㈀∀㸀䠀䄀一 㴀 ☀⌀㈀㠀㐀㔀　㬀㰀⼀愀㸀 㴀 㰀椀洀最 猀爀挀㴀∀焀甀戀椀琀昀漀爀洀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㠀　㸀 㴀 ✀䴀椀氀欀礀 圀愀礀✀  㰀戀爀㸀 
਀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀琀椀漀渀愀爀礀⸀漀爀最⼀眀椀欀椀⼀─䔀㘀─㠀㘀─䈀䔀∀㸀䠀䄀一 㴀 ☀⌀㈀㔀　㈀㈀㬀㰀⼀愀㸀 㴀 㰀椀洀最 猀爀挀㴀∀焀甀戀椀琀昀漀爀洀㈀甀瀀猀椀搀攀搀漀眀渀⸀樀瀀最∀ 栀攀椀最栀琀㴀㠀　㸀 㴀 ✀爀攀最爀攀琀✀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀戀爀㸀 
਀䤀琀 椀猀 猀攀攀渀 琀栀愀琀 漀渀攀 漀昀 琀栀攀 搀攀瀀攀渀搀攀渀挀椀攀猀 椀猀 栀漀漀欀攀搀 琀栀攀 漀琀栀攀爀 眀愀礀 ⠀栀攀爀攀 愀氀猀漀 琀甀爀渀攀搀 甀瀀猀椀搀攀 搀漀眀渀⤀ 愀渀搀 琀栀攀 爀椀最栀琀栀愀渀搀 甀瀀瀀攀爀 瀀愀爀琀 漀昀 琀栀攀 ✀爀攀最爀攀琀✀ 猀椀最渀 爀攀猀攀洀戀氀攀猀 琀栀攀 洀愀椀渀 瀀愀爀琀猀 漀昀 琀栀攀 圀唀 猀椀最渀 ⴀ 琀栀愀琀 瀀愀爀琀 眀栀椀挀栀 愀氀猀漀 挀愀渀 猀瀀漀琀琀攀搀 椀渀 琀栀攀 㰀愀 栀爀攀昀㴀∀眀漀猀椀最渀⸀栀琀洀∀㸀圀伀 猀椀最渀㰀⼀愀㸀⸀ 圀栀愀琀 椀猀 琀栀攀 氀漀眀攀爀 爀椀最栀琀栀愀渀搀 猀椀最渀 漀昀 琀栀椀猀 ✀爀攀最爀攀琀✀ 猀椀最渀 椀猀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀琀椀漀渀愀爀礀⸀漀爀最⼀眀椀欀椀⼀─䔀㔀─䈀䘀─㠀㌀∀㸀琀栀攀 猀椀最渀 昀漀爀 ✀栀攀愀爀琀✀ 㴀 ☀⌀㈀㐀㔀㄀㔀㬀㰀⼀愀㸀Ⰰ 眀栀椀挀栀 愀搀搀猀 洀攀愀渀椀渀最 琀漀 琀栀攀 ✀爀攀最爀攀琀✀ 愀渀搀 琀栀攀 渀攀攀搀 昀漀爀 栀愀氀琀椀渀最 愀渀搀 琀甀爀渀椀渀最 琀栀攀 眀栀漀氀攀 栀椀猀琀漀爀椀挀 搀攀瘀攀氀漀瀀洀攀渀琀⸀ 吀栀攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀琀椀漀渀愀爀礀⸀漀爀最⼀眀椀欀椀⼀─䔀㔀─䈀䘀─㠀㌀⌀䜀氀礀瀀栀开漀爀椀最椀渀∀㸀最氀礀瀀栀 漀爀椀最椀渀猀 漀昀 琀栀椀猀 ✀栀攀愀爀琀✀ 㴀 ☀⌀㈀㐀㔀㄀㔀㬀㰀⼀愀㸀 挀漀甀氀搀 猀甀最最攀猀琀 攀瘀攀渀 愀 挀攀爀琀愀椀渀 爀漀氀攀 昀漀爀 琀栀攀 猀琀漀爀礀 愀戀漀甀琀 ✀㰀愀 栀爀攀昀㴀∀愀瀀攀渀攀猀⸀栀琀洀∀㸀䄀瀀攀渀攀猀㰀⼀愀㸀✀ 愀渀搀 ✀䄀氀搀漀 䴀漀爀漀✀㼀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 椀渀搀攀攀搀 氀漀漀欀猀 椀渀琀攀爀攀猀琀椀渀最 昀漀爀 琀栀攀 焀甀攀猀琀椀漀渀 眀栀礀 搀椀搀 琀栀攀 瀀愀渀搀攀洀椀挀 猀琀愀爀琀 椀渀 圀甀栀愀渀 㴀 ☀⌀㈀㜀㐀㤀㐀㬀☀⌀㈀㠀㐀㔀　㬀㼀 䈀攀挀愀甀猀攀 琀栀攀 渀愀洀攀 搀攀猀挀爀椀戀攀猀 琀栀攀 䈀愀渀最氀愀搀攀猀栀ⴀ䴀礀愀渀洀愀爀 戀漀爀搀攀爀 漀甀琀氀椀渀攀 瀀栀攀渀漀洀攀渀漀渀 椀渀 琀栀攀 猀愀洀攀 眀愀礀 愀猀 洀礀 瀀爀漀猀攀 瀀椀攀挀攀 搀漀攀猀 ⴀ 愀渀搀 琀栀椀猀 椀猀 搀攀昀椀渀椀渀最 昀漀爀 琀栀攀 椀琀愀氀椀愀渀 爀攀渀愀椀猀猀愀渀挀攀 猀攀攀渀 琀栀爀漀甀最栀 琀栀攀 瀀爀椀猀洀 漀昀 洀礀 吀䔀儀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䈀爀椀攀昀氀礀㨀 吀栀椀猀 猀甀最最攀猀琀猀 琀栀愀琀 䌀伀嘀䤀䐀ⴀ㄀㤀 戀爀漀欀攀 漀甀琀 戀攀挀愀甀猀攀 洀礀 吀䔀儀 眀愀猀 椀渀猀琀愀氀氀攀搀 漀爀 椀渀琀攀爀瀀爀攀琀攀搀 椀渀琀漀 愀氀椀攀渀 挀甀氀琀甀爀愀氀 攀渀瘀椀爀漀渀洀攀渀琀猀 瀀漀琀攀渀琀椀愀氀氀礀 栀漀猀琀椀氀攀 琀漀 琀栀攀 挀甀氀琀甀爀愀氀 愀渀搀 愀爀琀椀猀琀椀挀 栀椀猀琀漀爀礀 挀漀渀琀愀椀渀攀搀 椀渀 洀礀 吀䔀儀⸀ 䄀猀 䤀 猀栀漀眀 戀攀氀漀眀Ⰰ 琀栀椀猀 愀氀椀攀渀 挀甀氀琀甀爀愀氀 攀渀瘀椀爀漀渀洀攀渀琀 椀猀 氀椀欀攀氀礀 琀漀 戀攀 椀搀攀渀琀椀昀椀攀搀 愀猀 琀栀攀 攀愀猀琀攀爀渀 愀爀洀 漀昀 琀栀攀 攀甀爀漀瀀攀愀渀 猀眀愀猀琀椀欀愀 ⴀ 椀渀 挀漀渀琀爀愀猀琀 琀漀 䤀琀愀氀礀 愀猀 琀栀攀 猀漀甀琀栀攀爀渀 愀爀洀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀 爀攀瀀攀愀琀 琀栀攀 昀漀甀爀 攀氀攀洀攀渀琀猀 椀渀 䌀愀爀愀瘀愀最最椀漀ⴀ䐀䐀匀 挀漀爀爀攀氀愀琀椀漀渀 琀愀戀氀攀 琀栀愀琀 椀猀 琀栀攀 猀愀洀攀 椀渀 琀栀攀 ㄀ⴀ猀琀攀瀀 愀渀搀 琀栀攀 㔀ⴀ猀琀攀瀀 挀漀氀甀洀渀猀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
&nbsp; 4 &nbsp;  	<a href="https://en.wikipedia.org/wiki/David_with_the_Head_of_Goliath_(Caravaggio,_Rome)">David with the head of Goliath (1609-10)</a>                          <br>਀㈀　 ☀渀戀猀瀀㬀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀愀氀氀椀渀最开漀昀开匀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀愀氀氀椀渀最 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀                           㰀戀爀㸀 
36 &nbsp;	<a href="https://en.wikipedia.org/wiki/Saint_Francis_in_Prayer_(Caravaggio)">St.Frances in meditation (1606)</a>                          <br>਀㔀㈀ ☀渀戀猀瀀㬀ऀ㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䄀洀漀爀开嘀椀渀挀椀琀开伀洀渀椀愀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀嘀椀挀琀漀爀椀漀甀猀 䄀洀漀爀㰀⼀愀㸀                           
<font size="5">       </p><p align="justify">਀ 
India after the Divide looks like a man kicking in a door or something like that - or simply a David holding out the head of a Goliath. The following three likewise - after India ('David') also Bangladesh ('Calling of Matthew'), Burma ('St.Francis') and Thailand ('Victorious Amor') - these being recognized in this sequence from '<a href="epidemiologicaltheory.htm">this article</a>':       </p><p align="justify">਀ 
<font size="4"><br>਀㌀⸀     䄀 洀愀渀 瀀氀愀渀琀猀 栀椀猀 戀漀漀琀 椀渀 愀 挀氀漀猀攀搀 眀漀漀搀攀渀 搀漀漀爀Ⰰ 渀攀愀爀 琀漀 琀栀攀 昀爀愀洀攀 眀栀攀爀攀 椀琀 漀瀀攀渀猀⸀ 吀栀攀 搀漀漀爀 椀猀 漀氀搀Ⰰ 琀栀攀 瀀氀愀渀欀猀 眀椀琀栀攀爀攀搀 愀渀搀 眀攀愀琀栀攀爀ⴀ戀攀愀琀攀渀⸀ 䈀甀琀 琀栀攀 猀漀甀渀搀 漀昀 琀栀攀 戀漀漀琀 漀渀 琀栀攀 眀漀漀搀 椀猀 猀琀椀氀氀 渀漀琀 愀猀 栀漀氀氀漀眀 愀猀 琀栀攀 猀挀椀猀猀漀爀猀 挀氀椀瀀瀀椀渀最 琀栀爀漀甀最栀 琀栀攀 栀愀椀爀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 㐀⸀     䤀渀 愀 栀愀爀戀漀甀爀 爀攀最椀漀渀 琀栀攀爀攀 愀爀攀 猀栀椀瀀猀 氀椀渀攀搀 甀瀀 愀氀漀渀最 琀栀攀 焀甀愀礀⸀ 䄀 洀愀渀 挀漀洀攀猀 眀椀琀栀 栀椀猀 搀漀最⸀ 䠀攀 猀琀漀瀀猀 愀渀搀 琀攀氀氀猀 琀漀 琀栀攀 愀渀椀洀愀氀㨀 ∀夀漀甀 猀攀攀 琀栀愀琀 猀栀椀瀀 愀渀挀栀漀爀攀搀 甀瀀 漀瘀攀爀 琀栀攀爀攀㼀 夀漀甀 最漀 琀漀 琀栀愀琀 猀栀椀瀀 愀渀搀 䤀 眀椀氀氀 最漀 琀漀 琀栀椀猀 漀琀栀攀爀 漀渀攀 漀瘀攀爀 栀攀爀攀⸀ 匀漀 氀攀琀✀猀 氀攀愀瘀攀 眀椀琀栀 琀栀攀 猀栀椀瀀猀 愀渀搀 眀攀 挀愀渀 最漀 琀漀 琀栀攀 猀愀洀攀 瀀氀愀挀攀∀Ⰰ 猀愀椀搀 琀栀攀 洀愀渀 琀漀 琀栀攀 搀漀最⸀ 吀栀攀 愀渀椀洀愀氀 氀椀猀琀攀渀攀搀 椀渀琀攀渀琀氀礀 愀渀搀 眀愀琀挀栀攀搀 栀漀眀 琀栀攀 瀀漀椀渀琀椀渀最 昀椀渀最攀爀 瀀漀椀渀琀攀搀 椀渀 愀 挀攀爀琀愀椀渀 搀椀爀攀挀琀椀漀渀Ⰰ 愀渀搀 椀琀 猀攀攀洀攀搀 琀漀 甀渀搀攀爀猀琀愀渀搀 眀栀愀琀 琀栀攀 洀愀渀 栀愀搀 攀砀瀀氀愀椀渀攀搀⸀ 吀栀攀礀 瀀愀爀琀攀搀 愀渀搀 琀栀攀 搀漀最 爀愀渀 漀昀昀 椀渀 琀栀攀 搀椀爀攀挀琀椀漀渀 漀昀 椀琀猀 猀栀椀瀀Ⰰ 琀栀攀 漀眀渀攀爀 琀甀爀渀攀搀 琀栀攀 漀琀栀攀爀 眀愀礀 昀漀爀 栀椀猀⸀ 䈀甀琀 渀漀 猀漀漀渀攀爀 栀愀搀 琀栀攀 搀漀最 爀甀渀 愀 昀攀眀 洀攀琀爀攀猀Ⰰ 椀琀 猀甀搀搀攀渀氀礀 甀渀搀攀爀猀琀漀漀搀 栀漀眀 椀洀瀀漀猀猀椀戀氀攀 琀栀椀猀 眀漀甀氀搀 戀攀㨀 䤀昀 椀琀 猀栀漀甀氀搀 栀愀瘀攀 最漀渀攀 琀漀 琀栀愀琀 栀漀氀氀漀眀 猀栀椀瀀 愀渀挀栀漀爀攀搀 甀瀀 漀瘀攀爀 琀栀攀爀攀 愀琀 琀栀攀 焀甀愀礀Ⰰ 琀栀攀 搀漀最 眀漀甀氀搀 氀漀猀攀 挀漀渀琀愀挀琀 眀椀琀栀 琀栀攀 漀眀渀攀爀⸀ 䠀漀眀 挀漀甀氀搀 椀琀 昀椀爀猀琀 昀椀渀搀 椀琀猀 猀栀椀瀀 愀渀搀 琀栀攀渀 昀椀渀搀 琀栀攀 漀眀渀攀爀 愀最愀椀渀 愀昀琀攀爀眀愀爀搀猀㼀 匀漀 琀栀攀 搀漀最 琀甀爀渀攀搀 愀爀漀甀渀搀 愀渀搀 爀愀渀 愀昀琀攀爀 椀琀猀 漀眀渀攀爀 愀渀搀 昀漀氀氀漀眀攀搀 栀椀洀 琀漀 栀椀猀 眀愀椀琀椀渀最 猀栀椀瀀Ⰰ 猀漀 琀栀愀琀 琀栀攀 漀眀渀攀爀 挀漀甀氀搀 猀栀漀眀 椀琀 琀栀攀 眀愀礀 琀漀 昀椀渀搀 椀琀猀 漀眀渀 猀栀椀瀀 琀栀攀爀攀愀昀琀攀爀⸀ 䤀琀 搀椀搀渀✀琀 爀攀愀氀氀礀 洀愀琀琀攀爀 ⴀ 琀栀攀礀 挀漀甀氀搀 漀昀 挀漀甀爀猀攀 最漀 琀漀 琀栀攀 猀愀洀攀 猀栀椀瀀 椀渀 愀渀礀 挀愀猀攀⸀ 吀栀攀 洀愀渀 愀渀搀 琀栀攀 愀渀椀洀愀氀 眀愀氀欀攀搀 猀椀搀攀 戀礀 猀椀搀攀 愀氀漀渀最 琀栀攀 焀甀愀礀Ⰰ 愀渀搀 琀栀攀 搀漀最 眀愀最最攀搀 椀琀猀 琀愀椀氀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 㔀⸀     䘀愀爀 甀渀搀攀爀最爀漀甀渀搀Ⰰ 椀渀 愀 搀攀攀瀀 琀甀渀渀攀氀 甀渀搀攀爀 琀栀攀 猀甀爀昀愀挀攀 漀昀 琀栀攀 攀愀爀琀栀Ⰰ 椀渀 愀 搀攀攀瀀 搀愀爀欀 戀甀渀欀攀爀 琀甀渀渀攀氀Ⰰ 愀 瘀攀栀椀挀氀攀 眀愀猀 猀琀愀渀搀椀渀最 愀渀搀 眀愀椀琀攀搀 琀漀 戀攀 栀椀琀 戀礀 愀 猀甀瀀攀爀ⴀ爀愀礀 昀爀漀洀 愀戀漀瘀攀⸀ 䤀琀 眀漀甀氀搀 戀攀 琀栀攀 渀攀眀 琀攀挀栀渀漀氀漀最椀挀愀氀 琀礀瀀攀 漀昀 爀愀礀 琀栀愀琀 挀愀渀 最漀 琀栀爀漀甀最栀 樀甀猀琀 愀渀礀琀栀椀渀最 愀渀搀 挀漀甀氀搀 戀攀 猀攀渀琀 漀甀琀 昀爀漀洀 愀 猀愀琀攀氀氀椀琀攀⸀ 䤀琀 猀琀漀漀搀 琀栀攀爀攀 漀渀 琀栀攀 挀漀渀挀爀攀琀攀 爀漀挀欀 椀渀 琀栀攀 搀椀洀 挀愀瘀攀 愀渀搀 愀 洀愀渀 眀愀猀 眀愀琀挀栀椀渀最 椀琀 愀渀砀椀漀甀猀氀礀Ⰰ 眀愀椀琀椀渀最 昀漀爀 眀栀愀琀 挀漀甀氀搀 栀愀瀀瀀攀渀 眀栀攀渀 琀栀攀 爀愀礀 栀椀琀Ⰰ 眀栀攀渀 猀甀搀搀攀渀氀礀 愀渀 甀渀攀砀瀀攀挀琀攀搀 椀洀瀀甀氀猀攀 栀椀琀 琀栀攀 瘀攀栀椀挀氀攀 昀爀漀洀 戀攀氀漀眀 眀椀琀栀 愀 搀甀洀瀀 猀漀甀渀搀⸀ 吀栀椀猀 洀漀瘀攀洀攀渀琀 昀爀漀洀 戀攀氀漀眀 眀愀猀 瘀攀爀礀 甀渀攀砀瀀攀挀琀攀搀Ⰰ 猀椀渀挀攀 琀栀攀礀 栀愀搀 戀攀攀渀 眀愀椀琀椀渀最 昀漀爀 琀栀攀 猀甀瀀攀爀ⴀ爀愀礀 琀漀 戀攀 栀椀琀琀椀渀最 昀爀漀洀 愀戀漀瘀攀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 㘀⸀     䤀琀 眀愀猀 琀栀攀 琀爀愀洀眀愀礀 挀愀爀 爀甀渀渀椀渀最 琀栀爀漀甀最栀 匀椀攀戀攀渀猀琀攀爀渀最愀猀猀攀⸀ 圀攀 眀攀爀攀 琀爀愀瘀攀氀氀椀渀最 琀栀爀漀甀最栀 琀栀攀 氀漀眀攀爀 挀甀爀瘀攀 眀栀攀渀 猀甀搀搀攀渀氀礀 䤀 氀椀昀琀攀搀 洀礀 攀礀攀猀 愀渀搀 氀漀漀欀攀搀 眀椀琀栀 猀漀洀攀 椀渀搀椀最渀愀琀椀漀渀 愀琀 洀礀 漀眀渀 猀攀氀昀⸀ 䤀琀 眀愀猀 渀漀琀 愀 洀椀爀爀漀爀℀ 䤀琀 眀愀猀 琀栀攀 猀愀洀攀 瀀甀爀攀 爀攀愀氀椀琀礀Ⰰ 愀 猀栀攀攀爀 昀愀挀琀㨀 ∀䤀 栀愀瘀攀Ⰰ 愀昀琀攀爀 愀氀氀Ⰰ 眀爀椀琀琀攀渀 攀砀琀攀渀猀椀瘀攀氀礀 琀栀爀漀甀最栀 琀栀攀猀攀 洀愀渀礀 礀攀愀爀猀 ⸀⸀⸀∀Ⰰ 䤀 猀愀椀搀 琀漀 洀礀猀攀氀昀 愀渀搀 昀攀氀琀 琀栀愀琀 䤀 栀愀搀 爀攀愀猀漀渀猀 漀昀 樀甀猀琀椀昀椀挀愀琀椀漀渀 昀漀爀 琀栀椀猀 瘀愀最甀攀 椀渀搀椀最渀愀琀椀漀渀 漀昀 洀椀渀攀Ⰰ 愀氀琀栀漀甀最栀 䤀 愀洀 渀漀琀 琀栀攀 琀礀瀀攀 琀漀 洀愀欀攀 琀漀漀 洀甀挀栀 漀甀琀 漀昀 猀甀挀栀 挀氀愀椀洀猀⸀ 䤀 愀洀 渀漀琀 洀愀欀椀渀最 挀氀愀椀洀猀 戀甀琀 琀栀攀 爀攀愀氀椀琀礀 猀栀漀甀氀搀 甀渀搀攀爀猀琀愀渀搀 愀渀搀 爀攀猀瀀攀挀琀 洀礀 爀椀最栀琀猀Ⰰ 漀昀 挀漀甀爀猀攀⸀ 䤀琀 昀攀氀琀 愀猀 椀昀 䤀 眀愀猀 琀愀欀椀渀最 猀漀洀攀琀栀椀渀最 甀瀀⸀ 
<font size="5">       </p><p align="justify"><br>਀ 
Wuhan City = &#27494;&#28450;&#24066; could perhaps add this third element resembling a winged being a la 'Victorious Amor' of Caravaggio.       </p><p align="justify">਀ 
WU = military = defending-consolidating the border outlines of a state                          <br>਀䠀䄀一 㴀 䴀椀氀欀礀 圀愀礀 ⴀ 琀栀攀 戀漀爀搀攀爀 琀漀 琀栀攀 洀攀琀愀瀀栀礀猀椀挀猀                          㰀戀爀㸀 
                          <br>਀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀ऀ 
<table>਀㰀琀爀㸀 
<td align="center"><font size="2">਀㰀椀洀最 猀爀挀㴀∀挀愀爀愀瘀愀最最椀漀挀愀氀氀椀渀最漀昀洀愀琀琀栀攀眀搀攀琀愀椀氀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀㰀戀爀㸀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀吀栀攀开䌀愀氀氀椀渀最开漀昀开匀琀开䴀愀琀琀栀攀眀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀䌀愀氀氀椀渀最 漀昀 䴀愀琀琀栀攀眀㰀⼀愀㸀 ⠀搀攀琀愀椀氀⤀㰀戀爀㸀 
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="wu2.jpg" height=200><br>਀㰀椀㸀吀栀攀 挀栀椀渀攀猀攀 猀椀最渀 圀唀㰀⼀椀㸀 
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="bangladeshmap1mirrored1.jpg" height=200><br>਀㰀椀㸀伀甀琀氀椀渀攀猀 漀昀 䈀愀渀最氀愀搀攀猀栀 洀椀爀爀漀爀攀搀㰀⼀椀㸀 
</td>਀㰀⼀琀爀㸀 
<tr>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="caravaggiofrancisinmeditation1.jpg" height=200><br>਀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀匀愀椀渀琀开䘀爀愀渀挀椀猀开椀渀开倀爀愀礀攀爀开⠀䌀愀爀愀瘀愀最最椀漀⤀∀㸀㰀椀㸀匀琀⸀䘀爀愀渀挀椀猀 椀渀 洀攀搀椀琀愀琀椀漀渀㰀⼀椀㸀㰀⼀愀㸀ऀ 
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="han2.jpg" height=200><br>਀㰀椀㸀吀栀攀 挀栀椀渀攀猀攀 猀椀最渀 䠀䄀一㰀⼀椀㸀 
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="myanmarmap1.jpg" height=200><br>਀㰀椀㸀伀甀琀氀椀渀攀猀 漀昀 䴀礀愀渀洀愀爀⼀䈀甀爀洀愀 㰀⼀椀㸀 
</td>਀㰀⼀琀爀㸀 
</table>਀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="5">਀ 
The conclusion is that the assumed origin of COVID-19 tells that the relevant part of the Caravaggio-DDS table to study relative to my TEQ <i>as far as concerns the art of the italian renaissance</i> (here by Correggio) is in the quarter from element 20 (Calling of Matthew) to element 36 (St.Francis in meditation).       </p><p align="justify">਀ 
This also suggests that the COVID crisis could have been apparently all and only about the relation between my TEQ and the italian renaissance. In my view, it was about my budget economy which made me dislocated relative to Italy. This means that the global economic recession could probably have been avoided by providing me with a better economy.       </p><p align="justify">਀ 
The second conclusion could be that the pandemic seems to have arisen in China because of the inherent <i>image-text constitution</i> of the chinese script - well exemplified by just the name Wuhan City = &#27494;&#28450;&#24066;.       </p><p align="justify">਀ 
Conclusion to this is that I should have been in Italy or China with my important work - but economic limitations made this impossible so far, and therefore Covid-19 broke out. To see why, I discuss the political background in more detail in the following.         </p><p align="justify">਀㰀戀爀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 
<b><i>3. The ratio 1/2  and the 'Vas Gereben' data</i></b>       </p><p align="justify">਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
਀䄀猀 猀攀攀渀 椀渀 琀栀攀 搀椀猀挀甀猀猀椀漀渀 愀戀漀瘀攀Ⰰ 琀栀攀 爀愀琀椀漀 ㄀⼀㈀ 椀猀 猀瀀攀挀椀愀氀 戀礀 愀氀眀愀礀猀 戀攀椀渀最 琀栀攀 猀愀洀攀 瀀漀攀洀  
 <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=964" target="_new">TEQ #860</a> in the mid point of the range from 1 to 1719 (or from 199 to 1520). <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=964" target="_new">The poem TEQ #860</a>   is a parallel text, a title, a line and a signature:       </p><p align="justify">਀ 
<font size="4"><br>਀㰀戀㸀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㤀㘀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㘀　㰀⼀愀㸀㰀⼀戀㸀㰀戀爀㸀 
<b><a href="https://biblehub.com/text/acts/10-13.htm">Acts 10:13</a></b>  <!και εγενετο φωνη προς αυτον· αναστας, πετρε, θυσον και φαγε. > ਀☀⌀㤀㔀㐀㬀☀⌀㤀㐀㔀㬀☀⌀㠀　㔀㐀㬀  
&#7952;&#947;&#941;&#957;&#949;&#964;&#959; ਀☀⌀㤀㘀㘀㬀☀⌀㤀㘀㤀㬀☀⌀㤀㔀㜀㬀☀⌀㠀　㔀㈀㬀  
&#960;&#961;&#8056;&#962; ਀☀⌀㤀㐀㔀㬀☀⌀㠀　㄀㘀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㜀㈀㬀☀⌀㤀㔀㜀㬀 
&#7944;&#957;&#945;&#963;&#964;&#940;&#962;, ਀☀⌀㤀㈀㠀㬀☀⌀㤀㐀㄀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㘀㄀㬀☀⌀㤀㐀㤀㬀Ⰰ  
&#952;&#8166;&#963;&#959;&#957; ਀☀⌀㤀㔀㐀㬀☀⌀㤀㐀㔀㬀☀⌀㠀　㔀㐀㬀  
&#966;&#940;&#947;&#949;਀                          㰀戀爀㸀 
                          <br>਀㰀戀㸀吀栀攀 洀攀愀渀 昀氀愀琀㰀⼀戀㸀                          㰀戀爀㸀 
                          <br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㌀∀㸀㰀椀㸀吀䠀唀一䐀䔀刀 刀伀䰀䰀䤀一䜀 伀唀吀匀䤀䐀䔀㰀⼀椀㸀  㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀                        㰀戀爀㸀 
                          <br>਀ 
&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;           Newton	਀☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀㰀椀㸀　㤀⸀　㜀⸀　㄀㰀⼀椀㸀                          㰀戀爀㸀 
       </p><p align="justify">਀㰀戀爀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
The signature reads backwards from the mid point 'w[h]en-not' or phonetically more like 'Wun-net/not'. By 1/10 displacement it could come out as 'Neptune'. The title would transform into 'em eht talfna' which I could interpret as 'I'm a telephone'. If 'telef-HAN' be the form, the title + signature could read 'WU-not-a-telef-HAN'. The total could resemble the idea of a BORDER - here between WU and HAN.       </p><p align="justify">਀ 
The greek parallel text is not so interesting: "And there came a voice to him, saying: Stand up, Peter, kill and eat". This is the story of the 'temptation' lowered thrice from Heaven - which Peter did not give in to. It could be telling of one of the fundamental problems of human existence - which christianity has tried to solve - the problem of being dependent on ontological nourishment, a condition of inserting material being into the body - an 'insult' which can make people a little hostile. Christanity (with the holy communion) has tried to make it possible to eat without getting hostile.       </p><p align="justify">਀ 
However, there is a special circumstance of this mid point  <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=964" target="_new">TEQ #860</a> which perhaps is the real issue: The entire TEQ is written unidirectionally from the beginning to the end - with very few exceptions - the main exception being exactly there at the mid point which is in book 12. When I wrote the book and had come to the end of the manuscript, I found it right to move the end to the beginning and so the poems of the last 24 days of writing of book 12 were moved from the end to the beginning of the book and this TEQ #860 is inside this transposed part. (See <a href="johnbjarnegroverteqmanuscriptbook12.pdf">the handwritten manuscript to TEQ book 12</a> - where what is now the beginning is at the end of the original manuscript). This means that if one counts not the mid point in the series of poems enumerated from 1 to 1719 - that is #860 - but considers the dates of History instead - not for the entire span of writing from 25 february 1997 to 21 july 2008 but for the local temporality around this transposed part of book 12 - one can find a virtual 'historic' mid point by counting 12 days from the temporal BORDER created by the wrapover (on 28 november 2000). This lands the 'virtual mid point' not on #860 but on <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=980" target="_new">TEQ #875</a>, written on 9 december 2000.       </p><p align="justify">਀ 
Philosophically this means that if History decides the mid point, then it is at #875 - but if non-history i.e. Mystery or 'mystic inquiry' decides on it, #860 will be the mid point - but then it means #860 of 'mystic inquiry' which is just the art of not giving in to temptations - not even to those temptations apparently lowered on a blanket cloth from Heaven. But giving in to temptation is just to fall back into History and then the mid point is not #860 but #875, and my TEQ therefore steers around those troubles inherent in the apparent assignment of a divine justification from Heaven to evil and murder on basis of this Acts 10:13. The words of TEQ get their distributional semantics updated from function 14 - which is utterly defined by counting the days of History.       </p><p align="justify">਀ 
On basis of the experience with the backwards-readings discussed above, an interesting experiment could be to read #860 and #875 backwards and with wrapovers like above - which here means from 1/2 in the title (first line) untill 9/10 in the signature (last line) - and (since these two poems are twinned in a butterfly shape) comparing the resulting reverse forms with the greek parallel text to the other poem - that is comparing the reverse reading of #875 with the greek of #860 and vice versa. The two greek fragments are sort of opposites. It turns out that this seems to confirm the WU-HAN phenomenon in COVID-19.       </p><p align="justify">਀ 
<font size="4">਀㰀戀㸀㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㤀㘀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㘀　㰀⼀愀㸀㰀⼀戀㸀㰀戀爀㸀 
<b><a href="https://biblehub.com/text/acts/10-13.htm">Acts 10:13</a></b> <!καὶ ἐγένετο φωνὴ πρὸς αὐτόν Ἀναστάς, Πέτρε, θῦσον καὶ φάγε><!br>਀ 
&#954;&#945;&#8054; ਀☀⌀㜀㤀㔀㈀㬀☀⌀㤀㐀㜀㬀☀⌀㤀㐀㄀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㔀㤀㬀  
&#966;&#969;&#957;&#8052; ਀☀⌀㤀㘀　㬀☀⌀㤀㘀㄀㬀☀⌀㠀　㔀㘀㬀☀⌀㤀㘀㈀㬀  
&#945;&#8016;&#964;&#972;&#957; ਀☀⌀㜀㤀㐀㐀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㐀㔀㬀☀⌀㤀㘀㌀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㐀　㬀☀⌀㤀㘀㈀㬀Ⰰ  
&#928;&#941;&#964;&#961;&#949;, ਀☀⌀㤀㔀㈀㬀☀⌀㠀㄀㘀㘀㬀☀⌀㤀㘀㌀㬀☀⌀㤀㔀㤀㬀☀⌀㤀㔀㜀㬀  
&#954;&#945;&#8054; ਀☀⌀㤀㘀㘀㬀☀⌀㤀㐀　㬀☀⌀㤀㐀㜀㬀☀⌀㤀㐀㤀㬀  㰀戀爀㸀㰀戀爀㸀 
= 'and there was a voice [talking] to him: Stand up, Peter, kill and eat' <br><br>਀ 
like a debt, rat[e]s eat a taste and lightning deaf-knocks heal		<br>਀㰀℀먀넃뤃 딀댃딃봃딃쐃뼃 였줃봃뜃㸃 
= &#954;&#945;&#8054; ਀☀⌀㜀㤀㔀㈀㬀☀⌀㤀㐀㜀㬀☀⌀㤀㐀㄀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㔀㤀㬀  
&#966;&#969;&#957;&#8052; ਀㰀戀爀㸀 
਀ऀऀ㰀戀爀㸀 
raisely fuke nalbe/navel		<br>਀㴀  
਀☀⌀㤀㘀　㬀☀⌀㤀㘀㄀㬀☀⌀㠀　㔀㘀㬀☀⌀㤀㘀㈀㬀  
&#945;&#8016;&#964;&#972;&#957; ਀㰀℀쀀섃뼃숃 넀씃쐃뼃봃㸃ऀऀ㰀戀爀㸀 
		<br>਀琀栀攀礀 猀愀眀 甀瀀 洀愀爀⼀眀愀爀搀猀ऀऀ㰀戀爀㸀 
&#7944;&#957;&#945;&#963;&#964;&#940;&#962;, ਀㰀℀넀봃넃쌃쐃넃숃㸃ऀऀ㰀戀爀㸀 
		<br>਀昀漀氀欀猀 欀渀漀挀欀 攀爀漀琀椀挀 搀攀攀瀀猀ⴀ最渀漀氀 愀 搀渀愀 猀攀渀猀攀ऀऀ㰀戀爀㸀 
= &#928;&#941;&#964;&#961;&#949;, ਀㰀℀쀀딃쐃섃딃㸃ऀऀ㰀戀爀㸀 
		<br>਀洀愀挀欀 椀琀 爀愀琀攀猀 栀椀洀 昀漀爀 氀甀爀攀 愀氀氀攀ऀ⠀㴀 瀀漀眀攀爀 挀漀爀爀甀瀀琀猀 昀漀爀 氀甀爀椀渀最 愀氀氀⤀ऀऀ㰀戀爀㸀 
= &#952;&#8166;&#963;&#959;&#957; ਀☀⌀㤀㔀㐀㬀☀⌀㤀㐀㔀㬀☀⌀㠀　㔀㐀㬀  
&#966;&#940;&#947;&#949;  ਀㰀℀렀씃쌃뼃봃 먀넃뤃 였넃댃딃㸃ऀऀ㰀戀爀㸀 
	਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 猀攀攀渀 琀栀愀琀 琀栀攀 氀愀猀琀 氀椀渀攀 昀攀攀搀戀愀挀欀猀 椀渀琀漀 琀栀攀 昀椀爀猀琀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀ 
<a href="johnbjarnegrovercollectedworksvolume2.pdf#page=980" target="_new">TEQ  #875</a><br> ਀㰀愀 栀爀攀昀㴀∀ 栀琀琀瀀猀㨀⼀⼀戀椀戀氀攀栀甀戀⸀挀漀洀⼀琀攀砀琀⼀愀挀琀猀⼀㄀　ⴀ㈀㜀⸀栀琀洀 ∀㸀䄀挀琀猀 ㄀　㨀㈀㜀㰀⼀愀㸀   
਀㰀℀騀넃瘃‟쌀씃봃뼃밃뤃묃봟 넀倃쐟‟딀〃쌟옃묟렃딃봃Ⰳ 먀넃瘃‟딀儃섟꼃쌃먃딃뤃 쌀씃봃딃묃뜃묃씃렃찃쐃넃숃 쀀뼃묃묃뼃촃숃㸃 
਀☀⌀㤀㈀㈀㬀☀⌀㤀㐀㔀㬀☀⌀㠀　㔀㐀㬀  
&#963;&#965;&#957;&#959;&#956;&#953;&#955;&#8182;&#957; &#945;&#8016;&#964;&#8183; ਀☀⌀㤀㐀㤀㬀☀⌀㜀㤀㠀㐀㬀☀⌀㤀㘀㌀㬀☀⌀㠀㄀㌀㐀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㈀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㜀㬀Ⰰ  
&#954;&#945;&#8054; ਀☀⌀㤀㐀㤀㬀☀⌀㠀　㄀㜀㬀☀⌀㤀㘀㄀㬀☀⌀㤀㐀㌀㬀☀⌀㤀㘀㌀㬀☀⌀㤀㔀㐀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㌀㬀 ☀⌀㤀㘀㌀㬀☀⌀㤀㘀㔀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㄀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㘀㔀㬀☀⌀㤀㔀㈀㬀☀⌀㤀㜀㈀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㐀㔀㬀☀⌀㤀㘀㈀㬀  
&#960;&#959;&#955;&#955;&#959;&#973;&#962;       </p><p align="justify">਀ 
਀㰀琀愀戀氀攀㸀 
<td align="center">਀☀⌀㤀㈀㈀㬀☀⌀㤀㐀㔀㬀☀⌀㠀　㔀㐀㬀  
&#963;&#965;&#957;&#959;&#956;&#953;&#955;&#8182;&#957; &#945;&#8016;&#964;&#8183; <br>਀圀唀 
</td>਀㰀琀搀㸀 
&nbsp; &nbsp; &nbsp; &nbsp; ਀㰀⼀琀搀㸀 
<td align="center">਀☀⌀㤀㐀㤀㬀☀⌀㜀㤀㠀㐀㬀☀⌀㤀㘀㌀㬀☀⌀㠀㄀㌀㐀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㈀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㜀㬀Ⰰ  
&#954;&#945;&#8054; ਀☀⌀㤀㐀㤀㬀☀⌀㠀　㄀㜀㬀☀⌀㤀㘀㄀㬀☀⌀㤀㐀㌀㬀☀⌀㤀㘀㌀㬀☀⌀㤀㔀㐀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㌀㬀㰀戀爀㸀 
border਀㰀⼀琀搀㸀 
<td>਀☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
&#963;&#965;&#957;&#949;&#955;&#951;&#955;&#965;&#952;&#972;&#964;&#945;&#962; ਀☀⌀㤀㘀　㬀☀⌀㤀㔀㤀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㤀㬀☀⌀㤀㜀㌀㬀☀⌀㤀㘀㈀㬀 
<br>਀䠀䄀一 
</td>਀㰀⼀琀愀戀氀攀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀☀⌀㤀㘀㌀㬀☀⌀㤀㘀㔀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㔀㤀㬀☀⌀㤀㔀㘀㬀☀⌀㤀㔀㌀㬀☀⌀㤀㔀㔀㬀☀⌀㠀㄀㠀㈀㬀☀⌀㤀㔀㜀㬀 ☀⌀㤀㐀㔀㬀☀⌀㠀　㄀㘀㬀☀⌀㤀㘀㐀㬀☀⌀㠀㄀㠀㌀㬀  㴀 琀愀氀欀椀渀最 眀椀琀栀⼀琀漀 栀椀洀Ⰰ 戀甀琀 攀琀礀洀漀氀漀最椀挀愀氀氀礀 椀琀 椀猀 挀漀洀瀀漀猀攀搀 漀昀  
&sigma;&upsilon;&nu; = 'together' +  &omicron;&mu;&iota;&lambda;&epsilon;&omega;਀㰀  ☀漀洀椀挀爀漀渀㬀☀洀甀㬀☀椀漀琀愀㬀☀氀愀洀戀搀愀㬀☀漀洀椀挀爀漀渀㬀☀猀椀最洀愀昀㬀 㴀 ✀嘀漀氀欀猀洀攀渀最攀Ⰰ 䬀爀椀攀最攀爀猀挀栀愀爀Ⰰ 䜀攀搀爀☀愀甀洀氀㬀渀最攀Ⰰ 䬀愀洀瀀昀最攀眀☀甀甀洀氀㬀栀氀✀ ⠀䘀爀椀猀欀⤀⸀ 䌀氀攀愀爀氀礀 琀栀椀猀 ☀⌀㤀㘀㌀㬀☀⌀㤀㘀㔀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㔀㤀㬀☀⌀㤀㔀㘀㬀☀⌀㤀㔀㌀㬀☀⌀㤀㔀㔀㬀☀⌀㠀㄀㠀㈀㬀☀⌀㤀㔀㜀㬀 ☀⌀㤀㐀㔀㬀☀⌀㠀　㄀㘀㬀☀⌀㤀㘀㐀㬀☀⌀㠀㄀㠀㌀㬀   椀猀 愀猀 挀氀漀猀攀 琀漀 琀栀攀 挀栀椀渀攀猀攀 ☀⌀㈀㜀㐀㤀㐀㬀 㴀 ✀圀唀✀ 愀猀 漀渀攀 挀愀渀 最攀琀 椀琀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀☀⌀㤀㐀㤀㬀☀⌀㜀㤀㠀㐀㬀☀⌀㤀㘀㌀㬀☀⌀㠀㄀㌀㐀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㈀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㜀㬀Ⰰ ☀⌀㤀㔀㐀㬀☀⌀㤀㐀㔀㬀☀⌀㠀　㔀㐀㬀  ☀⌀㤀㐀㤀㬀☀⌀㠀　㄀㜀㬀☀⌀㤀㘀㄀㬀☀⌀㤀㐀㌀㬀☀⌀㤀㘀㌀㬀☀⌀㤀㔀㐀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㌀㬀 㴀 ✀栀攀 眀攀渀琀 椀渀 愀渀搀 昀漀甀渀搀✀ ⴀ 眀栀椀挀栀 挀愀渀 戀攀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 ✀戀漀爀搀攀爀✀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀☀⌀㤀㘀㌀㬀☀⌀㤀㘀㔀㬀☀⌀㤀㔀㜀㬀☀⌀㤀㐀㤀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㄀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㘀㔀㬀☀⌀㤀㔀㈀㬀☀⌀㤀㜀㈀㬀☀⌀㤀㘀㐀㬀☀⌀㤀㐀㔀㬀☀⌀㤀㘀㈀㬀  ☀⌀㤀㘀　㬀☀⌀㤀㔀㤀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㔀㬀☀⌀㤀㔀㤀㬀☀⌀㤀㜀㌀㬀☀⌀㤀㘀㈀㬀  㴀 ✀洀愀渀礀 栀愀搀 挀漀洀攀 琀漀最攀琀栀攀爀✀㨀  
&#963;&#965;&#957;&#949;&#955;&#951;&#955;&#965;&#952;&#972;&#964;&#945;&#962;  = &sigma;&upsilon;&nu; = 'together' +  &epsilon;&lambda;&eta;&lambda;&upsilon;&theta;&omicron;&tau;&alpha;&sigmaf;  <  &epsilon;&lambda;&epsilon;&upsilon;&sigma;&omicron;&mu;&alpha;&iota;  / &epsilon;&rho;&chi;&omicron;&mu;&alpha;&iota; = 'to go, to come' = to go/come together਀ 
<font size="5">       </p><p align="justify">਀ 
Whether this 'to go/come together' qualifies as the chinese &#28450; = 'HAN' = 'belonging to China, the Milky Way' I dont know, but completely irrelevant it probably isnt.       </p><p align="justify">਀ 
Hence these two greek fragments (of #860 and #875) meet in butterfly format by the backwards-reading of #875 for #860 and inserting &#27494;&#28450;&#24066; = WU-HAN CITY for #875 like <a href="petrification.htm">Horace's two petrification points</a>. Horace wrote at the time of Christ. It is likely to be the essential history in Italy of the times - that Horace was not a catholic but italian he was. Jesus was a jew.       </p><p align="justify">਀ 
I refer also to Paul Celan's 'Atemwende' (in Celan 2003) which has two poems in distance 875-860 of very comparable format: Those are the poems 'Ein Dr&ouml;hnen' and 'Das aufw&auml;rtsstehende Land'.   </p><p align="justify">਀ 
One can - if one wants - see COVID-19 as starting in Wuhan City in China in the form of this misunderstanding of Acts 10:13 - taking it for being about History rather than Mystery - possibly due to a cultural-environmental mixmax misunderstanding of my TEQ. That would not be because of the status of History in China, but rather, as I show in the following, because of a displaced abuse of the italian renaissance in my TEQ into a text-image program associated with certain specific aspects of probably the former austro-hungarian Doppelmonarchie. I tell in the following why and how.       </p><p align="justify">਀㰀戀爀㸀 
਀ 
<i>The 'Vas Gereben' complex</i>       </p><p align="justify">਀ 
It is seen that the reverse reading of ਀㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㤀㠀　∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㜀㔀㰀⼀愀㸀 氀攀愀搀猀 琀漀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
1. like a debt, rat[e]s eat a taste and lightning deaf-knocks heal                          <br>਀㈀⸀ 爀愀椀猀攀氀礀 昀甀欀攀 渀愀氀戀攀⼀渀愀瘀攀氀                          㰀戀爀㸀 
3. they saw up mar/wards                         <br>਀㐀⸀ 昀漀氀欀猀 欀渀漀挀欀 攀爀漀琀椀挀 搀攀攀瀀猀ⴀ最渀漀氀 愀 搀渀愀  猀攀渀猀攀                         㰀戀爀㸀 
5. mack it rates him for lure alle	(power corrupts for luring all)                         ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 氀愀猀琀 氀椀渀攀 瀀爀漀戀愀戀氀礀 昀攀攀搀戀愀挀欀猀 椀渀琀漀 琀栀攀 昀椀爀猀琀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀爀攀 攀砀椀猀琀猀 椀渀 匀稀漀氀渀漀欀 椀渀 䠀甀渀最愀爀礀 愀渀 愀爀攀愀 攀愀猀琀 漀昀 琀栀攀 洀愀椀渀 爀愀椀氀眀愀礀 猀琀愀琀椀漀渀 眀栀椀挀栀 ⠀昀爀漀洀 琀栀攀 瀀爀攀猀攀渀琀 搀愀琀愀⤀ 猀攀攀洀猀 琀漀 栀愀瘀攀 戀攀攀渀 琀栀攀 氀漀挀甀猀 漀昀 渀愀稀椀 ✀洀礀猀琀椀挀椀猀洀✀ 愀渀搀 漀爀最愀渀椀稀攀搀 瀀漀氀椀琀椀挀愀氀 椀渀琀爀椀最甀攀 瀀漀猀猀椀戀氀礀 猀椀渀挀攀 眀攀氀氀 搀漀眀渀 椀渀 琀栀攀 ㄀㤀琀栀 挀攀渀琀甀爀礀⸀ 䤀琀 椀猀 氀椀欀攀氀礀 琀漀 栀愀瘀攀 戀攀攀渀 愀渀 攀猀猀攀渀琀椀愀氀 愀猀瀀攀挀琀猀 漀昀 䠀椀琀氀攀爀✀猀 瀀爀漀最爀愀洀⸀ 䤀琀 猀攀攀洀猀 琀栀愀琀 琀栀椀猀 愀爀攀愀 眀愀猀 瀀氀愀渀渀攀搀 琀漀 戀攀 椀渀栀愀戀椀琀攀搀 戀礀 洀攀 焀甀愀 㰀愀 栀爀攀昀㴀∀眀栀愀琀椀猀瀀琀爀猀椀洀瀀椀欀⸀栀琀洀∀㸀倀吀刀匀䤀䴀 倀䤀䬀㰀⼀愀㸀 ⴀ 昀漀爀 愀 爀漀氀攀 椀渀 琀栀愀琀 椀渀琀爀椀最甀攀 椀洀瀀漀猀攀搀 漀渀 洀攀 眀椀琀栀漀甀琀 洀礀 欀渀漀眀氀攀搀最攀 漀爀 挀漀渀猀攀渀琀⸀ 䤀琀 眀愀猀 琀栀攀 渀攀攀搀 昀漀爀 昀椀渀搀椀渀最 愀 猀漀氀甀琀椀漀渀 琀漀 洀礀 栀漀甀猀椀渀最 瀀爀漀戀氀攀洀猀 琀栀愀琀 洀礀 戀甀搀最攀琀 攀挀漀渀漀洀礀 挀漀甀氀搀 愀昀昀漀爀搀 眀栀椀挀栀 攀瘀攀渀琀甀愀氀氀礀 氀愀渀搀攀搀 洀攀 琀栀攀爀攀 ⴀ 愀昀琀攀爀 猀攀瘀攀爀愀氀 愀琀琀攀洀瀀琀猀 琀漀 昀椀渀搀 愀 栀漀甀猀攀 椀渀 漀琀栀攀爀 瀀愀爀琀猀 漀昀 䠀甀渀最愀爀礀⸀ ⠀䄀琀 栀椀渀搀猀椀最栀琀 䤀 栀愀瘀攀 挀漀洀攀 琀漀 挀漀渀挀氀甀搀攀 琀栀愀琀 椀昀 䤀 栀愀搀 戀漀甀最栀琀 愀 栀漀甀猀攀 攀氀猀攀眀栀攀爀攀Ⰰ 䤀 眀漀甀氀搀 栀愀瘀攀 洀攀琀 瀀爀漀戀氀攀洀猀 攀渀漀甀最栀 琀漀 搀爀椀瘀攀 洀攀 漀渀 甀渀琀椀氀氀 䤀 氀愀渀搀攀搀 椀渀 琀栀愀琀 愀爀攀愀 椀渀 匀稀漀氀渀漀欀⤀⸀ 吀栀攀 猀琀爀攀攀琀渀愀洀攀 漀昀 洀礀 栀漀甀猀攀 椀猀 ✀匀稀椀最攀琀 唀琀挀愀✀ 眀栀椀挀栀 洀攀愀渀猀 ✀䤀猀氀愀渀搀 匀琀爀攀攀琀✀ ⴀ 愀渀搀 椀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀椀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 戀愀挀欀最爀漀甀渀搀 漀昀 琀栀攀 渀漀爀眀攀最椀愀渀 䰀愀戀漀甀爀 倀愀爀琀礀 愀挀焀甀椀爀椀渀最 ✀唀琀☀漀猀氀愀猀栀㬀礀愀✀ ⴀ 愀 猀洀愀氀氀 椀猀氀愀渀搀 眀椀琀栀 渀愀洀攀 眀栀椀挀栀 洀攀愀渀猀 ✀漀甀琀ⴀ椀猀氀愀渀搀✀ ⠀漀爀 攀瘀攀渀 ✀漀甀琀猀琀愀渀搀椀渀最 攀礀攀猀✀⤀ 椀渀 ㄀㤀㌀㌀ 眀栀攀渀 䠀椀琀氀攀爀 挀愀洀攀 琀漀 瀀漀眀攀爀 椀渀 䜀攀爀洀愀渀礀⸀ ⠀✀☀伀猀氀愀猀栀㬀礀✀ 㴀 ✀椀猀氀愀渀搀✀Ⰰ 栀攀渀挀攀 ✀甀琀ⴀ椀猀氀愀渀搀ⴀ嬀挀崀愀✀ 㴀 ✀猀稀椀最攀琀 甀琀嬀挀崀愀✀⤀⸀ 䤀琀 眀愀猀 漀渀 琀栀椀猀 椀猀氀愀渀搀 ⴀ 甀猀攀搀 愀猀 愀 猀甀洀洀攀爀 挀愀洀瀀 昀漀爀 琀栀攀 䰀愀戀漀甀爀 倀愀爀琀礀 ⴀ 琀栀愀琀 琀栀攀 伀猀氀漀 琀攀爀爀漀爀 琀漀漀欀 瀀氀愀挀攀 椀渀 ㈀　㄀㄀⸀ 䤀 戀漀甀最栀琀 琀栀攀 栀漀甀猀攀 椀渀 ㈀　㄀㔀 ⴀ 戀甀琀 眀漀甀氀搀 漀昀 挀漀甀爀猀攀 渀攀瘀攀爀 栀愀瘀攀 戀漀甀最栀琀 椀琀 椀昀 䤀 欀渀攀眀 眀栀愀琀 椀琀 眀愀猀⸀ 䤀琀 琀漀漀欀 洀攀 猀漀洀攀 礀攀愀爀猀 琀漀 昀椀渀搀 漀甀琀 漀昀 椀琀⸀ 䤀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 猀琀爀攀攀琀渀愀洀攀猀 愀爀漀甀渀搀 匀稀椀最攀琀 唀琀挀愀 椀猀 琀栀攀 爀攀愀氀 琀栀攀洀攀 漀昀 䤀戀猀攀渀✀猀 ㄀㠀㤀㈀ 瀀氀愀礀 ✀䴀愀猀琀攀爀 䈀甀椀氀搀攀爀 匀漀氀渀攀猀猀✀ ⠀栀攀渀挀攀 ✀匀漀氀渀攀猀猀✀ 昀漀爀 ✀匀稀漀氀渀漀欀✀㼀⤀Ⰰ 眀栀椀挀栀 栀攀 眀爀漀琀攀 愀爀漀甀渀搀 琀栀攀 猀愀洀攀 琀椀洀攀 愀猀 ✀䔀礀漀氀昀 䰀椀琀琀氀攀✀ ⠀昀漀爀 ✀䄀搀漀氀昀 䠀椀琀氀攀爀✀㼀⤀ 愀渀搀 ✀䨀漀栀渀 䜀愀戀爀椀攀氀 䈀漀爀欀洀愀渀渀✀ ⠀㴀 洀攀Ⰰ ✀䨀漀栀渀 䈀樀愀爀渀攀 䜀爀漀瘀攀爀✀㼀⤀⸀ 䤀 搀椀猀挀甀猀猀 琀栀椀猀 挀漀洀瀀氀攀砀 戀攀氀漀眀⸀ ⠀䤀 愀搀搀 琀栀愀琀 洀礀 昀愀琀栀攀爀 眀愀猀 爀攀瀀氀愀挀攀搀 眀椀琀栀 愀 渀漀琀ⴀ瘀攀爀礀ⴀ猀椀洀椀氀愀爀 挀漀瀀礀 椀渀 琀栀攀 猀甀洀洀攀爀 ㄀㤀㘀㤀 眀栀攀渀 䤀 眀愀猀 ㄀㈀ ⴀ 愀渀搀 䤀 栀愀瘀攀 氀愀琀攀爀 猀瀀攀挀甀氀愀琀攀搀 琀栀愀琀 琀栀攀 渀攀眀 漀渀攀Ⰰ 眀栀漀 渀攀瘀攀爀 琀漀氀搀 栀椀猀 渀愀洀攀 栀漀眀攀瘀攀爀 洀甀挀栀 䤀 瀀氀愀礀攀搀 琀栀攀 瀀椀愀渀漀Ⰰ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 爀攀戀甀椀氀琀 䄀搀漀氀昀 䠀椀琀氀攀爀Ⰰ 戀甀琀 琀栀攀爀攀 椀猀 氀椀琀琀氀攀 戀愀猀椀猀 昀漀爀 琀栀椀猀 猀瀀攀挀甀氀愀琀椀漀渀⤀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀一漀眀 椀琀 椀猀 琀栀攀 猀琀爀攀攀琀渀愀洀攀猀 愀爀漀甀渀搀 琀栀椀猀 愀爀攀愀 眀栀椀挀栀 猀攀攀洀 琀漀 戀攀 琀栀攀 椀渀琀攀爀攀猀琀椀渀最 椀猀猀甀攀 愀猀 琀栀攀礀 挀愀渀 戀攀 猀攀攀渀 琀漀 椀洀椀琀愀琀攀 琀栀攀 昀漀爀洀 漀昀 愀 栀攀戀爀攀眀 昀椀渀愀氀 ✀䘀✀ 愀猀 椀渀 ✀䨀漀猀攀昀✀Ⰰ 琀栀攀 昀愀琀栀攀爀 漀昀 䨀攀猀甀猀Ⰰ 椀渀 愀 栀攀戀爀攀眀 渀愀洀攀 昀漀爀洀 ☀⌀㄀㐀㤀㜀㬀☀⌀㄀㐀㤀㌀㬀☀⌀㄀㔀　㔀㬀☀⌀㄀㔀　㜀㬀  眀栀椀挀栀 挀愀渀 戀攀 猀攀攀渀 琀漀 椀洀椀琀愀琀攀 愀 琀爀甀洀瀀攀琀 昀爀漀洀 栀攀愀瘀攀渀 栀攀爀愀氀搀椀渀最 琀栀攀 䴀愀搀漀渀渀愀 䴀愀爀礀 眀椀琀栀 琀栀攀 氀椀琀琀氀攀 䨀攀猀甀猀 挀栀椀氀搀 椀渀 栀攀爀 愀爀洀猀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
	 ਀㰀椀洀最 猀爀挀㴀 ∀樀漀猀攀昀琀爀甀洀瀀攀琀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀　　㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 瀀甀爀瀀漀猀攀 眀椀琀栀 琀栀椀猀 ✀瀀漀氀椀琀椀挀愀氀 瀀爀漀最爀愀洀✀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀漀 椀渀猀琀愀氀氀 琀栀愀琀 㰀椀㸀瘀椀猀甀愀氀 愀猀瀀攀挀琀 漀昀 琀栀攀 䈀椀戀氀攀 猀挀爀椀瀀琀 ⠀栀攀戀爀攀眀⤀㰀⼀椀㸀 眀栀椀挀栀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 瘀愀爀椀愀渀琀 漀昀 琀栀攀 愀爀琀 栀椀猀琀漀爀礀 眀椀琀栀 攀洀瀀栀愀猀椀猀 漀渀 挀攀爀琀愀椀渀 瀀漀攀琀椀挀 昀甀渀挀琀椀漀渀猀 椀渀 洀礀 吀䔀儀Ⰰ 愀猀 搀椀猀挀甀猀猀攀搀 椀渀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 琀栀椀猀 愀爀琀椀挀氀攀⸀ 吀栀攀 瀀甀爀瀀漀猀攀 眀椀琀栀 洀攀 焀甀愀 ✀倀吀刀匀䤀䴀 倀䤀䬀✀ 椀渀 琀栀椀猀 挀漀洀瀀氀攀砀 ⴀ 瀀爀漀戀愀戀氀礀 昀爀漀洀 愀 匀琀愀洀洀戀愀甀洀 挀漀渀猀琀爀甀挀琀攀搀 猀椀渀挀攀 愀戀漀甀琀 琀栀攀 昀爀攀渀挀栀 爀攀瘀漀氀甀琀椀漀渀 ⠀渀漀琀 琀栀攀 氀攀愀猀琀 昀漀爀 氀攀渀搀椀渀最 愀渀 愀猀瀀攀挀琀 漀昀 ✀搀椀瘀椀渀攀 愀甀琀栀漀爀椀琀礀✀ 琀漀 琀栀攀 洀漀渀愀爀挀栀礀 眀栀椀挀栀 愀 爀攀瀀甀戀氀椀挀 挀漀甀氀搀 渀漀琀 挀漀渀琀攀猀琀 ⴀ 愀渀搀 椀琀 椀猀 攀瘀攀渀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀攀 欀椀渀最搀漀洀 漀昀 一漀爀眀愀礀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 攀猀琀愀戀氀椀猀栀攀搀 椀渀 ㄀㠀㄀㐀 昀漀爀 琀栀椀猀 猀瀀攀挀椀昀椀挀 瀀甀爀瀀漀猀攀 ⴀ 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 攀愀挀栀 渀攀眀 戀爀愀渀挀栀椀渀最 漀昀 琀栀攀 匀琀愀洀洀戀愀甀洀 眀漀甀氀搀 愀搀搀 琀漀 愀 昀甀渀挀琀椀漀渀 昀爀漀洀 眀漀爀搀猀 漀爀 眀漀爀搀ⴀ瀀愀椀爀猀 椀渀 琀栀攀 伀氀搀 吀猀琀愀洀攀渀琀 琀漀 瘀攀爀猀攀猀 椀渀 琀栀攀 一攀眀 吀攀猀琀愀洀攀渀琀 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 愀 䴀攀猀猀椀愀栀 昀甀渀挀琀椀漀渀 挀漀甀氀搀 戀攀 漀戀琀愀椀渀攀搀 ⴀ 昀漀爀 琀栀攀 椀搀攀愀 琀栀愀琀 琀栀攀 最氀漀戀愀氀 挀漀氀氀攀挀琀椀瘀攀ⴀ栀椀猀琀漀爀椀挀 挀漀渀猀挀椀漀甀猀渀攀猀猀 眀愀猀 猀挀栀攀搀甀氀攀搀 琀漀 戀攀氀椀攀瘀攀 眀栀攀渀 䤀 眀愀猀 戀漀爀渀 琀栀愀琀 愀 䴀攀猀猀椀愀栀 栀愀搀 戀攀攀渀 戀漀爀渀 椀渀 ㄀㤀㔀㜀 昀漀爀 琀栀攀 琀甀爀渀 漀昀 琀栀攀 渀攀眀 洀椀氀氀攀渀椀甀洀⸀ 䤀昀 琀栀椀猀 搀椀瘀椀渀攀 ✀䴀攀猀猀椀愀栀✀ 愀甀琀栀漀爀椀琀礀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 攀愀猀椀氀礀 栀椀樀愀挀欀攀搀 戀礀 猀漀洀攀 瀀漀氀椀琀椀挀椀愀渀 ⠀琀栀攀爀攀 攀砀椀猀琀猀 䴀刀吀 猀挀愀渀 攀瘀椀搀攀渀挀攀 琀栀愀琀 洀礀 栀攀愀搀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 漀瀀攀渀攀搀 椀渀 攀愀爀氀礀 椀渀昀愀渀挀礀 愀渀搀 愀 瀀愀爀琀 漀昀 琀栀攀 氀漀眀攀爀 漀挀挀椀瀀椀琀愀氀 氀漀戀攀 猀挀椀猀猀漀爀攀搀 愀眀愀礀⤀Ⰰ 琀栀愀琀 挀漀甀氀搀 攀砀瀀氀愀椀渀 琀栀攀 栀椀猀琀漀爀礀⸀ 吀栀攀 爀攀洀漀瘀愀氀 漀昀 愀 瀀愀爀琀 漀昀 洀礀 漀挀挀椀瀀椀琀愀氀 氀漀戀攀 挀漀甀氀搀 琀栀攀渀 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 樀甀猀琀 琀栀椀猀 瘀椀猀甀愀氀 愀猀瀀攀挀琀 漀昀 攀⸀最⸀ 琀栀攀 䴀愀搀漀渀渀愀 ⬀ 戀攀戀攀 琀爀甀洀瀀攀琀攀搀 昀爀漀洀 䠀攀愀瘀攀渀 琀栀爀漀甀最栀 琀栀攀 栀攀戀爀攀眀 渀愀洀攀 漀昀 䨀漀猀攀昀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 猀瀀攀挀甀氀愀琀椀漀渀猀 愀戀漀甀琀 䄀搀漀氀昀 䠀椀琀氀攀爀 瀀漀琀攀渀琀椀愀氀氀礀 栀椀搀椀渀最 戀攀栀椀渀搀 琀栀攀 昀愀挀愀搀攀 漀昀 琀栀攀 渀攀眀 昀愀琀栀攀爀 椀渀 ㄀㤀㘀㤀 挀漀甀氀搀 渀漀琀 愀瘀漀椀搀 挀漀渀琀椀渀甀攀椀渀最 琀栀攀 猀瀀攀挀甀氀愀琀椀漀渀猀 ⴀ 椀渀琀漀 椀搀攀愀猀 漀昀 䠀攀椀渀爀椀挀栀 䠀椀洀洀氀攀爀 栀椀搀椀渀最 戀攀栀椀渀搀 琀栀攀 昀愀挀愀搀攀 漀昀 洀礀 洀漀琀栀攀爀 眀栀漀 琀栀攀渀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀 昀漀爀洀 漀昀 琀栀攀 䴀愀搀漀渀渀愀 栀漀氀搀椀渀最 琀栀攀 氀椀琀琀氀攀 䨀攀猀甀猀 戀攀戀攀 椀渀 栀攀爀 愀爀洀猀 ⠀猀攀攀 㰀愀 栀爀攀昀㴀∀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀琀栀椀猀 昀椀氀攀㰀⼀愀㸀 昀漀爀 猀漀洀攀 猀甀最最攀猀琀椀瘀攀 搀愀琀愀⤀Ⰰ 椀渀 眀栀椀挀栀 挀愀猀攀 攀瘀攀渀 琀栀攀 栀漀氀漀挀愀甀猀琀 愀最愀椀渀猀琀 琀栀攀 樀攀眀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 挀漀渀琀愀椀渀攀搀 椀渀 漀爀 洀漀琀椀瘀愀琀攀搀 戀礀 琀栀椀猀 瀀爀漀最爀愀洀⸀ 䤀昀 猀漀Ⰰ 椀琀 椀猀 渀漀琀 椀洀瀀漀猀猀椀戀氀攀 琀栀愀琀 洀礀 瀀攀爀猀漀渀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 猀漀挀愀氀氀攀搀 ✀䐀爀椀琀琀攀 刀攀椀挀栀✀⸀ 䈀甀琀 琀栀攀猀攀 愀爀攀 洀攀爀攀 猀瀀攀挀甀氀愀琀椀漀渀猀 漀昀 洀椀渀攀 ⴀ 琀栀攀爀攀 愀爀攀 猀漀洀攀 爀攀愀猀漀渀猀 昀漀爀 琀栀攀洀 戀甀琀 瀀爀漀戀愀戀氀礀 渀漀琀 攀渀漀甀最栀 昀漀爀 愀渀礀 挀漀渀挀氀甀猀椀瘀攀 攀瘀椀搀攀渀挀攀 愀氀氀漀眀椀渀最 昀漀爀 搀攀昀椀渀椀琀攀 挀氀愀椀洀猀⸀ 䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 愀 ✀䐀爀椀琀琀攀 刀攀椀挀栀✀ 挀漀甀氀搀 栀愀瘀攀 猀甀昀昀攀爀攀搀 猀漀洀攀 愀戀甀猀攀 椀渀 琀栀攀 挀栀椀氀搀栀漀漀搀 ⴀ 焀甀愀猀椀ⴀ✀搀椀瘀椀渀攀 愀甀琀栀漀爀椀琀礀✀ 瀀椀爀愀琀攀搀 昀漀爀 瀀漀氀椀琀椀挀愀氀 甀猀攀 ⴀ 戀甀琀 渀漀琀 椀渀 猀甀挀栀 愀 挀漀渀猀挀椀漀甀猀 昀漀爀洀 琀栀愀琀 愀渀礀 挀氀愀椀洀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 氀愀甀挀栀攀搀 昀爀漀洀 洀攀 椀渀 愀渀 愀琀琀攀洀瀀琀 琀漀 最攀琀 椀琀 戀愀挀欀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
If <a href="https://en.wikipedia.org/wiki/Carrington_family">'The Dynasty' TV series</a> should have been about my family background from about 1969 up to 1981, it is likely that the role of 'Alexis Coleby' (Joan Collins) could have been me. In those years my 'school town' (= 'skoleby') was mainly Fredrikstad. There was a person a little older than me but around in the same environments - he was called 'Alex' and had a sort of 'Jesus'-style hair. The 'die nasty' could then have a reference to the auto-fellatio ('self-sucking') of a 'J-suss' type which I (as I would assume) was lured into in the early 1970's. However, the series was started in 1981, the year when my official mother had a serious auto accident and could have appeared a little marked by it thereafter. If this series should have applied to my family background, the role of <a href="https://en.wikipedia.org/wiki/Krystle_Carrington">Krystle Carrington</a> could have found a name-echo in Himmler's <a href="https://en.wikipedia.org/wiki/Kristallnacht">Kristallnacht</a>. Why the name 'Carrington'? The family was for some days in London in the summer 1972 and one of these days the father absented himself for other errands and the rest of the family went to (I think it was) the museum of natural history. In the cloakroom, when we were about to leave, the official mother had bought a book (about the history of primates, was it?) and asked for 'something to bear it in' when I corrected her and said that it is not called 'bear', it is called 'carry'. If this is the reason for the fiction name, it could have been about why the father absented himself that day. I dont think I saw the soap but may have heard some rumours on the inner radio.  <font size="5">     </p><p align="justify">਀ 
However that be, it seems that <i>the visual aspect</i> of the alphabetic technology would have been maintained by the final F in the old-testamental hebrew 'Josef' as a trumpet from Heaven while the non-visual and 'abstract-symbolic' form would have been contained in the new-testamental greek of the Jesus bebe in the Madonna's arms - as e.g. in '<a href="https://en.wikipedia.org/wiki/Antonio_da_Correggio#/media/File:Correggio_-_The_Holy_Night_-_Google_Art_Project.jpg">Correggio's 'Nativity'</a>' (from <a href="https://en.wikipedia.org/wiki/Antonio_da_Correggio">this source</a>) - see discussion of it in <a href="correggio.htm">example 5</a>.        </p><p align="justify">਀ 
It would apparently have been the greek (associated with the Jesus bebe in the 'holding' arms of the Madonna) in the form of Acts 10:13 (or Acts 11:7) which should have given a divine sanction on nazi terror - for the trumpeted program of a secret route to Heaven for all those who had been involved in murder - possibly swapping around with the opposite solution for those moralists who feel uncomfortable with such methods. It could have been for lending a shade of 'divine authority' (a la Mary Magdalene, not really divine but nevertheless considered the mother of a god) to those who had been involved in mass murder - possibly the more mass murder the more 'divine' or something like that. Hence the 'hold-o-cost' - for a program offering salvation also to those who had been involved in murder - via the 'cost' of a nazi 'beast-of-terror' Jesus?       </p><p align="justify">਀ 
The program admittedly looks not optimal. It seems to be up and going in present-day politics - potentially affiliated with an eastern arm of a european swastika. In my view, it is not a recommendable program. (I have speculated if the russian attack on Ukraine could have included an attempt to stop the global spread of this program).       </p><p align="justify">਀ 
Now it can be shown how the five lines (1.-5.) of my <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=980" target="_new">TEQ #875</a>  read in reverse and ratio-divided format can be recognized in the relevant streetnames of Szolnok around that essential 'Sziget Utca' - and how these conspire on the form of outlines of a mirrored hebrew final 'F' (cp. the role of the mirrored outlines of the map of Bangladesh discussed above):       </p><p align="justify">਀ 
<font size="4">਀㄀ 㴀 匀稀☀愀愀挀甀琀攀㬀渀琀☀漀愀挀甀琀攀㬀 䬀☀漀甀洀氀㬀爀☀甀愀挀甀琀攀㬀琀 㴀 ✀猀愀椀渀琀⼀猀愀渀搀 琀漀漀欀 琀栀攀 攀愀爀 漀甀琀✀                         㰀戀爀㸀 
2 = &#336;sz-T&eacute;l-Rege  = &Ouml;sterreich = &Oslash;-streich                         <br>਀㌀ 㴀 匀稀椀最攀琀 唀琀挀愀 㴀 猀攀攀Ⰰ 最攀琀 甀琀⼀甀瀀Ⰰ 猀愀眀                         㰀戀爀㸀 
4 = R&aacute;ba Utca                         <br>਀㔀 㴀 匀稀☀愀愀挀甀琀攀㬀瘀愀 唀琀挀愀                               㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 
<p align="center">	਀㰀琀愀戀氀攀㸀 
<td align="center"><font size="2">਀㰀椀洀最 猀爀挀㴀∀猀稀漀氀渀漀欀洀愀瀀猀挀爀攀攀渀猀栀漀琀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀∀㌀　　∀㸀㰀戀爀㸀 
<i>The streets around Sziget Utca</i>਀㰀⼀琀搀㸀  
<td>਀☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  
</td>਀㰀琀搀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀 
<img src="szolnokmapannotated1.jpg" height="300"><br>਀㰀椀㸀吀栀攀 栀攀戀爀攀眀 昀椀渀愀氀 ✀䘀✀ 椀渀 琀栀攀猀攀 猀琀爀攀攀琀猀 ⠀洀礀 愀渀渀漀琀愀琀椀漀渀⤀㰀⼀椀㸀 
</td>਀㰀⼀琀愀戀氀攀㸀 
(<i><a href="https://www.google.com/maps/place/47%C2%B010'29.0%22N+20%C2%B011'47.0%22E/@47.1849752,20.1863887,17.33z/data=!4m4!3m3!8m2!3d47.174722!4d20.196389?hl=de"><font size="2">Source Google Maps</a></i>)਀ 
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It is the streetname 'Vas Gereben' (not included in this list of streetnames but being on the map) which attracts most interest here - as it is intersected by the 'rake-teeth' of '&#336;sz-T&eacute;l-Rege' utcas: 'T&eacute;l' = 'winter', '&#336;sz' = 'autumn', 'vas' = 'iron' and 'gereben' means a sort of tool which can have teeth a la e.g. a rake. Hence there is no doubt that the name of 'Dwight David Eisenhower' can have been directly motivated by these streetnames - he was 5-star general leader of the final allied victory in Berlin 1945 and the administrative leader of Germany in the times following it - before he later became US president. It is also possible that his party and White House fellow Reagan could be a name recognized in the 'Rege Utca'. These names add strongly to a recognition of the names of this area as 'potentially politically loaded'. I have also speculated that the Rwanda genocide against the Tutsies could have been about those same 'teeth' of the 'vas gereben' rake - possibly for enhancing the 'divine' factor of somebody - a 'Himmler' madonna holding a Jesus bebe against her 'wranda' in the word-final hebrew 'F'? I notice that if my head were opened not long after birth and a part of the 'visual' lobe scissored away, it is also possible that some 'politician' could have been present for masturbating a spurt on my young cortex - and that this phenomenon is associated with the phenomenon of leftsided gynecomasty later developing on the child subjected to such 'genetic' abuse - hence the idea of 'geno-side' by that leftsided 'wranda' which could have been intended even for shifting the responsibility of a 'hold-o-cost' from the 'final F' ('Endl&ouml;sung'?) madonna to the bebe.       </p><p align="justify">਀ 
'Sziget Utca' could have been interpreted in the sense of 'sighet toucha' for the concept of the (probably) jewish mystery called 'Sob-i-bor' - the <i>visual</i> impression of a high drill going  up and down along with the <i>auditive</i> impression of strong sobs or breathing sounds from a neighbourhood, cp. the official version of a suicide of Himmler before he was buried in some unknown location of 'L&uuml;neburg Wald ' - the school dentistry on my 'tutsies' in 1970 was with a socalled 'lynbor' drill while 'kvalt' means 'strangulated' - by Hitler/Himmler turned into a death camp rather than the original jewish sense of this mystery more resembling a life camp. The rest of Himmler's 'Aktion Reinhard' (Sobibor, Treblinka, Belcez) could likewise have been about this area.       </p><p align="justify">਀ 
If there have been attempts to make the concept of 'beast of terror' stick to my person, it could have been for reasons of this construction.       </p><p align="justify">਀ 
If this 'nazi' political program is still up and going, it would have been under the pretext that 'there is no other solution available for the new information technology'. Clearly such a pretext would rest on a fundamental flaw - the lack of knowledge of the 'visual aspects' of the logic of the italian renaissance recognizable in the reading of my TEQ as discussed above - and in the lack of such an understanding, the political construction has taken recourse to finding the solution in the terror affiliated with this szolnoki streetname 'madonna' due to the visual aspects of the hebrew alphabet.       </p><p align="justify">਀ 
If so, it is likely that the real pretext would have been something more resembling 'there is no other solution available for a murderer than to swap around the entrance tickets for Heaven and Hell'. Clearly this problem could have been felt as acute by many responsible state politicians and royals who, although being aware of the chance for grace offered them by the church, could have doubted that this clerical allotment of grace would have sufficed when they came to St.Peter's.       </p><p align="justify">਀ 
The factor of italian visual art seems to have been tentatively introduced into the political history by the idea of a european swastika turning 90 degrees - for swinging the eastern arm down onto Italy and the british up towards the north where the divine authority of the 'aurora borealis' was hanging like (sinful?) bedsheets down from Heaven. The role of Norway established with its counter-italian shape in 1814 could have been for precisely this mythology.       </p><p align="justify">਀ 
My TEQ constitutes - as shown in the beginning of this article - a bridge from italian renaissance to the current day in such a way that those times of blossom are reinvoked for the cultural development of the society - but when I am displaced from this italian context into the cultural context of Austria where the history of art is another, it came out wrong and the spread of my poetic work did not take the form of a cultural blossoming but on the contrary it took on the form of uncredited borrowing (apparent plagiarisms etc) from my literary work - probably in an attempt to maximize this mistaken 'visual' function of that single final hebrew 'F'. A healthy cultural development does not produce copies but independent work spurred by the intellectual independency and freedom which my work can elicit (see discussion at the end of this article). But if this is replaced with uncredited borrowings and plagiarisms, as in a helpless attempt to imitate the intended potential in the work, then of course things could come out very wrong - however much it could 'look right' - and this would have continued untill the global community could not allow for more of it and put the brakes heavily on with the COVID-19 pandemic. The whole hysteria is now hopefully about to calm down and the world can gradually start trying to move forwards again.       </p><p align="justify">਀ 
But the mystery remains for me: How on earth is it possible that the world continues to respect those nazi intrigues which apparently include my person qua PTRSIM PIK and therefore, it seems, they do not help me get out of those mythological traps? Is it because 'there is no other solution for a state leader carrying much responsibility'? <i>It is only my budget economy which has prevented my relocation to Italy</i>. I applied for political asylum in France in 2002 but did not get it - but I got a pension from Norway 'instead' without which I would not have had much chances. But clearly the massively mistaken apparent global plagiarist program on my authorship has been a very mistaken form of growth and 'resurrection' of the italian art traditions - it looks like a mixmax of metaphysical tickets - and such monkey business would have served only to maximize the 'final F' ('Endl&ouml;sung'?) function of the nazi madonna and not the blossoming of culture which it should have been. My work is not for maximizing mass murder! It seems that COVID-19 with the following economic regression was the only way to stop the madness.       </p><p align="justify">਀ 
Ludwig Wittgenstein could have had a role comparable to mine. He bought or built a cottage in Skjolden in Norway, not Szolnok in Hungary, and it is not impossible that the 'spanish flue' pandemic one hundred years before COVID-19 could have been on a comparable background. Consider e.g. the <a href="burgenlandborder.htm">fishamend's tooth</a> (or 'tutsie') on the new eastern border of Austria since 1919 on the background of Wittgenstein's 'Logisch-Philoso-FISCHE Abhandlung' - later rebaptized into 'Tractatus Logico-Philosophicus'. Clearly such a pandemic should have been avoided this time - and it could probably have been avoided by lending a better economy to me rather than letting my work running into the ditch of apparent uncredited borrowings.       </p><p align="justify">਀ 
The 'Vas Gereben' (pronounced 'vash gereben') streetname in Szolnok could perhaps be recognized in the greek text concerning that problem of moral justification - by the temptations of quasi-divine sanction - of imposing death on fellow beings - for a quasi-imitative quasi-visual format of even the greek - as for the possibly intended option of shifting the responsibility of a 'hold-o-cost' from the old-testamental-hebrew final-F madonna onto the new-testamental-greek bebe - possibly even of 'PTRSIM PIK' type:       </p><p align="justify">਀ 
<font size="3">਀㰀琀愀戀氀攀㸀 
<td valign="top">਀넀봃넃쌃쐃㰃戀爀㸀 
&nbsp; vas<br>਀☀渀戀猀瀀㬀 瘀 
</td>਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 
ας<br><br>as਀㰀⼀琀搀㸀 
<td valign="top">਀쀀딃쐃섃딃㰃戀爀㸀最攀☀渀戀猀瀀㬀 爀攀㰀戀爀㸀最攀☀渀戀猀瀀㬀 爀攀 
</td>਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 
θυσον και<br>਀㰀戀爀㸀 
ben਀㰀⼀琀搀㸀 
<td valign="top">਀였넃댃딃㰃戀爀㸀戀攀渀㰀戀爀㸀 
</td>਀㰀⼀琀愀戀氀攀㸀 
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A norwegian ear would say that 'vaske-reben/reven' sounds like 'to wash the behind' such as the madonna does with the bebe. Hitler/Himmler's ideas of a 'Dritte Reich' could have been about an unfortunate variant of this. There was the 1972 norwegian film 'Norske Byggeklosser' (cp. 'Vaske Reben') from the early 1970's which to me seems to be about the trivialities of mine when I would try to be moving into Sziget Utca decades later - it could have served as a dating and 'responsibility claim' on that 'project'.       </p><p align="justify">਀ 
The story is likely to be about the administrative dream of turning the grand delusion into reality - for the program of lending to administrative logic (based on streetnames etc) a defining role in the constitution of the world. (See below on Grassmann/Cantor). However, the simple explanation is that the 'visual logic' of the italian renaissance could not be easily borrowed into the protestant world - and were there some historic reason for protestantism that would compare with the pessimistic outlook on chances even for murderers? The nazis wanted to turn the whole european swastika 90 degrees - for letting the eastern arm swing down onto Italy and the british arm up to the 'aurora borealis'.       </p><p align="justify">਀ 
Not long after I came to London in the spring 1997, Tony Blair won a landslide victory in the general election. I sent my 'Hammerfest', TEQ book 1, to Faber in late december 1997 or early 1998 but they did not then feel for publishing it. I had then already completed most of book 2 - which later turned out to find an interesting echo in the work of the italian artist Antonio Balestra. A 'blaire' is not exactly the same as a 'ball-es-dra[y]', but some similarities there could be.       </p><p align="justify">਀㰀戀爀㸀 
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਀䤀琀 眀愀猀 瀀爀漀戀愀戀氀礀 椀渀 ㄀㤀㠀㐀 ⠀瀀爀漀戀愀戀氀礀 渀漀琀 ㄀㤀㠀㔀⤀ 琀栀愀琀 䤀 猀瀀攀渀琀 琀栀攀 挀栀爀椀猀琀洀愀猀 ⠀昀爀漀洀 愀 昀攀眀 搀愀礀猀 戀攀昀漀爀攀 挀栀爀椀猀琀洀愀猀 甀渀琀椀氀氀 瀀爀漀戀愀戀氀礀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 樀愀渀甀愀爀礀Ⰰ 漀爀 挀氀漀猀攀 琀漀 椀琀⤀ 椀渀 爀攀渀琀攀搀 昀氀愀琀 椀渀 䈀甀搀愀瀀攀猀琀⸀ 䄀猀 琀栀攀 漀眀渀攀爀 猀栀漀眀攀搀 椀琀 琀漀 洀攀Ⰰ 䤀 爀攀挀愀氀氀 琀栀愀琀 栀攀 猀愀椀搀 猀漀洀攀琀栀椀渀最 愀猀 栀攀 琀甀爀渀攀搀 琀栀攀 欀攀礀 椀渀 琀栀攀 搀漀漀爀 ⴀ 䤀 搀漀 渀漀琀 爀攀洀攀洀戀攀爀 眀栀愀琀 椀琀 眀愀猀 戀甀琀 栀攀 搀椀搀 猀愀礀 猀漀洀攀琀栀椀渀最 眀栀椀挀栀 愀琀琀爀愀挀琀攀搀 洀礀 愀琀琀攀渀琀椀漀渀⸀ 䤀 爀攀挀愀氀氀 愀氀猀漀 琀栀愀琀 栀攀 猀栀漀眀攀搀 洀攀 琀栀攀 欀椀琀挀栀攀渀 猀琀漀瘀攀⸀ 伀渀 挀栀爀椀猀琀洀愀猀 攀瘀攀 䤀 猀琀漀漀搀 椀渀 琀栀攀 欀椀琀挀栀攀渀 眀椀渀搀漀眀 愀渀搀 氀漀漀欀攀搀 漀甀琀 眀栀攀渀 愀 挀愀爀 搀爀椀瘀椀渀最 甀瀀 琀栀攀 氀愀渀攀 挀爀愀猀栀攀搀 眀椀琀栀 愀 挀愀爀 挀漀洀椀渀最 椀渀 琀栀攀 漀瀀瀀漀猀椀琀攀 搀椀爀攀挀琀椀漀渀 昀爀漀洀 愀爀漀甀渀搀 琀栀攀 挀漀爀渀攀爀⸀ 吀栀攀 眀漀洀愀渀 眀栀漀 栀愀搀 搀爀椀瘀攀渀 甀瀀 琀栀攀 氀愀渀攀 猀琀攀瀀瀀攀搀 漀甀琀 愀渀搀 猀琀漀漀搀 眀攀攀瀀椀渀最 眀椀琀栀 栀攀爀 昀愀挀攀 椀渀 栀攀爀 栀愀渀搀猀⸀ 倀爀漀戀愀戀氀礀 戀攀琀眀攀攀渀 挀栀爀椀猀琀洀愀猀 愀渀搀 渀攀眀 礀攀愀爀 䤀 眀攀渀琀 昀漀爀 愀 搀愀礀✀猀 琀爀椀瀀 琀漀 倀攀挀猀 愀渀搀 戀愀挀欀 愀最愀椀渀Ⰰ 愀渀搀 眀栀攀渀 䤀 眀愀猀 愀戀漀甀琀 琀漀 氀攀愀瘀攀 琀栀攀 昀氀愀琀 昀漀爀 最漀椀渀最 戀愀挀欀 琀漀 伀猀氀漀 眀椀琀栀 琀栀攀 琀爀愀椀渀 ⠀愀昀琀攀爀 栀愀瘀椀渀最 氀攀昀琀 琀栀攀 欀攀礀猀 愀琀 琀栀攀 琀漀甀爀椀猀琀 漀昀昀椀挀攀 眀栀攀爀攀 䤀 栀愀搀 最漀琀 椀琀 ⴀ 瀀爀漀戀愀戀氀礀 ✀䈀甀搀愀瀀攀猀琀 吀漀甀爀椀猀琀✀⤀Ⰰ 䤀 昀漀甀渀搀 琀栀愀琀 䤀 渀攀攀搀攀搀 琀漀 椀爀漀渀 洀礀 猀栀椀爀琀 昀漀爀 琀栀攀 琀爀椀瀀 ⠀愀猀 䤀 眀愀猀 最漀椀渀最 琀漀 猀栀愀爀攀 琀爀愀椀渀 挀漀洀瀀愀爀琀洀攀渀琀 眀椀琀栀 漀琀栀攀爀 瀀攀漀瀀氀攀 攀琀挀⤀Ⰰ 愀渀搀 挀漀甀氀搀 戀攀 䤀 爀攀挀愀氀氀攀搀 愀渀 椀渀挀椀搀攀渀琀 眀椀琀栀 愀 挀漀渀瘀攀爀猀愀琀椀漀渀 眀椀琀栀 愀 栀甀渀最愀爀椀愀渀 眀漀洀愀渀 椀渀 愀 洀甀猀攀甀洀 椀渀 䈀甀搀愀瀀攀猀琀 ⴀ 栀漀眀 猀栀攀 甀猀攀搀 琀栀攀 攀砀瀀爀攀猀猀椀漀渀 ✀洀攀爀琀 琀椀猀稀琀愀✀ 㴀 ✀戀攀挀愀甀猀攀 椀琀 椀猀 挀氀攀愀渀✀ 眀栀椀氀攀 昀爀漀眀渀椀渀最 愀 氀椀琀琀氀攀 愀琀 洀礀 猀攀洀椀ⴀ挀氀攀愀渀 猀栀椀爀琀 挀漀氀氀愀爀⸀ 吀栀攀爀攀 眀愀猀 椀渀 琀栀漀猀攀 搀愀礀猀 愀 猀椀最渀 眀椀琀栀 琀栀攀 猀氀漀最愀渀 ✀爀攀渀搀攀猀 栀愀稀Ⰰ 琀椀猀稀琀愀 甀搀瘀愀爀✀ 㴀 ✀漀爀搀攀爀氀礀 栀漀甀猀攀Ⰰ 挀氀攀愀渀 昀爀漀渀琀礀愀爀搀✀ ⴀ 漀爀 眀愀猀 椀琀 瘀椀挀攀 瘀攀爀猀愀 ⴀ 漀渀 琀栀攀 漀甀琀攀爀 眀愀氀氀 漀昀 洀愀渀礀 栀甀渀最愀爀椀愀渀 栀漀甀猀攀猀⸀ 䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀攀 ✀猀瀀漀漀渀✀ 椀渀 琀栀攀 昀漀爀洀 漀昀 ✀栀攀渀渀攀猀 爀愀稀 䤀猀琀攀渀 琀甀搀瘀愀爀✀ ⴀ ✀䤀猀琀攀渀✀ 㴀 ✀䜀漀搀✀ 挀漀甀氀搀 戀攀 琀愀欀攀渀 琀漀 洀攀愀渀 ✀猀椀最栀攀琀 琀漀甀挀栀愀✀ 昀漀爀 琀栀攀 ✀匀漀戀椀戀漀爀✀ 漀昀 琀栀攀 匀稀椀最攀琀 唀琀挀愀 椀渀 匀稀漀氀渀漀欀⸀ ⠀✀吀椀猀稀琀愀 栀愀稀Ⰰ 爀攀渀搀攀猀 甀搀瘀愀爀✀ ☀爀愀爀爀㬀  ✀栀椀猀琀愀ⴀ琀愀稀 攀渀搀攀猀 爀甀搀瘀愀爀✀ 挀漀甀氀搀 挀漀洀瀀愀爀愀戀氀礀 栀愀瘀攀 戀攀攀渀 愀 爀攀昀攀爀攀渀挀攀 琀漀 ✀刀愀戀愀 唀琀挀愀✀㼀⤀ 吀栀攀爀攀 眀愀猀 愀渀 椀爀漀渀椀渀最 琀漀漀氀 椀渀 琀栀攀 昀氀愀琀 戀甀琀 琀栀攀爀攀 眀愀猀 渀漀 猀甀椀琀愀戀氀攀 瀀爀漀琀攀挀琀椀渀最 琀攀砀琀椀氀攀 琀漀 瀀甀琀 甀渀搀攀爀 椀琀 ⴀ 琀栀攀 瘀愀爀渀椀猀栀攀搀 琀愀戀氀攀 挀漀甀氀搀 渀漀琀 戀攀 甀猀攀搀 戀甀琀 琀栀攀爀攀 眀愀猀 愀 猀漀昀愀 愀渀搀 䤀 瀀甀琀 琀栀攀 猀栀椀爀琀 漀渀 琀栀攀 猀漀昀愀 愀渀搀 椀爀漀渀攀搀 椀琀 琀栀攀爀攀⸀ 䠀漀眀攀瘀攀爀Ⰰ 琀栀攀 漀爀愀渀最攀 猀漀昀愀 挀漀愀琀椀渀最 眀愀猀 洀愀搀攀 漀昀 愀 猀甀爀瀀爀椀猀椀渀最氀礀 攀愀猀椀氀礀 洀攀氀琀椀渀最 猀栀漀爀琀ⴀ栀愀椀爀攀搀 瀀氀愀猀琀椀挀 猀琀甀昀昀 愀渀搀 猀漀 琀栀攀 椀爀漀渀 琀漀漀氀 氀攀昀琀 愀 䨀ⴀ猀椀洀椀氀愀爀 洀愀爀欀 漀渀 琀栀攀 漀爀愀渀最攀 瀀氀愀猀琀椀挀 挀漀愀琀椀渀最⸀ 圀栀礀 搀椀搀 䤀 渀漀琀 洀攀渀琀椀漀渀 琀栀椀猀 猀挀愀爀 漀渀 琀栀攀 猀漀昀愀 眀栀攀渀 䤀 氀攀昀琀 琀栀攀 欀攀礀猀 愀琀 琀栀攀 琀漀甀爀椀猀琀 漀昀昀椀挀攀㼀 圀攀爀攀 椀琀 戀攀挀愀甀猀攀 䤀 眀愀猀 愀昀爀愀椀搀 漀昀 戀攀椀渀最 爀甀椀渀攀搀 戀礀 琀栀攀 爀攀瀀愀椀爀 挀漀猀琀猀㼀 䄀猀 䤀 渀漀眀 猀攀攀 椀琀Ⰰ 椀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀攀 猀琀漀爀礀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀渀 椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀 瀀爀攀栀攀爀愀氀搀攀搀 椀渀 䴀漀搀攀爀渀 䰀愀渀最甀愀最攀 刀攀瘀椀攀眀 昀漀爀 漀挀琀漀戀攀爀 ㄀㤀㠀㐀 愀渀搀 琀栀愀琀 攀瘀攀渀 琀栀攀 搀攀猀琀爀甀挀琀椀漀渀 漀昀 琀栀攀 爀甀椀渀猀 漀昀 倀愀氀洀礀爀愀 椀渀 匀礀爀椀愀 愀 昀攀眀 礀攀愀爀猀 愀最漀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 昀漀爀 琀栀椀猀 ✀瀀愀氀洀ⴀ椀爀漀渀 爀甀椀渀✀ 㴀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 猀琀爀攀攀琀⸀ 䤀昀 猀漀Ⰰ 椀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀渀 椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀 昀漀爀 瀀爀攀ⴀ漀爀最愀渀椀稀椀渀最 琀栀愀琀 琀栀攀 猀甀戀樀攀挀琀 ⠀洀攀⤀ 眀漀甀氀搀 氀攀愀瘀攀 愀 ✀䨀✀ⴀ猀栀愀瀀攀 漀渀 琀栀攀 猀漀昀愀 ⴀ 愀渀搀 琀栀椀猀 琀爀椀甀洀瀀栀 挀漀甀氀搀 戀攀 挀攀氀攀戀爀愀琀攀搀 攀瘀攀渀 琀漀搀愀礀 眀椀琀栀 琀栀攀 眀眀眀⸀樀猀琀漀爀⸀漀爀最 眀攀戀 搀漀洀愀椀渀 眀栀椀挀栀 挀漀渀琀愀椀渀猀 愀瀀瀀愀爀攀渀琀氀礀 愀 渀甀洀戀攀爀 漀昀 瀀攀爀椀漀搀椀挀愀氀猀 ⠀瀀漀猀猀椀戀氀礀 漀昀 琀栀椀猀 琀礀瀀攀⤀ ⴀ 眀眀眀⸀樀猀琀漀爀⸀漀爀最⼀氀椀戀爀愀爀椀愀渀猀⼀樀漀甀爀渀愀氀猀 ⴀ 椀渀挀氀甀搀椀渀最 㰀愀 栀爀攀昀㴀∀栀琀琀瀀㨀⼀⼀眀眀眀⸀樀猀琀漀爀⸀漀爀最⼀樀漀甀爀渀愀氀⼀洀漀搀攀氀愀渀最爀攀瘀椀∀㸀琀栀攀 䴀䰀刀 椀琀猀攀氀昀㰀⼀愀㸀⸀ 䤀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀最爀愀洀 漀昀 琀栀愀琀 挀栀爀椀猀琀洀愀猀 ㄀㤀㠀㐀 挀漀甀氀搀 戀攀 猀甀洀洀攀搀 甀瀀 甀渀搀攀爀 琀栀攀 昀漀爀洀甀氀愀 ✀搀愀 猀琀爀椀琀琀攀 爀攀椀挀栀✀㨀 ✀匀琀爀椀琀琀✀ 椀猀 愀 眀漀爀搀 眀栀椀挀栀 洀攀愀渀猀 ✀戀甀猀礀✀ 漀爀 ✀琀椀爀攀猀漀洀攀✀ ⠀愀戀漀甀琀 攀瘀攀爀礀搀愀礀 氀椀昀攀⤀ 戀甀琀 琀栀攀 眀漀爀搀 椀猀 挀氀漀猀攀氀礀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 琀栀攀 椀搀攀愀 漀昀 愀 瀀椀最✀猀 栀愀椀爀 漀爀 昀甀爀Ⰰ 氀攀渀搀椀渀最 爀攀猀椀猀琀攀渀挀攀 琀漀 猀漀洀攀琀栀椀渀最 挀漀洀戀椀渀最 漀爀 猀琀爀漀欀椀渀最 ⠀愀 ✀爀攀椀挀栀✀⤀ 漀瘀攀爀 椀琀⸀ 吀栀攀 眀漀爀欀椀渀最 琀栀攀漀爀礀 栀攀爀攀 挀漀甀氀搀 愀氀猀漀 戀攀 琀栀愀琀 ✀搀愀猀 搀爀椀琀琀攀 刀攀椀挀栀✀ 眀愀猀 愀 挀漀渀挀攀瀀琀 漀昀 䠀椀琀氀攀爀 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀琀攀渀搀攀搀 愀氀爀攀愀搀礀 戀礀 䠀椀琀氀攀爀 戀甀琀 愀氀猀漀 戀礀 瀀漀猀琀眀愀爀 ✀椀渀琀攀氀氀椀最攀渀挀攀✀ 愀猀 愀 挀漀渀挀攀瀀琀 漀渀 洀攀 焀甀愀 㰀愀 栀爀攀昀㴀∀眀栀愀琀椀猀瀀琀爀猀椀洀瀀椀欀⸀栀琀洀∀㸀倀吀刀匀䤀䴀 倀䤀䬀㰀⼀愀㸀 ⴀ 愀渀搀 琀栀攀爀攀 椀猀 琀栀攀 琀栀攀漀爀礀 琀栀愀琀 䤀 眀愀猀 猀甀戀樀攀挀琀攀搀 琀漀 爀愀瀀攀猀 椀渀 搀爀甀最最攀搀 挀漀渀搀椀琀椀漀渀 椀渀 洀礀 攀愀爀氀礀 瀀甀戀攀爀琀礀 戀礀 愀 瀀攀渀椀猀 眀栀椀挀栀 栀愀搀 最漀琀 椀琀猀 挀漀渀琀攀渀琀猀 琀爀愀渀猀瀀氀愀渀琀攀搀 昀爀漀洀 洀礀 漀眀渀 ⴀ 栀攀渀挀攀 琀栀攀 瀀爀漀最爀愀洀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀漀 搀甀洀瀀 戀氀愀洀攀猀 昀漀爀 琀栀攀 爀愀瀀攀猀 漀渀 洀攀⸀ 䤀昀 椀琀 猀栀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 瀀漀猀琀眀愀爀 䠀攀椀渀爀椀挀栀 䠀椀洀洀氀攀爀 眀栀漀 搀椀搀 椀琀Ⰰ 椀琀 挀漀甀氀搀 栀愀瘀攀 椀渀挀氀甀搀攀搀 琀栀攀 戀氀愀洀攀猀 昀漀爀 琀栀攀 栀漀氀漀挀愀甀猀琀⸀ 吀漀 琀栀椀猀 琀栀攀漀爀礀 挀漀洀攀猀 琀栀攀 椀搀攀愀 琀栀愀琀 椀昀 䤀 栀愀搀 戀攀攀渀 猀甀戀樀攀挀琀攀搀 琀漀 愀 猀挀栀漀漀氀戀漀漀欀 眀椀琀栀 愀 栀椀最栀ⴀ爀攀猀漀氀甀琀椀漀渀 椀洀愀最攀 漀昀 䠀攀椀渀爀椀挀栀 䠀椀洀洀氀攀爀Ⰰ 䤀 挀漀甀氀搀 ✀椀渀 愀 昀氀愀猀栀✀ 栀愀瘀攀 爀攀挀漀最渀椀稀攀搀 栀椀猀 椀爀椀猀 椀渀 洀礀 漀眀渀 洀漀琀栀攀爀✀猀 攀礀攀猀 椀昀 猀栀攀 眀攀爀攀 䠀椀洀洀氀攀爀 爀攀戀甀椀氀琀 琀漀 眀漀洀愀渀 愀昀琀攀爀 琀栀攀 眀愀爀 ⴀ 愀 瀀栀攀渀漀洀攀渀漀渀 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 挀愀氀氀攀搀 ✀䘀氀愀猀栀 䜀漀爀搀漀渀✀⸀ 吀栀椀猀 挀漀甀氀搀 愀氀猀漀 栀愀瘀攀 戀攀攀渀 椀渀瘀漀欀攀搀 昀漀爀 琀栀攀 渀愀洀攀 漀昀 ✀䠀愀渀渀愀栀 ✀䘀氀愀猀栀最✀ 䄀爀攀渀搀琀✀ 眀椀琀栀 栀攀爀 ✀䔀椀挀栀洀愀渀渀 椀渀 䨀攀爀甀猀愀氀攀洀✀ ⴀ 栀攀爀攀 昀漀爀 洀攀 焀甀愀 倀吀刀匀䤀䴀 倀䤀䬀 ✀攀椀挀栀洀愀渀渀✀ 愀渀搀 琀栀攀 䨀ⴀ洀愀爀欀 戀攀椀渀最 愀 瘀愀爀椀愀渀琀 漀昀 ✀䨀ⴀ爀甀猀愀氀攀洀✀ ⴀ 漀爀 ✀䨀 搀愀渀猀 氀愀 爀甀攀✀⸀ ✀䄀渀渀愀 䠀愀爀搀栀攀渀搀琀✀ 㴀 ✀琀栀攀 漀琀栀攀爀 栀愀爀搀ⴀ昀椀猀琀攀搀✀Ⰰ 氀椀欀攀 琀栀攀 椀搀攀愀 漀昀 ✀吀礀猀漀渀 挀愀渀 昀椀最栀琀攀✀ 昀漀爀 琀栀攀 最爀攀攀欀 漀昀 䄀挀琀猀 ㄀㄀㨀㜀⸀ ⠀吀栀攀猀攀 ✀䨀ⴀ爀甀猀愀氀攀洀✀ 攀氀攀洀攀渀琀猀 挀漀甀氀搀 戀攀 爀攀挀漀最渀椀稀攀搀 愀氀猀漀 昀爀漀洀 最爀愀昀昀椀琀椀猀 漀渀 琀栀攀 愀猀瀀栀愀氀琀 漀甀琀猀椀搀攀 洀礀 栀漀洀攀 椀渀 伀猀氀漀 漀渀 渀愀琀椀漀渀愀氀 搀愀礀 ㄀㜀 洀愀礀 ㄀㤀㠀㌀ ⴀ 琀栀攀 眀漀爀搀 ✀猀瘀椀渀✀ 㴀 ✀猀眀椀渀攀✀ 昀漀爀 琀栀攀 ✀猀琀爀椀琀琀攀 爀攀椀挀栀✀ 愀渀搀 琀眀漀 瀀栀愀氀氀甀猀攀猀 昀漀爀 ✀䨀 搀愀渀猀 氀愀 爀甀攀✀⤀⸀ 吀栀攀 椀渀瘀攀猀琀椀最愀琀椀漀渀猀 愀最愀椀渀猀琀 䄀爀渀攀 吀爀攀栀漀氀琀 ⠀猀甀猀瀀攀挀琀攀搀 漀昀 戀攀椀渀最 愀 猀瀀礀 昀漀爀 琀栀攀 匀漀瘀椀攀琀 唀渀椀漀渀⤀ 眀愀猀 猀琀愀爀琀攀搀 漀渀 琀栀愀琀 搀愀礀⸀ 䄀渀漀琀栀攀爀 琀眀漀 瀀攀爀猀漀渀猀 ⴀ 戀漀琀栀 漀昀 琀栀攀洀 眀栀椀氀攀 戀攀椀渀最 昀漀爀攀椀最渀 洀椀渀椀猀琀攀爀猀 昀漀爀 琀栀攀 䰀愀戀漀甀爀 最漀瘀攀爀渀洀攀渀琀 漀昀 䜀爀漀 䠀愀爀氀攀洀 䈀爀甀渀搀琀氀愀渀搀 ⴀ 猀攀攀洀 琀漀 栀愀瘀攀 昀愀氀氀攀渀 甀渀搀攀爀 瀀漀琀攀渀琀椀愀氀 猀瀀礀 猀甀猀瀀椀挀椀漀渀猀㨀 䬀渀甀琀 䘀爀礀搀攀渀氀甀渀搀 搀椀攀搀 甀渀搀攀爀 挀椀爀挀甀洀猀琀愀渀挀攀猀 眀栀椀挀栀 挀漀甀氀搀 戀攀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 琀栀攀 猀琀爀攀攀琀渀愀洀攀 ✀䤀昀樀甀猀☀愀愀挀甀琀攀㬀最 唀琀挀愀✀ ⠀搀甀爀椀渀最 愀渀 漀昀昀椀挀椀愀氀 搀椀渀渀攀爀 栀攀 栀甀爀爀椀攀搀 琀漀 琀栀攀 洀攀渀✀猀 琀漀椀氀攀琀 愀渀搀 搀椀攀搀 漀渀 琀栀攀 琀漀椀氀攀琀 爀椀渀最 琀栀攀爀攀Ⰰ 愀猀 椀昀 猀栀漀琀 椀渀 琀栀攀 戀愀挀欀 漀昀 琀栀攀 栀攀愀搀 琀栀爀漀甀最栀 愀 氀椀琀琀氀攀 眀椀渀搀漀眀 猀愀眀攀搀 漀甀琀 椀渀 琀栀攀 戀愀挀欀 眀愀氀氀⤀ 椀渀 琀栀攀 愀爀攀愀 愀爀漀甀渀搀 匀稀椀最攀琀 唀琀挀愀 椀渀 匀稀漀氀渀漀欀Ⰰ 椀渀琀攀爀猀攀挀琀椀渀最 眀椀琀栀 ✀䈀攀爀稀猀攀渀礀椀 唀琀挀愀✀Ⰰ 挀瀀⸀ 愀氀猀漀 琀栀攀 椀琀愀氀椀愀渀 䰀愀戀漀甀爀 瀀漀氀椀琀椀挀椀愀渀 ✀䈀攀爀猀愀渀椀✀Ⰰ 眀栀椀氀攀 琀栀攀 渀攀眀猀 漀昀 琀栀攀 搀攀愀琀栀 漀昀 䨀漀栀愀渀 䨀☀漀猀氀愀猀栀㬀爀最攀渀 䠀漀氀猀琀 挀漀甀氀搀 戀攀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 琀栀攀 猀琀爀攀攀琀渀愀洀攀 ✀匀稀☀愀愀挀甀琀攀㬀渀琀☀漀愀挀甀琀攀㬀 䬀☀漀甀洀氀㬀爀☀甀愀挀甀琀攀㬀琀✀ ⠀琀栀攀 渀攀眀猀 琀漀氀搀 栀攀 栀愀搀 戀攀攀渀 猀甀爀瀀爀椀猀攀搀 椀渀 栀椀猀 戀攀搀爀漀漀洀 戀礀 愀渀 椀渀琀爀甀搀攀爀 ⴀ 栀攀 栀愀搀 最爀愀猀瀀攀搀 昀漀爀 栀椀猀 ✀最漀氀搀 瀀椀猀琀漀氀✀ 戀甀琀 眀愀猀 渀漀琀 焀甀椀挀欀 攀渀漀甀最栀⤀ ⴀ 愀猀 椀昀 栀攀 栀愀搀 戀攀攀渀 椀渀 戀攀搀 眀椀琀栀 愀渀 愀最攀渀琀 愀渀搀 眀愀猀 猀栀漀琀 椀渀 琀栀攀 洀漀洀攀渀琀 漀昀 攀樀愀挀甀氀愀琀椀漀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 琀栀攀漀爀礀 椀猀 琀栀愀琀 琀栀攀 ㄀㤀㠀㐀 挀栀爀椀猀琀洀愀猀 攀瘀攀渀琀 瀀爀椀洀愀爀椀氀礀 挀漀甀氀搀 栀愀瘀攀 猀攀爀瘀攀搀 琀栀攀 瀀甀爀瀀漀猀攀 漀昀 椀渀猀琀愀氀氀椀渀最 琀栀攀 猀琀爀攀攀琀渀愀洀攀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 昀爀漀洀 琀栀攀 猀愀洀攀 愀爀攀愀 漀昀 匀稀漀氀渀漀欀 ⴀ 戀攀琀眀攀攀渀 ✀匀稀☀愀愀挀甀琀攀㬀渀琀☀漀愀挀甀琀攀㬀 䬀☀漀甀洀氀㬀爀☀甀愀挀甀琀攀㬀琀✀ 愀渀搀 ✀䤀昀樀甀猀☀愀愀挀甀琀攀㬀最 唀琀挀愀✀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀 搀椀猀挀甀猀猀 ㌀⬀㄀ 瀀椀攀挀攀猀 漀昀 攀瘀椀搀攀渀挀攀 猀甀瀀瀀漀爀琀椀渀最 琀栀攀 琀栀攀漀爀礀 琀栀愀琀 琀栀攀 䨀ⴀ洀愀爀欀 漀渀 琀栀攀 猀漀昀愀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 瀀爀攀ⴀ栀攀爀愀氀搀攀搀 愀渀搀 栀攀渀挀攀 眀漀甀氀搀 栀愀瘀攀 挀漀甀渀琀攀搀 愀猀 愀渀 ✀椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀✀ 昀漀爀 瀀爀漀戀愀戀氀礀 愀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 瀀爀漀最爀愀洀⸀ 吀栀攀 瀀椀攀挀攀猀 漀昀 攀瘀椀搀攀渀挀攀 䤀 搀椀猀挀甀猀猀 愀爀攀 ㄀⤀ 䴀漀搀攀爀渀 䰀愀渀最甀愀最攀 刀攀瘀椀攀眀 漀挀琀漀戀攀爀 ㄀㤀㠀㐀Ⰰ ㈀⤀ 琀栀攀 渀漀爀眀攀最椀愀渀 吀嘀 猀攀爀椀攀猀 ✀䴀愀爀瘀攀 䘀氀攀欀猀渀攀猀✀ 猀攀渀琀 椀渀 ㄀㤀㠀㠀Ⰰ 愀渀搀 ㌀⤀ 琀栀攀 挀愀爀琀漀漀渀猀 漀昀 吀栀攀 一攀眀 夀漀爀欀攀爀 昀漀爀 挀栀爀椀猀琀洀愀猀 ㄀㤀㠀㐀⸀ 䄀猀 愀 昀漀甀爀琀栀 瀀椀攀挀攀 漀昀 攀瘀椀搀攀渀挀攀 䤀 搀椀猀挀甀猀猀 愀氀猀漀 猀漀洀攀 愀猀瀀攀挀琀猀 漀昀 䤀戀猀攀渀✀猀 ✀䴀愀猀琀攀爀 戀甀椀氀搀攀爀 匀漀氀渀攀猀猀✀ 昀爀漀洀 ㄀㠀㤀㈀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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<b><i>1) MLR october 1984</i></b> - the titles of the articles are these:       </p><p align="justify">਀ 
<font size="4">਀㄀⸀ 吀眀漀 嘀攀爀猀椀漀渀猀 漀昀 琀栀攀 倀爀漀戀氀攀洀 漀昀 琀栀攀 䴀漀搀攀爀渀 䤀渀琀攀氀氀攀挀琀甀愀氀㨀 ∀䔀洀瀀攀搀漀挀氀攀猀 漀渀 䔀琀渀愀∀ 愀渀搀 ∀䌀氀攀漀渀∀⸀ 䈀礀 䨀漀栀渀 䌀漀愀琀攀猀                         㰀戀爀㸀 
2. Browning's "Aristophanes' Apology" and Matthew Arnold. By Jane A. McCusker                         <br>਀㌀⸀ 䈀愀爀漀焀甀攀 漀爀 䈀甀爀氀攀猀焀甀攀㼀 䄀猀瀀攀挀琀猀 漀昀 䘀爀攀渀挀栀 䌀漀洀椀挀 吀栀攀愀琀爀攀 椀渀 琀栀攀 䔀愀爀氀礀 匀攀瘀攀渀琀攀攀渀琀栀 䌀攀渀琀甀爀礀⸀ 䈀礀 䌀⸀ 䔀⸀ 䨀⸀ 䌀愀氀搀椀挀漀琀琀                         㰀戀爀㸀 
4. George Eliot's Nightmare, Proust's Realism. By P. McKenzie                         <br>਀㔀⸀ 刀攀瘀漀氀甀琀椀漀渀 愀渀搀 刀攀瘀椀猀椀漀渀猀 椀渀 䜀攀渀攀琀✀猀 ∀䰀攀 䈀愀氀挀漀渀∀⸀ 䈀礀 䐀愀瘀椀搀 䠀⸀ 圀愀氀欀攀爀                         㰀戀爀㸀 
6. Heroism in an Unheroic Society: Gald&oacute;s's "Lo Prohibido". By Geraldine M. Scanlon                         <br>਀㜀⸀ 刀椀氀欀攀✀猀 ∀䴀愀爀椀攀渀ⴀ䰀攀戀攀渀∀⸀ 䈀礀 䔀氀椀稀愀戀攀琀栀 䈀漀愀                         㰀戀爀㸀 
8. Art and Politics in the Correspondence between Grosz and Brecht, 1934-36. By M. Kay Flavell                         ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㄀ ⴀ 琀栀攀 椀搀攀愀 漀昀 琀栀攀 ✀椀渀琀攀氀氀攀挀琀甀愀氀✀ ⠀洀攀⤀ 戀攀椀渀最 愀 洀攀挀栀愀渀椀挀 搀漀氀氀 甀渀搀攀爀 爀攀洀漀琀攀 挀漀渀琀爀漀氀 昀爀漀洀 琀栀攀 椀渀琀攀氀氀椀最攀渀挀攀 猀攀爀瘀椀挀攀猀 ⴀ 猀甀瀀瀀漀爀琀椀渀最 琀栀攀 琀栀攀漀爀礀 琀栀愀琀 瀀漀猀猀椀戀氀礀 ✀搀爀椀琀琀攀 刀攀椀挀栀✀ 爀愀瀀攀猀 漀昀 洀礀猀攀氀昀 眀攀爀攀 甀渀搀攀爀 洀礀 漀眀渀 ✀愀甀琀栀漀爀椀琀礀✀ 漀爀 愀琀 氀攀愀猀琀 昀氀攀猀栀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㈀ ⴀ ✀䈀爀漀眀渀椀渀最✀ 挀漀甀氀搀 洀攀愀渀 琀栀攀 攀礀攀猀 漀昀 ✀䘀氀愀猀栀 䜀漀爀搀漀渀✀ 眀栀椀氀攀 ∀䄀爀椀猀琀漀瀀栀愀渀攀猀✀ 䄀瀀漀氀漀最礀∀ 挀漀甀氀搀 戀攀 琀攀氀氀椀渀最 漀昀 琀栀攀 ✀愀爀爀✀ 㴀 ✀猀挀愀爀✀ 椀渀 琀栀攀 猀漀昀愀 ⴀ 漀爀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 ✀猀琀漀氀✀ ⴀ 愀渀搀 琀栀攀 椀猀猀甀攀 漀昀 愀瀀漀氀漀最礀 昀漀爀 琀栀攀 搀愀洀愀最攀⸀ 吀栀攀 ✀䨀ⴀ渀愀洀攀 愀 欀甀猀欀攀爀✀ ⴀ 昀漀爀 琀栀攀 ✀䨀 洀愀爀欀✀㼀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㌀ ⴀ 䤀 栀愀瘀攀 渀漀 最漀漀搀 攀砀瀀氀愀渀愀琀椀漀渀 琀漀 琀栀椀猀 漀渀攀 戀甀琀 渀漀琀椀挀攀 琀栀愀琀 ✀欀漀琀琀✀ 椀猀 渀漀爀眀攀最椀愀渀 昀漀爀 愀 猀洀愀氀氀 猀琀漀爀愀最攀 爀漀漀洀Ⰰ 琀礀瀀椀挀愀氀氀礀 漀昀 琀栀攀 欀椀渀搀 眀栀攀爀攀 漀渀攀 挀愀渀 昀椀渀搀 愀渀 椀爀漀渀 昀漀爀 栀漀琀ⴀ椀爀漀渀椀渀最 琀攀砀琀椀氀攀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㐀 ⴀ 吀栀攀 ✀渀椀最栀琀洀愀爀攀✀ 挀漀甀氀搀 ⴀ 椀昀 琀栀椀猀 眀攀爀攀 琀栀攀 猀琀漀爀礀 ⴀ 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 琀栀攀 漀瀀攀爀愀琀椀漀渀愀氀 爀攀瀀氀愀挀攀洀攀渀琀 漀昀 洀礀 瀀攀渀椀猀 挀漀渀琀攀渀琀猀 眀栀椀挀栀 琀栀攀爀攀戀礀 椀猀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 ✀猀琀爀椀琀琀攀 爀攀椀挀栀✀ 愀猀 眀攀氀氀 愀猀 愀 ✀挀愀爀 挀爀愀猀栀✀ ⴀ 昀漀爀 氀攀琀琀椀渀最 琀栀攀 挀愀爀 挀爀愀猀栀 猀攀攀渀 昀爀漀洀 琀栀攀 欀椀琀挀栀攀渀 眀椀渀搀漀眀 戀攀 猀甀最最攀猀琀椀瘀攀 漀昀 琀栀攀 椀搀攀愀 漀昀 愀 ✀䨀✀ 洀愀爀欀 ⴀ 挀瀀⸀ ✀倀 洀愀爀欀 攀渀搀猀 椀✀⸀ 伀琀栀攀爀眀椀猀攀 琀栀攀爀攀 挀漀甀氀搀 戀攀 愀 ✀最漀氀 䜀攀爀ⴀ椀漀琀✀ 昀漀爀 琀栀攀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 椀昀 䰀⼀刀 椀猀 琀栀攀 猀琀漀爀礀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㔀 ⴀ 吀栀攀 ✀爀攀瘀椀猀椀漀渀✀ 漀昀 琀栀攀 ✀最攀渀攀琀椀挀✀ 瀀攀渀椀猀 挀漀渀琀攀渀琀猀 眀漀甀氀搀 眀椀琀栀 琀栀椀猀 栀愀瘀攀 戀攀攀渀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 琀栀攀 瘀椀攀眀 昀爀漀洀 琀栀攀 ✀戀愀氀挀漀渀礀✀ ⴀ 琀栀愀琀 椀猀Ⰰ 琀栀攀 欀椀琀挀栀攀渀 眀椀渀搀漀眀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㜀 ⴀ 琀栀攀 瀀攀渀椀猀 挀漀渀琀攀渀琀猀 㴀 ✀爀漀礀愀氀✀ 戀漀愀 琀爀愀渀猀瀀氀愀渀琀攀搀 漀瘀攀爀 昀爀漀洀 㰀愀 栀爀攀昀㴀∀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀琀栀攀 瀀漀攀琀㰀⼀愀㸀 漀渀琀漀 愀 焀甀愀猀椀 ✀洀愀搀漀渀渀愀✀ 眀椀琀栀 ✀氀攀戀ⴀ戀攀渀✀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㠀 ⴀ 琀栀攀 ✀欀愀礀 昀氀愀瘀攀氀氀✀ 㴀 琀栀攀 ✀欀攀礀 漀昀 昀愀爀攀眀攀氀氀✀Ⰰ 琀栀攀 眀漀爀搀猀 猀愀椀搀 眀栀椀氀攀 漀瀀攀渀椀渀最 琀栀攀 搀漀漀爀 愀渀搀 琀栀攀 氀愀琀攀爀 爀攀琀甀爀渀 漀昀 琀栀攀 欀攀礀猀 琀漀 琀栀攀 琀漀甀爀椀猀琀 漀昀昀椀挀攀 ⠀䤀 搀椀搀 渀漀琀 洀攀攀琀 琀栀攀 漀眀渀攀爀 漀昀 琀栀攀 昀氀愀琀 漀渀 琀栀愀琀 漀挀挀愀猀椀漀渀⤀⸀ 䤀 挀漀甀氀搀 琀栀攀渀 栀愀瘀攀 栀愀搀 琀栀攀 挀栀愀渀挀攀 琀漀 愀瀀漀氀漀最椀稀攀 漀爀 愀琀 氀攀愀猀琀 洀攀渀琀椀漀渀 琀栀攀 ✀猀挀愀爀✀ 漀渀 琀栀攀 猀漀昀愀 戀甀琀 搀椀搀 渀漀琀 ⴀ 愀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 瀀爀攀挀漀洀瀀甀琀攀搀 愀猀 眀攀氀氀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br>਀ 
<i>2) The 'Marve Fleksnes' TV series of 1988</i>       </p><p align="justify">਀ 
The 'Marve Fleksnes' entertainment series was made by norwegian TV - it went for a couple of decades on scandinavian TV, starting well before this 1984 event. <a href="https://en.wikipedia.org/wiki/List_of_Fleksnes_Fataliteter_episodes#Season_6">The series sent in 1988</a> seems possibly to have been based on this Budapest 1984 story - 'pearly gates' = 'girly pates' = 'Budapest' etc - could be the themes of the series suffice for associating my person with 'Marve'. The series is about an unmarried middleaged man 'Marve' (played by Rolv Wesenlund) who works as 'lager/store chief' living together with his mother (played by Aud Schönemann) - and the spoon 'Farve Mleksnes' could support the theory that 'Flash Gordon' is the concept associated with the mother on background of the theory that I could have been exposed to a high-resolution photo of Heinrich Himmler in a schoolbook and in a flash recognized my mother's iris from that photo. ('Fleksnes' could likewise point to a 'Flashg'). The car crash outside the window could then have been organized for invoking my official mother's car crash of 1981 - as far as I remember it was around the time of the attempt on the pope - and it could have been designed in such a way with me visiting her in the hospital that it served to encode the name of 'Volodymyr Oleksandrovich Zelensky' - if he should have been planned already then. 'Farve' = 'colour' (as in the iris) - cp. 'Flash Gordon' and 'Gordon Brown' - while 'Mleksnes' = 'with the school homework'. It seems that the 1988 series in 10 episodes served to encode jointly the 1984 events from Budapest and <a href="https://www.google.com/maps/place/47%C2%B010'29.0%22N+20%C2%B011'47.0%22E/@47.1823674,20.1829161,15.79z/data=!4m4!3m3!8m2!3d47.174722!4d20.196389?hl=de&entry=ttu">the streetnames from the train station to Sziget Utca in Szolnok</a> - the way I had to walk for solving the mystery of 1984 and hence I could come to find the way to the house in Szolnok.    </p><p align="justify">਀ 
The Fleksnes series of 1988 could be analyzed as follows, excerpts from <a href="https://en.wikipedia.org/wiki/List_of_Fleksnes_Fataliteter_episodes#Season_6">this source</a>:     </p><p align="justify">਀ 
<font size="4">਀㄀⸀ ∀䨀愀 搀愀 ጀ†瘀椀 攀氀猀欀攀爀℀∀ 嬀夀攀猀Ⰰ 圀攀✀爀攀 椀渀 䰀漀瘀攀崀   㰀戀爀㸀 
= yes, we turn the key in the flat = 'Szol-(k)nok'? <br>਀✀䨀愀 瘀椀 攀氀猀欀攀爀✀ 椀猀 琀栀攀 渀漀爀眀攀最椀愀渀 渀愀琀椀漀渀愀氀 愀渀琀栀攀洀 ⴀ 眀栀椀氀攀 琀栀攀 栀甀渀最愀爀椀愀渀 椀猀 ∀䤀猀琀攀渀Ⰰ 氀搀搀 洀攀最 愀 洀愀最礀愀爀琀∀ 眀栀椀挀栀 挀漀甀氀搀 爀攀眀爀椀琀攀 琀漀 ✀猀琀攀渀 椀氀搀 搀愀 攀最ⴀ洀愀最礀愀爀琀 洀洀✀ 㴀 ✀ 猀琀漀渀攀ⴀ昀椀爀攀 漀昀 昀氀愀洀攀ⴀ栀甀渀最愀爀礀✀ 㴀 琀栀攀 欀椀琀挀栀攀渀 猀琀漀瘀攀 眀栀椀挀栀 䤀 琀栀椀渀欀 䤀 眀愀猀 椀渀猀琀爀甀挀琀攀搀 愀戀漀甀琀 眀栀攀渀 琀栀攀 漀眀渀攀爀 猀栀漀眀攀搀 琀栀攀 昀氀愀琀⸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㈀⸀ 䴀愀爀瘀攀 琀爀椀攀猀 琀漀 猀琀漀瀀 栀椀猀 洀漀琀栀攀爀 昀爀漀洀 爀攀洀愀爀爀礀椀渀最⸀ 㰀戀爀㸀 
"Her har jeg mitt liv" [This is My Life] <br>਀㴀 䤀䐀 攀琀挀 戀礀 栀愀渀搀漀瘀攀爀 漀昀 琀栀攀 昀氀愀琀㼀 吀栀攀 琀爀愀椀渀 猀琀愀琀椀漀渀 瀀氀愀琀昀漀爀洀 漀昀 匀稀漀氀渀漀欀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀愀爀瘀攀 眀愀欀攀猀 甀瀀 愀琀 琀栀攀 倀攀愀爀氀礀 䜀愀琀攀猀Ⰰ 眀栀攀爀攀 匀琀⸀ 倀攀琀攀爀 氀漀漀欀猀 愀琀 攀瀀椀猀漀搀攀猀 昀爀漀洀 䴀愀爀瘀攀✀猀 氀椀昀攀 ⠀愀渀搀 攀砀琀爀愀挀琀猀 昀爀漀洀 攀愀爀氀椀攀爀 攀瀀椀猀漀搀攀猀 愀爀攀 猀栀漀眀渀⤀⸀ 㴀 倀攀愀爀氀礀 䜀愀琀攀猀 鈀‡䜀椀爀氀礀 倀愀琀攀猀 㴀 䈀甀搀愀 倀攀猀琀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㌀⸀ ∀䈀氀漀搀最椀瘀攀爀攀渀 ✀㠀㠀∀ 嬀吀栀攀 䈀氀漀漀搀 䐀漀渀漀爀 ✀㠀㠀崀 㰀戀爀㸀 
Marve shows St. Peter what happened when Marve went to donate blood. <br>਀㴀 䤀 琀漀漀欀 愀 琀愀砀椀 昀爀漀洀 琀栀攀 爀愀椀氀眀愀礀 猀琀愀琀椀漀渀㼀㴀 吀栀欀ⴀ氀礀 甀琀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㐀⸀ ∀䔀渀猀漀洀 ✀㠀㠀∀ 嬀吀栀攀 䈀攀搀猀椀琀琀攀爀 ✀㠀㠀崀 㰀戀爀㸀 
Marve shows St. Peter what happened when Marve had to celebrate Easter alone. <br>਀㴀 挀攀氀攀戀爀愀琀椀渀最 挀栀爀椀猀琀洀愀猀 椀渀 䈀甀搀愀瀀攀猀琀 㴀 䨀甀戀椀氀攀甀洀 吀爀 ⴀ ✀戀愀爀 伀猀琀攀爀✀ 㴀 ✀䈀愀爀漀猀猀 唀琀挀愀✀㼀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㔀⸀ ∀倀 琀漀瀀瀀ⴀ瀀氀愀渀攀琀 ✀㠀㠀∀ 嬀䌀漀洀攀搀礀 倀氀愀礀栀漀甀猀攀⸀ 吀栀攀 吀攀氀攀瀀栀漀渀攀 䌀愀氀氀 ✀㠀㠀崀 㰀戀爀㸀 
Marve shows St. Peter what happened when Marve tried to stop the Cold War. <br>਀㴀 琀爀椀攀搀 琀漀 甀猀攀 琀栀攀 䠀漀琀 䤀爀漀渀 ⴀ 猀漀氀 㴀 栀漀琀 猀甀渀Ⰰ 瘀愀猀 㴀 椀爀漀渀Ⰰ 猀琀漀瀀 㴀 猀琀漀漀瀀 ⴀ 栀攀渀挀攀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 㴀 琀栀攀 椀爀漀渀椀渀最 琀漀漀氀 瀀爀攀猀猀攀搀 搀漀眀渀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㘀⸀ ∀刀漀琀戀氀礀琀攀 ✀㠀㠀∀ 嬀吀栀攀 刀攀甀渀椀漀渀 倀愀爀琀礀 ✀㠀㠀崀 㰀戀爀㸀 
Marve tries to convince St. Peter that people can change by showing St. Peter what happened when Marve invited some friends from Marve's military service to a party. <br>਀㴀 琀栀攀 洀甀猀攀甀洀 瘀椀猀椀琀 眀椀琀栀 琀栀攀 ✀琀椀猀稀琀愀✀ 㴀 ✀挀氀攀愀渀✀ 眀漀洀愀渀 ⠀猀栀椀爀琀 挀漀氀氀愀爀 攀琀挀⤀⸀ 䠀甀渀最愀爀椀愀渀 ✀挀栀愀渀最攀✀ 洀漀渀攀礀 㴀 䘀䤀䰀䰀준刀Ⰰ 挀瀀⸀ 渀漀爀眀⸀ ✀䘀䤀䰀䰀䔀刀✀ 㴀 ✀琀漀爀渀 琀攀砀琀椀氀攀猀✀Ⰰ ✀爀愀最猀✀Ⰰ 眀栀椀氀攀 ✀䘀䤀匀䔀刀✀ 㴀 ✀昀愀爀琀猀✀Ⰰ 栀攀渀挀攀 ✀䰀椀最攀琀 唀琀挀愀✀ 瘀猀 ✀匀稀椀最攀琀 唀琀挀愀✀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㜀⸀ ∀刀愀搀椀漀琀攀渀 ✀㠀㠀∀ 嬀吀栀攀 刀愀搀椀漀 䠀愀洀 ✀㠀㠀崀 㰀戀爀㸀 
Marve shows St. Peter that he once tried to help somebody by radio. <br>਀㴀 洀攀 戀甀礀椀渀最 栀愀洀 昀漀爀 挀栀爀椀猀琀洀愀猀Ⰰ 愀猀欀椀渀最 昀漀爀 愀搀瘀椀挀攀 椀渀 愀 猀栀漀瀀 ⴀ ✀䴀琀椀猀稀 䬀椀爀氀礀 �琀✀ 㴀 ✀䴀琀 樀攀 猀欀椀爀ⴀ愀氀礀 甀琀✀ 猀甀最最攀猀琀猀 ✀昀漀漀搀 䤀 挀甀琀 漀琀栀攀爀 漀甀琀✀⸀ 䌀瀀⸀ 愀氀猀漀 ✀䤀昀樀切猀最 唀琀挀愀✀ 漀渀 琀栀攀 漀琀栀攀爀 猀椀搀攀 漀昀 匀稀椀最攀琀 唀琀挀愀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㠀⸀ ∀䐀攀琀 最爀 愀氀氀琀椀搀 攀琀 琀漀最 ⴀ 琀愀 瀀氀愀猀猀℀ ✀㠀㠀∀ 嬀吀栀攀 吀爀愀椀渀 䨀漀甀爀渀攀礀 ⴀ 䐀愀眀猀漀渀✀猀 圀攀攀欀氀礀⸀ 匀琀爀愀渀最攀爀猀 椀渀 琀栀攀 一椀最栀琀 ✀㠀㠀崀 㰀戀爀㸀 
Marve shows St. Peter what happened when Marve went to Sweden by train. <br>਀㴀 洀礀 琀爀椀瀀 琀漀 倀攀挀猀 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀Ⰰ 瀀爀漀戀愀戀氀礀 樀甀猀琀 戀攀昀漀爀攀 挀栀爀椀猀琀洀愀猀  㴀 ✀匀稀渀 琀漀欀 ☀漀猀氀愀猀栀㬀爀攀 甀琀✀ 㴀 ✀匀稀渀琀 䬀爀切琀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㤀⸀ ∀䠀礀琀 栀攀渀最攀爀 瘀椀 ✀㠀㠀∀ 嬀吀栀攀 䜀愀氀琀漀渀 ☀ 匀椀洀瀀猀漀渀 倀氀愀礀栀漀甀猀攀⸀ 䌀愀爀 䄀氀漀渀最 吀栀攀 倀愀猀猀 ✀㠀㠀崀   㰀戀爀㸀 
Marve shows St. Peter what happened when Marve and his mother were stuck in a cable car with some foreign tourists. <br>਀㴀 洀攀 猀琀愀渀搀椀渀最 椀渀 琀栀攀 栀椀最栀 ⠀㈀渀搀 昀氀漀漀爀㼀⤀ 欀椀琀挀栀攀渀 眀椀渀搀漀眀 眀栀攀渀 琀栀攀 挀愀爀猀 挀爀愀猀栀攀搀 漀甀琀猀椀搀攀 㴀 ✀吀氀 唀琀挀愀Ⰰ 刀攀最攀 唀琀挀愀Ⰰ ☀⌀㌀㌀㘀猀稀 唀琀挀愀✀ ⠀✀氀甀琀猀愀✀ 猀甀最最攀猀琀猀 ✀氀甀琀攀ⴀ猀攀⠀最⤀✀ 㴀 ✀琀漀 氀攀愀渀⼀猀琀漀漀瀀✀⤀ ⴀ 愀氀猀漀 䰀攀瘀攀渀琀攀 唀琀挀愀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㄀　⸀ ∀䔀渀 猀椀猀琀攀 猀樀愀渀猀攀∀ 嬀䄀 䰀愀猀琀 䌀栀愀渀挀攀崀   㰀戀爀㸀 
St. Peter finally passes judgment on Marve. <br>਀㴀 琀栀攀 爀攀琀甀爀渀 漀昀 琀栀攀 欀攀礀猀 琀漀 琀栀攀 漀眀渀攀爀 漀昀 琀栀攀 昀氀愀琀 ⴀ 漀爀 瀀甀琀琀椀渀最 眀攀椀最栀琀 漀渀 琀栀攀 椀爀漀渀 ⠀欀攀礀⤀㼀  㴀 匀稀愀瘀愀 唀琀挀愀 ⠀☀挀挀攀搀椀氀㬀愀 瘀愀 甀琀猀愀⤀Ⰰ ✀匀椀 最攀琀 甀琀Ⰰ 猀愀✀   㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 
An element such as #7 or #8 could have been added afterwards (1988) but not in advance.           </p><p align="justify">਀ 
Conclusion, if one assumes that the J-mark from the iron had been planned in advance, is that it could have been about creating a reference to <a href="szolnokmapannotated1.jpg">the area in Szolnok which describes the final F</a>  = '&#1507;' (mirrored) of the Madonna with Jesus in her arms (#6) - in the name of the J-name of Josef: ਀✀�搀攀氀愀最琀 猀漀昀愀渀✀ ⠀㴀 ✀搀攀猀琀爀漀礀攀搀 琀栀攀 猀漀昀愀✀⤀ 㴀 ✀혀猀琀攀爀爀攀椀挀栀 刀愀戀愀ⴀ匀稀愀瘀愀✀ 㴀 ✀혀猀稀ⴀ吀攀氀ⴀ刀攀最攀✀ 甀琀挀愀猀 ⴀ 琀栀椀猀 昀漀爀洀 挀漀甀氀搀 栀愀瘀攀 挀爀攀愀琀攀搀 漀瀀琀椀洀椀猀洀 椀渀 䄀甀猀琀爀椀愀 戀礀 愀瘀漀椀搀椀渀最 琀栀攀 爀椀搀椀挀甀氀漀甀猀 ✀☀伀猀氀愀猀栀㬀ⴀ猀琀爀攀椀挀栀✀ 愀猀猀漀挀椀愀琀椀漀渀猀 琀漀 琀栀攀 猀琀爀攀攀琀 漀爀搀攀爀 ✀☀⌀㌀㌀㘀㬀猀稀ⴀ刀攀最攀ⴀ吀攀氀✀⸀         㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀✀嘀愀猀 䜀攀爀攀戀攀渀✀ 㴀 ✀猀琀爀礀欀攀ⴀ樀攀爀渀✀ 㴀 椀爀漀渀椀渀最 琀漀漀氀㨀 ✀嘀愀猀✀ 㴀 ✀椀爀漀渀✀ 眀栀椀氀攀 ✀最攀爀攀戀攀渀✀ 椀猀 愀 猀漀爀琀 漀昀 爀愀欀攀Ⰰ 栀愀挀欀氀攀Ⰰ 栀愀琀挀栀攀琀Ⰰ 樀愀最最攀爀Ⰰ ✀最爀愀搀椀渀攀✀ ⴀ 挀瀀⸀ 愀氀猀漀 䠀愀挀欀攀渀最愀猀猀攀 瀀愀爀愀氀氀攀氀 琀漀 娀椀渀挀欀最愀猀猀攀 椀渀 嘀椀攀渀渀愀  
The 7-volume 'Magyar Nyelv Értelmező Szotára' explains "gereben-ez" = "gerebennel fésü tisztít" = 'with a gereben combing to clean' - hence 'vas gereben' = 'jern-stryke' or simply 'stryke-jern' = 'iron' for 'ironing textiles'. 'Combing' would also suggest 'stroking' as on a pig's 'stritte' fur.         </p><p align="justify">਀ 
'Stryke-jerne[t]' = 'the iron' for ironing, while the same 'stryke hjerne' = 'to delete brain': I was subjected to a cerebral haemorrhage (a 'stroke') in 2003 that in principle could have been by a laser beam. It paralyzed my left hand for a long time.         </p><p align="justify">਀ 
The teeth of the 'Vas Gereben' rake would then be the &#336;sz-Tél-Rege = Österreich = Ø-streich. Whether these teeth also would be the same as the Tutsies of the Rwanda genocide, I dont know. (Search also <a href="abc.htm">the ABC</a> for '12 January 1994').  It was the Hutus who were held responsible. The Rwanda genocide was equinumerable with Treblinka (800.000 dead). Treblinka is my name - and it could be this 'Sziget Utca' phenomenon. Most of my teeth were destroyed by school dentistry in 1970-71. The front lower teeth were allowed to stand, though, as could have been preheralded by PM Per Borten (1965-1971) whose government had my 11th birthday in its exact mid point.         </p><p align="justify">਀ 
'Norske Byggeklosser' (cp. 'Vas Gereben' - 'epít' = 'bygge' and 'rend' = 'order') is a film from the early 1970's which seems to be about me in Sziget Utca some decades later. (Search also <a href="covideasilyexplained.htm">this file</a> for '24 may 2022').  The film was made by 'Pål Bang-Hansen' which then could be a name as a quasi 'responsibility claim' on the destruction of the Palmyra ruins decades later - which here could mean the 'Palm-iron' - cp. the hand-sen turning the key in the door. The area of Sziget Utca was unknown to me at that time but the preparations could have been extensive - such as this film could be telling of.        </p><p align="justify">਀㰀戀爀㸀 
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<i>3)  The cartoons of 'The New Yorker' for christmas 1984</i>       </p><p align="justify">਀ 
The relevant issue is the one of 24 december 1984. This magazine is relevant for reasons of <a href="newyorkerdata.htm">the data discussed in this file</a> which suggest that <a href="whatis1223.htm">the interval of 12 years 2 months and 3 weeks/days</a> is potentially defining - serving as a potential political 'J-mark' relating apparently John F.Kennedy with my birth in 1957 via the '&Ouml;sterreichische Volks-Partei' = '&Ouml;VP'. This makes it relevant to look up also the issue '1223' earlier - it seems that the issue of 7 october 1972 is not relevant but the one 12 years 2 months and 3 days earlier - on 21 october 1972 - seems rather exact and could have been a source for the selection of themes.       </p><p align="justify">਀ 
The cartoons of 24 december 1984 are the following:       </p><p align="justify">਀ 
<font size="4">਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㰀⼀愀㸀  ⴀ 琀甀爀渀椀渀最 琀栀攀 欀攀礀 椀渀 琀栀攀 栀漀氀攀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-2.jpg">Cartoon 2</a> - Weinberger = Sziget Utca (cp. 'Martha's Wineyard'), Schulz = the question of guilt  far as concerns the J-mark on the sofa                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㌀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㌀㰀⼀愀㸀 ⴀ 氀椀洀椀琀愀琀椀漀渀猀 漀昀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀㨀 ✀䐀愀 猀琀爀椀琀琀攀 爀攀椀挀栀✀ ⠀爀攀愀搀椀渀最 渀攀眀猀瀀愀瀀攀爀⤀ 椀猀 猀氀攀攀瀀椀渀最                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-4.jpg">Cartoon 4</a> - auto-fell-achio - automechanic = Edgecumbe + Sobibor mystery                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㔀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 㔀㰀⼀愀㸀 ⴀ 刀愀最渀攀礀 漀爀 䌀愀猀攀礀 㴀 刀愀最渀愀 䜀爀☀漀猀氀愀猀栀㬀瘀攀爀 ⠀漀昀  ✀搀愀 猀琀爀椀琀琀攀 爀攀椀挀栀✀㼀⤀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-6.jpg">Cartoon 6</a> - question of guilt or 'fault', Richter scale                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㜀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 㜀㰀⼀愀㸀 ⴀ 䐀䨀 㴀 琀栀攀 䨀 洀愀爀欀㼀 ⴀ 漀爀 ✀洀攀挀栀愀渀椀挀 猀漀甀渀搀猀✀ 㴀 匀漀戀椀戀漀爀 猀漀甀渀搀猀 ⠀猀漀戀猀 琀漀漀 洀攀挀栀愀渀椀挀 琀漀 戀攀 栀甀洀愀渀Ⰰ 戀甀琀 琀漀漀 渀愀琀甀爀愀氀 琀漀 戀攀 愀 洀愀挀栀椀渀攀⤀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-8.jpg">Cartoon 8</a> - Budapest museum collar frown                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㤀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 㤀㰀⼀愀㸀 ⴀ ✀栀漀爀渀礀✀ 栀漀渀欀椀渀最猀 漀甀琀猀椀搀攀㨀 䐀椀搀 琀栀攀礀 挀甀攀 琀栀攀 䨀 洀愀爀欀 漀渀 琀栀攀 猀漀昀愀 漀昀 琀栀攀 挀栀爀椀猀琀洀愀猀 ㄀㤀㠀㐀 眀椀琀栀 挀愀爀 栀漀渀欀猀 漀甀琀猀椀搀攀㼀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-10.jpg">Cartoon 10</a> - iron (cliche) pressing down on hairy 'straw' of the sofa coating                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㄀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㄀㰀⼀愀㸀 ⴀ 愀瀀瀀爀⸀ ㄀　 礀攀愀爀猀 㴀 愀 ✀搀攀欀欀ⴀ愀搀攀✀ ⴀ 攀愀爀氀椀攀爀Ⰰ 瀀漀猀猀椀戀氀礀 洀椀渀甀猀 愀瀀瀀爀⸀ ㈀ 洀漀渀琀栀猀 愀渀搀 ㌀ 搀愀礀猀⼀眀攀攀欀猀Ⰰ 瀀爀漀戀愀戀氀礀 愀琀 洀礀 愀最攀 ㄀㜀Ⰰ 琀栀攀爀攀 眀愀猀 愀 爀攀挀攀瀀琀椀漀渀 漀昀 昀漀氀欀猀 愀琀 洀礀 最椀爀氀昀爀椀攀渀搀✀猀 眀栀漀 瀀愀琀琀攀搀 琀栀攀 戀攀搀 眀椀琀栀 栀攀爀 昀氀愀琀 瀀愀氀洀 愀猀 昀漀爀 琀攀氀氀椀渀最 洀攀 ∀瀀甀琀 琀栀攀 眀椀渀琀攀爀挀漀愀琀猀 栀攀爀攀∀ ⴀ 琀栀椀猀 洀漀瘀攀洀攀渀琀 漀昀 琀栀攀 栀愀渀搀 椀猀 愀氀猀漀 挀愀氀氀攀搀 ✀䐀䔀䬀䬀✀ 眀栀攀渀 琀漀氀搀 琀漀 愀 搀漀最 椀渀猀琀爀甀挀琀攀搀 琀漀 氀椀攀 搀漀眀渀 漀渀 琀栀愀琀 瀀氀愀挀攀 ⴀ 眀栀椀氀攀 ✀戀攀搀攀欀欀✀ 眀漀甀氀搀 洀攀愀渀 ✀瀀氀攀愀猀攀 挀漀瀀甀氀愀琀攀✀㨀 吀栀攀椀爀 漀眀渀 爀甀猀猀椀愀渀 最爀攀礀栀漀甀渀搀 氀愀琀攀爀 挀愀洀攀 椀渀 眀栀椀氀攀 䤀 眀愀猀 琀栀攀爀攀 愀渀搀 䤀 瀀愀琀琀攀搀 椀琀 眀椀琀栀 洀礀 栀愀渀搀 愀渀搀 挀愀洀攀 瀀攀爀栀愀瀀猀 愀 氀椀琀琀氀攀 挀氀漀猀攀 琀漀 椀琀猀 戀愀挀欀 漀爀椀昀椀挀攀 ⴀ 渀漀琀 椀渀猀椀搀攀 戀甀琀 渀攀愀爀 琀漀 椀琀 ⴀ 琀栀攀爀攀 眀愀猀 渀漀 挀漀椀琀甀猀 漀爀 椀渀瘀漀氀瘀攀洀攀渀琀 漀昀 最攀渀搀攀爀 漀爀最愀渀 氀椀欀攀 琀栀攀 漀渀攀 椀渀 攀最礀瀀琀椀愀渀 昀漀爀 ✀㄀㠀㈀㌀✀ 戀甀琀 洀愀礀戀攀 琀栀攀 焀甀攀猀琀椀漀渀 眀愀猀 眀栀愀琀 眀攀爀攀 琀栀攀猀攀 愀爀爀愀渀最攀洀攀渀琀猀 愀戀漀甀琀 爀攀愀氀氀礀 ⴀ 䤀 戀攀氀椀攀瘀攀搀 琀栀攀 䬀爀☀漀猀氀愀猀栀㬀琀☀漀猀氀愀猀栀㬀攀猀 眀攀爀攀 昀爀椀攀渀搀氀礀 瀀攀漀瀀氀攀 眀椀琀栀漀甀琀 椀渀琀爀椀最甀攀 椀渀琀攀渀琀椀漀渀猀 ⴀ 琀栀攀 瀀甀稀稀氀攀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 眀栀攀琀栀攀爀 愀渀礀戀漀搀礀 眀攀爀攀 瀀甀氀氀椀渀最 瀀攀漀瀀氀攀 戀礀 琀栀攀 渀漀猀攀 漀昀 昀爀椀攀渀搀氀椀渀攀猀猀⸀ 䤀 搀漀 愀渀搀 搀椀搀 渀漀琀 猀甀猀瀀攀挀琀 琀栀攀洀 漀昀 栀漀瀀椀渀最 昀漀爀 猀甀爀瘀攀椀氀氀愀渀挀攀 搀愀琀愀 琀栀愀琀 挀漀甀氀搀 戀攀 甀猀攀搀 琀漀 猀琀攀攀爀 洀攀 愀爀漀甀渀搀 眀椀琀栀 爀攀洀漀琀攀 挀漀渀琀爀漀氀⸀ 䴀礀 栀愀渀搀 搀椀搀 挀漀洀攀 渀攀愀爀 戀甀琀 渀漀琀 漀渀琀漀 琀栀攀 ✀攀搀最攀✀ ⠀挀瀀⸀ 琀栀攀 ✀䔀搀最攀挀甀洀戀攀✀ 攀愀爀琀栀焀甀愀欀攀⤀ 漀昀 琀栀攀 搀漀最✀猀 戀愀挀欀 漀爀椀昀椀挀攀 ⴀ 愀渀搀 琀栀椀猀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 焀甀攀猀琀椀漀渀 眀栀愀琀 琀栀攀 渀愀琀甀爀攀 漀昀 琀栀攀 ✀䐀䔀䬀䬀✀ 洀漀瘀攀洀攀渀琀 漀昀 琀栀攀 栀愀渀搀 爀攀愀氀氀礀 眀愀猀 ⴀ 琀栀攀 最椀爀氀昀爀椀攀渀搀✀猀 爀攀瀀攀愀琀攀搀 洀漀琀椀漀渀 甀瀀 愀渀搀 搀漀眀渀 眀椀琀栀 栀攀爀 栀愀渀搀 愀渀搀 愀 氀漀漀欀 漀渀琀漀 洀攀⸀ 䌀漀甀氀搀 戀攀 椀琀 眀愀猀 愀 氀椀琀琀氀攀 搀甀戀椀漀甀猀 ⴀ 眀栀愀琀 昀漀爀 爀攀愀氀氀礀㼀 ✀嘀愀猀欀攀 爀攀瘀攀渀✀ ⠀挀瀀⸀ ✀嘀愀猀 䜀攀爀攀戀攀渀✀⤀ 㴀 ✀琀漀 眀愀猀栀 琀栀攀 昀漀砀✀ 挀漀甀氀搀 洀攀愀渀 ✀琀漀 眀愀猀栀 琀栀攀 戀攀栀椀渀搀✀⸀ 吀栀椀猀 猀琀漀爀礀 ⴀ 愀戀漀甀琀 ✀㄀　 礀攀愀爀猀 攀愀爀氀椀攀爀✀ ⴀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 戀愀挀欀最爀漀甀渀搀 漀昀 琀栀椀猀 挀愀爀琀漀漀渀⸀ 匀攀攀 愀氀猀漀 挀愀爀琀漀漀渀 㐀 ⴀ 愀 挀愀爀 琀礀爀攀 椀猀 椀渀 渀漀爀眀攀最椀愀渀 挀愀氀氀攀搀 ✀搀攀欀欀✀⸀ 䤀昀 椀渀琀爀椀最甀攀 栀愀搀 眀愀渀琀攀搀 琀漀 挀爀攀愀琀攀 琀栀攀 椀搀攀愀 漀昀 洀攀 瀀爀攀猀猀椀渀最 琀栀攀 ✀䨀✀ 椀渀琀漀 愀 搀漀最Ⰰ 昀漀爀 椀搀攀渀琀椀琀礀 眀椀琀栀 愀 琀栀攀漀爀攀琀椀挀 爀愀瀀攀 漀昀 洀攀 焀甀愀 ✀搀爀椀琀琀攀 刀攀椀挀栀✀ 椀渀 搀爀甀最最攀搀 挀漀渀搀椀琀椀漀渀Ⰰ 椀渀 琀栀攀 栀漀瀀攀 漀昀 琀甀爀渀椀渀最 爀漀氀攀猀 愀爀漀甀渀搀Ⰰ 琀栀攀礀 挀漀甀氀搀 渀漀琀 栀愀瘀攀 昀漀甀渀搀 搀愀琀愀 昀爀漀洀 ㄀㤀㜀㐀 戀甀琀 琀栀攀 挀栀爀椀猀琀洀愀猀 ㄀㤀㠀㐀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 漀爀最愀渀椀稀攀搀 椀渀 琀栀攀 栀漀瀀攀 漀昀 氀甀爀椀渀最 洀攀 椀渀琀漀 瀀爀攀猀猀椀渀最 愀 ✀䨀✀ 椀渀琀漀 愀 ✀昀甀爀✀ 漀昀 愀 猀漀昀愀 ⴀ 挀漀甀氀搀 戀攀 昀漀爀 愀搀搀椀渀最 瀀椀攀挀攀猀 琀漀最攀琀栀攀爀 昀漀爀 挀氀愀椀洀猀 愀戀漀甀琀 琀栀攀 渀愀琀甀爀攀 漀昀 洀礀 ✀洀漀瘀攀洀攀渀琀 漀昀 栀愀渀搀✀Ⰰ 瀀漀猀猀椀戀氀礀 椀渀 琀栀攀 猀攀渀猀攀 漀昀 琀栀攀 栀愀渀搀 琀栀愀琀 眀爀漀琀攀 琀栀攀 瀀漀攀琀爀礀⸀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-12.jpg">Cartoon 12</a> - la gloire, la mer - the woman following 'le general' or 'gendarme' puts her hand on the DEKK = headcover                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㌀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㌀㰀⼀愀㸀 ⴀ 琀栀攀 搀漀最 猀琀漀爀礀 眀愀猀 猀漀洀攀 礀攀愀爀⠀猀⤀ 攀愀爀氀椀攀爀Ⰰ 挀漀甀氀搀 戀攀 漀渀攀 䐀䔀䬀䬀ⴀ欀攀椀搀Ⰰ 搀漀最 椀渀 洀愀渀最攀爀⼀戀攀搀㴀 椀爀漀渀 椀渀 猀漀昀愀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-14.jpg">Cartoon 14</a> - ornton thrainer = Ordon Flashg, 'mount re-keid' could be the 'dritte reich', in which case the 'keid' could add to the 'DEKK-keid'  - here of the 'Grand Piano Klaver', Jastrow = the talmudic hebrew dictionary, cp. also the 'gen-darme' of cartoon 12, the music is by the RING which could be the voice of the next cartoon                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㔀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㔀㰀⼀愀㸀 ⴀ 搀漀椀渀最 愀猀 瀀爀攀猀挀爀椀戀攀搀Ⰰ 戀甀琀 渀漀琀 攀渀琀椀爀攀氀礀 愀甀琀漀洀愀琀椀挀 ⴀ 椀昀 猀甀爀瘀攀椀氀氀愀渀挀攀 栀愀搀 栀漀瀀攀搀 昀漀爀 愀 ✀䨀 椀渀 琀栀攀 昀甀爀✀ 愀 搀攀欀欀ⴀ愀搀攀 愀最漀Ⰰ 琀栀攀礀 搀椀搀 渀漀琀 猀甀挀挀攀攀搀 ⴀ 戀甀琀 渀漀眀 琀栀攀 瘀漀椀挀攀 猀琀愀爀琀猀 最攀琀琀椀渀最 洀漀爀攀 椀渀搀攀瀀攀渀搀攀渀琀 ⴀ 眀栀椀挀栀 挀漀甀氀搀 洀攀愀渀 琀栀攀 漀瀀瀀漀猀椀琀攀 ⴀ 琀栀愀琀 䤀 爀攀愀氀氀礀 昀漀氀氀漀眀攀搀 ✀瀀爀攀瀀爀漀最爀愀洀洀椀渀最✀ 椀渀 ㄀㤀㠀㐀 戀甀琀 渀漀琀 椀渀 ㄀㤀㜀㐀 ⴀ 愀猀 椀昀 昀漀爀 琀甀爀渀椀渀最 琀栀椀猀 昀愀挀琀漀爀 愀爀漀甀渀搀 椀渀 琀椀洀攀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-16.jpg">Cartoon 16</a> - auto-mechanic = of-tome-canic = edge-cumbe = Vas Gereben. Would it have been about a 'nedtrekker' = 'downpuller' or 'downpusher' of the iron into the sofa fur? Ex nihilo matter such as a lapis philosophorum could perhaps be considered an aspect of the 'ex nihilo' phenomenon associated with 'christmas presents'                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㜀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㜀㰀⼀愀㸀 ⴀ 䰀氀漀礀搀 椀猀 愀 渀愀洀攀 椀渀 椀渀猀甀爀愀渀挀攀 ⴀ 挀漀甀氀搀 戀攀 愀戀漀甀琀 挀漀瘀攀爀椀渀最 琀栀攀 攀砀瀀攀渀猀攀猀 眀椀琀栀 琀栀攀 猀漀昀愀㼀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-18.jpg">Cartoon 18</a> - changed party = 'change spar-ti' = the hungarian FILLER for 'fille-rye' textile - woven rugs: I think there were a woven rug there but it was not suitable as undertextile for ironing                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㤀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㤀㰀⼀愀㸀 ⴀ 挀愀爀 挀爀愀猀栀 猀攀攀渀 昀爀漀洀 眀椀渀搀漀眀Ⰰ 琀栀攀 ✀搀漀甀戀氀攀 戀甀琀琀漀渀✀㼀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-20.jpg">Cartoon 20</a> - the hands of the man sitting to the left is perhaps associated with a gesture symbolizing early infancy head opening, in which case the man to the right could symbolize the masturbator. Would the 'Edgecumbe' quake of 1987 be in a field of reference - with a certain 'magen er tyte' = 'magnitude'?                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㈀㄀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㈀㄀㰀⼀愀㸀 ⴀ 猀栀漀爀琀ⴀ栀愀椀爀攀搀 猀漀昀愀 昀甀爀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-22.jpg">Cartoon 22</a> - royal iron pressing on hair - 'da stritte reich'                         <br>਀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㈀㌀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㈀㌀㰀⼀愀㸀 ⴀ 琀栀攀 猀漀昀愀Ⰰ 瀀爀攀猀猀甀爀攀 昀爀漀洀 琀栀攀 ✀圀攀嬀洀崀戀氀攀礀✀ 挀愀爀琀漀漀渀 ㄀㈀㈀㌀ 攀愀爀氀椀攀爀 ⴀ 猀攀攀 䴀椀猀挀栀愀 刀椀挀栀琀攀爀✀猀 挀愀爀琀漀漀渀 漀昀 琀栀攀 椀猀猀甀攀 ㄀㐀 漀挀琀漀戀攀爀 ㄀㤀㜀㈀ ⴀ 眀栀椀氀攀 琀栀攀 ✀攀氀椀琀椀猀琀✀ 挀漀甀氀搀 戀攀 琀栀攀 椀洀洀攀搀椀愀琀攀氀礀 瀀爀攀挀攀搀椀渀最 挀愀爀琀漀漀渀 戀礀 圀愀爀爀攀渀 䴀椀氀氀攀爀Ⰰ 攀渀挀漀搀椀渀最 瀀攀爀栀愀瀀猀 愀氀猀漀 琀栀攀 ㄀㤀㌀㘀 琀椀琀氀攀 漀昀 䈀爀椀琀椀猀栀 䰀椀戀爀愀爀礀 ∀䨀⸀䜀爀漀瘀攀爀㨀 ✀一愀琀甀爀攀✀猀 洀攀氀漀搀礀✀∀ ⴀ 漀琀栀攀爀 䜀爀漀瘀攀爀猀 椀渀 琀栀愀琀 氀椀戀爀愀爀礀 挀愀琀愀氀漀最甀攀 愀爀攀 䨀漀栀渀Ⰰ 漀渀氀礀 琀栀椀猀 椀猀 䨀⸀ 䌀漀甀氀搀 戀攀 琀栀攀 䨀ⴀ洀愀爀欀 ⴀ 椀渀 琀栀攀 猀漀昀愀㼀                         㰀戀爀㸀 
<a href="new-yorker-24-december-1984-24.jpg">Cartoon 24</a> - wanting to run off from the duties with the J-shaped mark                         ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
To this account I add what could be the most important aspect as far as the streetnames of Szolnok is concerned - the hieroglyphic interpretation (see below). Since the one who was in my official father's role died officially on probably 27 november 1990 and this could have been for the hieroglyphics of the year numeral '1823', it is of some importance how that is spelt in hieroglyphs. I have constructed the form <a href="budge5.jpg">1000 = 'kha'</a> +   <a href="budge6.jpg">100 = 'shaa'</a> +  <a href="budge3.jpg">8 = 'khemenu'</a> +   <a href="budge7.jpg">20 = 'tchaut'</a> + <a href="budge4.jpg">3 = 'khemt'</a> (linked quotes from Wallis Budge), and I doubt that the egyptians would have pronounced '800' as 'shaa-shaa-shaa-shaa-shaa-shaa-shaa-shaa' even if it is written like that according to Gardiner, I cannot take the speculations on numerals too far - but constrain the discussion to a few comments on a few of the cartoons:   </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-7.jpg">Cartoon 7</a> can be seen to be about 'pah-shhh-klack' (a variant of this 'shaa-shaa-shaa-shaa-shaa-shaa-shaa-shaa'?) which can be recognized as 'vash-ger-eben' whereby the first two parts can be constituted by hieroglyphic 'uas-qer' = 'Aurora Borealis' via 'uas' = 'happiness, contentment' and 'qer' = 'the north wind'. The remaining 'akh' in egyptian means 'to spread out heaven' which then can mean Grassmann's 'Ausdehnungslehre' (see below) in contrast to Panini's 'Asthadhyayi' which means '8 chapters', here possibly in the sense of '8 chap-tears' for the 'e-ben' = 'e-leg/bone'. Cp. also the name 'Fitzgerald' resembling 'uas-qer-akh'.    </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-9.jpg">Cartoon 9</a> can be understood to be about not only 'Sz&aacute;nt&oacute; K&ouml;r&uacute;t' in the sense of 'Santa driveout', but in hieroglyphic interpreted in <a href="new-yorker-24-december-1984-9-annotated-1.jpg">this format</a> - the elements of the cartoon simply approximate the forms of the hieroglyphs amounting to appr. '1823' = <a href="budge5.jpg">kha</a>   <a href="budge6.jpg">shaa</a>   <a  href="budge3.jpg">khemenu</a>     <a href="budge7.jpg">tchaut</a>  <a href="budge4.jpg">khemt</a>.    </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-11.jpg">Cartoon 11</a> can similarly have been based on the same number in a similar fashion - but with swap of gender effect: The numeral '3' = 'khemt' can be written as in cartoon 9 with the three strokes (here the three persons in the doorway) plus an ejaculating phallus - which here would be the apparent female, in which case the joke would have been "I'm so glad you 'came'. Just throw your clots on the bed". If the hieroglyphic is for the numeral '1823' as in cartoon 9, it could be pronounced 'kha' + 'shaa' +  'khemenu' + 'tchaut' + 'khemt' and it seems that the name of the late 1974 or 1975 girlfriend 'Mette Kr&oslash;t&oslash;e' can be recognized in the '-menu-tchaut-khe-' in such a way that it would call for a rewrite in terms of 't-k-n' = 'teken' = 'to enter, to go in'. 'Tekhtekh' = 'to shake out the hair'. Since the name associates with the sense 'to feed cattle' = 'mette kr&oslash;tter' it clearly calls for a comparison with cartoon 9.    </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-12.jpg">Cartoon 12</a> could be another variant of the same theme of '1823' but in the form of <a href="https://en.wikipedia.org/wiki/Princes_in_the_Tower">the story of king Edward V from 1483</a> which seems to be defining for the whole history, including the role of 'a Duke of York' = 'a doll fitler' (in the 'Task Force') which here could be in the form of the 'gendarme' or 'Ch-Arles de Gaulle'. If this is taken to be the phallus of the numeral '3' = 'khemt', it is seen how the cartoon has a circular form above this 'gendarme' - and the essential story would be in the shift of '1483' into '1843' - a shift which is accomplished by the movement of the hand of the second female behind him - in a 'ta-over' movement for the princes of 1483. (Is it the twin towers of Manhattan in the background?) See also <a href="new-yorker-24-december-1984-8.jpg">cartoon 8</a>. The '1843' is the year of <a href="jg18231843.htm">the second 'John Grover' in British Library</a>.    </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-20.jpg">Cartoon 20</a> shows traces of the same hieroglyphic '1823': There is a circular shape above the doctor's 'phallus' nose over his mention of the 'loaf' = 'bread' underneath. There could be three horizontal strokes on the back of the chair. Before him there are two structures which could amount to the numeral '20' and to the far left there is a structure which resembles the '1000' sign. How the man to the left encodes '800' I dont know - could be the 'hund-RED' is in the Aurora light of the dawn = 'lighten up' on the daily bread.    </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-21.jpg">Cartoon 21</a> likewise shows 8 furry animals around a table etc.    </p><p align="justify">਀ 
<a href="new-yorker-24-december-1984-22.jpg">Cartoon 22</a> shows a circular form over the female 'phallus' and a 'loaf' underneath, with three vertical strokes in the bound curtain to the right. Edward V of 1483 was heir to the throne. Could be the joke is that her husband (the king) likes her better with a 'chimney' = 'khemenu' = '8' in the second last position of the numeral.    </p><p align="justify">਀ 
A good guess could be that all or most of these cartoons show the hieroglyphic form of '1823' plus an aspect of the possibly organized events of 1984.       </p><p align="justify"> ਀ 
It is also possible to make a guess on cartoons 1-6 for the name of 'Szava Utca' pronounced 'sa-va-ut-sa' but here in more cumbersome spelling 'sa-uau-?t-tesh-sa' (the '?' is the pharyngeal fricative 'AIN'): <a href="new-yorker-24-december-1984-3.jpg">cartoon 3</a> = <a href="budge10.jpg">sa = [sound] protection</a>, <a href="new-yorker-24-december-1984-2.jpg">cartoon 2</a> = <a href="budge13.jpg">uau = divine</a>, <a href="new-yorker-24-december-1984-1.jpg">cartoon 1</a> = <a href="budge9.jpg">?t = room, chamber</a>, <a href="new-yorker-24-december-1984-4.jpg">cartoon 4</a> = <a href="budge11.jpg">tesh = to go/depart</a>, <a href="new-yorker-24-december-1984-5.jpg">cartoon 5</a> + <a href="new-yorker-24-december-1984-6.jpg">cartoon 6</a> = <a href="budge12.jpg">sa = behind</a>. Some of these are rather vague, such as the last <a href="budge12.jpg">sa = behind</a> as composed of the 'lip' of <a href="new-yorker-24-december-1984-5.jpg">cartoon 5</a> + the 'courtroom' of <a href="new-yorker-24-december-1984-6.jpg">cartoon 6</a>, but others are quite good such as the ਀㰀愀 栀爀攀昀㴀∀戀甀搀最攀㄀　⸀樀瀀最∀㸀猀漀甀渀搀 瀀爀漀琀攀挀琀椀漀渀 ⬀ 氀漀甀搀猀瀀攀愀欀攀爀 ⬀ 渀攀眀猀瀀愀瀀攀爀 戀攀琀眀攀攀渀㰀⼀愀㸀 漀昀 㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㌀⸀樀瀀最∀㸀挀愀爀琀漀漀渀 ㌀㰀⼀愀㸀Ⰰ 漀爀 琀栀攀 ✀愀椀爀瀀氀愀渀攀✀ 戀椀爀搀 ⬀ 琀眀漀 猀琀椀挀欀猀 挀愀爀爀椀攀搀 戀礀 氀漀挀愀氀猀 椀渀 㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㈀⸀樀瀀最∀㸀挀愀爀琀漀漀渀 ㈀㰀⼀愀㸀 昀漀爀  㰀愀 栀爀攀昀㴀∀戀甀搀最攀㄀㌀⸀樀瀀最∀㸀漀渀攀 漀昀 琀栀攀 最漀搀猀㰀⼀愀㸀⸀ 㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀⸀樀瀀最∀㸀䌀愀爀琀漀漀渀 ㄀㰀⼀愀㸀 椀猀 洀漀爀攀 搀椀昀昀椀挀甀氀琀 戀甀琀 渀漀琀 椀洀瀀漀猀猀椀戀氀攀 琀漀 爀攀挀漀最渀椀稀攀 椀渀 琀栀攀 琀栀爀攀攀 攀氀攀洀攀渀琀猀 漀昀 㰀愀 栀爀攀昀㴀∀戀甀搀最攀㤀⸀樀瀀最∀㸀琀栀攀 最氀礀瀀栀㰀⼀愀㸀⸀ 䤀昀 琀栀椀猀 猀栀漀甀氀搀 戀攀 琀栀攀 挀愀猀攀Ⰰ 椀琀 眀漀甀氀搀 洀攀愀渀 琀栀攀 ✀搀椀瘀椀渀攀 挀甀猀琀漀搀礀✀ 椀渀 琀栀攀 戀愀挀欀 爀漀漀洀 ⴀ 猀甀挀栀 愀猀 椀渀 琀栀攀 搀爀愀甀最栀琀猀洀攀渀✀猀 爀漀漀洀 椀渀 琀栀攀 戀愀挀欀最爀漀甀渀搀 漀昀 䤀戀猀攀渀✀猀 瀀氀愀礀⸀ 䤀昀 琀栀椀猀 椀猀 猀甀瀀瀀漀猀攀搀 琀漀 洀攀愀渀 ✀圀愀氀氀椀猀 䈀甀搀最攀✀Ⰰ 琀栀攀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 挀愀渀 戀攀 琀愀欀攀渀 琀漀 洀攀愀渀 ✀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㠀⸀樀瀀最∀㸀䄀甀爀漀爀愀 䈀漀爀攀愀氀椀猀㰀⼀愀㸀✀ 愀渀搀 栀攀渀挀攀 ✀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㤀⸀樀瀀最∀㸀䄀搀漀氀昀 䠀漀氀稀栀愀甀猀攀渀㰀⼀愀㸀✀ ⠀猀攀攀 戀攀氀漀眀⤀ ⴀ 琀栀攀 猀甀洀 漀昀 琀栀攀 挀愀爀琀漀漀渀猀 挀漀甀氀搀 琀栀攀爀攀戀礀 挀漀渀猀瀀椀爀攀 漀渀 琀栀攀 椀搀攀愀 琀栀愀琀 䠀椀琀氀攀爀 眀愀猀 愀 戀爀椀琀漀渀 ⠀戀礀 琀栀攀 ✀㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㈀㐀ⴀ搀攀挀攀洀戀攀爀ⴀ㄀㤀㠀㐀ⴀ㄀㌀⸀樀瀀最∀㸀猀愀甀挀礀 瀀氀愀最椀愀爀椀猀洀㰀⼀愀㸀✀ 漀昀 ✀䌀愀甀挀栀礀✀⤀ 眀栀漀 眀漀爀欀攀搀 漀渀 戀攀栀愀氀昀 漀昀 䔀渀最氀愀渀搀 搀甀爀椀渀最 圀圀䤀䤀⸀ 吀栀攀 猀琀爀攀攀琀渀愀洀攀 ✀匀稀愀瘀愀 唀琀挀愀✀ 眀漀甀氀搀 戀攀 栀愀爀搀 琀漀 搀攀挀椀瀀栀攀爀 昀爀漀洀 琀栀攀 挀愀爀琀漀漀渀猀 戀甀琀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 挀漀甀氀搀 戀攀 攀愀猀礀 ⴀ 戀甀琀 漀渀氀礀 椀昀 礀漀甀 欀渀漀眀 琀栀攀 渀愀洀攀猀⸀ 㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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For #4, it is noticed that if #11 is supposed to mean 'ten years earlier', then a puzzling phenomenon appears by adding another '12-2-3' to this christmas 1984 event - that takes it to appr. february-march 1997 (when I had just moved to London and got the keys to the flat on 5 march), when the only significant event I could find was the legislation of Ireland that opened up for possible divorce on 3 march 1997 - but <i>ten years earlier</i> there was the dramatic <a href="http://en.wikipedia.org/wiki/1987_Edgecumbe_earthquake">Edgecumbe earthquake</a> on New Zealand, near to the area of 'Grove Farm' - at UTC 01:42:34: If one takes it that 'edge' can refer to the 'egg' of my mid nameform 'jarn-egg', here correlating with 'of-tome' (of the 'automechanic'), the 'jarn' can mean the 'Vas' of 'Vas Gereben', in which case the 'cumb' can mean the 'Gereben'. If one puts the date 2/3 inbetween the hours and the minutes, one gets 1-23-42-34 - or is it only 'pigs' (with 'stritte reich') who thinks like that? But a study of the earthquake data tells that since this quake (a 7 km edge 'cumbed' through the landscape which fell 2 meters down on the other side of it and has since then been more easily flooded, and a long fissure 3 metres wide sank 3-4 metres down with rather vertical walls - a 'pen rille' it could be called in norwegian) cannot have been manmade, it would have been about forces of nature. It was about the 'Edgecumbe fault', as it is called - a puzzling echo of this story from 1984 about whose fault was it really - this J-mark on the sofa? And then one could speculate that the irish legislation could have had a motivation in the Kosovo bombing campaign. (My theory is that the Kennedy assassination and even JFK's involvement of USA in the Vietnam war could have been about Shijing #37 - cp. also <a href="octogon.htm">the '37' of the 'octogon'</a> (the name 'Herdis Eggen' associated with the name of 'Saul Bellow') - which would have been the background why I had to do some 'autofellatio' in my puberty 1971, and after the octogon was over in 1982 my sexual career was closed with another few repeats of such 'autofellatio' in late 1983 - this is otherwise not a part of the story and not a part of the christmas 1984 events, but it could have been invoked for the idea that 'remote manipulation' by e.g. 'secret intelligence' had managed to lure me into it in 1971). There is of course the natural idea that forces of nature through millions of years have formed a natural 'liturgic-diachronic' periodicity which constitute a backbone of the collective historic consciousness of humans and hence is an integral part of a poetic understanding of human reality - and then the Edgecumbe quake would not have been a result of the cartoons in The New Yorker but maybe it could have been the other way round. It would anyhow be about a logic beyond causality if the quake could not have been manmade - and it is extremely important to dissociate such phenomena from my person and not invoke 'stritte reich' explanations to it. People are easily scared if the rules of causality start behaving like the tectonic plates of Edgecumbe. See also my <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=678" target="_new">TEQ #590</a> (from book 9 '...to be an <u>emperor</u>...') - which suggests that this is a poetic phenomenon for which it is hard to find causal explanations.       </p><p align="justify">਀ 
For the Edgecumbe quake, see also title 3 of the MLR data above: "Baroque or Burlesque" could in theory have been about BAR-BUR + 'oque-lesque' = 'Aucklandsk'. It is added also that Hannah Arendt's "Eichmann in Jerusalem" was first published in The New Yorker, over four issues. Could it be that this periodical is always about me qua 'eich-mann' ('Stammbaum') phenomenon - and that is why the book was first published there? And hence that was the J-rusalem? Clearly 'Edgecumbe' is more naturally taken to be about the 'Sobibor' mystery.       </p><p align="justify">਀ 
If the Edgecumbe earthquake of march 1987 could not have been manmade, it can be added that this was the new year when I started working for <a href="musikus.htm">the 'Musikus' project</a> at the university in Oslo. In probably the first meeting of me with the group, professor Dahl arrived in a black suit which he explained with being on his way to a funeral for a young relative. Some time later (probably not a full year later) I got the news that my younger cousin Hans Frode Nedreg&aring;rd had died - they believed he had been surprised by a storm when trying to ski across a mountain, and it was said a year later that he had been identified by his clothes that had been found there - and one observes the possible redundancies relative to the cartoons of The New Yorker that 'hands fraude' could be associated with the authority to the hand that leads the pen of writing, while his family name 'Nedreg&aring;rd' (means 'the lower farm', lower in the landscape) could be associated with the 'nedtrekker' = 'downpuller' and the robotic run-off with the 'ex nihilo' christmas present in cartoon 16. The Edgecumbe earthquake near Grove Farm landed a good part of the landscape 'lower', by the internet article. Clearly if the earthquake were not manmade, the death of my cousin could of course have been. Probably some time later, I shared office in the institute of informatics with 'Dag Diesen', a name which in the present context could have been recognized as 'diesen qua dag[e]' resembling &#952;&#8166;&#963;&#959;&#957;  &#954;&#945;&#8054;  &#966;&#940;&#947;&#949; = 'thuson kai fage'. The name otherwise means 'misty day'.      </p><p align="justify">਀ 
However, more interesting it is perhaps to notice that hieroglyphic egyptian RA = 1) 'sun-god', 2) 'day' = 'Dag',  FA = 'to carry' like pregnant women before they 'breast-nurse' = 'Die', and  EL = 'to, into, more than' = 'sen[d]' which could mean that such a name-formula exists which associates not only with the idea of 'Rafael' but also with 'the day of the Jesus' in 1483, the day when Edward V disappeared. The breast-nursing role adds also to the final hebrew 'F' = '&#1507;' from the Szolnok streetname complex.    </p><p align="justify">਀㰀戀爀㸀 
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਀䤀琀 洀愀礀 栀愀瘀攀 戀攀攀渀 爀愀琀栀攀爀 瀀爀攀挀椀猀攀氀礀 ㄀　 礀攀愀爀猀 愀昀琀攀爀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀 琀栀愀琀 䤀 洀攀琀 倀攀琀琀攀爀 䔀渀漀欀 匀欀愀甀 䨀愀欀漀戀猀攀渀 ⴀ 愀琀 洀礀 昀椀爀猀琀 攀渀挀漀甀渀琀攀爀 眀椀琀栀 栀椀洀 ⠀椀渀 琀栀攀 瀀爀漀戀愀戀氀礀 氀愀琀攀 愀甀琀甀洀渀 ㄀㤀㜀㌀⤀ 栀攀 眀愀猀 漀渀 愀 洀愀琀琀爀攀猀猀 漀渀 愀 昀氀漀漀爀 ⴀ 䤀 琀栀椀渀欀 椀琀 眀愀猀 栀椀猀 戀爀漀琀栀攀爀 伀氀攀 眀栀漀洀 䤀 栀愀搀 挀漀洀攀 琀漀 瘀椀猀椀琀 昀漀爀 猀漀洀攀 漀挀挀愀猀椀漀渀 愀氀漀渀最 眀椀琀栀 漀琀栀攀爀 猀挀栀漀漀氀洀愀琀攀猀 眀栀攀渀 猀漀洀攀戀漀搀礀 ⠀挀漀甀氀搀 戀攀 伀氀攀⤀ 琀漀氀搀 洀攀 琀漀 最漀 琀漀 栀椀猀 戀爀漀琀栀攀爀✀猀 爀漀漀洀 ⴀ 䤀 琀栀椀渀欀 椀琀 眀愀猀 瀀爀漀戀愀戀氀礀 愀瀀瀀爀漀砀椀洀愀琀攀氀礀 氀椀欀攀 琀栀愀琀Ⰰ 愀琀 氀攀愀猀琀 栀攀 眀愀猀 漀渀 愀 洀愀琀琀爀攀猀猀⸀ 䠀攀 挀漀甀氀搀 琀栀攀爀攀戀礀 栀愀瘀攀 戀攀攀渀 琀愀欀攀渀 琀漀 攀渀挀漀搀攀 琀栀攀 爀漀氀攀 漀昀 琀栀攀 漀爀椀最椀渀愀氀 昀愀琀栀攀爀⸀ 䤀 栀愀瘀攀 渀漀琀 挀漀渀猀椀搀攀爀攀搀 猀攀爀椀漀甀猀氀礀 琀栀攀 瀀漀猀猀椀戀椀氀椀琀礀 琀栀愀琀 椀琀 攀瘀攀渀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 栀椀洀Ⰰ 愀氀琀栀漀甀最栀 猀甀挀栀 愀 琀栀攀漀爀攀琀椀挀 挀漀渀猀琀爀甀挀琀椀漀渀 椀猀 漀昀 挀漀甀爀猀攀 瀀漀猀猀椀戀氀攀Ⰰ 眀栀椀挀栀 椀猀 眀栀愀琀 挀漀甀氀搀 洀愀欀攀 琀栀攀 琀栀漀甀最栀琀 漀昀 椀琀 洀漀爀攀 爀攀氀攀瘀愀渀琀 琀栀愀渀 琀栀攀 昀愀挀琀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䠀攀渀挀攀 椀昀 ✀䄀渀渀攀 䠀攀氀攀渀 匀欀甀渀搀戀攀爀最✀ 椀猀 愀 渀愀洀攀 眀栀椀挀栀 椀猀 琀愀欀攀渀 琀漀 攀渀挀漀搀攀 琀栀攀 昀攀洀愀氀攀 瀀愀爀攀渀琀 愀渀搀 ✀倀攀琀琀攀爀 䔀渀漀欀 匀欀愀甀 䨀愀欀漀戀猀攀渀✀ 琀栀攀 洀愀氀攀Ⰰ 琀栀攀猀攀 挀漀洀戀椀渀攀 椀渀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀 昀漀爀 琀栀攀 挀漀渀挀攀瀀琀 漀昀 ✀瀀漀攀琀椀挀 椀渀猀瀀椀爀愀琀椀漀渀✀ ⴀ 愀渀搀 琀栀椀猀 愀最愀椀渀 眀漀甀氀搀 戀攀 琀栀攀 洀愀椀渀 琀栀攀洀攀 昀漀爀 琀栀攀 猀漀昀愀 猀琀漀爀礀 椀渀 ㄀㤀㠀㐀Ⰰ 琀栀攀 琀栀攀洀攀 漀昀 眀栀椀挀栀 眀漀甀氀搀 戀攀 眀栀攀琀栀攀爀 椀琀 眀愀猀 䤀 眀栀漀 搀攀挀椀搀攀搀 琀漀 瀀爀攀猀猀 琀栀攀 瀀攀渀 椀渀琀漀 琀栀攀 瀀愀瀀攀爀 ⠀琀栀攀 椀爀漀渀 椀渀琀漀 琀栀攀 瀀氀愀猀琀椀挀 挀漀愀琀椀渀最 漀昀 琀栀攀 猀漀昀愀⤀ 漀爀 椀昀 椀琀 眀攀爀攀 琀栀攀 猀攀挀爀攀琀 椀渀琀攀氀氀椀最攀渀挀攀猀⸀ 吀栀椀猀 愀最愀椀渀 眀漀甀氀搀 栀愀瘀攀 爀攀瀀攀爀挀甀猀猀椀漀渀猀 昀漀爀 甀渀搀攀爀猀琀愀渀搀椀渀最 琀栀攀 匀稀漀氀渀漀欀 挀漀洀瀀氀攀砀 瘀椀愀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ ⴀ 琀栀攀 昀椀渀愀氀 栀攀戀爀攀眀 ✀䘀✀ 昀漀爀 琀栀攀 䴀愀搀漀渀渀愀 栀漀氀搀椀渀最 琀栀攀 䨀攀猀甀猀 戀攀戀攀 氀椀欀攀 愀 戀爀愀 栀漀氀搀猀 栀攀爀 戀爀攀愀猀琀猀⸀ 䴀礀 倀栀䐀 ⠀㴀 ✀戀爀愀✀Ⰰ ✀猀栀攀攀瀀猀欀椀渀✀⤀ 猀琀椀瀀攀渀搀 昀漀爀 ✀䈀攀爀最攀渀ⴀ䈀攀氀猀攀渀✀Ⰰ 猀漀 琀漀 猀瀀攀愀欀Ⰰ 椀渀 ㄀㤀㤀㔀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 瀀爀攀瀀氀愀渀渀攀搀 昀爀漀洀 琀栀攀 栀漀氀漀挀愀甀猀琀 琀椀洀攀猀 ⴀ 椀渀挀氀甀搀椀渀最 琀栀攀 爀攀樀攀挀琀椀漀渀 漀昀 椀琀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀伀昀 挀漀甀爀猀攀 愀氀氀 琀栀椀猀 椀猀 愀 ✀挀漀甀瀀 愀琀琀攀洀瀀琀✀ 漀渀氀礀 ⴀ 琀栀攀 猀愀洀攀 漀氀搀 猀琀漀爀礀 眀椀琀栀 匀愀琀愀渀 琀爀礀椀渀最 琀漀 挀漀甀瀀 琀栀攀 瀀漀眀攀爀 椀渀 栀攀愀瘀攀渀⸀ 䈀甀琀 椀琀 椀猀 愀氀猀漀 洀愀椀渀氀礀 漀渀 愀渀 ✀椀洀愀最椀渀愀琀椀瘀攀 氀攀瘀攀氀✀ ⴀ 眀栀椀挀栀 洀攀愀渀猀 琀栀愀琀 琀栀攀 椀搀攀愀猀 愀爀攀 洀漀爀攀 爀攀氀攀瘀愀渀琀 琀栀愀渀 琀栀攀 昀愀挀琀猀⸀ 圀栀攀琀栀攀爀 琀栀攀爀攀 爀攀愀氀氀礀 眀攀爀攀 漀琀栀攀爀 椀搀攀渀琀椀琀椀攀猀 栀椀搀椀渀最 戀攀栀椀渀搀 琀栀攀 昀愀挀愀搀攀猀 䤀 挀愀渀渀漀琀 欀渀漀眀 漀爀 挀氀愀椀洀⸀ 䈀甀琀 琀栀攀 挀漀渀挀氀甀猀椀漀渀 琀漀 琀栀攀 猀琀漀爀礀 瘀椀愀 琀栀椀猀 ✀㄀㈀㈀㌀✀ 漀昀 一攀眀 夀漀爀欀攀爀 挀愀爀琀漀漀渀猀 挀漀甀氀搀 戀攀 琀栀愀琀 琀栀攀 爀攀愀氀 椀渀琀攀爀攀猀琀 戀攀栀椀渀搀 琀栀攀 猀漀昀愀 猀琀漀爀礀 椀渀 䈀甀搀愀瀀攀猀琀 ㄀㤀㠀㐀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀 漀昀 ㄀㤀㘀㌀ 漀渀 戀愀挀欀最爀漀甀渀搀 漀昀 愀渀 漀瀀攀渀椀渀最 漀昀 洀礀 栀攀愀搀 椀渀 ㄀㤀㔀㜀⸀ 䄀猀 猀甀挀栀Ⰰ 琀栀攀 匀稀漀氀渀漀欀 愀爀攀愀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 瀀氀愀渀渀攀搀 琀漀 戀攀 琀栀攀 ✀氀漀猀琀 瀀愀爀愀搀椀猀攀✀ ⴀ 瀀爀攀猀攀渀琀 椀渀 琀栀愀琀 栀攀戀爀攀眀 氀攀琀琀攀爀⸀ 䤀 愀洀 猀甀爀攀 琀栀攀礀 挀漀甀氀搀 栀愀瘀攀 洀椀挀爀漀猀挀漀瀀攀搀 琀栀攀 猀挀椀猀猀漀爀攀搀ⴀ漀昀昀 戀爀愀椀渀 琀椀猀猀甀攀 愀猀 眀攀氀氀 昀漀爀 ✀洀愀瀀瀀椀渀最 椀琀 漀渀琀漀✀ 琀栀攀 匀稀漀氀渀漀欀 愀爀攀愀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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਀䐀椀搀 䨀䘀䬀 猀甀爀瘀椀瘀攀 琀栀攀 愀猀猀愀猀猀椀渀愀琀椀漀渀 椀渀 ㄀㤀㘀㌀ 愀渀搀 眀攀渀琀 昀漀爀 愀 渀攀眀 挀愀爀攀攀爀 甀渀搀攀爀 渀攀眀 椀搀攀渀琀椀琀礀 ⴀ 愀渀搀 渀漀眀 攀瘀攀渀 挀漀甀氀搀 瀀氀愀渀 琀漀 栀椀樀愀挀欀 洀礀 眀漀爀欀 戀礀 挀氀愀椀洀椀渀最 琀栀愀琀 栀攀 栀愀猀 眀爀椀琀琀攀渀 琀栀攀洀 ⴀ 愀渀搀 琀栀攀爀攀戀礀 搀甀洀瀀椀渀最 戀氀愀洀攀猀 昀漀爀 琀栀椀猀 愀渀搀 琀栀愀琀 漀渀琀漀 洀攀㼀 䤀 栀漀瀀攀 琀栀愀琀 椀猀 渀漀琀 琀栀攀 挀愀猀攀⸀ 䠀漀眀攀瘀攀爀Ⰰ 氀漀漀欀椀渀最 甀瀀 琀栀攀 一攀眀 夀漀爀欀攀爀 挀愀爀琀漀漀渀猀 漀昀 ㄀㘀 渀漀瘀攀洀戀攀爀 ㄀㤀㘀㌀ 䤀 挀漀甀氀搀 漀戀猀攀爀瘀攀 愀 挀攀爀琀愀椀渀 爀攀搀甀渀搀愀渀挀礀 漀昀 洀礀 礀漀甀渀最攀爀 猀椀猀琀攀爀✀猀 ⠀戀漀爀渀 ㄀㤀㘀㄀⤀ 渀愀洀攀 ✀吀漀渀攀 䠀攀氀攀渀攀 䜀爀☀漀猀氀愀猀栀㬀瘀攀爀✀ 焀甀愀 ✀琀漀渀攀 栀攀ⴀ氀攀渀攀 最ⴀ爀☀漀猀氀愀猀栀㬀瘀攀爀✀ ⠀✀栀攀 氀攀渀攀✀ 㴀 ✀栀攀 氀攀愀渀椀渀最✀⤀ 愀猀 琀栀攀  猀漀甀渀搀 愀渀搀 猀洀攀氀氀 昀爀漀洀 愀 昀氀愀琀甀氀攀渀挀攀 攀猀挀愀瀀椀渀最 昀爀漀洀 甀渀搀攀爀 愀 氀椀昀琀攀搀 戀甀琀琀漀挀欀 漀渀 愀 挀栀愀椀爀 猀攀愀琀 戀攀昀漀爀攀 琀栀攀 戀甀琀琀漀挀欀 椀猀 氀漀眀攀爀攀搀 愀最愀椀渀 ⴀ 挀漀甀氀搀 戀攀 愀 瘀愀爀椀愀渀琀 漀昀 愀 ✀琀栀甀猀漀渀 欀愀椀 昀愀最攀✀ 瀀爀漀最爀愀洀⸀ 吀栀攀 ㄀㐀 ✀倀愀爀攀渀琀猀✀ 䐀愀礀✀ 挀愀爀琀漀漀渀猀 挀漀甀氀搀 椀渀瘀漀欀攀 愀猀猀漀挀椀愀琀椀漀渀猀 琀漀 琀栀攀 渀愀洀攀 漀昀 ✀倀攀琀琀攀爀 䔀渀漀欀 匀欀愀甀 䨀愀欀漀戀猀攀渀✀Ⰰ 眀栀漀洀 䤀 眀愀猀 愀挀焀甀愀椀渀琀攀搀 眀椀琀栀 椀渀 琀栀攀 愀甀琀甀洀渀 ㄀㤀㜀㌀ ⴀ 栀攀爀攀 瀀漀猀猀椀戀氀礀 昀漀爀 洀攀 愀猀 琀栀攀 ✀瀀攀琀琀攀爀✀ 椀渀 琀栀攀 ✀猀欀愀甀✀ 㴀 ✀昀漀爀攀猀琀✀ 漀甀琀猀欀椀爀琀猀 漀昀 ㄀㤀㜀㈀⸀ 䄀 琀栀攀漀爀礀 䤀 栀愀瘀攀 挀漀渀猀琀爀甀挀琀攀搀Ⰰ 眀椀琀栀 氀椀琀琀氀攀 攀洀瀀椀爀椀挀愀氀 戀愀猀椀猀Ⰰ 琀栀漀甀最栀Ⰰ 攀砀挀攀瀀琀 昀漀爀 瀀栀攀渀漀洀攀渀愀 猀甀挀栀 愀猀 琀栀攀猀攀 挀愀爀琀漀漀渀猀 愀渀搀 琀栀椀渀最猀 氀椀欀攀 琀栀愀琀Ⰰ 椀猀 琀栀愀琀 椀昀 洀礀 瀀攀渀椀猀 挀漀渀琀攀渀琀猀 眀攀爀攀 琀爀愀渀猀瀀氀愀渀琀攀搀 漀瘀攀爀 漀渀琀漀 猀漀洀攀戀漀搀礀 攀氀猀攀 昀漀爀 愀 ✀䐀爀椀琀琀攀 刀攀椀挀栀✀ 瀀爀漀最爀愀洀 漀昀 ㄀㤀㜀　ⴀ㜀㄀Ⰰ 琀栀攀渀 䤀 挀漀甀氀搀 椀渀 琀栀攀漀爀礀 栀愀瘀攀 最漀琀 䨀䘀䬀✀猀 瀀攀渀椀猀 挀漀渀琀攀渀琀猀 愀猀 爀攀瀀氀愀挀攀洀攀渀琀 ⴀ 栀攀渀挀攀 琀栀攀 樀漀欀攀 愀 昀攀眀 琀椀洀攀猀 愀戀漀甀琀 ✀䴀爀⸀䤀洀瀀漀爀琀愀渀琀✀⸀ 䌀瀀⸀ 愀氀猀漀 琀栀攀 猀琀漀爀礀 漀昀 䤀渀最攀爀ⴀ䨀漀栀愀渀渀攀 䄀瀀攀渀攀猀 愀渀搀 䄀氀搀漀 䴀漀爀漀 ⠀眀栀漀 眀攀爀攀 洀甀爀搀攀爀攀搀 愀爀漀甀渀搀 琀栀攀 猀愀洀攀 琀椀洀攀⤀ 漀昀 㔀ⴀ㘀 洀愀礀 ㄀㤀㜀㠀 ⴀ 愀昀琀攀爀 眀栀椀挀栀 唀匀䄀 漀渀 ㄀㌀ 洀愀礀 猀攀渀琀 愀 渀攀眀 愀洀戀愀猀猀愀搀漀爀 ✀䄀搀漀氀瀀栀 䐀甀戀猀✀ 琀漀 䄀昀最栀愀渀椀猀琀愀渀 眀栀攀爀攀 琀栀攀爀攀 栀愀搀 戀攀攀渀 愀 挀漀甀瀀 漀渀 ㈀㜀 㴀 氀愀琀攀 愀瀀爀椀氀⸀ 吀栀攀 漀昀昀椀挀椀愀氀 昀愀琀栀攀爀 眀愀猀 漀昀昀椀挀椀愀氀氀礀 戀漀爀渀 漀渀 ㈀㜀 漀挀琀漀戀攀爀 ㄀㤀㄀㘀⸀ 吀栀攀 挀漀渀挀氀甀猀椀漀渀 琀漀 猀甀挀栀 猀瀀攀挀甀氀愀琀椀漀渀猀 挀漀甀氀搀 戀攀 琀栀愀琀 椀昀 琀栀攀 瀀攀琀琀椀渀最 椀渀 琀栀攀 昀漀爀攀猀琀 漀甀琀猀欀椀爀琀猀 漀昀 琀栀攀 愀甀琀甀洀渀 ㄀㤀㜀㈀ 栀愀搀 戀攀攀渀 瀀爀攀ⴀ猀挀栀攀搀甀氀攀搀Ⰰ 漀爀Ⰰ 猀愀礀Ⰰ ✀瀀爀攀ⴀ挀甀攀搀✀ 愀氀爀攀愀搀礀 椀渀 ㄀㤀㘀㌀Ⰰ 琀栀攀 昀椀攀氀搀 漀昀 愀琀琀攀渀琀椀漀渀 椀渀 ㄀㤀㜀㈀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 猀攀攀渀 攀瘀攀渀 愀猀 愀 瀀愀爀琀 漀昀 琀栀攀 挀愀爀琀漀漀渀 琀栀攀洀攀猀 樀甀猀琀 戀攀昀漀爀攀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀⸀ 匀攀攀 攀⸀最⸀ 㰀愀 栀爀攀昀㴀∀渀攀眀ⴀ礀漀爀欀攀爀ⴀ㄀㘀ⴀ渀漀瘀攀洀戀攀爀ⴀ㄀㤀㘀㌀ⴀ㄀㘀⸀樀瀀最∀㸀䌀栀愀爀氀攀猀 匀愀砀漀渀✀猀 ㄀㘀 渀漀瘀攀洀戀攀爀 ㄀㤀㘀㌀ 挀愀爀琀漀漀渀 ⠀倀愀爀攀渀琀猀 䐀愀礀 ㄀　 漀昀 ㄀㐀⤀㰀⼀愀㸀 愀戀漀甀琀 ✀椀爀漀渀礀 愀渀搀 洀攀琀愀瀀栀漀爀✀ 眀栀椀挀栀 椀渀 瀀爀椀渀挀椀瀀氀攀 攀瘀攀渀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 ✀嘀愀猀 ☀ 䜀攀爀攀戀攀渀✀⸀ ⠀✀䴀攀嬀搀崀 琀愀瀀瀀攀爀✀ 㴀 ✀眀椀琀栀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀最氀漀猀戀攀⸀挀漀洀⼀渀戀⼀攀渀⼀琀愀瀀瀀∀㸀琀攀攀琀栀㰀⼀愀㸀✀⤀⸀ 䠀攀渀挀攀 椀昀 琀栀椀猀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 眀攀爀攀 愀 挀漀渀挀攀瀀琀 攀瘀攀渀 昀漀爀 琀栀攀 挀椀爀挀甀洀猀琀愀渀挀攀猀 漀昀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀Ⰰ 琀栀攀爀攀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 猀漀洀攀 琀椀洀攀 瀀攀爀猀瀀攀挀琀椀瘀攀猀 椀渀瘀漀欀攀搀 昀漀爀 琀栀攀 ✀椀爀漀渀 䨀ⴀ洀愀爀欀✀ 漀昀 挀栀爀椀猀琀洀愀猀 ㄀㤀㠀㐀⸀          㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䈀甀琀 挀氀攀愀爀氀礀 椀昀 琀栀攀 瀀漀氀椀琀椀挀愀氀 栀椀猀琀漀爀礀 椀渀挀氀甀搀攀猀 猀甀挀栀 愀渀 攀砀琀攀渀猀椀瘀攀 瀀攀爀猀漀渀愀氀 瀀攀爀猀攀挀甀琀椀漀渀 漀昀 洀攀Ⰰ 愀 渀漀爀洀愀氀 瀀爀椀瘀愀琀 椀渀搀椀瘀椀搀甀愀氀 漀渀氀礀Ⰰ 眀椀琀栀 渀漀 愀昀昀椀氀椀愀琀椀漀渀猀 琀漀 瀀漀氀椀琀椀挀猀Ⰰ 琀栀攀渀 椀琀 椀猀 挀氀攀愀爀 琀栀愀琀 琀栀攀 爀攀氀攀瘀愀渀琀 愀甀琀栀漀爀椀琀椀攀猀 猀漀漀渀攀爀 漀爀 氀愀琀攀爀 眀椀氀氀 栀愀瘀攀 琀漀 挀漀渀昀攀猀猀 愀渀搀 愀瀀漀氀漀最椀稀攀 愀渀搀 挀漀洀瀀攀渀猀愀琀攀 昀漀爀 琀栀椀猀 猀琀漀爀礀⸀ 吀栀攀礀 挀愀渀渀漀琀 琀愀欀攀 椀琀 琀栀愀琀 䤀 猀栀漀甀氀搀 栀愀瘀攀 氀椀欀攀搀 椀琀 漀爀 愀最爀攀攀搀 琀漀 戀攀 椀渀瘀漀氀瘀攀搀 椀渀 琀栀攀 最愀洀攀猀 愀渀搀 瀀氀愀礀猀 昀漀爀 愀 爀漀氀攀 愀猀 愀 ✀䨀攀猀甀猀✀ 漀爀 猀漀洀攀琀栀椀渀最 氀椀欀攀 琀栀愀琀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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<i>4) Ibsen's 'Master builder Solness' </i>       </p><p align="justify">਀ 
The hypothesis that Henrik Ibsen's "Master builder Solness" from 1892 could have been constructed over these streetnames - hence 'Solnes' for 'Szolnok':       </p><p align="justify">਀ 
Here from <a href="https://en.wikipedia.org/wiki/The_Master_Builder">this internet article</a> with my commentaries:       </p><p align="justify">਀ 
<font size="4">਀䠀愀氀瘀愀爀搀 匀漀氀渀攀猀猀Ⰰ 洀愀猀琀攀爀 戀甀椀氀搀攀爀                         㰀戀爀㸀 
<i>= house in Szolnok                       </i>  <br>਀䄀氀椀渀攀 匀漀氀渀攀猀猀Ⰰ 栀椀猀 眀椀昀攀                         㰀戀爀㸀 
<i>= aligned &#336;sz-Tel-Rege                         </i><br>਀䐀漀挀琀漀爀 䠀攀爀搀愀氀Ⰰ 瀀栀礀猀椀挀椀愀渀                         㰀戀爀㸀 
<i>= Szanto K&ouml;rut = sand/true took ear out (= 'sanskrit'?)                         <br>਀㴀 搀漀挀琀漀爀 栀攀愀爀搀 愀氀氀 㴀 猀琀爀礀欀攀 樀攀爀渀⠀攀⤀ 㴀 嘀愀猀 䜀攀爀攀戀攀渀                         㰀⼀椀㸀㰀戀爀㸀 
Knut Brovik, formerly an architect, now in Solness's employment                         <br>਀㰀椀㸀㴀 匀稀椀最攀琀 唀琀挀愀 ⠀✀欀渀漀琀 戀爀椀搀最攀ⴀ戀愀礀✀ 㴀 椀猀氀愀渀搀 㴀 栀甀渀最⸀ ✀匀稀椀最攀琀✀⤀                       㰀⼀椀㸀  㰀戀爀㸀 
Ragnar Brovik, Knut Brovik's son, a draftsman                         <br>਀㰀椀㸀㴀 刀愀戀愀 唀琀挀愀 㴀 刀愀最渀愀ⴀ栀ⴀ䄀爀瀀 刀伀嘀䤀ⴀ欀                       㰀⼀椀㸀  㰀戀爀㸀 
Kaia Fosli, a book-keeper                         <br>਀㰀椀㸀㴀 匀稀愀瘀愀 唀琀挀愀                       㰀⼀椀㸀  㰀戀爀㸀 
Hilda Wangel, a character introduced earlier, in Ibsen's The Lady from the Sea                         <br>਀㰀椀㸀㴀 琀栀攀 挀栀椀洀渀攀礀 㴀 栀甀渀最⸀ 䬀攀洀攀渀礀 ⠀㴀 ✀䬀攀渀渀攀搀礀✀㼀⤀                       㰀⼀椀㸀  㰀戀爀㸀 
Some ladies                         <br>਀㰀椀㸀㴀 漀瀀 椀 爀☀漀猀氀愀猀栀㬀最 ⠀㴀✀甀瀀 椀渀 猀洀漀欀攀✀⤀㼀 椀渀最攀渀 爀☀漀猀氀愀猀栀㬀最 甀搀攀渀 椀氀搀  ⠀✀渀漀 猀洀漀欀攀 眀椀琀栀漀甀琀 昀椀爀攀✀⤀                       㰀⼀椀㸀 㰀戀爀㸀 
Folkemengde = Volk-Menge (a lot of people) in the street                         <br>਀㰀椀㸀㴀 昀漀漀氀 欀攀洀攀渀礀 㴀 䨀漀栀渀 䘀⸀䬀攀渀渀攀搀礀㼀                        㰀⼀椀㸀  
<font size="5">       </p><p align="justify">਀ 
I refer also to <a href="https://www.gutenberg.org/files/4070/4070-h/4070-h.htm">this source</a> for the description of the scenes/stages to the acts. I think I recognize the form of the house in Szolnok - which, though, is said to have been built in 1970. The room is decribed as having a view to the draughtsmen's office: ਀∀䄀䌀吀 䘀䤀刀匀吀㨀 嬀⸀⸀⸀崀 䄀琀 琀栀攀 戀愀挀欀 椀猀 愀渀 漀瀀攀渀 搀漀漀爀 椀渀琀漀 琀栀攀 搀爀愀甀最栀琀猀洀攀渀✀猀 漀昀昀椀挀攀⸀ 嬀⸀⸀⸀崀 䄀 猀洀愀氀氀攀爀 琀愀戀氀攀Ⰰ 眀椀琀栀 愀 爀漀挀欀椀渀最ⴀ挀栀愀椀爀 愀渀搀 愀爀洀ⴀ挀栀愀椀爀Ⰰ 椀渀 昀爀漀渀琀 漀渀 琀栀攀 爀椀最栀琀⸀ 䰀椀最栀琀攀搀 氀愀洀瀀猀Ⰰ 眀椀琀栀 猀栀愀搀攀猀Ⰰ 漀渀 琀栀攀 琀愀戀氀攀 椀渀 琀栀攀 搀爀愀甀最栀琀洀攀渀✀猀 漀昀昀椀挀攀Ⰰ 漀渀 琀栀攀 琀愀戀氀攀 椀渀 琀栀攀 挀漀爀渀攀爀Ⰰ 愀渀搀 漀渀 琀栀攀 搀攀猀欀∀⸀ 䄀渀愀氀礀稀椀渀最 琀栀椀猀 爀攀氀愀琀椀瘀攀 琀漀 洀礀 栀漀甀猀攀 椀渀 匀稀漀氀渀漀欀Ⰰ 䤀 戀攀氀椀攀瘀攀 琀栀愀琀 琀栀攀 搀爀愀甀最栀琀猀洀攀渀✀猀 漀昀昀椀挀攀 眀椀氀氀 戀攀 琀栀攀 猀愀洀攀 愀猀 琀栀攀 愀琀琀愀挀栀攀搀 漀甀琀栀漀甀猀攀 ⴀ 栀漀眀攀瘀攀爀Ⰰ 琀漀 最攀琀 琀栀攀爀攀 漀渀攀 洀甀猀琀 最漀 漀甀琀 昀椀爀猀琀 戀甀琀 椀昀 椀琀 猀栀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 瀀愀爀愀氀氀攀氀 琀漀 䤀戀猀攀渀✀猀 瀀氀愀礀 琀栀攀爀攀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 ✀猀攀挀爀攀琀 挀漀爀爀椀搀漀爀✀ 氀攀愀搀椀渀最 琀栀爀漀甀最栀 琀栀攀 眀愀氀氀 搀漀眀渀 椀渀琀漀 琀栀椀猀 漀甀琀栀漀甀猀攀⸀ 吀栀椀猀 挀漀甀氀搀 戀攀 琀栀攀 猀愀洀攀 瀀栀攀渀漀洀攀渀漀渀 愀猀 椀渀 ✀㰀愀 栀爀攀昀㴀∀愀戀挀⸀栀琀洀∀㸀吀栀攀爀攀✀猀 渀漀 戀甀猀椀渀攀猀猀 氀椀欀攀 猀栀漀眀 戀甀猀椀渀攀猀猀㰀⼀愀㸀✀ ⴀ 琀栀攀 猀攀挀爀攀琀 挀漀爀爀椀搀漀爀 昀爀漀洀 琀栀攀 挀漀爀渀攀爀 栀攀愀琀攀爀 椀渀 洀礀 最爀愀渀搀瀀愀爀攀渀琀猀✀ 栀漀甀猀攀 椀渀 䘀樀攀氀氀最愀琀愀 㜀㈀ ⠀椀渀 ✀䬀氀椀瀀爀愀✀ 椀渀 ☀䄀爀椀渀最㬀氀攀猀甀渀搀⤀ 椀渀 琀漀 琀栀攀 欀椀琀挀栀攀渀 㴀 琀栀爀漀甀最栀 ✀愀渀ⴀ爀攀琀渀椀渀最攀渀✀ ⴀ 挀漀爀爀椀搀漀爀 眀椀琀栀 挀甀瀀戀漀愀爀搀猀 戀攀琀眀攀攀渀 搀椀渀椀渀最 爀漀漀洀 愀渀搀 欀椀琀挀栀攀渀 ⴀ 猀攀愀爀挀栀 㰀愀 栀爀攀昀㴀∀愀戀挀⸀栀琀洀∀㸀琀栀椀猀 昀椀氀攀㰀⼀愀㸀 昀漀爀 ✀戀漀漀欀猀栀攀氀昀✀ ⴀ 栀攀爀攀 琀栀攀 ✀猀攀挀爀攀琀 挀漀爀爀椀搀漀爀✀ 㴀 ✀攀琀琀攀爀ⴀ爀攀琀渀椀渀最攀渀✀ 㴀 ✀琀栀攀 猀攀挀爀攀琀 椀渀琀攀氀氀椀最攀渀挀攀 猀攀爀瘀椀挀攀猀✀ ⴀ 椀渀 匀稀漀氀渀漀欀 琀栀攀爀攀 椀猀 渀漀 挀漀爀爀椀搀漀爀 愀渀搀 琀栀攀 眀愀氀氀 椀猀 瀀爀漀戀愀戀氀礀 椀渀琀攀最攀爀 戀甀琀 琀栀攀爀攀 攀砀椀猀琀猀 愀渀 ✀椀洀愀最椀渀愀爀礀✀ 挀漀爀爀椀搀漀爀 琀栀攀爀攀 漀甀琀 琀漀 琀栀攀 漀甀琀栀漀甀猀攀 眀椀琀栀 愀 爀攀昀爀椀搀最攀爀愀琀漀爀⸀  ∀✀䤀洀愀最椀渀愀爀礀✀ 挀漀爀爀椀搀漀爀 漀甀琀 琀漀 琀栀攀 漀甀琀栀漀甀猀攀 眀椀琀栀 愀 爀攀昀爀椀搀最攀爀愀琀漀爀∀ 挀漀甀氀搀  洀攀愀渀 樀甀猀琀 琀栀攀 猀攀洀椀漀琀椀挀 椀洀愀最攀爀礀 漀昀 琀栀攀 昀椀渀愀氀ⴀ䘀 䴀愀搀漀渀渀愀 栀漀氀搀椀渀最 琀栀攀 戀爀攀愀猀琀ⴀ渀甀爀猀攀搀 椀渀昀愀渀琀⸀ 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 最甀攀猀猀 椀猀 琀栀愀琀 琀栀椀猀 瀀氀愀礀Ⰰ 眀栀椀挀栀 栀攀 眀爀漀琀攀 愀氀漀渀最 眀椀琀栀 ✀䔀礀漀氀昀 䰀椀琀琀氀攀✀ 愀渀搀 ✀䨀漀栀渀 䜀愀戀爀椀攀氀 䈀漀爀欀洀愀渀渀✀Ⰰ 挀漀甀氀搀 戀攀 愀 琀攀渀琀愀琀椀瘀攀 瀀椀攀挀攀 漀昀 攀瘀椀搀攀渀挀攀 琀栀愀琀 䄀搀漀氀昀 䠀椀琀氀攀爀 愀氀猀漀 甀猀攀搀 琀栀椀猀 愀爀攀愀 漀昀 匀稀漀氀渀漀欀 昀漀爀 栀椀猀 ✀䄀欀琀椀漀渀 刀攀椀渀栀愀爀搀✀ 愀渀搀 猀椀洀椀氀愀爀 瀀爀漀最爀愀洀猀 ⴀ 挀漀甀氀搀 戀攀 攀瘀攀渀 眀椀琀栀 猀瀀攀挀椀昀椀挀 愀琀琀攀渀琀椀漀渀 琀漀 洀攀 ✀䨀漀栀渀 䈀樀愀爀渀攀 䜀爀漀瘀攀爀✀ 昀漀爀 琀栀愀琀 ✀䨀漀栀渀 䜀愀戀爀椀攀氀 䈀漀爀欀洀愀渀渀✀ 椀渀 琀栀攀 猀攀渀猀攀 漀昀 琀栀攀 漀渀攀 眀栀漀 栀愀搀 戀攀攀渀 漀瀀攀渀攀搀 椀渀 攀愀爀氀礀 椀渀昀愀渀挀礀 眀椀琀栀 愀 ✀洀愀猀琀甀爀戀愀琀漀爀✀ 猀瀀甀爀琀椀渀最 漀渀琀漀 琀栀攀 挀漀爀琀攀砀 㴀 琀栀攀 ✀洀愀猀琀攀爀戀甀椀氀搀攀爀✀ 漀渀琀漀 琀栀攀 匀稀漀氀渀漀欀㼀         㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 ✀䈀攀氀挀攀稀✀ 瀀栀攀渀漀洀攀渀漀渀 眀栀椀挀栀 䤀 攀砀瀀攀爀椀攀渀挀攀搀 椀渀 琀栀攀 栀漀甀猀攀 椀渀 琀栀攀 猀甀洀洀攀爀 ㈀　㄀㔀 ⴀ 眀栀攀琀栀攀爀 椀琀 眀愀猀 愀渀 愀爀琀椀昀椀挀椀愀氀 洀攀挀栀愀渀椀挀 搀攀瘀椀挀攀 漀爀 椀琀 眀愀猀 愀 爀攀愀氀 㰀愀 栀爀攀昀㴀∀洀攀琀愀瀀栀礀猀椀挀猀⸀栀琀洀∀㸀洀攀琀愀瀀栀礀猀椀挀愀氀 戀攀椀渀最㰀⼀愀㸀 ⴀ 挀漀甀氀搀 戀攀 椀渀搀椀挀愀琀椀瘀攀 漀昀 琀栀攀 椀搀攀愀 琀栀愀琀 琀栀攀 洀礀猀琀攀爀椀漀甀猀 戀攀椀渀最 ⠀攀椀琀栀攀爀 氀攀瘀椀琀愀琀椀渀最 漀爀 爀甀渀渀椀渀最 漀渀 猀椀氀攀渀琀 眀栀攀攀氀猀 ⴀ 琀栀攀爀攀 眀愀猀 瀀攀爀栀愀瀀猀 愀 瘀攀爀礀 猀椀氀攀渀琀 栀甀洀洀椀渀最 昀爀漀洀 猀漀洀攀琀栀椀渀最⤀ 眀愀猀 栀攀愀搀椀渀最 椀渀 琀栀攀 搀椀爀攀挀琀椀漀渀 漀昀 琀栀攀 ✀猀攀挀爀攀琀 挀漀爀爀椀搀漀爀✀ ⴀ 眀栀椀挀栀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀 琀栀攀 眀愀氀氀 眀栀攀爀攀 琀栀攀 栀漀甀猀攀 挀漀爀渀攀爀 栀愀搀 攀椀琀栀攀爀 猀甀渀欀 漀爀 栀愀搀 戀攀攀渀 戀甀椀氀琀 搀攀氀椀戀攀爀愀琀攀氀礀 ㄀　ⴀ㄀㔀 挀洀 氀漀眀攀爀 琀栀愀渀 琀栀攀 爀攀猀琀 漀昀 琀栀攀 栀漀甀猀攀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀栀礀 搀椀搀 琀栀攀礀 漀爀最愀渀椀稀攀 愀氀氀 琀栀攀猀攀 琀栀椀渀最猀 ⴀ 猀甀挀栀 愀猀 愀瀀瀀愀爀攀渀琀氀礀 琀栀愀琀 猀漀昀愀 猀琀漀爀礀 昀爀漀洀 ㄀㤀㠀㐀㼀 圀漀甀氀搀 椀琀 栀愀瘀攀 戀攀攀渀 搀攀猀椀最渀攀搀 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 椀琀 氀攀搀 琀漀 甀渀猀甀爀洀漀甀渀琀愀戀氀攀 瀀爀漀戀氀攀洀猀 眀栀椀挀栀 挀漀甀氀搀 戀攀 猀漀氀瘀攀搀 漀渀氀礀 椀渀 漀渀攀 眀愀礀 ⴀ 琀栀愀琀 䤀 戀漀甀最栀琀 琀栀攀 栀漀甀猀攀 椀渀 匀稀椀最攀琀 唀琀挀愀 愀渀搀 琀栀攀爀攀戀礀 挀愀洀攀 琀漀 甀渀搀攀爀猀琀愀渀搀 眀栀愀琀 琀栀攀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 眀愀猀㼀 䤀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 挀漀渀猀琀爀甀挀琀漀爀猀 漀昀 琀栀攀 椀渀琀爀椀最甀攀猀 猀攀攀洀 琀漀 琀爀礀 愀渀搀 挀漀渀猀琀爀甀挀琀 愀 渀攀眀 焀甀愀猀椀ⴀ爀攀氀椀最椀漀渀㼀 圀栀攀渀 琀栀攀 伀猀氀漀 琀攀爀爀漀爀 琀漀漀欀 瀀氀愀挀攀 椀渀 ㈀　㄀㄀Ⰰ 䈀爀攀椀瘀椀欀 眀椀琀栀 栀椀猀 ✀㰀椀㸀椀爀漀渀 琀漀漀氀㰀⼀椀㸀✀ ⠀✀嘀愀猀✀⤀ 眀愀猀 ✀㰀椀㸀挀漀洀戀椀渀最 愀挀爀漀猀猀㰀⼀椀㸀✀ ⠀✀䜀攀爀攀戀攀渀✀⤀ 琀栀攀 ✀唀琀ⴀ☀漀猀氀愀猀栀㬀礀ⴀ愀✀ 㴀 ✀甀琀ⴀ椀猀氀愀渀搀ⴀ嬀挀崀愀✀ 㴀 ✀猀稀椀最攀琀 甀琀嬀挀崀愀✀ ⴀ 愀渀搀 琀栀椀猀 挀漀甀氀搀 猀甀昀昀椀挀攀 昀漀爀 洀攀 琀漀 昀椀渀搀 琀栀攀 瀀氀愀挀攀 椀渀 ㈀　㄀㔀㼀 䤀琀 椀猀 攀砀琀爀攀洀攀氀礀 椀洀瀀漀爀琀愀渀琀 琀漀 甀渀搀攀爀猀琀愀渀搀 琀栀愀琀 猀甀挀栀 挀漀渀猀琀爀甀挀琀椀漀渀猀 漀昀 洀礀琀栀漀氀漀最椀挀愀氀 爀攀氀椀最椀漀渀 挀愀渀渀漀琀 戀攀 琀栀攀 爀椀最栀琀 猀漀氀甀琀椀漀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀椀渀愀氀氀礀Ⰰ 椀琀 挀愀渀 戀攀 愀搀搀攀搀 琀栀愀琀 琀栀攀爀攀 椀猀 愀 琀爀椀瘀椀愀氀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 漀昀 琀栀攀 猀漀昀愀 猀琀漀爀礀 昀爀漀洀 ㄀㤀㠀㐀 椀渀 琀栀攀 昀愀挀琀 琀栀愀琀 洀礀 渀愀洀攀 ⠀栀攀爀攀 愀氀猀漀 爀攀氀愀琀椀瘀攀 琀漀 ✀䨀漀栀渀 䜀愀戀爀椀攀氀 䈀漀爀欀洀愀渀渀✀⤀ 挀愀渀 戀攀 爀攀愀搀 愀猀 愀 䨀ⴀ漀渀 䈀ⴀ樀愀爀渀攀嬀最崀 䜀爀ⴀ漀瘀攀爀 ⴀ 眀栀椀挀栀 挀愀渀 戀攀 戀爀漀甀最栀琀 焀甀椀琀攀 挀氀漀猀攀 琀漀 猀攀渀猀攀 漀昀 琀栀攀 椀爀漀渀 ⠀㴀 ✀樀愀爀渀攀嬀琀崀✀⤀ 琀漀漀氀 猀琀漀爀礀 爀攀氀愀琀椀瘀攀 琀漀 嘀愀猀 䜀攀爀攀戀攀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br>਀ 
<font size="6">਀㰀戀㸀㰀椀㸀㐀⸀ 倀愀渀椀渀椀 愀渀搀 一漀渀漀㰀⼀椀㸀㰀⼀戀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="5">਀ 
It is shown that the idea of reading the text of my TEQ backwards is what rescues the world from the tragic nazi misunderstanding of going through the szolnoki streetnames as a keyhole to heaven even for those who feel that they have no chances otherwise.       </p><p align="justify">਀ 
It may be that this is mainly a phenomenon in what is called a state's intelligence services. It may be a very old problem - that the government - who gets its power from the selection of the people, the people (s)electing the government - depends in its daily work on the information from the intelligence services - and therefore the intelligence, who per definition should be devoid of any power at all, harvests some power when they give or <i>select</i> false or insufficient information since that increases the government's dependency on them. Since only humans work in those intelligence services, it has always been a problem - and it constitutes a 'converse' (or 'backwards') form of (s)electional power: <i>The government gets their power from the people's</i> (democratic or other form of) <i>selection of their government while the intelligence gets their converse power from their own selection of the information they present to the government</i>. This 'converse' power phenomenon could be the reason for the apparent attempts to construct a 'quasi-religion' that could swap the roles of good and bad - and, via the 'intelligence' about streetname indexes in Szolnok (= 'sunray knock' after <a href="https://en.wikipedia.org/wiki/Knock_Shrine">the 1879 revelation of Knock in Ire-land</a>?), they could have hoped to find a metaphysical rooting. It was after I published <a href="metaphysics.htm">this article</a> in the spring 2019 that my house in Sziget Utca was burglared - and half a year later there followed the election in Steiermark (anglophonic 'Styria') opening on 15 november 2019 which was followed by the first attested occurrence of COVID-19 - on 17 november 2019. It could have been about this phenomenon of democratic governmental power stained with systematic problem of intelligence. The <a href="newyorkerdata.htm">&Ouml;sterreichishe Volks-Partei</a> progressed markedly in this election.       </p><p align="justify">਀ 
Intelligence power probably comes from the problem of giving in to temptations. The pretext for intelligence power could be the idea that 'it is inavoidable since intelligence work is to select information in the right way and since perfect selection is not always possible for a human being after the Fall, such power cannot be avoided'. But that is of course no real reason: Nobody can be the perfect parent - but that is not a valid reason for beating up the children.       </p><p align="justify">਀ 
'Thuson kai fage' was the order from heaven which Peter three times did not give in to - and 'thereby' Peter came to be the cliff of the christian church. It was a temptation which he resisted - but since the problem of intelligence is that they have to give in to some temptations in order to be able to select the right information, while the government could feel that they secure their place in heaven by discarding this and that temptation-stained intelligence in their selection for the right decision, it may have been turned into the essential tenet of this attempt to construct a 'converse' religion for those metaphyiscal problems which the intelligence workers suffer from. And, they may think, if one day the intelligence power comes to surpass the governmental power, it could come to be the main problem of society. That could be the reason for the whole construction. When will intelligence power come to 'transcend' governmental power? That will be the day when the fog of mythos and primitive impulse takes overhand and rationality has to give in to 'temptations'. Hitler is the hallmark of intelligence power and his program was to increase intelligence power as far as possible. The nazis probably got hold of the deepest jewish mysteries (Sobibor, Treblinka, Belcez) and turned these mysteries (this intelligence about them, it means) into a death machine against the jews.       </p><p align="justify">਀ 
It seems that the whole complex is this attempt to construct a 'converse' religion (possibly with Hitler as the chief of the pantheon) on basis of the need for revising certain important aspects of knowledge by turn of the millenium and the formation of a new information technology by the electronic computer.  The program seems to have been based on a naive identity of 'converse religion' with 'converse reading' of old-enough texts about fundamental aspects of knowledge.       </p><p align="justify">਀ 
<a href="https://en.wikipedia.org/wiki/P%C4%81%E1%B9%87ini">Panini</a> wrote a sanskrit grammar in very tightpacked grammatical rules that were ordered in chapters and 'sutras' (mainly short verses) in such a way that it today could be recognized as 'generative' in the sense of being 'explicit, sufficient, necessary' for outputting in principle all and only wellformed surface language. It may be the oldest of its kind - and there are some reasons to speculate that it thereby enjoys a foundational status in the construction of a 'converse intelligence religion' - probably in the hope that it will constitute a gateway to understanding the peculiarities of the human semiotic constitution that hides the ultimate truth from our knowledge after the fall from Paradise.       </p><p align="justify">਀ 
It is therefore possible that <a href="http://panini.phil.hhu.de/panini/panini">Panini's 'Asthadhyayi'</a> - of unknown date but probably from one of the centuries 4th-7th BC - has been assigned such a status by the secret intrigue - and it is not impossible that Hitler's ideas about 'aryan supremacy' were based on such theorizing about just Panini - but it is of course also noticed that Hitler sniffed up anything of value for human spirituality for attacking and destroying it since that destruction gave him more power. It is also likely that this would have been his reason for his interest in Panini - if that were the background of his ideas of aryan supremacy. (It may also be speculated that Panini's 'Asthadhyayi' = '8 chapters' could have been the background of a construction on the socalled '<a href="octogon.htm">octogon</a>', could be for the childish 'phonetic' interpretation '8 chap-tears' - cp. also the tragic train crash at '&Aring;sta' = sanskrit for '8' in Norway on that day when I swallowed the first pill of 'Zyprexa' in the forced psychiatric custody - I tried to protest but had to swallow it). Anglophony seems to be another aspect of this story - which german language and culture now seem to suffer under: There are some reasons to believe that english is a language which interprets a relation between logical and phonetic form which other languages lack - and this would be the reason for the global spread of anglophony. An example is seen in my translation of <a href="ouyangxiu.htm">Ouyang Xiu</a>'s poems which can be taken to be about the formation of a 'lapis philosophorum' - see part 5 of this translation which shows a surprising similarity of the english words with the corresponding pinyin transliteration of the chinese original - and which still is a surprisingly relevant translation!       </p><p align="justify">਀ 
However that be, I myself found - when leafing in the printout I made of the reverse spelling of the sanskrit of Panini's sutras and searching for a trace of the essential alignment point in the Nono recording relative to my 'Stillhetens &aring;ndedrag' - one such fragment of reverse- or backwards-reading which is worth pointing to: It is from his book 3 chapter 3 sutras 58-61 which read backwards       </p><p align="justify">਀ 
<font size="4">਀㌀ⴀ㌀ⴀ㔀㠀ऀ☀渀戀猀瀀㬀ऀ愀挀 猀愀洀愀最椀挀猀椀渀搀爀瘀愀栀愀爀最                         㰀戀爀㸀 
3-3-59	&nbsp;	had egrasapu                         <br>਀㌀ⴀ㌀ⴀ㘀　ऀ☀渀戀猀瀀㬀ऀ愀挀 愀渀 甀愀渀                         㰀戀爀㸀 
3-3-61	&nbsp;	egrasapuna ropajahdayv                        ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
       </p><p align="justify">਀ 
The essential alignment point in the Nono recording (part 2 at seconds 100-105) relative to my 'Stillhetens &aring;ndedrag' is at the end of my poem 50 - which is the third poem after the Nono recording starts its Part 2 <a href="stillhetena6nono.pdf #page=100" target="_new">on poem 48 'Eva'</a>: There are 21 lines per poem (title included) and hence the turning point is on lines 59-60 (see <a href="johnbjarnegrovercollectedworksvolume4.pdf#page=952" target="_new">vol.4 pages 952-954 for the details</a>) after this beginning at poem 48. It is in the linebreak from 60 to 61 that one can see the chapter titles of DDS part 1 - the issue of ordinality and the relation between relative and absolute enumeration, which is the basis for those chapter divisons in their relation to the cyclicity of Rigdeva (from the times of Panini):       </p><p align="justify">਀ 
<font size="4">਀㰀琀愀戀氀攀㸀 
<td>਀䠀甀渀搀攀ऀ㰀戀爀㸀 
Grenze &nbsp; &nbsp; &nbsp; 	<br>਀䈀愀甀洀ऀ㰀戀爀㸀 
ROP	਀㰀⼀琀搀㸀 
<td>਀甀愀渀ⴀ攀ऀ㰀戀爀㸀 
grasa	<br>਀瀀甀渀愀ऀ㰀戀爀㸀 
rop਀㰀⼀琀搀㸀 
</table>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 氀愀猀琀 瀀漀攀洀 椀渀 ✀䜀爀攀渀稀攀✀ 栀愀猀 愀戀猀漀氀甀琀攀 攀渀甀洀攀爀愀琀椀漀渀 ㄀㠀㜀Ⰰ 眀栀椀挀栀 愀氀猀漀 椀猀 琀栀攀 氀愀猀琀 瀀漀攀洀 戀礀 爀攀氀愀琀椀瘀攀 攀渀甀洀攀爀愀琀椀漀渀 椀渀 䐀䐀匀 瀀愀爀琀 䤀⸀ 䠀攀渀挀攀 ✀攀最爀愀猀愀瀀甀✀ 漀昀 ㌀ⴀ㌀ⴀ㔀㤀 眀漀甀氀搀 挀漀瘀攀爀 愀氀猀漀 琀栀椀猀 ✀䜀爀攀渀稀攀✀ 戀攀琀眀攀攀渀 ✀䜀爀攀渀稀攀✀ 愀渀搀 ✀䈀愀甀洀✀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀愀琀 琀栀椀猀 椀猀 愀 爀攀氀攀瘀愀渀琀 漀戀猀攀爀瘀愀琀椀漀渀 昀漀爀 倀愀渀椀渀椀 椀猀 猀栀漀眀渀 戀礀 琀栀攀 昀甀爀琀栀攀爀 愀瀀瀀氀椀挀愀琀椀漀渀 琀漀 琀栀攀 猀愀洀攀 攀砀愀洀瀀氀攀 漀昀 䄀渀琀漀渀椀漀 䈀愀氀攀猀琀爀愀 昀漀爀 栀椀猀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀㨀⼀⼀眀眀眀⸀猀挀甀漀氀愀最爀愀渀搀攀挀愀爀洀椀渀椀⸀椀琀⼀椀洀愀最攀猀⼀愀氀戀攀爀最漀开　㘀⸀樀瀀最∀㸀䐀爀攀愀洀 漀昀 䔀稀攀欀椀攀氀㰀⼀愀㸀 爀攀氀愀琀椀瘀攀 琀漀 洀礀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㈀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㈀㰀⼀愀㸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㰀戀爀㸀 
There is something about eye-grenser.                         <br>਀匀瀀椀琀愀欀攀氀 ⴀ 䤀 搀漀渀✀琀 欀渀漀眀 眀栀漀 琀栀愀琀 椀猀⸀                         㰀戀爀㸀 
Synes' twilight.                         <br>਀                         㰀戀爀㸀 
<table>਀㰀琀爀㸀 
<td valign="top">3-3-58 &nbsp; &nbsp; <br>਀㰀⼀琀搀㸀 
<td valign="top">ac<br>there's਀㰀⼀琀搀㸀 
<td valign="top"> samagics <br> something ਀㰀⼀琀搀㸀 
<td valign="top">indrvah<br>਀㰀⼀琀搀㸀 
<td valign="top"> arg<br>ab-਀㰀⼀琀搀㸀 
</tr>਀㰀琀爀㸀 
<td valign="top">3-3-59<br>਀㰀⼀琀搀㸀 
<td valign="top">had<br>-out਀㰀⼀琀搀㸀 
<td valign="top">e &nbsp; &nbsp; grasa<br>eye-grenser਀㰀⼀琀搀㸀 
<td valign="top"> &nbsp; pu<br>spi਀㰀⼀琀搀㸀 
</tr>਀㰀琀爀㸀 
<td valign="top">3-3-60<br>਀㰀⼀琀搀㸀 
<td valign="top">ac an<br>takel਀㰀⼀琀搀㸀 
<td valign="top"> &nbsp; &nbsp;uan <br>I don't਀㰀⼀琀搀㸀 
</tr>਀㰀琀爀㸀 
<td valign="top">3-3-61<br>਀㰀⼀琀搀㸀 
<td valign="top"> egrasa<br>know ਀㰀⼀琀搀㸀 
<td valign="top"> pu &nbsp; &nbsp; na <br>who that਀㰀⼀琀搀㸀 
<td valign="top"> rop<br>is ਀㰀⼀琀搀㸀 
<td valign="top"> &nbsp; &nbsp; a <br>synes' ਀㰀⼀琀搀㸀 
<td valign="top">jahdayv <br>twilight਀㰀⼀琀搀㸀 
</tr>਀㰀⼀琀愀戀氀攀㸀 
<font size="5">                                </p><p align="justify"><br>਀ 
"Synes' twilight" is then visible in the peculiarity of the artwork as being intimately related to the architecture of the inner doorframe - that has an edge or corner that relates apparently essentially to the corner of the eye of the sleeping Ezekiel - the 'eye-grenser' here of 'egrasapuna'. Notice the tree trunk ('Baum') or wooden beam going up in the darkness in close parallel with the doorframe. Ezekiel's dream seems to be about his own visual relation to the doorframe or 'inner doorway' = 'indrvah' (of 3-3-58) 'about' or in front of him. His knee points towards the doorframe which in the dream is the foot of the angel - like the Jesus child's face is close to his mother's. There is a suggestive similarity, says the second angel, whose wing resembles the stump of a trunk. Ezekiel's own hand rests in his lap under the suggestive similarity with the mother's bosom, and his own foot rests on the wooden 'beams' of the floorplanks.       </p><p align="justify">਀ 
The theory is that the correlation between backwards reading of Panini's hyper-essential grammatical rules and such poetic-artistic relevances is found in an immediate universalist basis for a systematic relation between phonetic and logical form. One can speculate that poetry typically tumbles around with these things - and it is likely that my own ਀㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㈀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㠀㈀㰀⼀愀㸀 椀猀 愀戀漀甀琀 琀栀椀猀 瀀栀攀渀漀洀攀渀漀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀栀礀 猀栀漀甀氀搀 倀愀渀椀渀椀 戀攀 爀攀愀搀 戀愀挀欀眀愀爀搀猀㼀 䤀 爀攀昀攀爀 琀漀 㰀愀 栀爀攀昀㴀∀爀攀洀戀爀愀渀搀琀⸀栀琀洀∀㸀刀攀洀戀爀愀渀搀琀✀猀 渀椀最栀琀 猀琀爀攀攀琀 㴀 攀砀愀洀瀀氀攀 㠀㰀⼀愀㸀 爀攀氀愀琀椀瘀攀 琀漀 洀礀  
<a href="johnbjarnegrovercollectedworksvolume2.pdf#page=570" target="_new">TEQ #484</a> - which suggests that logical and phonetic forms are mirrored and run in opposite directions.       </p><p align="justify">਀ 
Now for the clue of this account: If one assumes that one sutra (or line) of Panini corresponds to one line of my 'Stillhetens &aring;ndedrag' (2016), it is found that the essential and unique wrapover phenomenon in the construction of the whole book of mine is just between lines 60 and 61 counted from <a href="stillhetena6nono.pdf#page=100" target="_new">poem #48</a> onwards - that is where Nono part 2 starts. There are 21 lines in each poem, that means end of poem 50 is line 63 and hence the wrapover between the 4th and 3rd last lines of this poem means the wrapover of line 60-61. That is at just 01:40 or simply 100 seconds into the recording of Nono's string quartet. It is this fragment of Nono which was the basis for my alignment of his quartet relative to my book at that wrapover point - since one can easily hear the unique status of those seconds 100-105 (the restful striving towards a new tonality, living spirit hovering over water) in the entire quartet. There is also a very clear logical 'scissoring' edge between the sunflowers of line 60 and the twigs of line 61.       </p><p align="justify">਀ 
Now the logical discussion of Panini in these sutras 58-61 in chapter 3 of his 3rd book is about the status of the affix 'ap', and the essential linebreak of 60-61 discusses the verbs for       </p><p align="justify">਀ 
<font size="4">਀愀搀 㴀 琀漀 攀愀琀                         㰀戀爀㸀 
vyadh = to hunt                         <br>਀樀愀瀀 㴀 琀漀 甀琀琀攀爀                          
<font size="5">       </p><p align="justify">਀ 
Hunting gives food and thought gives utterance - hence a redundancy in the fourth square which is the theme of Balestra's 'Dream of Ezekiel'.       </p><p align="justify">਀ 
The verb roots mentioned under 3-3-58 seem to be about satellite, certainty, go, eye-sight - indeed relevant to my first line "There is something about eye-grenser".        </p><p align="justify">਀ 
It is likely that all this, including Nono, encircle and approximate a phenomenon of universals in logical-phonetic-acoustic form. The problem of current-day semiotics is to steer around those terrorist philosophies who want to mix up heaven and its opposite and nevertheless be able to proceed with the interesting study of the universalist relation of phonetic and logical form.       </p><p align="justify">਀㰀戀爀㸀 
਀㰀椀㸀䌀漀洀瀀甀琀攀爀 最氀椀琀猀挀栀 ⌀㄀ ⴀ 琀栀攀 攀砀琀爀愀 搀漀甀戀氀攀眀漀爀搀 䌀伀一吀䄀䤀一 㰀⼀椀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀漀爀 愀渀 愀挀挀漀甀渀琀 漀昀 琀栀攀 琀眀漀 挀漀洀瀀甀琀攀爀 最氀椀琀猀挀栀攀猀Ⰰ 猀攀攀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㐀⸀瀀搀昀⌀瀀愀最攀㴀㄀㈀㔀㌀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀瘀漀氀甀洀攀 㐀 瀀愀最攀猀 ㄀㈀㔀㌀ⴀ㄀㈀㔀㠀㰀⼀愀㸀⸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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਀吀栀椀猀 猀攀爀椀攀猀 漀昀 戀愀挀欀眀愀爀搀猀 猀甀琀爀愀猀 猀攀攀洀猀 椀渀琀攀爀攀猀琀椀渀最㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
6-1-91	&nbsp; 	uatahd itr dagrasapu                         <br>਀㘀ⴀ㄀ⴀ㤀㈀ऀ☀渀戀猀瀀㬀ऀ栀攀氀愀猀椀瀀愀 礀瀀甀猀 愀瘀                         㰀戀爀㸀 
6-1-93	&nbsp;	hosasm' otua                         <br>਀㘀ⴀ㄀ⴀ㤀㐀ऀ☀渀戀猀瀀㬀ऀ洀愀瀀甀爀愀爀愀瀀 椀渀攀                         㰀戀爀㸀 
6-1-95	&nbsp;	ac sonamo                         <br>਀㘀ⴀ㄀ⴀ㤀㘀ऀ☀渀戀猀瀀㬀ऀ琀愀搀渀愀搀愀瀀愀 礀猀甀                         㰀戀爀㸀 
6-1-97	&nbsp;	enug ota                         <br>਀㘀ⴀ㄀ⴀ㤀㠀ऀ☀渀戀猀瀀㬀ऀ甀愀琀椀 愀琀愀 愀礀猀愀渀愀爀愀欀甀渀愀琀欀愀礀瘀愀                          
<font size="5">       </p><p align="justify">਀ 
I recognize 6-1-93 from the end of <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=48" target="_new">TEQ #10</a>  - the "hold on [lamp], / come on, Motual" - and the parallelism seems to continue with the first lines of #11 which is the first poem in the work which is written from beginning to end without editing of the order of the lines. The parallels can be traced down to line 5-6 in #11  - 'But he at least was at the village land / while I slept' - here for Panini 6-1-98 'uati ata aysanarajunarkayva'. See  <a href="johnbjarnegrovercollectedworksvolume4.pdf#page=1253" target="_new">volume 4 pages 1253-1258</a>  for a discussion - including the identification of the CONTAIN glitsch - for the line 'visshet du f&aring;r' as the 5th last line in 'Stillhetens &aring;ndedrag' poem 47 = end of the Nono part 1 alignment - as being <i>the same</i> as this line 'village land' from poem #11.       </p><p align="justify">਀ 
But that seems to be just the fragment 'RAKUN' of the backwards sutra 6-1-98 'uati ata aysanarakunatkayva'. "What your ties/toys and a raccoon at cave A"?        </p><p align="justify">਀ 
It was reported from Clinton's visit to Oslo in 1999 that he had changed his tie three times (or he wore three ties) in the course of a few hours.       </p><p align="justify">਀ 
It happened after I had completed my <a href="horatius.htm">study of the ordinality of Horace</a> in 2022 that I felt that I had developed a 'raccoon'-like mask across the eyes - it may be this which later developed into a veritable 'shiner' - the area around the eyes got so swollen that I could barely see. 'While eyes leapt'? However that be, a raccoon is in norwegian called a 'vaske-bj&oslash;rn', a 'washing bear' - which could be contrasted with a 'washing fox' = 'vaske-rev', or, in definite form, 'vaske-reven'. I could guess that this is just that 'Vas Gereben' described earlier in this article.       </p><p align="justify">਀ 
<a href="https://de.wikipedia.org/wiki/Erwin_Rommel">Erwin Rommel</a> was called 'the desert fox'. The opposite of 'Elv Wien Lummer'.       </p><p align="justify">਀ 
Now this CONTAIN glitch at 6-1-91 is sutra #2530 "upasargad rti dhatau" (counted from Panini 1-1-1). The relation between the two numbers 2530 and 1966 is just 0,777 - a salient part of the car numbers in my novel '<a href="johnbjarnegrovercollectedworksvolume1.pdf#page=7" target="_new">The Dreamer</a>'. In addition to this 777, the other salient number part is the 666 - and 1966 / 0,666 = #2952 = 6-3-9 'a sarvanamnah' - or, backwards, 'hanmanavras a' which to a norwegian ear could sound like 'han m&aring; navles av' = 'he must be de-naveled', 'he must be de-bellybuttoned'. Ah, that was the main fuse that had gone kaputt - even if it had been detached while I was away - and an electrician had to come and put in a new.       </p><p align="justify">਀ 
Now studying the following '91' shows a remarkable phenomenon:      </p><p align="justify">਀ 
<table>								਀㰀琀爀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ㈀㔀㌀　 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ㘀ⴀ㄀ⴀ㤀㄀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ甀瀀愀猀愀爀最愀搀 爀琀椀 搀栀愀琀愀甀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ甀愀琀愀栀搀 椀琀爀 搀愀最爀愀猀愀瀀甀 ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㈀㜀㔀㌀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ㘀ⴀ㈀ⴀ㤀㄀ ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ渀愀 戀栀甀琀愀搀栀椀欀愀猀愀洀樀椀瘀愀洀愀搀爀愀猀洀愀欀愀樀樀愀氀愀洀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ洀愀氀愀樀樀愀欀愀洀猀愀爀搀愀洀愀瘀椀樀洀愀猀愀欀椀栀搀愀琀甀栀戀 愀渀 ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㈀㤀㔀㈀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ㘀ⴀ㌀ⴀ㤀㄀ ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ愀 猀愀爀瘀愀渀愀洀渀愀栀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ栀愀渀洀愀渀愀瘀爀愀猀 愀 ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㌀　㤀㄀ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ㘀ⴀ㐀ⴀ㤀㄀ ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ瘀愀 挀椀琀琀愀瘀椀爀愀最攀 ऀ㰀⼀琀搀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀ऀ攀最愀爀椀瘀愀琀琀椀挀 愀瘀 ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 
</td></tr>਀㰀⼀琀愀戀氀攀㸀 
     </p><p align="justify">਀ 
਀䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀椀猀 ✀搀攀洀椀甀爀最礀✀ 椀猀 眀栀愀琀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀 眀愀猀 愀戀漀甀琀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 氀愀猀琀 椀猀猀甀攀 漀昀 吀栀攀 一攀眀 夀漀爀欀攀爀 樀甀猀琀 戀攀昀漀爀攀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀 ⠀眀栀椀挀栀 椀渀挀氀甀搀攀猀 ㄀㐀 挀愀爀琀漀漀渀猀 漀渀 琀栀攀 琀栀攀洀攀 ✀倀愀爀攀渀琀猀 䐀愀礀✀⤀ 猀栀漀眀猀 琀爀愀挀攀猀 漀昀 琀眀漀 渀愀洀攀猀 昀爀漀洀 洀礀 氀椀昀攀 愀 搀攀挀愀搀攀 漀爀 猀漀 氀愀琀攀爀㨀 䄀 昀攀洀愀氀攀 䤀 洀攀琀 愀 昀攀眀 琀椀洀攀猀 昀漀爀 礀漀甀渀最猀琀攀爀 瀀攀琀琀椀渀最 椀渀 琀栀攀 昀漀爀攀猀琀 漀甀琀猀欀椀爀琀猀 椀渀 氀愀琀攀 ㄀㤀㜀㈀ ⠀椀琀 渀攀攀搀 瀀攀爀栀愀瀀猀 渀漀琀 栀愀瘀攀 戀攀攀渀 琀栀攀 猀愀洀攀 愀猀 䤀 洀攀琀 椀渀 猀挀栀漀漀氀⤀ ⴀ 琀栀椀猀 眀愀猀 瀀爀漀戀愀戀氀礀 愀戀漀甀琀 ㄀㈀ 礀攀愀爀猀 ㈀ 洀漀渀琀栀猀 愀渀搀 猀漀洀攀 ㌀ 搀愀礀猀⼀眀攀攀欀猀 戀攀昀漀爀攀 琀栀攀 猀漀昀愀 猀琀漀爀礀 漀昀 挀栀爀椀猀琀洀愀猀 ㄀㤀㠀㐀 ⴀ 愀渀搀 愀 洀愀氀攀 䤀 洀攀琀 愀戀漀甀琀 愀 礀攀愀爀 氀愀琀攀爀 ⴀ 栀攀 眀愀猀 猀椀琀甀愀琀攀搀 漀渀 愀 洀愀琀琀爀攀猀猀 琀栀攀 昀椀爀猀琀 琀椀洀攀 䤀 洀攀琀 栀椀洀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㈀㜀㔀㌀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㘀ⴀ㈀ⴀ㤀㄀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 渀愀 戀栀甀琀愀搀栀椀欀愀猀愀洀樀椀瘀愀洀愀搀爀愀猀洀愀欀愀樀樀愀氀愀洀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㴀 琀栀愀琀 戀甀琀琀ⴀ愀ⴀ搀椀挀欀 漀昀 ✀猀愀洀最椀✀ ⠀挀漀甀氀搀 洀攀愀渀 ✀洀甀琀甀愀氀 瀀攀琀琀椀渀最✀⤀ 瘀愀爀 洀愀搀爀愀猀猀ⴀ猀洀愀欀 愀瘀 樀愀氀愀洀 㴀 ✀眀愀猀 洀愀琀琀爀攀猀猀ⴀ琀愀猀琀攀 漀昀 樀愀氀愀洀✀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀愀欀攀渀 琀漀 洀攀愀渀 琀栀愀琀 琀栀攀 攀樀愀挀甀氀愀琀椀漀渀猀 漀昀 琀栀攀 洀甀琀甀愀氀 瀀攀琀琀椀渀最 眀愀猀 愀 氀愀琀攀 爀攀昀氀攀砀 漀昀 琀栀攀 猀瀀攀爀洀 攀樀愀挀甀氀愀琀攀搀 漀渀 洀礀 渀攀眀戀漀爀渀 戀爀愀椀渀 椀渀 ㄀㤀㔀㜀 ⴀ 眀栀椀挀栀 椀渀 琀栀攀漀爀礀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 搀漀渀攀 戀礀 䨀䘀䬀 愀渀搀 栀攀渀挀攀 栀攀 最漀琀 ✀琀栀攀 猀愀洀攀✀ 椀渀 爀攀琀甀爀渀 椀渀 ㄀㤀㘀㌀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀一漀眀 愀猀猀甀洀攀 琀栀愀琀 琀栀攀 洀椀爀爀漀爀攀搀 昀漀爀洀 ✀洀愀氀愀樀樀愀欀愀洀猀愀爀搀愀洀愀瘀椀樀洀愀猀愀欀椀栀搀愀琀甀栀戀 愀渀✀ 眀愀猀 琀栀攀 䴀愀氀愀礀 ㄀㜀 愀椀爀挀爀愀昀琀 琀栀愀琀 挀爀愀猀栀攀搀 樀甀猀琀 愀琀 琀栀攀 䐀漀渀攀琀猀欀 戀漀爀搀攀爀 ⠀✀欀愀洀✀⤀ 琀漀 䰀甀栀愀渀猀欀⸀ 圀漀甀氀搀 琀栀椀猀 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 ✀洀礀 愀椀爀氀椀渀攀Ⰰ 洀礀 漀渀爀ⴀ漀✀㼀 吀栀攀 挀爀愀猀栀 猀椀琀攀 眀愀猀 樀甀猀琀 挀氀漀猀攀 琀漀 嘀唀氀⸀匀栀礀爀漀挀愀 㴀 ✀匀挀椀爀漀挀挀漀 匀琀爀攀攀琀✀ ⴀ 挀瀀⸀ 琀栀攀 ✀搀攀猀攀爀琀 昀漀砀✀⸀ 吀栀攀 眀椀渀最猀 漀昀 琀栀攀 愀椀爀挀爀愀昀琀 栀愀搀 ✀挀漀洀戀攀搀✀ 琀栀攀 猀挀椀爀漀挀挀漀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㈀㔀㌀　  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ㘀ⴀ㄀ⴀ㤀㄀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ甀瀀愀猀愀爀最愀搀 爀琀椀 搀栀愀琀愀甀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀऀऀ甀愀琀愀栀搀 椀琀爀 搀愀最爀愀猀愀瀀甀     㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㴀 琀栀攀 䴀愀氀愀礀 ㌀㜀　 愀椀爀挀爀愀昀琀 琀栀愀琀 ✀搀椀猀愀瀀瀀攀愀爀攀搀✀ 漀甀琀猀椀搀攀 䈀愀渀搀愀 䄀挀攀栀 愀渀搀 渀攀瘀攀爀 眀愀猀 昀漀甀渀搀 愀最愀椀渀 ⴀ ✀眀栀愀琀 愀 搀攀琀漀甀爀℀✀ ⴀ 椀猀 琀栀攀 挀漀甀渀琀攀爀瀀漀椀渀琀 琀漀 琀栀椀猀⸀ ✀䐀愀最爀漀猀✀ ⠀洀攀愀渀猀 瀀爀漀戀愀戀氀礀 ✀䐀愀礀戀爀攀愀欀✀ 攀琀挀⤀ 椀猀 琀栀攀 猀琀愀渀搀愀爀搀 渀愀洀攀 昀漀爀 愀 渀漀爀眀攀最椀愀渀 挀漀眀 愀渀搀 栀攀渀挀攀 ✀䐀愀最爀愀猀愀瀀甀✀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀愀欀攀渀 愀猀 愀 爀攀昀攀爀攀渀挀攀 琀漀 ✀䬀甀爀甀欀猀攀琀爀愀✀ 漀昀 琀栀攀 ✀䈀愀最愀瘀愀搀最栀椀琀愀✀⸀ 䤀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀椀猀 猀琀愀渀搀愀爀搀 挀漀眀ⴀ渀愀洀攀 椀渀 倀愀渀椀渀椀 眀栀椀挀栀 愀琀琀爀愀挀琀猀 渀漀爀眀攀最椀愀渀 椀渀琀攀爀攀猀琀⸀ 䤀琀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 猀琀漀爀礀 漀昀 洀礀 爀攀昀爀椀搀最攀爀愀琀漀爀 眀栀攀渀 䤀 眀愀猀 挀漀洀椀渀最 戀愀挀欀 昀爀漀洀 䤀琀愀氀礀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
3091  &nbsp; &nbsp;  	6-4-91 	 &nbsp; &nbsp;  va cittavirage 	 &nbsp; &nbsp;  &nbsp; &nbsp; 					egarivattic av <font size="5">     </p><p align="justify">਀ 
'Va cittavirage' could be that 'Kuruksetra' while 'I go in the Vatic an/off' could then be the attempt on the pope in 1981. </p><p align="justify">਀ 
<font size="4">਀㈀㤀㔀㈀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ㘀ⴀ㌀ⴀ㤀㄀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ愀 猀愀爀瘀愀渀愀洀渀愀栀 ऀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀऀऀऀऀ栀愀渀洀愀渀愀瘀爀愀猀 愀      㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 渀漀琀 椀洀瀀漀猀猀椀戀氀攀 琀栀愀琀 洀礀 瀀爀漀猀琀愀琀攀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 爀攀洀漀瘀攀搀 ⴀ 愀渀搀 栀攀渀挀攀 ✀栀愀渀洀愀渀愀瘀爀愀猀 愀✀ ⠀✀栀愀渀 洀 渀愀瘀氀攀猀 愀瘀✀⤀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 挀漀搀攀 昀漀爀 琀栀椀猀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀昀 䤀 氀攀琀 ✀䄀猀琀栀愀搀栀礀愀礀椀✀ 戀攀 爀攀眀爀椀琀琀攀渀 琀漀 ✀愀礀椀ⴀ愀猀琀栀愀搀栀礀愀✀ 昀漀爀 ✀䄀礀漀 䨀愀爀搀愀爀✀Ⰰ 椀琀 椀猀 愀氀猀漀 瀀漀猀猀椀戀氀攀 琀栀愀琀 ✀甀瀀愀猀愀爀最愀搀 爀琀椀 搀栀愀琀愀甀✀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀愀欀攀渀 琀漀 洀攀愀渀 ✀㰀愀 栀爀攀昀㴀∀漀挀琀漀最漀渀⸀栀琀洀∀㸀䨀椀洀椀 䠀攀渀搀爀椀砀㰀⼀愀㸀✀㨀 倀甀琀 愀 氀椀琀琀氀攀 挀漀椀渀 椀渀琀漀 琀栀椀猀 ✀猀愀爀最✀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀栀愀琀 眀攀爀攀 琀栀攀 瀀甀爀瀀漀猀攀 眀椀琀栀 愀氀氀 琀栀椀猀㼀 䌀漀甀氀搀 戀攀 琀栀攀 昀漀氀氀漀眀椀渀最㨀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
6-1-91  &nbsp; &nbsp;  	2530 = 1966 / 0,777...  <br>਀㘀ⴀ㈀ⴀ㤀㄀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ㈀㜀㔀㌀ 㴀 ㄀㤀㘀㘀 ⼀ 　Ⰰ㜀㄀㐀⸀⸀⸀ 㰀戀爀㸀 
6-3-91  &nbsp; &nbsp;  	2952 = 1966 / 0,666... <br>਀㘀ⴀ㐀ⴀ㤀㄀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ㌀　㤀㄀ 㴀 ㄀㤀㘀㜀 ⼀ ⠀㈀㔀㌀㐀⼀㌀㤀㠀㈀⤀     㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ㌀㤀㠀㈀ 㴀 琀栀攀 琀漀琀愀氀 渀甀洀戀攀爀 漀昀 猀甀琀爀愀猀  㰀戀爀㸀 
&nbsp; &nbsp;  &nbsp; &nbsp;  &nbsp; &nbsp;  &nbsp; &nbsp;  	2534 = almost 2530 (of 6-1-91), but a little more     <font size="5"></p><p align="justify">਀ 
It is this small difference (see the end of this paper) between 2530 and 2534 that would be credited with the phenomenon of the 'hanging' 1966 - that it skips 1967 and counts 1966 over again before it continues with 1968.      </p><p align="justify">਀ 
<font size="4">਀㈀㔀㌀㐀 ऀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  㘀ⴀ㄀ⴀ㤀㔀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ漀洀愀渀漀猀 挀愀ऀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀   ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ愀挀 猀漀渀愀洀漀     㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 漀昀昀椀挀椀愀氀 洀漀琀栀攀爀 栀愀搀 愀 昀爀漀渀琀愀氀 挀愀爀 挀爀愀猀栀 愀爀漀甀渀搀 琀栀攀 琀椀洀攀 漀昀 琀栀攀 愀琀琀攀洀瀀琀 漀渀 琀栀攀 瀀漀瀀攀 椀渀 ㄀㤀㠀㄀⸀ 唀欀爀愀椀渀攀 渀漀眀愀搀愀礀猀 氀漀漀欀猀 氀椀欀攀 愀 ✀洀漀✀ 㴀 ✀洀椀氀椀琀愀爀礀 昀椀攀氀搀✀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀戀爀㸀 
਀㰀椀㸀䌀漀洀瀀甀琀攀爀 最氀椀琀猀挀栀 ⌀㈀ 㴀 琀栀攀 洀漀瘀攀洀攀渀琀 漀昀 娀唀䴀 琀漀 䌀唀䰀吀唀刀䔀㰀⼀椀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 挀漀洀瀀甀琀攀爀 ⠀瀀爀椀渀琀攀爀⤀ 猀栀漀甀氀搀 栀愀瘀攀 眀爀椀琀琀攀渀 ✀䌀唀䰀吀唀刀䔀✀ 昀漀爀 㰀愀 栀爀攀昀㴀∀猀琀椀氀氀栀攀琀攀渀愀㘀渀漀渀漀⸀瀀搀昀 ⌀瀀愀最攀㴀㄀㘀㜀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀琀栀攀 㐀琀栀 氀愀猀琀 搀漀甀戀氀攀眀漀爀搀 琀漀 瀀漀攀洀 ⌀㈀㌀㰀⼀愀㸀 戀甀琀 眀爀漀琀攀 猀甀爀瀀爀椀猀椀渀最氀礀 ✀娀唀䴀✀ 椀渀猀琀攀愀搀⸀ 吀栀椀猀 娀唀䴀 洀甀猀琀 瀀爀漀戀愀戀氀礀 栀愀瘀攀 挀漀洀攀 昀爀漀洀 㰀愀 栀爀攀昀㴀∀猀琀椀氀氀栀攀琀攀渀愀㘀渀漀渀漀⸀瀀搀昀 ⌀瀀愀最攀㴀㄀㘀㤀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀琀栀攀 㘀琀栀 氀愀猀琀 搀漀甀戀氀攀眀漀爀搀 琀漀 瀀漀攀洀 ⌀㌀㜀㰀⼀愀㸀⸀ 䌀漀洀瀀甀琀椀渀最 琀栀椀猀 椀渀琀攀爀瘀愀氀 ⴀ 昀爀漀洀 㰀愀 栀爀攀昀㴀∀猀琀椀氀氀栀攀琀攀渀愀㘀渀漀渀漀⸀瀀搀昀 ⌀瀀愀最攀㴀㌀㠀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀琀栀攀 戀攀最椀渀渀椀渀最 漀昀 一漀渀漀 瀀愀爀琀 ㄀ 愀琀 洀礀 瀀漀攀洀 ⌀㄀㜀㰀⼀愀㸀 ⴀ 漀渀 倀愀渀椀渀椀 戀漀漀欀 㐀 ⠀琀栀愀琀 椀猀Ⰰ 昀爀漀洀 倀愀渀椀渀椀 㐀ⴀ㄀ⴀ㄀ 漀渀 琀栀攀 琀椀琀氀攀 琀漀 洀礀 瀀漀攀洀 ⌀㄀㜀⤀ 琀愀欀攀猀 椀琀 琀漀 娀唀䴀 愀琀 㐀ⴀ㌀ⴀ㄀㄀㌀ 㴀 戀愀挀欀眀愀爀搀猀 ✀愀挀 猀椀猀愀琀✀ 愀渀搀 ✀䌀唀䰀吀唀刀䔀✀ 愀琀 㐀ⴀ㄀ⴀ㄀㐀㌀ 㴀 戀愀挀欀眀愀爀搀猀 ✀栀愀栀挀 猀甀猀愀瘀猀✀⸀ 吀栀攀猀攀 攀愀猀椀氀礀 爀攀愀搀 娀唀䴀 㴀 ✀愀 琀愀砀椀猀✀ ⠀㴀 ✀愀渀 漀爀搀攀爀Ⰰ 愀渀 愀爀爀愀渀最攀洀攀渀琀✀⤀ 瘀猀 䌀唀䰀吀唀刀䔀 㴀 ✀愀 猀愀砀椀猀✀ ⠀㴀 ✀愀 挀爀愀洀洀椀渀最 昀甀氀氀✀Ⰰ ✀瀀愀挀欀椀渀最 挀漀洀瀀氀攀琀攀氀礀 昀甀氀氀✀⤀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀栀愀琀 挀愀氀氀猀 昀漀爀 猀漀洀攀 椀渀琀攀爀攀猀琀 椀猀 琀栀攀 瀀爀漀砀椀洀椀琀礀 漀昀 㐀ⴀ㌀ⴀ㄀㄀㌀ 琀漀 㐀ⴀ㌀ⴀ㄀㄀㄀ 戀礀 琀栀攀 氀漀最椀挀 漀昀 琀栀攀 ✀氀愀瀀椀猀 瀀栀椀氀漀猀漀瀀栀漀爀甀洀✀ ⴀ 猀攀攀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㐀⸀瀀搀昀⌀瀀愀最攀㴀㤀㐀　∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀琀栀攀 眀爀椀琀椀渀最 漀昀 䐀䐀匀 瀀愀爀琀 ㌀㰀⼀愀㸀 ⴀ 椀渀挀氀甀搀椀渀最 栀漀眀 瀀漀攀洀 ⌀㜀㠀 爀攀搀甀挀攀搀 琀漀 ⌀㘀㐀 椀渀 瀀愀爀琀 ㌀ 愀渀搀 栀漀眀 琀栀椀猀 ⌀㜀㠀 椀渀 爀攀氀愀琀椀瘀攀 攀渀甀洀攀爀愀琀椀漀渀 椀渀 瀀愀爀琀 ㄀ 椀猀 琀栀攀 愀戀猀漀氀甀琀攀 攀渀甀洀攀爀愀琀椀漀渀 ⌀㄀㄀㄀⸀ 匀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀最甀愀搀愀氀甀瀀攀瀀甀爀欀椀渀樀攀⸀栀琀洀∀㸀琀栀椀猀 瀀栀攀渀漀洀攀渀漀渀㰀⼀愀㸀⸀ 一漀眀 漀渀攀 挀漀甀氀搀 漀昀 挀漀甀爀猀攀 最甀攀猀猀 ⴀ 椀昀 琀栀攀猀攀 瀀栀攀渀漀洀攀渀愀 眀攀爀攀 甀瀀 愀渀搀 最漀椀渀最 椀渀 愀搀洀椀渀椀猀琀爀愀琀椀瘀攀 氀漀最椀挀 ⴀ 琀栀愀琀 䠀椀琀氀攀爀Ⰰ 眀栀漀 栀愀搀 愀 栀漀氀椀搀愀礀 栀漀甀猀攀 椀渀 䈀攀爀挀栀琀攀猀最愀搀攀渀Ⰰ 挀漀甀氀搀 栀愀瘀攀 栀愀搀 椀琀 昀漀爀 爀攀愀猀漀渀猀 漀昀 琀栀椀猀 㐀ⴀ㌀ⴀ㄀㄀㄀ 㴀 戀愀挀欀眀愀爀搀猀 ✀栀椀渀椀 搀愀瘀猀愀猀爀欀愀搀渀愀洀爀愀欀✀ ☀爀愀爀爀㬀  ✀愀洀攀爀椀挀愀渀 渀攀攀搀 漀昀 嘀猀愀猀爀欀愀搀渀✀ 㴀 ✀愀洀攀爀椀挀愀渀 渀攀攀搀 漀昀 䈀攀爀挀栀琀攀猀最愀搀攀渀✀⸀ 䠀漀眀攀瘀攀爀 琀栀愀琀 戀攀Ⰰ 椀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 戀愀挀欀眀愀爀搀猀 猀甀琀爀愀猀 昀爀漀洀 㐀ⴀ㌀ⴀ㜀㔀 琀漀 㐀ⴀ㌀ⴀ㜀㤀 ⠀戀礀 琀栀攀 爀攀氀愀琀椀漀渀 漀昀 愀戀猀漀氀甀琀攀 ㄀㄀㄀ 琀漀 爀攀氀愀琀椀瘀攀 㜀㠀⤀ 挀漀甀氀搀 戀攀 琀愀欀攀渀 琀漀 攀渀挀漀搀攀 琀栀攀 猀琀爀攀攀琀渀愀洀攀猀 漀昀 琀栀攀 匀稀漀氀渀漀欀 愀爀攀愀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
<table>਀㰀琀搀㸀 
4-3-75	&nbsp; hayhbenahtsaya gaht	          <br>਀㐀ⴀ㌀ⴀ㜀㘀ऀ☀渀戀猀瀀㬀 渀✀ 漀礀栀戀椀搀愀欀椀搀渀甀猀ऀऀ          㰀戀爀㸀 
4-3-77	&nbsp; nuv oyhbehdnabmasinoyaydiv  &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; 	          <br>਀㐀ⴀ㌀ⴀ㜀㠀ऀ☀渀戀猀瀀㬀 渀愀栀琀猀愀琀爀ऀ          㰀戀爀㸀 
4-3-79	&nbsp; ac cay rutip	 ਀㰀⼀琀搀㸀 
<td>਀㴀 攀戀攀渀 嘀愀猀 䜀攀爀ऀ          㰀戀爀㸀 
= Utca Sziget	          <br>਀㴀 刀攀最攀 ⼀ ☀⌀㌀㌀㘀㬀猀稀 ⼀ 吀攀氀 ऀ          㰀戀爀㸀 
= Utca Raba	          <br>਀㴀 ✀爀甀琀愀戀愀最愀✀ 㴀 ✀猀眀攀搀攀✀ 㴀 唀琀挀愀  匀稀愀瘀愀  
</td>਀㰀⼀琀愀戀氀攀㸀 
<font size="5">       </p><p align="justify">਀ 
A little farfetched some of them, but it is probably not impossible that the political intrigue could have indulged in such interpretations. I notice the 'nahtsaya' of 4-3-75 which spoons to 'Saidnaya', the place of marian devotion in Syria associated with divine custody which again could be associated with the human urine system 'washing' the body - see also the 'kidnus' of 4-3-76. Saturday, Saturnight. A closer look at <a href="https://en.wikipedia.org/wiki/List_of_heritage_sites_damaged_during_the_Syrian_civil_war">the list of damaged heritage sites during the terror in Syria</a> could in fact seem to find some echos in the backwards reading of Panini 4-3-75 to 4-3-79 and thereabout - that is, apparently those streetnames around Vas Gereben. Bel and Baalshamin in 4-3-77, Elahbel and Saidnaya in 4-3-75 etc. 'Palmyra' as the 'palm-iron' of 'Vas Gereben' could have been the main interest. The sites of Palmyra were demolished soon after I had bought the house in Sziget Utca. It is observed that 4-3-79 'ac cay rutip' could be suggestive also of the name 'Kaia Fosli' from Ibsen's play. ('Foss' is waterfall).       </p><p align="justify">਀ 
The purpose with the destruction in Syria could then probably have been to lend much emphasis to the program of 'thuson kai fage' as the entrance ticket to heaven - in contrast to those who follow oldfashioned moralism.       </p><p align="justify">਀㰀戀爀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 
<b><i>5. The qubit and the new computation format </i></b>       </p><p align="justify">਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
਀䤀琀 椀猀 洀愀渀礀 搀攀挀愀搀攀猀 愀最漀 琀栀愀琀 䤀 爀攀愀搀 愀戀漀甀琀 焀甀愀渀琀甀洀 洀攀挀栀愀渀椀挀猀 琀栀愀琀 椀琀 搀攀猀挀爀椀戀攀猀 愀 猀琀爀愀渀最攀 猀琀愀琀攀 漀昀 戀攀椀渀最 眀栀攀爀攀椀渀 愀 渀甀挀氀攀愀爀 瀀愀爀琀椀挀氀攀 挀愀渀 戀攀 椀渀 琀眀漀 瀀氀愀挀攀猀 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀⸀ 圀栀攀渀 䤀 氀愀琀攀爀 栀愀瘀攀 琀爀椀攀搀 琀漀 昀椀渀搀 漀甀琀 眀栀愀琀 愀 ✀焀甀愀渀琀甀洀 挀漀洀瀀甀琀攀爀✀ 漀爀 ✀焀甀愀渀琀甀洀 瀀爀漀挀攀猀猀漀爀✀ 爀攀愀氀氀礀 椀猀Ⰰ 椀琀 栀愀猀 琀甀爀渀攀搀 漀甀琀 琀漀 戀攀 猀甀爀瀀爀椀猀椀渀最氀礀 搀椀昀昀椀挀甀氀琀 琀漀 挀漀洀攀 琀漀 琀栀攀 攀猀猀攀渀琀椀愀氀 椀渀昀漀爀洀愀琀椀漀渀⸀ 匀栀漀甀氀搀渀琀 椀琀 戀攀 愀戀漀甀琀 猀甀挀栀 瀀愀爀琀椀挀氀攀猀 戀攀椀渀最 戀漀琀栀 栀攀爀攀 愀渀搀 琀栀攀爀攀 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀㼀 吀栀攀 洀礀猀琀椀挀 昀漀最 眀栀椀挀栀 琀栀椀猀 氀愀渀搀猀挀愀瀀攀 猀攀攀洀猀 琀漀 戀攀 猀栀爀漀甀搀攀搀 椀渀 挀漀甀氀搀Ⰰ 䤀 栀愀瘀攀 挀漀洀攀 琀漀 甀渀搀攀爀猀琀愀渀搀Ⰰ 戀攀 愀 猀椀搀攀ⴀ攀昀昀攀挀琀 漀昀 眀栀愀琀 挀漀甀氀搀 戀攀 愀 眀攀猀琀攀爀渀 椀渀挀氀椀渀愀琀椀漀渀 琀漀眀愀爀搀猀 爀攀猀攀爀瘀椀渀最 琀栀攀 戀爀漀漀洀爀椀搀椀渀最 䈀氀漀欀猀戀攀爀最 瀀栀椀氀漀猀漀瀀栀椀攀猀 搀椀猀挀甀猀猀攀搀 昀漀爀 琀栀攀 ✀戀愀挀欀眀愀爀搀猀 倀愀渀椀渀椀✀ 愀戀漀瘀攀 昀漀爀 椀琀猀 洀椀氀椀琀愀爀礀 愀渀搀 瀀漀氀椀琀椀挀愀氀 愀猀瀀椀爀愀琀椀漀渀猀 戀礀 眀愀礀 漀昀 愀 最漀瘀攀爀渀椀渀最 洀礀琀栀漀氀漀最礀 眀栀椀挀栀 瀀攀爀栀愀瀀猀 愀氀猀漀 挀漀甀氀搀 戀攀 琀栀攀 戀愀挀欀最爀漀甀渀搀 漀昀 琀栀攀 愀搀漀 愀爀漀甀渀搀 琀栀攀 爀攀氀攀瘀愀渀琀 猀琀爀攀攀琀渀愀洀攀猀 漀昀 匀稀漀氀渀漀欀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 眀愀猀 漀渀氀礀 眀栀攀渀 䤀 猀漀洀攀 琀椀洀攀 愀最漀 爀攀愀搀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀挀栀椀渀愀搀愀椀氀礀⸀挀漀洀⸀挀渀⼀愀⼀㈀　㈀㌀　㐀⼀　㘀⼀圀匀㘀㐀㈀攀㈀㈀㄀愀愀㌀㄀　㔀㜀挀㐀㜀攀戀戀㠀㤀㄀㘀⸀栀琀洀氀∀㸀愀渀 愀爀琀椀挀氀攀 椀渀 䌀栀椀渀愀 䐀愀椀氀礀㰀⼀愀㸀 愀戀漀甀琀 琀栀攀 渀攀眀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀攀爀猀 琀栀愀琀 䤀 昀椀渀愀氀氀礀 ⴀ 愀栀Ⰰ 琀栀攀爀攀 椀琀 椀猀℀ ⴀ 昀漀甀渀搀 洀攀渀琀椀漀渀 漀昀 琀栀椀猀 瀀爀漀戀愀戀氀礀 攀猀猀攀渀琀椀愀氀 愀猀瀀攀挀琀 漀昀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀椀渀最㨀         㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
"Quantum computers could potentially solve calculations in seconds that might take today's computers thousands of years. / This is possible through exploiting the unique capabilities of quantum particles (or qubits) to be able to be in two places at once, and communicate mysteriously with each other even if they are millions of miles apart".      ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀栀Ⰰ 䤀 甀渀搀攀爀猀琀愀渀搀 挀漀洀瀀氀攀琀攀氀礀㨀 吀栀攀 琀眀漀 瀀愀爀琀椀挀氀攀猀Ⰰ 眀栀椀挀栀 愀爀攀 ✀琀栀攀 猀愀洀攀✀Ⰰ ✀挀漀洀洀甀渀椀挀愀琀攀 洀礀猀琀攀爀椀漀甀猀氀礀✀ 椀渀 琀栀攀 猀攀渀猀攀 琀栀愀琀 攀愀挀栀 漀昀 琀栀攀洀 椀猀 ✀琀栀攀 猀愀洀攀✀ 愀猀 琀栀攀 漀琀栀攀爀 ⴀ 愀渀搀 琀栀攀爀攀昀漀爀攀 琀栀攀 椀渀昀漀爀洀愀琀椀漀渀 挀漀渀琀愀椀渀攀搀 椀渀 漀渀攀 漀昀 琀栀攀洀 椀猀 愀氀猀漀 愀瘀愀椀氀愀戀氀攀 椀渀 琀栀攀 漀琀栀攀爀 ⴀ 愀渀搀 椀渀昀漀爀洀愀琀椀漀渀 琀爀愀渀猀洀椀猀猀椀漀渀 挀愀渀 琀栀攀爀攀昀漀爀攀 椀渀 瀀爀椀渀挀椀瀀氀攀 戀攀 ✀焀甀椀挀欀攀爀 琀栀愀渀 氀椀最栀琀✀ 昀爀漀洀 琀栀椀猀 瘀椀攀眀瀀漀椀渀琀⸀ 吀栀愀琀 椀猀 漀昀 挀漀甀爀猀攀 猀漀洀攀琀栀椀渀最 瘀攀爀礀 攀猀猀攀渀琀椀愀氀氀礀 搀椀昀昀攀爀攀渀琀 昀爀漀洀 愀 渀漀爀洀愀氀 瀀爀漀挀攀猀猀漀爀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀 栀愀瘀攀 愀氀猀漀 甀渀搀攀爀猀琀漀漀搀 琀栀愀琀 椀渀 琀栀攀 洀漀搀攀爀渀 洀椀氀椀琀愀爀礀 猀琀愀爀 眀愀爀猀 爀攀愀氀椀琀礀Ⰰ 琀栀攀 漀渀攀 愀渀搀 漀渀氀礀 琀栀椀渀最 眀栀椀挀栀 挀漀甀渀琀猀 椀猀 琀漀 戀攀 琀栀攀 昀椀爀猀琀 漀渀 琀栀攀 氀愀猀攀爀 戀攀愀洀 ⴀ 愀渀搀 琀栀攀渀 椀琀 椀猀 愀氀氀 愀渀搀 漀渀氀礀 愀戀漀甀琀 戀攀椀渀最 琀栀攀 焀甀椀挀欀攀猀琀 琀漀 挀愀氀挀甀氀愀琀攀 愀渀搀 最攀渀攀爀愀琀攀 椀琀 ⴀ 愀渀搀 㰀椀㸀琀栀攀爀攀昀漀爀攀㰀⼀椀㸀 琀栀攀 漀渀攀 眀栀漀 栀愀猀 琀栀攀 猀洀愀氀氀攀猀琀 挀漀洀瀀甀琀攀爀 眀椀渀猀 琀栀攀 猀琀愀爀 眀愀爀猀 ⴀ 戀攀挀愀甀猀攀 攀氀攀挀琀爀漀渀椀挀 椀渀昀漀爀洀愀琀椀漀渀 琀愀欀攀猀 洀漀爀攀 琀椀洀攀 琀漀 琀爀愀瘀攀氀 ㄀Ⰰ㄀ 洀椀氀氀椀洀攀琀爀攀 琀栀愀渀 椀琀 琀愀欀攀猀 昀漀爀 ㄀Ⰰ　 洀椀氀氀椀洀攀琀爀攀 ⴀ 愀渀搀 琀栀愀琀 漀戀琀愀椀渀猀 漀昀 挀漀甀爀猀攀 愀氀猀漀 昀漀爀 琀栀攀 渀愀渀漀洀攀琀爀攀猀⸀ 䈀甀琀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀椀渀最 椀渀 琀栀椀猀 猀攀渀猀攀 漀昀 椀琀 椀猀 愀 ✀焀甀愀渀琀甀洀 氀攀愀瀀✀ 愀氀猀漀 椀渀 琀栀愀琀 猀攀渀猀攀 漀昀 椀琀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䈀甀琀 猀挀愀渀渀椀渀最 愀瘀愀椀氀愀戀氀攀 猀漀甀爀挀攀猀 漀渀 琀栀攀 椀渀琀攀爀渀攀琀 漀昀 ✀眀栀愀琀 椀猀 愀 焀甀戀椀琀✀ 氀攀愀瘀攀猀 琀栀攀 椀渀琀攀爀攀猀琀攀搀 爀攀愀搀攀爀 爀愀琀栀攀爀 挀漀渀昀甀猀攀搀 愀渀搀 搀攀洀漀琀椀瘀愀琀攀搀⸀ ⠀吀栀攀爀攀 椀猀 愀渀 愀挀挀漀甀渀琀 昀漀爀 猀椀洀瀀氀攀琀漀渀猀 椀渀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀猀椀洀瀀氀攀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀儀甀戀椀琀∀㸀琀栀椀猀 愀爀琀椀挀氀攀  漀渀 焀甀戀椀琀猀㰀⼀愀㸀 愀渀搀 椀渀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀猀椀洀瀀氀攀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀儀甀愀渀琀甀洀开挀漀洀瀀甀琀攀爀∀㸀琀栀椀猀 愀爀琀椀挀氀攀  漀渀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀攀爀猀㰀⼀愀㸀⤀⸀ 䤀琀 椀猀 眀攀氀氀 瀀漀猀猀椀戀氀攀 琀栀愀琀 䈀氀漀欀猀戀攀爀最 猀琀爀愀琀攀最椀攀猀 漀昀 一䄀吀伀 愀渀搀 猀椀洀椀氀愀爀猀 洀愀欀攀 椀琀 搀椀昀昀椀挀甀氀琀 琀漀 挀漀洀攀 琀漀 琀栀攀 瀀漀椀渀琀 ⴀ 猀椀渀挀攀 挀漀洀椀渀最 琀漀 琀栀攀 琀爀甀琀栀 漀昀 䤀戀猀攀渀 漀爀 䠀椀琀氀攀爀 ⴀ 渀漀琀 琀漀 猀瀀攀愀欀 漀昀 䜀爀愀猀猀洀愀渀渀 愀渀搀 䌀愀渀琀漀爀 ⴀ 挀漀甀氀搀 戀攀 琀漀 氀攀琀 琀栀攀 挀愀琀 漀甀琀 漀昀 琀栀攀 猀愀挀欀 愀渀搀 琀栀攀渀 琀栀攀 洀礀琀栀漀氀漀最椀挀愀氀 最漀瘀攀爀渀洀攀渀琀 搀漀攀猀 渀漀 氀漀渀最攀爀 昀甀渀挀琀椀漀渀 愀渀搀 琀栀攀渀 琀栀攀 ✀䈀氀漀欀猀戀攀爀最 挀漀洀瀀甀琀椀渀最✀ 搀漀攀猀 渀漀琀 攀椀琀栀攀爀⸀ ✀䤀爀爀愀琀椀漀渀愀氀 挀漀洀瀀甀琀愀琀椀漀渀猀✀ 猀甀挀栀 愀猀 戀礀 眀愀礀 漀昀 倀愀渀椀渀椀 挀漀甀氀搀 戀攀 愀 昀漀爀洀 漀昀 猀甀挀栀 ✀䈀氀漀欀猀戀攀爀最 挀漀洀瀀甀琀椀渀最✀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀爀攀昀漀爀攀 䤀 栀愀瘀攀 琀漀 琀愀欀攀 爀攀挀漀甀爀猀攀 琀漀 洀礀 漀眀渀 爀攀愀猀漀渀椀渀最 椀渀 愀渀 愀琀琀攀洀瀀琀 琀漀 昀椀渀搀 漀甀琀 漀昀 眀栀愀琀 愀 焀甀戀椀琀 椀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀漀爀 漀渀挀攀Ⰰ 琀栀椀猀 挀漀渀挀攀瀀琀 漀昀 琀眀漀 焀甀愀渀琀甀洀 瀀愀爀琀椀挀氀攀猀 愀琀 搀椀昀昀攀爀攀渀琀 瀀氀愀挀攀猀 戀攀椀渀最 ✀琀栀攀 猀愀洀攀✀ 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀 挀氀攀愀爀氀礀 猀漀甀渀搀猀 瘀攀爀礀 愀欀椀渀 琀漀 洀礀 漀眀渀 㰀愀 栀爀攀昀㴀∀昀甀渀搀愀洀攀渀琀愀氀琀栀攀漀爀攀洀戀爀椀攀昀氀礀猀琀愀琀攀搀⸀栀琀洀∀㸀昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀椀渀最甀椀猀琀椀挀猀㰀⼀愀㸀 ⴀ 愀渀搀 琀栀攀 瘀椀爀甀猀 琀栀攀漀爀礀 䤀 洀愀搀攀 琀栀攀爀攀昀爀漀洀 椀渀 ㈀　㈀　⸀ 吀栀椀猀 昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 洀椀渀攀 琀攀氀氀猀 琀栀愀琀 ∀琀眀漀 愀渀搀 漀渀氀礀 琀眀漀 椀琀攀洀猀 挀愀渀 戀攀 琀栀攀 猀愀洀攀 愀挀爀漀猀猀 搀椀昀昀攀爀攀渀琀 爀攀愀氀椀琀椀攀猀∀⸀ 䤀琀 洀攀愀渀猀 渀漀琀 琀栀愀琀 琀栀攀礀 愀爀攀 ✀琀栀攀 猀愀洀攀✀㨀 圀栀愀琀 椀琀 洀攀愀渀猀 椀猀 琀栀愀琀 琀栀攀 氀椀洀椀琀攀搀 栀甀洀愀渀 猀瀀椀爀椀琀 眀椀琀栀 椀琀猀 爀攀搀甀渀搀愀渀琀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀 琀愀欀攀猀 琀栀攀洀 琀漀 戀攀 琀栀攀 猀愀洀攀⸀ 䤀渀 猀漀 搀漀椀渀最Ⰰ 琀栀攀 栀甀洀愀渀 猀瀀椀爀椀琀 洀愀欀攀猀 愀渀 ✀攀爀爀漀爀✀ 眀栀椀挀栀 挀漀氀氀愀瀀猀攀猀 琀栀攀 琀眀漀 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀 椀渀琀漀 漀渀攀 ⠀椀渀 愀 猀攀渀猀攀 渀漀琀 琀栀攀 猀愀洀攀 愀猀 愀 挀愀琀攀最漀爀椀愀氀 爀攀搀甀挀琀椀漀渀 ⴀ 椀昀 椀琀 眀攀爀攀 愀戀漀甀琀 愀 挀愀琀攀最漀爀礀 琀栀攀渀 椀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 洀漀爀攀 琀栀愀渀 琀眀漀⤀ ⴀ 眀栀椀挀栀 椀猀 眀栀愀琀 挀漀渀瘀攀爀琀猀 琀栀愀琀 渀攀眀 琀眀漀ⴀ琀甀爀渀攀搀ⴀ漀渀攀 椀渀琀漀 愀渀 漀渀琀漀氀漀最椀挀愀氀 猀甀戀猀琀愀渀琀椀愀氀 爀攀昀攀爀攀渀琀椀愀氀 椀琀攀洀 ⴀ 琀漀 眀栀椀挀栀 琀栀攀 栀甀洀愀渀 猀瀀椀爀椀琀 愀琀琀愀挀栀攀猀 愀 㰀椀㸀洀攀愀渀椀渀最㰀⼀椀㸀 ⴀ 愀 猀攀洀愀渀琀椀挀 甀渀椀琀 ⴀ 眀栀椀挀栀 猀攀爀瘀攀猀 琀栀攀 瀀甀爀瀀漀猀攀 漀昀 氀愀戀攀氀氀椀渀最 琀栀攀 瀀漀猀琀甀氀愀琀攀搀 瀀爀椀洀漀爀搀椀愀氀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 琀栀攀 琀眀漀 漀爀椀最椀渀愀氀氀礀 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀⸀ 䤀琀 椀猀 琀栀椀猀 猀攀洀愀渀琀椀挀 氀愀戀攀氀氀椀渀最 眀栀椀挀栀 洀愀欀攀猀 椀琀 瀀漀猀猀椀戀氀攀 昀漀爀 琀栀攀 氀椀洀椀琀攀搀 栀甀洀愀渀猀 琀漀 猀琀攀攀爀 琀栀爀漀甀最栀 琀栀攀 甀渀椀瘀攀爀猀愀氀 漀挀攀愀渀 眀椀琀栀漀甀琀 猀栀椀瀀眀爀攀挀欀椀渀最 愀最愀椀渀猀琀 琀栀攀 挀氀愀渀最椀渀最 戀甀琀 愀栀 猀漀 椀渀瘀椀猀椀戀氀攀 戀爀漀渀稀攀⸀ 䌀栀爀椀猀琀椀愀渀椀琀礀 挀愀氀氀猀 琀栀椀猀 挀漀渀搀椀琀椀漀渀 琀栀攀 ✀猀椀渀昀甀氀✀ 栀甀洀愀渀猀Ⰰ 琀栀攀礀 愀爀攀 ✀猀椀渀渀攀爀猀✀⸀ 䌀栀爀椀猀琀椀愀渀椀琀礀 愀氀猀漀 瀀漀猀琀甀氀愀琀攀猀 愀 ✀琀爀椀渀椀琀礀✀ 眀栀椀挀栀 椀猀 栀愀爀搀 琀漀 甀渀搀攀爀猀琀愀渀搀 昀漀爀 栀甀洀愀渀猀 ⴀ 椀琀 洀攀愀渀猀 瀀爀漀戀愀戀氀礀 琀栀愀琀 攀瘀攀渀 琀栀爀攀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀 挀愀渀 戀攀 ✀琀栀攀 猀愀洀攀✀ ⴀ 眀椀琀栀漀甀琀 戀攀椀渀最 挀漀渀挀攀椀瘀攀搀 愀猀 愀 挀愀琀攀最漀爀礀Ⰰ 琀栀愀琀 椀猀⸀ 䈀甀琀 琀栀愀琀 椀猀 洀漀爀攀 氀椀欀攀 琀栀爀攀攀 瀀漀椀渀琀猀 漀渀 愀 猀甀爀昀愀挀攀 ⴀ 礀漀甀 挀愀渀 愀氀眀愀礀猀 搀爀愀眀 愀 挀椀爀挀氀攀 琀栀爀漀甀最栀 琀栀攀洀 甀渀氀攀猀猀 琀栀攀礀 愀爀攀 漀渀 愀 猀琀爀愀椀最栀琀 氀椀渀攀Ⰰ 椀渀 眀栀椀挀栀 挀愀猀攀 ⠀椀昀 琀栀攀礀 愀爀攀 漀渀 愀 猀琀爀愀椀最栀琀 氀椀渀攀⤀ 琀栀攀礀 眀漀甀氀搀 瀀爀漀戀愀戀氀礀 戀攀 椀渀 琀栀攀 挀愀琀攀最漀爀礀 漀昀 ✀搀椀瘀椀渀攀✀ 戀攀礀漀渀搀 栀甀洀愀渀 爀攀愀猀漀渀椀渀最 椀昀 愀 挀椀爀挀氀攀 渀攀瘀攀爀琀栀攀氀攀猀猀 挀愀渀 戀攀 搀爀愀眀渀 琀栀爀漀甀最栀 琀栀攀洀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀猀攀 挀漀渀挀攀瀀琀猀 漀昀 琀眀漀 猀琀爀愀琀愀 ⴀ 漀渀攀 瀀栀礀猀椀挀愀氀 ⠀漀渀琀漀氀漀最椀挀愀氀 爀攀昀攀爀攀渀琀 ⬀ 猀攀洀愀渀琀椀挀 氀愀戀攀氀⤀ 愀渀搀 漀渀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 ⠀琀栀攀 琀眀漀 焀甀愀猀椀ⴀ猀愀洀攀 椀琀攀洀猀⤀ 愀爀攀 琀栀攀 昀漀甀爀 攀氀攀洀攀渀琀猀 椀渀 眀栀愀琀 䤀 挀愀氀氀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 氀椀渀最甀椀猀琀椀挀 渀甀挀氀攀甀猀 ⴀ 眀栀椀挀栀 䤀 爀攀昀攀爀爀攀搀 琀漀 愀氀猀漀 椀渀 琀栀攀 愀戀漀瘀攀 搀椀猀挀甀猀猀椀漀渀 漀昀 琀栀攀 瘀椀爀甀猀 琀栀攀漀爀礀 眀栀攀爀攀戀礀 愀 瘀椀爀甀猀 攀瀀椀搀攀洀椀挀 愀猀 挀甀氀琀甀爀攀 愀猀琀爀愀礀 椀猀 猀攀攀渀 愀猀 琀爀礀椀渀最 琀漀 爀攀瘀攀爀猀攀 琀栀攀 挀甀氀琀甀爀愀氀 漀渀琀漀氀漀最礀 琀漀 椀琀猀 漀爀椀最椀渀愀氀 洀攀琀愀瀀栀礀猀椀挀愀氀 挀漀渀搀椀琀椀漀渀 ⴀ 眀椀琀栀 琀栀攀 㰀愀 栀爀攀昀㴀∀昀甀渀搀愀洀攀渀琀愀氀⸀樀瀀最∀㸀椀猀漀洀漀爀瀀栀礀 漀昀 氀愀渀最甀愀最攀 愀渀搀 氀漀最椀挀㰀⼀愀㸀 搀椀猀挀甀猀猀攀搀 椀渀 㰀愀 栀爀攀昀㴀∀挀栀椀渀攀猀攀爀愀搀椀挀愀氀㈀㠀⸀栀琀洀∀㸀琀栀椀猀 愀爀琀椀挀氀攀㰀⼀愀㸀⸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 氀椀欀攀氀礀 琀栀愀琀 琀栀椀猀 ✀猀愀洀攀渀攀猀猀✀ 椀渀 ㈀ ⬀ ㈀ 㴀 㐀 椀猀 愀氀猀漀 琀栀攀 渀愀琀甀爀攀 漀昀 焀甀愀渀琀甀洀 瀀愀爀琀椀挀氀攀猀 ⴀ 愀渀搀 栀攀渀挀攀 愀渀 椀洀瀀漀爀琀愀渀琀 瀀愀爀琀 漀昀 愀 挀漀洀瀀甀琀愀琀椀漀渀愀氀 焀甀戀椀琀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 渀漀琀 猀漀 挀攀爀琀愀椀渀 椀昀 琀栀攀 甀渀椀琀猀 愀爀攀 瀀愀爀琀椀挀氀攀猀Ⰰ 椀昀 䤀 栀愀瘀攀 甀渀搀攀爀猀琀漀漀搀 椀琀 爀椀最栀琀 ⴀ 琀栀攀礀 挀愀渀 愀氀猀漀 戀攀 挀漀渀猀椀搀攀爀攀搀 眀愀瘀攀昀漀爀洀猀 ⴀ 琀栀攀 氀愀琀琀攀爀 挀漀甀氀搀 猀甀最最攀猀琀 愀 ⠀琀爀椀最漀渀漀洀攀琀爀椀挀㼀⤀ 搀攀瀀攀渀搀攀渀挀礀 眀栀椀挀栀 爀攀搀甀挀攀猀 㰀愀 栀爀攀昀㴀∀焀甀戀椀琀昀漀爀洀㄀⸀樀瀀最∀㸀琀栀攀 昀漀甀爀 瀀愀爀琀猀 漀昀 愀 焀甀戀椀琀 椀渀琀漀 琀眀漀 挀漀洀瀀氀攀砀 渀甀洀戀攀爀猀㰀⼀愀㸀Ⰰ 眀栀攀爀攀戀礀 琀栀攀 椀洀愀最椀渀愀爀礀 瀀愀爀琀 椀猀 氀椀渀欀攀搀 娀唀䴀 䌀唀䰀吀唀刀䔀Ⰰ 眀栀椀氀攀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 愀猀 ✀瀀愀爀琀椀挀氀攀猀✀ 眀漀甀氀搀 洀攀愀渀 琀栀愀琀 琀栀攀 搀攀瀀攀渀搀攀渀挀礀 眀栀椀挀栀 椀猀 䌀伀一吀䄀䤀一攀搀 椀渀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀 椀猀 攀砀瀀爀攀猀猀攀搀 椀渀 㰀愀 栀爀攀昀㴀∀焀甀戀椀琀昀漀爀洀㈀⸀樀瀀最∀㸀愀 搀攀瀀攀渀搀攀渀琀 瘀愀爀椀愀琀椀漀渀 漀昀 琀栀攀 猀攀洀愀渀琀椀挀 甀渀椀琀㰀⼀愀㸀 ⴀ 椀渀 琀栀攀 猀攀渀猀攀 琀栀愀琀 琀栀攀 昀甀渀挀琀椀漀渀 漀昀 琀栀攀 猀攀洀愀渀琀椀挀 甀渀椀琀 ⴀ 洀漀爀攀 琀栀愀渀 漀渀氀礀 戀攀椀渀最 愀琀琀愀挀栀攀搀 琀漀 琀栀攀 爀攀昀攀爀攀渀琀 ⴀ 椀猀 琀漀 瀀爀攀猀攀爀瘀攀 琀栀攀 ✀椀渀瘀椀猀椀戀氀攀✀ 愀渀搀 栀攀渀挀攀 ✀甀渀ⴀ攀洀瀀椀爀椀挀愀氀✀ 戀甀琀 琀栀攀漀爀攀琀椀挀愀氀氀礀 瀀漀猀琀甀氀愀琀攀搀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 琀栀攀 琀眀漀 ✀猀愀洀攀✀ 瀀愀爀琀椀挀氀攀猀⸀ 䠀攀渀挀攀 琀栀攀爀攀 眀椀氀氀 戀攀 愀 ✀搀椀愀最漀渀愀氀✀ 搀攀瀀攀渀搀攀渀挀礀 琀漀 琀栀攀 ✀猀攀洀愀渀琀椀挀✀ 瀀愀爀琀 漀昀 琀栀攀 ✀焀甀戀椀琀✀ ⠀椀渀 琀栀椀猀 猀攀洀椀漀琀椀挀 猀攀渀猀攀 漀昀 椀琀⤀Ⰰ 戀甀琀 昀爀漀洀 琀栀攀 猀攀洀愀渀琀椀挀 琀漀 攀椀琀栀攀爀 琀栀椀猀 漀爀 琀栀愀琀 洀攀琀愀瀀栀礀猀椀挀愀氀 瀀愀爀琀Ⰰ 琀栀攀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 眀栀椀挀栀 椀猀 栀愀爀搀 琀漀 最爀愀猀瀀 昀漀爀 琀栀攀 栀甀洀愀渀 洀椀渀搀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀儀甀愀渀琀甀洀 挀漀洀瀀甀琀椀渀最 猀琀爀甀最最氀攀猀Ⰰ 椀昀 䤀 栀愀瘀攀 甀渀搀攀爀猀琀漀漀搀 椀琀 爀椀最栀琀Ⰰ 眀椀琀栀 甀渀挀攀爀琀愀椀渀琀椀攀猀 眀栀椀挀栀 愀氀氀漀眀 昀漀爀 漀渀氀礀 猀琀愀琀椀猀琀椀挀愀氀 瀀爀攀挀椀猀椀漀渀 ⴀ 愀渀搀 琀栀攀礀 愀爀攀 挀漀渀挀攀渀琀爀愀琀椀渀最 漀渀 搀攀瘀攀氀漀瀀椀渀最 攀爀爀漀爀 挀漀爀爀攀挀琀椀漀渀 瀀爀漀挀攀搀甀爀攀猀 昀漀爀 渀愀爀爀漀眀椀渀最 搀漀眀渀 琀栀攀 攀爀爀漀爀 爀愀渀最攀⸀ 䤀昀 琀眀漀 挀漀洀瀀氀攀砀 渀甀洀戀攀爀猀 愀爀攀 甀猀攀搀 昀漀爀 琀栀攀 焀甀戀椀琀Ⰰ 眀漀甀氀搀 琀栀愀琀 戀攀 琀栀攀 爀攀愀猀漀渀 昀漀爀 琀栀攀猀攀 甀渀挀攀爀琀愀椀渀琀椀攀猀㼀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 栀愀爀搀 琀漀 甀渀搀攀爀猀琀愀渀搀 眀栀愀琀 椀猀 戀攀礀漀渀搀 琀栀攀 爀攀愀氀椀琀礀 漀昀 琀栀攀 ✀洀愀礀愀✀⸀ 刀攀氀椀最椀漀渀 愀渀搀 洀礀猀琀椀挀 椀渀焀甀椀爀礀 椀猀 琀栀攀 眀愀礀 眀栀椀挀栀 琀栀攀 栀甀洀愀渀猀 栀愀瘀攀 昀漀爀 琀栀椀猀 椀洀瀀漀爀琀愀渀琀 琀愀猀欀⸀ 䴀礀猀琀椀挀 椀渀焀甀椀爀礀 挀愀渀 戀攀 甀渀搀攀爀猀琀漀漀搀 愀猀 愀渀 愀琀琀攀洀瀀琀 琀漀 甀渀搀攀爀猀琀愀渀搀 漀爀 爀攀ⴀ攀猀琀愀戀氀椀猀栀 琀栀攀 漀爀椀最椀渀愀氀 瀀爀椀洀漀爀搀椀愀氀 椀渀琀攀最爀椀琀礀 漀昀 琀栀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 猀琀愀琀攀猀Ⰰ 栀攀渀挀攀 椀琀 琀礀瀀椀挀愀氀氀礀 最漀攀猀 昀漀爀 ✀琀栀攀 挀氀漀甀搀 漀昀 甀渀欀渀漀眀椀渀最✀Ⰰ 猀漀 琀漀 猀瀀攀愀欀⸀ 䴀礀猀琀椀挀 椀渀焀甀椀爀礀 渀攀挀攀猀猀愀爀椀氀礀 最漀攀猀 瘀椀愀 搀攀琀愀挀栀洀攀渀琀 昀爀漀洀 琀栀攀 栀椀猀琀漀爀椀挀 爀攀愀氀椀琀礀 ⴀ 昀爀漀洀 琀栀愀琀 爀攀愀氀椀琀礀 眀栀椀挀栀 愀爀漀猀攀 眀栀攀渀 琀栀攀 栀甀洀愀渀 洀椀渀搀 椀最渀漀爀攀搀 琀栀攀 昀椀渀攀 搀椀猀琀椀渀挀琀椀漀渀猀 愀渀搀 搀椀昀昀攀爀攀渀挀攀猀 戀攀琀眀攀攀渀 洀攀琀愀瀀栀礀猀椀挀愀氀 猀琀愀琀攀猀⸀ 吀栀攀 栀椀猀琀漀爀椀挀 爀攀愀氀椀琀礀 琀礀瀀椀挀愀氀氀礀 瀀爀攀猀攀渀琀猀 椀琀猀攀氀昀 戀礀 眀愀礀 漀昀 琀攀洀瀀琀愀琀椀漀渀猀 愀渀搀 琀爀漀甀戀氀攀猀 ⴀ 愀 猀漀爀琀 漀昀 ✀猀漀甀瀀 猀琀愀琀椀漀渀✀ 椀琀 挀漀甀氀搀 瀀攀爀栀愀瀀猀 戀攀 挀愀氀氀攀搀 ⴀ 椀昀 礀漀甀 琀爀礀 琀漀 搀攀琀愀挀栀 昀爀漀洀 椀琀Ⰰ 愀渀搀 挀漀渀瘀攀爀猀攀氀礀 椀琀 挀愀渀 漀昀昀攀爀 猀甀挀挀攀猀猀 椀昀 礀漀甀 愀最爀攀攀 琀漀 椀琀猀 琀攀爀洀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀愀 栀爀攀昀㴀∀眀栀愀琀椀猀瀀琀爀猀椀洀瀀椀欀⸀栀琀洀∀㸀倀吀刀匀䤀䴀 倀䤀䬀㰀⼀愀㸀 椀猀 愀 瘀愀爀椀愀渀琀 漀昀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀椀渀最甀椀猀琀椀挀猀 ⴀ 琀栀攀 椀搀攀愀 漀昀 琀眀漀 搀椀猀瀀愀爀愀琀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 ✀椀琀攀洀猀✀ 爀攀挀漀最渀椀稀攀搀 戀礀 琀栀攀 氀椀洀椀琀攀搀 栀甀洀愀渀 洀椀渀搀 愀猀 漀渀攀 愀渀搀 琀栀攀 猀愀洀攀 ⴀ 椀渀 琀栀攀 倀吀刀匀䤀䴀 倀䤀䬀 挀漀渀猀琀爀甀挀琀椀漀渀 椀渀 琀栀攀 昀漀爀洀 漀昀 漀渀攀 眀漀爀搀 昀爀漀洀 琀栀攀 漀氀搀 琀攀猀琀愀洀攀渀琀 ⠀漀挀挀甀爀爀椀渀最 琀眀椀挀攀 愀渀搀 漀渀氀礀 琀眀椀挀攀 椀渀 䜀攀渀攀猀椀猀⤀ 戀攀椀渀最 挀漀渀猀椀搀攀爀攀搀 ✀琀栀攀 猀愀洀攀✀ 愀猀 漀渀攀 瘀攀爀猀攀 昀爀漀洀 琀栀攀 渀攀眀 琀攀猀琀愀洀攀渀琀 ⴀ 椀渀 愀 琀眀漀ⴀ猀琀爀愀琀愀 洀漀搀攀氀 昀漀爀 眀栀愀琀 椀猀 戀攀礀漀渀搀 琀栀攀 洀愀礀愀⸀ 䤀琀 椀猀 琀栀攀 漀氀搀ⴀ琀攀猀琀愀洀攀渀琀愀氀 琀眀椀挀攀 愀渀搀 漀渀氀礀 琀眀椀挀攀 ⠀漀挀挀甀爀爀攀渀挀攀 漀昀 猀漀洀攀 眀漀爀搀 椀渀 䜀攀渀攀猀椀猀⤀ 眀栀椀挀栀 愀瀀瀀爀漀砀椀洀愀琀攀猀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀椀渀最甀椀猀琀椀挀猀 眀栀椀氀攀 琀栀攀 渀攀眀ⴀ琀攀猀琀愀洀攀渀琀愀氀 ✀椀猀漀洀漀爀瀀栀礀✀ 琀漀 琀栀椀猀 ⠀瘀椀愀 琀栀愀琀 倀吀刀匀䤀䴀 倀䤀䬀 猀挀栀攀洀攀⤀ 椀猀 琀栀攀 挀漀爀爀攀氀愀琀攀 琀漀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀漀最椀挀 ⴀ 愀渀搀 栀攀渀挀攀 㰀愀 栀爀攀昀㴀∀挀栀椀渀攀猀攀爀愀搀椀挀愀氀㈀㠀⸀栀琀洀∀㸀琀栀攀 椀猀漀洀漀爀瀀栀礀 戀攀琀眀攀攀渀 琀栀攀猀攀㰀⼀愀㸀 挀爀攀愀琀攀猀 琀栀愀琀 昀甀渀搀愀洀攀渀琀愀氀 氀椀渀最甀椀猀琀椀挀 渀甀挀氀攀甀猀 眀栀椀挀栀 椀猀 琀栀攀 猀攀挀爀攀琀 琀漀 渀漀琀 漀渀氀礀 琀栀攀 渀攀眀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀攀爀 ⴀ 愀渀搀 琀栀攀 挀栀愀渀挀攀 昀漀爀 栀甀洀愀渀椀琀礀 琀漀 攀渀琀攀爀 椀渀琀漀 挀漀洀洀甀渀椀挀愀琀椀漀渀 眀椀琀栀 琀栀攀 爀攀洀漀琀攀 甀渀椀瘀攀爀猀攀Ⰰ 氀椀欀攀 琀栀攀 挀漀猀洀椀挀 栀愀爀洀漀渀礀 漀昀 愀 樀攀眀椀猀栀 猀愀戀戀愀琀栀 ⴀ 戀甀琀 愀氀猀漀 琀漀 琀栀攀 瀀爀椀渀挀椀瀀氀攀猀 漀昀 瘀椀爀甀猀 攀瀀椀搀攀洀椀挀猀 眀栀椀挀栀 䤀 漀甀琀氀椀渀攀搀 椀渀 洀礀 瘀椀爀甀猀 琀栀攀漀爀礀 漀昀 愀瀀爀椀氀 ㈀　㈀　 ⴀ 眀栀攀渀 琀栀攀 眀漀爀氀搀 猀攀攀洀椀渀最氀礀 琀爀椀攀搀 琀漀 搀攀琀愀挀栀 昀爀漀洀 琀栀攀 琀攀洀瀀琀愀琀椀漀渀猀 漀昀 猀甀挀挀攀猀猀 椀渀 琀栀攀 ✀琀栀甀猀漀渀 欀愀椀 昀愀最攀✀ 瀀爀漀最爀愀洀 愀渀搀 漀昀昀攀爀攀搀 瀀攀漀瀀氀攀 愀 挀栀愀渀挀攀 愀琀 㰀愀 栀爀攀昀㴀∀挀漀瘀椀搀ⴀ㄀㤀ⴀ瘀愀挀挀椀渀攀ⴀ攀昀昀椀挀椀攀渀挀礀ⴀ椀渀ⴀ匀眀攀搀攀渀⸀栀琀洀∀㸀 琀栀攀 猀漀甀瀀 猀琀愀琀椀漀渀㰀⼀愀㸀 椀渀猀琀攀愀搀㨀 䤀琀 猀攀攀洀猀 琀栀愀琀 瘀愀挀挀椀渀愀琀椀漀渀猀 愀最愀椀渀猀琀 䌀伀嘀䤀䐀 最攀渀攀爀愀氀氀礀 琀攀渀搀攀搀 琀漀 椀渀挀爀攀愀猀攀 琀栀攀 挀栀愀渀挀攀 昀漀爀 搀椀猀攀愀猀攀 愀渀搀 搀攀愀琀栀 爀愀琀栀攀爀 琀栀愀渀 爀攀搀甀挀椀渀最 椀琀Ⰰ 戀甀琀 椀琀 洀愀礀 戀攀 琀栀愀琀 琀栀攀 眀漀爀氀搀 渀攀瘀攀爀琀栀攀氀攀猀猀 挀漀渀猀椀搀攀爀攀搀 琀栀椀猀 愀 戀攀琀琀攀爀 愀氀琀攀爀渀愀琀椀瘀攀 琀栀愀渀 琀栀攀 ✀琀栀甀猀漀渀 欀愀椀 昀愀最攀✀ 瀀爀漀最爀愀洀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䈀甀琀 愀 琀爀愀最椀挀愀氀氀礀 瀀椀琀椀昀甀氀 洀椀猀甀渀搀攀爀猀琀愀渀搀椀渀最 椀琀 椀猀 琀漀 ✀瀀氀愀礀✀ ⠀氀椀欀攀 挀栀椀氀搀爀攀渀⤀ 琀栀椀猀 挀漀洀瀀甀琀愀琀椀漀渀 琀栀攀漀爀礀 琀栀愀琀 渀漀眀 猀栀愀氀氀 䤀 戀攀 琀栀攀 倀吀刀匀䤀䴀 倀䤀䬀 瀀氀愀礀椀渀最 䨀攀猀甀猀 氀椀瘀椀渀最 椀渀 匀稀椀最攀琀 唀琀挀愀 椀渀 匀稀漀氀渀漀欀 ⠀戀攀挀愀甀猀攀 漀昀 琀栀攀 ✀焀甀愀渀琀甀洀✀ 猀琀爀攀攀琀渀愀洀攀猀 琀栀攀爀攀⤀ 愀渀搀 礀漀甀 猀栀愀氀氀 戀攀 愀搀洀椀渀椀猀琀爀愀琀漀爀猀 漀昀 瀀漀眀攀爀⸀ 䤀琀 椀猀 瘀攀爀礀 栀椀最栀 琀椀洀攀 琀漀 甀渀搀攀爀猀琀愀渀搀 琀栀愀琀 攀瘀攀渀 搀愀爀欀 洀攀搀椀攀瘀愀氀 琀椀洀攀猀 眀漀甀氀搀 栀愀瘀攀 猀甀渀欀 椀渀 攀愀爀琀栀 昀漀爀 猀栀攀攀爀 猀栀愀洀攀 眀栀攀渀 甀渀搀攀爀猀琀愀渀搀椀渀最 眀栀愀琀 愀 最氀漀漀洀礀 猀甀瀀攀爀猀琀椀琀椀漀甀猀 爀攀愀氀椀琀礀 琀栀愀琀 椀猀⸀ 吀栀攀 眀漀爀氀搀 眀攀渀琀 爀椀最栀琀 椀渀琀漀 愀 䌀伀嘀䤀䐀ⴀ㄀㤀 眀栀攀渀 椀琀 猀甀搀搀攀渀氀礀 甀渀搀攀爀猀琀漀漀搀 眀栀愀琀 眀愀猀 最漀椀渀最 漀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 挀氀攀愀爀氀礀 眀愀猀 琀栀攀 䌀伀嘀䤀䐀ⴀ㄀㤀 ⴀ 琀栀攀 椀洀洀攀搀椀愀琀攀 爀攀愀氀椀稀愀琀椀漀渀 愀洀漀渀最 愀氀氀 瀀攀漀瀀氀攀 漀昀 琀栀攀 眀漀爀氀搀 琀栀愀琀 愀 渀愀稀椀 瀀爀漀最爀愀洀 漀昀 ✀瀀爀漀瘀椀渀最✀ 琀栀愀琀 琀栀攀 渀攀眀 椀渀昀漀爀洀愀琀椀漀渀 琀攀挀栀渀漀氀漀最礀 椀猀 椀渀 攀砀琀攀渀猀椀漀渀 昀爀漀洀 琀栀攀 挀栀爀椀猀琀椀愀渀 挀爀攀攀搀 ⠀眀椀琀栀 䴀愀搀漀渀渀愀 愀渀搀 䨀攀猀甀猀 戀攀戀攀⤀ 愀渀搀 琀栀愀琀 椀琀 爀攀猀琀猀 漀渀 琀栀攀 琀爀椀瀀氀攀 栀攀愀瘀攀渀氀礀 漀爀搀攀爀 ⠀漀昀 䄀挀琀猀 ㄀　㨀㄀㌀ 愀渀搀 ㄀㄀㨀㜀⤀ 漀昀 搀漀椀渀最 琀攀爀爀漀爀 愀渀搀 洀愀猀猀 洀甀爀搀攀爀 ⠀漀渀攀 甀渀搀攀爀猀琀愀渀搀猀 琀栀愀琀 椀琀 挀愀渀 戀攀 搀椀昀昀椀挀甀氀琀 琀漀 眀漀爀欀 椀渀 爀攀猀瀀漀渀猀椀戀氀攀 愀搀洀椀渀椀猀琀爀愀琀椀漀渀 昀爀漀洀 琀栀椀猀 瀀漀椀渀琀 漀昀 瘀椀攀眀⤀ ⴀ 洀甀猀琀 戀攀 愀 昀甀渀搀愀洀攀渀琀愀氀 昀氀愀眀⸀ 䌀伀嘀䤀䐀ⴀ㄀㤀 眀漀甀氀搀 琀栀攀渀 栀愀瘀攀 戀攀攀渀 琀栀攀 椀洀洀攀搀椀愀琀攀 瀀漀瀀甀氀愀爀 椀渀猀椀最栀琀 琀栀愀琀 琀栀椀猀 瀀爀漀最爀愀洀 栀愀猀 琀漀 戀攀 猀琀漀瀀瀀攀搀 ⴀ 愀渀搀 栀攀渀挀攀 琀栀攀 ✀昀甀渀搀愀洀攀渀琀愀氀 焀甀戀椀琀✀ 眀愀猀 琀甀爀渀攀搀 椀渀琀漀 愀 搀椀猀攀愀猀攀 眀栀椀挀栀 洀攀愀渀琀 琀栀愀琀 琀栀攀 搀攀瘀攀氀漀瀀洀攀渀琀 栀愀搀 琀漀 戀攀 猀琀漀瀀瀀攀搀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀氀氀 琀栀椀猀 最氀漀漀洀礀 戀爀漀漀洀爀椀搀椀渀最 椀猀 渀漀琀栀椀渀最 戀甀琀 䈀氀漀欀猀戀攀爀最 ⴀ 椀琀 椀猀 渀漀琀 栀攀愀氀琀栀礀 挀漀洀瀀甀琀愀琀椀漀渀 琀栀攀漀爀礀⸀ 倀吀刀匀䤀䴀 倀䤀䬀 栀愀猀 琀栀攀 爀漀氀攀 漀昀 戀攀椀渀最 琀栀攀 焀甀戀椀琀 ⴀ 戀甀琀 琀栀愀琀 椀猀 挀氀攀愀爀氀礀 琀栀攀 眀爀漀渀最 眀愀礀 昀漀爀 猀甀挀栀 挀漀洀瀀甀琀愀琀椀漀渀 琀栀攀漀爀礀 ⴀ 琀漀 欀攀攀瀀 琀栀攀 ✀焀甀戀椀琀✀ 甀渀搀攀爀 猀甀爀瘀攀椀氀氀愀渀挀攀 愀渀搀 猀瀀爀攀愀搀 琀栀攀 搀愀琀愀 琀栀爀漀甀最栀 琀栀攀 椀渀琀攀爀渀愀琀椀漀渀愀氀 洀攀搀椀愀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀栀攀爀攀 椀猀 琀栀攀 瀀爀漀戀氀攀洀㼀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 眀愀猀 椀渀 琀栀攀 礀攀愀爀 ㄀㤀㜀　ⴀ㜀㄀ 琀栀愀琀 䤀 甀渀搀攀爀猀琀漀漀搀 琀栀愀琀 䌀愀渀琀漀爀✀猀 搀椀愀最漀渀愀氀 瀀爀漀漀昀 猀甀昀昀攀爀猀 昀爀漀洀 愀 昀氀愀眀 眀栀椀挀栀 瀀爀漀戀愀戀氀礀 椀猀 琀栀攀 猀愀洀攀 愀猀 㰀椀㸀琀栀攀 瀀愀瀀攀爀昀氀愀琀渀攀猀猀 漀昀 洀愀琀栀攀洀愀琀椀挀愀氀 猀礀洀戀漀氀猀㰀⼀椀㸀⸀ 䤀 甀渀搀攀爀猀琀漀漀搀 琀栀椀猀 眀栀椀氀攀 琀栀攀 猀挀栀漀漀氀 搀攀渀琀椀猀琀 眀愀猀 搀漀椀渀最 琀攀爀爀漀爀 漀渀 洀礀 礀漀甀渀最 琀攀攀琀栀 ⴀ 栀攀 搀爀椀氀氀攀搀 昀漀爀 眀攀攀欀猀 愀渀搀 昀椀氀氀攀搀 愀氀洀漀猀琀 愀氀氀 漀昀 琀栀攀洀 眀椀琀栀 愀洀愀氀最愀洀 ⴀ 挀漀甀氀搀 戀攀 椀渀 愀渀 愀琀琀攀洀瀀琀 琀漀 搀攀攀瀀攀渀 琀栀漀猀攀 ✀洀愀琀栀攀洀愀琀椀挀愀氀 猀礀洀戀漀氀猀✀ 漀昀 洀攀 愀猀 愀 ✀氀愀瀀椀猀 瀀栀椀氀漀猀漀瀀栀漀爀甀洀✀⸀ 吀栀攀 氀愀琀攀爀 刀眀愀渀搀愀 最攀渀漀挀椀搀攀 漀渀  㠀　　⸀　　　 吀甀琀猀椀攀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 昀漀爀 猀椀洀椀氀愀爀 ✀瀀栀椀氀漀猀漀瀀栀椀挀愀氀✀ 瀀甀爀瀀漀猀攀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀昀 琀栀攀 瀀漀猀琀甀氀愀琀攀搀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 琀栀攀 琀眀漀 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀 漀昀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 氀椀渀最甀椀猀琀椀挀 渀甀挀氀攀甀猀 椀猀 戀攀礀漀渀搀 漀甀爀 爀攀愀挀栀 漀昀 攀洀瀀椀爀椀挀愀氀 瘀攀爀椀昀椀挀愀琀椀漀渀Ⰰ 椀琀 椀猀 渀漀琀 琀栀攀 爀椀最栀琀 猀漀氀甀琀椀漀渀 琀漀 琀爀礀 愀渀搀 搀攀琀攀挀琀 琀栀攀 搀椀昀昀攀爀攀渀挀攀 戀礀 眀愀礀 漀昀 琀栀爀攀愀琀猀 愀渀搀 琀攀爀爀漀爀 ⴀ 漀爀 琀爀礀椀渀最 琀漀 猀挀愀爀攀 琀栀攀 搀椀昀昀攀爀攀渀挀攀猀 琀漀 猀琀愀礀 琀栀攀爀攀 漀渀 漀渀攀 瀀氀愀挀攀Ⰰ 瀀氀攀愀猀攀Ⰰ 猀漀 琀栀愀琀 眀攀 挀愀渀 栀愀瘀攀 猀甀挀挀攀猀猀 椀渀 漀甀爀 挀漀洀瀀甀琀愀琀椀漀渀猀 愀渀搀 挀攀氀攀戀爀愀琀攀 椀琀 眀椀琀栀 挀愀欀攀 愀洀漀渀最 漀甀爀 昀愀洀椀氀椀攀猀⸀ 伀昀 挀漀甀爀猀攀 琀栀攀 爀椀最栀琀 眀愀礀 椀猀 猀琀椀氀氀 琀栀攀 猀愀洀攀 漀氀搀 琀爀愀搀椀琀椀漀渀愀氀 昀爀甀最愀氀 猀挀椀攀渀挀攀 ⴀ 戀礀 挀漀渀樀攀挀琀甀爀攀猀 愀渀搀 爀攀昀甀琀愀琀椀漀渀猀 ⠀倀漀瀀瀀攀爀⤀ 瀀漀猀琀甀氀愀琀椀渀最 洀攀琀愀瀀栀礀猀椀挀愀氀 猀琀愀琀攀猀 眀栀椀挀栀 琀栀攀渀 眀椀氀氀 栀愀瘀攀 攀洀瀀椀爀椀挀愀氀 爀攀瀀攀爀挀甀猀猀椀漀渀猀⸀ 䈀甀琀 眀椀氀氀 琀栀椀猀 攀瘀攀爀 戀攀 愀渀礀琀栀椀渀最 戀甀琀 愀渀 攀渀搀氀攀猀猀 猀攀爀椀攀猀 漀昀 猀栀漀琀猀 椀渀 琀栀攀 搀愀爀欀㼀 吀栀愀琀 椀猀 眀栀愀琀 ✀洀礀猀琀椀挀 椀渀焀甀椀爀礀✀ 栀愀猀 愀氀眀愀礀猀 戀攀攀渀 愀戀漀甀琀 ⴀ 渀漀琀 琀栀攀 猀栀漀琀猀 椀渀 琀栀攀 搀愀爀欀 戀甀琀 愀渀 攀搀甀挀愀琀椀漀渀 愀渀搀 爀攀昀椀渀攀洀攀渀琀 漀昀 㰀椀㸀琀栀攀 昀愀挀甀氀琀礀 漀昀 昀愀椀琀栀㰀⼀椀㸀 眀栀椀挀栀 戀甀椀氀搀猀 愀 渀攀眀 眀漀爀氀搀 椀渀 椀渀琀攀爀愀挀琀椀漀渀 眀椀琀栀 愀 昀爀椀攀渀搀氀礀 愀琀琀椀琀甀搀攀 琀漀 爀攀愀氀椀琀礀⸀ 吀栀攀 猀漀甀瀀 猀琀愀琀椀漀渀 椀猀 渀漀琀 琀栀攀 最漀愀氀Ⰰ 漀昀 挀漀甀爀猀攀 ⴀ 椀琀 椀猀 猀漀洀攀琀椀洀攀猀 愀 瀀漀猀猀椀戀氀攀 眀愀礀 琀漀 搀攀琀愀挀栀 昀爀漀洀 琀栀攀 栀椀猀琀漀爀椀挀 爀攀愀氀椀琀礀 漀昀昀攀爀椀渀最 琀攀洀瀀琀愀琀椀漀渀猀 愀渀搀 琀爀漀甀戀氀攀猀 ⠀漀爀 ✀挀漀渀樀攀挀琀甀爀攀猀 愀渀搀 爀攀昀甀琀愀琀椀漀渀猀✀⤀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䜀漀漀搀 愀爀琀 椀猀 昀爀椀攀渀搀氀礀 愀爀琀⸀ 吀栀愀琀 椀猀 漀昀 攀猀猀攀渀琀椀愀氀 椀洀瀀漀爀琀愀渀挀攀⸀ 吀栀愀琀 椀猀 眀栀攀渀 礀漀甀 最攀琀 愀渀 愀渀猀眀攀爀 昀爀漀洀 攀琀攀爀渀椀琀礀 ⠀爀愀琀栀攀爀 琀栀愀渀 昀爀漀洀 栀椀猀琀漀爀礀⤀ 琀漀 琀栀攀 琀栀攀漀爀椀攀猀 漀昀 眀栀愀琀 愀爀攀 琀栀攀 搀椀昀昀攀爀攀渀挀攀猀 戀攀礀漀渀搀 琀栀攀 洀愀礀愀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䠀攀渀挀攀 愀 瀀愀爀琀 漀昀 琀栀椀猀 猀琀漀爀礀 猀攀攀洀猀 琀漀 戀攀 琀栀攀 瀀爀漀戀氀攀洀 漀昀 瀀愀瀀攀爀昀氀愀琀 猀礀洀戀漀氀椀猀洀 椀渀 洀愀琀栀攀洀愀琀椀挀猀⸀ 䴀礀 洀愀琀栀攀洀愀琀椀挀愀氀 椀渀琀甀椀琀椀漀渀 ⠀漀爀 眀栀愀琀 椀渀琀甀椀琀椀漀渀 椀琀 椀猀⤀ 琀攀氀氀猀 琀栀愀琀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㜀∀㸀 
<b>7&frac12; + 8 = 3                         </b>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀戀甀琀 椀琀 椀猀 栀愀爀搀 琀漀 瀀爀漀瘀攀 琀栀椀猀 琀眀漀ⴀ搀椀洀攀渀猀椀漀渀愀氀氀礀⸀ 䤀昀 琀栀攀 ✀㌀✀ 椀猀 琀栀攀 挀栀爀椀猀琀椀愀渀 琀爀椀渀椀琀礀Ⰰ 眀漀甀氀搀 琀栀攀 ✀㜀✀ 戀攀 䌀愀渀琀漀爀✀猀 搀椀愀最漀渀愀氀 ⴀ 愀渀搀 栀攀渀挀攀 琀栀椀猀 椀猀 琀栀攀 瀀爀漀漀昀 漀昀 栀椀猀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 ⴀ 漀渀攀 漀昀 琀栀攀 昀愀洀漀甀猀 甀渀猀漀氀瘀攀搀 爀椀搀搀氀攀猀 漀昀 ㈀　琀栀 挀攀渀琀甀爀礀 洀愀琀栀攀洀愀琀椀挀猀㼀 䤀昀 琀栀椀猀 椀猀 愀 瀀爀漀漀昀Ⰰ 椀琀 椀猀 渀漀琀 戀愀猀攀搀 漀渀 琀栀攀 猀攀洀愀渀琀椀挀 愀渀搀 爀椀挀欀攀琀礀 ✀洀攀愀渀椀渀最✀ 漀昀 琀栀攀 猀礀洀戀漀氀猀 戀甀琀 漀渀 㰀椀㸀琀栀攀 昀愀挀甀氀琀礀 漀昀 昀愀椀琀栀㰀⼀椀㸀⸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀栀愀琀 挀漀甀氀搀 戀攀 愀渀 攀洀瀀椀爀椀挀愀氀 瘀攀爀椀昀椀挀愀琀椀漀渀 漀昀 ✀洀攀愀渀椀渀最✀ 椀猀 昀漀甀渀搀 椀渀 㰀愀 栀爀攀昀㴀∀瀀漀氀琀攀爀㄀㄀⸀洀瀀㌀∀㸀洀礀 爀攀挀漀爀搀椀渀最 漀昀 琀攀渀 洀攀琀愀瀀栀礀猀椀挀愀氀 欀渀漀挀欀猀㰀⼀愀㸀 ⠀漀渀 㰀愀 栀爀攀昀㴀∀㄀㔀樀愀渀甀愀爀礀㈀　㈀　⸀栀琀洀∀㸀㈀　 樀愀渀甀愀爀礀 ㈀　㈀　 愀琀 ㄀㄀㨀　　 漀✀挀氀漀挀欀㰀⼀愀㸀⤀ ⴀ 琀栀攀 㠀 昀椀爀猀琀 眀攀爀攀 ✀攀焀甀椀瀀爀漀戀愀戀氀攀✀ 戀甀琀 琀栀攀 琀眀漀 氀愀猀琀 眀攀爀攀 渀漀琀 ⴀ 愀渀搀 琀栀愀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 眀栀攀渀 ✀洀攀愀渀椀渀最✀ 愀爀漀猀攀 椀渀 琀栀攀 爀攀挀漀爀搀椀渀最⸀ 吀栀攀 洀攀愀渀椀渀最昀甀氀 欀渀漀挀欀椀渀最猀 猀琀漀瀀瀀攀搀 戀攀昀漀爀攀 琀栀攀礀 爀攀愀挀栀攀搀 ✀㌀✀⸀ 䄀琀 攀 㴀 ㈀Ⰰ㜀㄀㠀⸀⸀⸀㼀 䈀甀琀 琀栀愀琀 挀漀甀氀搀 戀攀 樀甀猀琀 愀琀 琀栀攀 栀甀洀愀渀 戀漀爀搀攀爀 琀漀 琀栀攀 ✀琀爀椀渀椀琀礀✀⸀ 䤀琀 眀漀甀氀搀 琀攀氀氀 琀栀愀琀 琀栀攀 椀渀昀椀渀椀琀攀 搀椀猀琀爀椀戀甀琀椀漀渀 漀昀 琀栀攀 ㈀ 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀 攀焀甀愀氀猀 琀栀攀 挀愀渀琀漀爀椀愀渀 愀氀攀瀀栀ⴀ㄀ 漀昀 琀栀攀 琀爀椀渀椀琀礀 ⴀ 愀最愀椀渀猀琀 琀栀攀 愀氀攀瀀栀ⴀ　 氀攀瘀攀氀 漀昀 漀渀琀漀氀漀最礀 ⬀ 猀攀洀愀渀琀椀挀猀 ⴀ 愀渀搀 琀栀攀 戀漀爀搀攀爀 戀攀琀眀攀攀渀 琀栀攀猀攀 椀猀 樀甀猀琀 眀栀攀爀攀 琀栀攀 洀攀愀渀椀渀最 漀昀 琀栀攀 猀礀洀戀漀氀猀 愀爀椀猀攀 ⴀ 椀渀 琀栀攀 栀甀洀愀渀 猀琀爀甀最最氀攀 琀漀 欀攀攀瀀 甀瀀 渀愀瘀椀最愀琀椀漀渀愀氀 挀栀愀渀挀攀猀 椀渀 琀栀攀 漀攀愀渀 漀昀 攀琀攀爀渀椀琀礀⸀ 䠀攀渀挀攀 椀昀 琀栀攀 瀀爀漀漀昀 椀猀 爀椀最栀琀Ⰰ 椀琀 挀漀甀氀搀 琀攀氀氀 猀漀洀攀琀栀椀渀最 椀洀瀀漀爀琀愀渀琀 愀戀漀甀琀 琀栀攀 渀愀琀甀爀攀 漀昀 琀栀攀 搀攀瀀攀渀搀攀渀挀椀攀猀 愀洀漀渀最 琀栀攀 昀漀甀爀 甀渀椀琀猀 漀昀 琀栀攀 焀甀戀椀琀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䐀漀 礀漀甀 最攀琀 猀挀愀爀攀搀 戀礀 琀栀攀 ✀瀀漀氀琀攀爀最攀椀猀琀猀✀Ⰰ 椀昀 琀栀愀琀 椀猀 眀栀愀琀 䤀 爀攀挀漀爀搀攀搀㼀 吀栀攀爀攀 椀猀 渀漀 猀挀愀爀攀 琀栀攀爀攀 ⴀ 椀琀 椀猀 愀 昀爀椀攀渀搀氀礀 愀渀猀眀攀爀 琀漀 洀礀 昀爀椀攀渀搀氀礀 椀渀焀甀椀爀椀攀猀 椀渀琀漀 眀栀愀琀 椀猀 琀栀攀 渀愀琀甀爀攀 漀昀 洀攀愀渀椀渀最 爀攀愀氀氀礀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䰀椀欀攀眀椀猀攀Ⰰ 椀琀 椀猀 搀椀昀昀椀挀甀氀琀 琀漀 甀渀搀攀爀猀琀愀渀搀 洀礀 瘀椀爀甀猀 琀栀攀漀爀礀 ⠀漀渀 琀栀攀 ✀瘀愀挀甀甀洀 瀀甀洀瀀✀ 瀀甀猀栀椀渀最 愀渀搀 瀀甀氀氀椀渀最 漀渀琀漀氀漀最椀挀愀氀 洀愀琀琀攀爀 ⴀ 琀栀攀 瘀椀爀甀猀攀猀 椀渀 琀栀攀 䐀一䄀ⴀ挀漀渀琀愀椀渀椀渀最 挀攀氀氀猀 ⴀ 椀渀 愀渀搀 漀甀琀 漀昀 爀攀愀氀椀琀礀 氀椀欀攀 ✀稀甀洀✀ 琀漀 ✀挀甀氀琀甀爀攀✀⤀ 戀礀 瀀愀瀀攀爀昀氀愀琀 氀漀最椀挀Ⰰ 椀昀 琀栀攀 猀甀洀 漀昀 琀栀攀 瀀爀漀戀愀戀椀氀椀琀椀攀猀 挀愀渀 戀攀 戀漀琀栀 ㄀Ⰰ　 愀渀搀 　Ⰰ㘀㜀 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀⸀ 吀栀攀猀攀 琀眀漀 搀椀昀昀攀爀攀渀琀 瘀愀氀甀攀猀 愀琀 琀栀攀 猀愀洀攀 琀椀洀攀 挀漀甀氀搀 氀漀漀欀 焀甀愀渀琀甀洀 洀攀挀栀愀渀椀挀Ⰰ 猀漀爀琀 漀昀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 㰀愀 栀爀攀昀㴀∀猀琀愀琀椀猀琀椀挀猀⸀栀琀洀∀㸀昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀漀最椀挀㰀⼀愀㸀 琀攀氀氀猀 琀栀愀琀 猀攀洀愀渀琀椀挀 洀攀愀渀椀渀最 愀爀椀猀攀猀 昀爀漀洀 琀栀攀 昀愀挀琀 琀栀愀琀 愀渀礀 氀愀渀最甀愀最攀 琀栀愀琀 猀栀愀氀氀 挀愀爀爀礀 愀渀礀 椀渀昀漀爀洀愀琀椀漀渀 洀甀猀琀 渀攀挀攀猀猀愀爀椀氀礀 攀砀栀椀戀椀琀 渀漀渀ⴀ攀焀甀椀瀀爀漀戀愀戀椀氀椀琀礀 漀昀 椀琀猀 搀椀猀琀爀椀戀甀琀椀漀渀 漀昀 猀礀洀戀漀氀猀 ⴀ 愀渀搀 猀椀渀挀攀 漀渀氀礀 攀焀甀椀瀀爀漀戀愀戀椀氀椀琀礀 猀愀琀椀猀昀椀攀猀 琀栀攀 攀焀甀愀琀椀漀渀 ⠀漀昀 㰀愀 栀爀攀昀㴀∀愀爀琀椀挀氀攀猀愀戀漀甀琀昀漀爀洀愀氀愀猀瀀攀挀琀猀漀昀氀愀渀最甀愀最攀⸀栀琀洀∀㸀琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀漀最椀挀㰀⼀愀㸀⤀ 眀栀椀挀栀 搀攀猀挀爀椀戀攀猀 琀栀攀 椀渀昀漀爀洀愀琀椀漀渀 昀氀甀砀 漀渀 琀栀攀 戀漀爀搀攀爀 戀攀琀眀攀攀渀 栀椀猀琀漀爀礀 愀渀搀 攀琀攀爀渀椀琀礀Ⰰ 琀栀愀琀 椀猀 琀栀攀 洀愀礀愀 戀漀爀搀攀爀 戀攀礀漀渀搀 眀栀椀挀栀 眀攀 挀愀渀渀漀琀 欀渀漀眀 愀渀礀琀栀椀渀最 眀椀琀栀 挀攀爀琀愀椀渀琀礀Ⰰ 椀琀 昀漀氀氀漀眀猀 琀栀愀琀 琀栀攀 ✀猀椀渀昀甀氀✀ 栀甀洀愀渀猀 栀愀瘀攀 挀漀渀猀琀爀甀挀琀攀搀 猀漀洀攀琀栀椀渀最 挀愀氀氀攀搀 ✀洀攀愀渀椀渀最✀ 昀漀爀 挀氀甀洀猀椀氀礀 爀攀琀愀椀渀椀渀最 琀栀椀猀 攀焀甀椀瀀爀漀戀愀戀椀氀椀琀礀 渀攀瘀攀爀琀栀攀氀攀猀猀 ⴀ 琀栀攀渀 椀琀 椀猀 渀漀琀 琀栀攀 瀀爀漀戀愀戀椀氀椀琀礀 漀昀 琀栀攀 漀挀挀甀爀爀攀渀挀攀猀 眀栀椀挀栀 椀猀 ✀琀栀攀 猀愀洀攀✀ 戀甀琀 琀栀攀 ✀洀攀愀渀椀渀最✀ 漀昀 愀 猀礀洀戀漀氀 椀猀 瀀漀猀琀甀氀愀琀攀搀 琀漀 戀攀 ✀琀栀攀 猀愀洀攀✀ 攀瘀攀爀礀 琀椀洀攀 椀琀 漀挀挀甀爀猀⸀ 䠀攀渀挀攀 猀攀洀愀渀琀椀挀猀 愀爀椀猀攀猀 昀爀漀洀 琀栀椀猀 瀀愀瀀攀爀昀氀愀琀渀攀猀猀 挀愀氀氀攀搀 ✀搀椀猀琀爀椀戀甀琀椀漀渀✀ 愀渀搀 愀琀琀愀挀栀攀猀 琀漀 琀栀攀 漀渀琀漀氀漀最椀挀愀氀 爀攀昀攀爀攀渀琀 眀椀琀栀 愀 最氀甀攀 ⠀漀爀 ✀猀漀甀瀀✀⤀ 愀爀椀猀椀渀最 昀爀漀洀 琀栀攀 氀漀最椀挀 琀栀愀琀 ✀猀愀洀攀 洀攀愀渀椀渀最✀ 洀甀猀琀 戀攀 琀栀攀 猀愀洀攀 愀猀 ✀猀愀洀攀 搀椀猀琀爀椀戀甀琀椀漀渀✀Ⰰ 搀漀渀琀 礀漀甀 琀栀椀渀欀 猀漀㼀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 挀氀甀洀猀礀 ✀洀攀愀渀椀渀最✀ 猀漀洀攀琀椀洀攀猀 猀瀀爀攀愀搀猀 氀椀欀攀 椀渀昀氀愀琀椀漀渀 椀渀 愀 挀甀氀琀甀爀攀 ⠀栀攀渀挀攀 ✀戀甀猀椀渀攀猀猀✀ 椀猀 漀昀琀攀渀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 ✀洀攀愀渀椀渀最✀⤀ 昀漀爀 攀渀栀愀渀挀椀渀最 ✀挀漀洀瀀甀琀愀戀椀氀椀琀礀✀ 椀渀 愀 洀礀琀栀漀猀 昀漀最 昀爀漀洀 琀攀爀爀漀爀 愀渀搀 洀漀渀欀攀礀 戀甀猀椀渀攀猀猀⸀ 吀栀愀琀 挀漀甀氀搀 漀昀 挀漀甀爀猀攀 愀氀猀漀 戀攀 戀攀挀愀甀猀攀 猀甀挀栀 栀甀洀愀渀 ✀洀攀愀渀椀渀最✀ 愀爀最甀愀戀氀礀 氀漀漀欀猀 愀 氀椀琀琀氀攀 猀琀爀愀渀最攀⸀ 䤀猀渀琀 琀栀攀爀攀 愀 猀栀漀爀琀 挀椀爀挀甀椀琀爀礀 琀栀攀爀攀 猀漀洀攀眀栀攀爀攀㼀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䌀漀甀氀搀 戀攀 䌀愀渀琀漀爀✀猀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 椀猀 琀栀攀 愀渀猀眀攀爀 琀漀 眀栀愀琀 猀甀挀栀 愀 焀甀戀椀琀 椀猀 漀爀 椀猀 渀漀琀⸀ 吀栀攀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 椀猀 搀攀昀椀渀攀搀 戀礀               㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀       
਀㰀昀漀渀琀 猀椀稀攀㴀∀㜀∀㸀㰀戀搀漀 搀椀爀㴀∀氀琀爀∀㸀㈀㰀猀甀瀀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀☀⌀㄀㐀㠀㠀㬀㰀猀甀戀㸀　㰀⼀猀甀戀㸀㰀⼀猀甀瀀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㜀∀㸀  㴀 ☀⌀㄀㐀㠀㠀㬀㰀猀甀戀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㄀㰀⼀猀甀戀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀眀栀攀爀攀戀礀 㰀戀搀漀 搀椀爀㴀∀氀琀爀∀㸀☀⌀㄀㐀㠀㠀㬀㰀猀甀戀㸀　㰀⼀猀甀戀㸀 㴀 琀栀攀 椀渀昀椀渀椀琀攀 猀攀琀 漀昀 渀愀琀甀爀愀氀 渀甀洀戀攀爀猀 愀渀搀 㰀戀搀漀 搀椀爀㴀∀氀琀爀∀㸀☀⌀㄀㐀㠀㠀㬀㰀猀甀戀㸀㄀㰀⼀猀甀戀㸀 琀栀攀 椀渀昀椀渀椀琀攀 猀攀琀 漀昀 爀攀愀氀 渀甀洀戀攀爀猀Ⰰ 琀栀攀 ✀挀漀渀琀椀渀甀甀洀✀⸀ 䌀氀攀愀爀氀礀 㰀戀搀漀 搀椀爀㴀∀氀琀爀∀㸀☀⌀㄀㐀㠀㠀㬀㰀猀甀戀㸀㄀㰀⼀猀甀戀㸀 愀猀 琀栀攀 爀攀愀氀 渀甀洀戀攀爀猀 眀椀氀氀 戀攀 琀栀攀 甀瀀瀀攀爀 琀眀漀 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀 ⠀砀⤀ 漀昀 琀栀攀 昀甀渀搀愀洀攀渀琀愀氀 氀椀渀最甀椀猀琀椀挀ⴀ氀漀最椀挀愀氀 渀甀挀氀攀甀猀㰀⼀愀㸀 ⴀ        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀㰀椀洀最 猀爀挀㴀∀焀甀戀椀琀昀漀爀洀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀　　㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀眀栀椀氀攀 琀栀攀 氀漀眀攀爀 ✀礀✀ 椀猀 琀栀攀 渀愀琀甀爀愀氀 渀甀洀戀攀爀猀 琀漀 琀栀攀 氀攀昀琀 眀椀琀栀 椀琀猀 猀攀洀愀渀琀椀挀 愀琀琀愀挀栀洀攀渀琀 琀漀 琀栀攀 爀椀最栀琀⸀ ⠀吀栀椀猀 瘀椀攀眀 漀渀 琀栀攀 洀愀琀琀攀爀猀 挀漀甀氀搀 椀洀洀攀搀椀愀琀攀氀礀 挀爀攀愀琀攀 搀漀甀戀琀猀 眀栀攀琀栀攀爀 琀栀攀 椀搀攀愀 漀昀 椀渀昀椀渀椀琀攀 攀砀琀攀渀猀椀漀渀⼀攀砀瀀愀渀猀椀漀渀 漀昀 琀栀攀 搀攀挀椀洀愀氀猀 愀昀琀攀爀 挀漀洀洀愀 椀渀 愀 爀攀愀氀 渀甀洀戀攀爀 挀愀渀 愀氀氀漀眀 椀琀猀攀氀昀 琀漀 椀洀瀀氀攀洀攀渀琀 琀栀攀 猀攀洀愀渀琀椀挀猀 漀昀 琀栀攀 渀愀琀甀爀愀氀 渀甀洀戀攀爀猀 眀栀椀挀栀 猀甀挀栀 愀 搀攀挀椀洀愀氀 攀砀琀攀渀猀椀漀渀⼀攀砀瀀愀渀猀椀漀渀 椀猀 戀愀猀攀搀 漀渀⤀⸀ 吀栀攀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 琀攀氀氀猀 琀栀愀琀 琀栀攀 戀爀愀渀挀栀椀渀最 昀爀漀洀 琀栀攀 氀漀眀攀爀 氀攀昀琀栀愀渀搀 ✀礀✀ 甀瀀 琀漀 琀栀攀 琀眀漀 洀攀琀愀瀀栀礀猀椀挀愀氀 砀✀猀 椀猀 琀栀攀 戀愀猀攀 ㈀ 椀渀 琀栀攀 昀漀爀洀甀氀愀 ⴀ 愀渀搀 琀栀攀 焀甀攀猀琀椀漀渀 眀椀氀氀 戀攀 眀栀愀琀 椀猀 琀栀攀 爀漀氀攀 漀昀 琀栀攀 猀攀洀愀渀琀椀挀猀 ⠀眀椀琀栀 椀琀猀 渀漀渀ⴀ攀焀甀椀瀀爀漀戀愀戀氀攀 搀椀猀琀爀椀戀甀琀椀漀渀⤀ 愀渀搀 琀栀攀 琀栀攀漀爀攀琀椀挀 漀爀 瀀漀猀琀甀氀愀琀攀搀 㰀椀㸀搀椀昀昀攀爀攀渀挀攀猀㰀⼀椀㸀 戀攀琀眀攀攀渀 琀栀攀 琀眀漀 甀瀀瀀攀爀 砀✀猀 ⴀ 眀栀攀琀栀攀爀 琀栀椀猀 搀攀瀀攀渀搀攀渀挀礀 眀椀氀氀 愀昀昀攀挀琀 琀栀攀 攀焀甀愀琀椀漀渀⸀ 䌀愀渀琀漀爀✀猀 昀漀爀洀甀氀愀 猀栀漀甀氀搀 瀀爀漀戀愀戀氀礀 猀甀最最攀猀琀 琀栀愀琀 琀栀攀 爀漀氀攀 漀昀 琀栀攀 猀攀洀愀渀琀椀挀猀 椀渀 爀攀氀愀琀椀漀渀 琀漀 琀栀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 搀椀昀昀攀爀攀渀挀攀 椀猀 渀漀琀 椀渀琀攀爀攀猀琀椀渀最⸀ 䤀琀 挀漀甀氀搀 猀甀最最攀猀琀 愀 瀀愀瀀攀爀昀氀愀琀 洀愀琀栀攀洀愀琀椀挀猀 眀栀椀挀栀 挀漀渀猀琀椀猀琀猀 椀渀 洀漀瘀椀渀最 猀礀洀戀漀氀猀 愀爀漀甀渀搀 漀渀 琀栀攀 瀀愀瀀攀爀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 琀栀攀 琀眀漀 猀攀琀猀 椀猀 搀攀昀椀渀攀搀 戀礀 䌀愀渀琀漀爀 戀礀 琀栀攀 椀搀攀愀 琀栀愀琀 椀昀 礀漀甀 昀椀渀搀 愀 洀攀琀栀漀搀 漀昀 漀爀搀攀爀椀渀最 㰀戀搀漀 搀椀爀㴀∀氀琀爀∀㸀☀⌀㄀㐀㠀㠀㬀㰀猀甀戀㸀㄀㰀⼀猀甀戀㸀Ⰰ 琀栀攀爀攀 眀椀氀氀 愀氀眀愀礀猀 戀攀 愀 搀椀愀最漀渀愀氀 猀攀琀 瀀漀瀀瀀椀渀最 漀甀琀 漀昀 椀琀 ⴀ 椀琀 椀猀 ✀挀爀愀洀洀攀搀 昀甀氀氀✀ 㴀 ✀匀䄀堀䤀匀✀ 攀瘀攀渀 椀昀 礀漀甀 挀愀渀 ✀漀爀搀攀爀✀ 㴀 瀀甀琀 愀 ✀吀䄀堀䤀匀✀ 琀漀 椀琀 ⴀ 椀琀 眀椀氀氀 愀氀眀愀礀猀 琀爀愀渀猀挀攀渀搀 琀栀攀 䌀伀一吀䄀䤀一攀爀⸀ 伀渀攀 挀漀甀氀搀 琀栀攀爀攀昀漀爀攀 最甀攀猀猀 琀栀愀琀 椀昀 㜀☀昀爀愀挀㄀㈀㬀 ⬀ 㠀 㴀 ㌀ 椀猀 愀 瀀爀漀漀昀 漀昀 琀栀攀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 愀猀 昀愀爀 愀猀 琀栀攀 焀甀戀椀琀 椀猀 挀漀渀挀攀爀渀攀搀Ⰰ 琀栀愀琀 椀猀 戀攀挀愀甀猀攀 椀琀 栀愀渀搀氀攀猀 猀琀爀愀渀最攀 爀攀搀甀渀搀愀渀挀椀攀猀 椀渀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀 ⴀ 愀渀搀 椀琀 眀漀甀氀搀 洀攀愀渀 琀栀愀琀 䌀愀渀琀漀爀✀猀 搀椀愀最漀渀愀氀 瀀爀漀漀昀 椀猀 愀戀漀甀琀 猀漀洀攀琀栀椀渀最 猀椀洀椀氀愀爀⸀ 䈀甀琀 琀栀攀 搀椀愀最漀渀愀氀 瀀爀漀漀昀 椀猀 戀愀猀攀搀 漀渀 琀栀攀 椀搀攀愀 漀昀 焀甀椀琀攀 猀椀洀瀀氀礀 爀攀瀀氀愀挀椀渀最 漀渀攀 猀礀洀戀漀氀 眀椀琀栀 愀渀漀琀栀攀爀 猀礀洀戀漀氀Ⰰ 眀栀椀挀栀 眀漀甀氀搀 洀攀愀渀 琀栀愀琀 琀栀攀 搀椀猀琀爀椀戀甀琀椀漀渀 椀猀 昀爀攀攀 愀渀搀 攀焀甀椀ⴀ瀀爀漀戀愀戀氀攀Ⰰ 椀渀 眀栀椀挀栀 琀栀攀爀攀 眀椀氀氀 戀攀 渀漀 猀攀洀愀渀琀椀挀猀 愀渀搀 琀栀攀渀 琀栀攀 瀀爀漀戀氀攀洀 椀猀 猀漀氀瘀攀搀Ⰰ 猀漀 琀漀 猀瀀攀愀欀㨀 吀栀攀渀 琀栀攀 猀攀洀愀渀琀椀挀 椀琀攀洀 眀椀氀氀 渀漀琀 爀攀氀愀琀攀 搀攀瀀攀渀搀攀渀琀氀礀 琀漀 愀 瀀漀猀琀甀氀愀琀攀搀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 琀栀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 椀琀攀洀猀 愀渀搀 栀攀渀挀攀 琀栀攀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 愀瀀瀀氀椀攀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 瀀爀漀漀昀 搀漀攀猀 渀漀琀 猀愀礀 猀漀 ⴀ 椀琀 爀愀琀栀攀爀 猀愀礀猀 琀栀愀琀 琀栀攀爀攀 椀猀 愀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 㜀☀昀爀愀挀㄀㈀㬀  愀渀搀 㠀 愀渀搀 琀栀攀爀攀昀漀爀攀 琀栀攀爀攀 愀爀攀 ㌀ 搀攀瀀攀渀搀攀渀挀椀攀猀 最漀椀渀最 漀甀琀 昀爀漀洀 琀栀攀 氀漀眀攀爀 氀攀昀琀 ✀礀✀ ⴀ 琀眀漀 甀瀀 琀漀 琀栀攀 洀攀琀愀瀀栀礀猀椀挀愀氀 砀✀猀 愀渀搀 漀渀攀 琀漀 琀栀攀 氀漀眀攀爀 爀椀最栀琀栀愀渀搀 猀攀洀愀渀琀椀挀 ✀礀✀⸀ 䈀甀琀 椀昀 琀栀椀猀 ⴀ 愀猀 琀栀攀 洀愀琀栀攀洀愀琀椀挀愀氀 椀渀琀甀椀琀椀漀渀 猀甀最最攀猀琀猀 ⴀ 猀栀漀甀氀搀 琀甀爀渀 漀甀琀 琀漀 戀攀 愀 瘀愀氀椀搀 攀焀甀愀琀椀漀渀Ⰰ 椀琀 挀漀甀氀搀 洀攀愀渀 琀栀愀琀 琀栀攀 挀漀渀琀椀渀甀甀洀 栀礀瀀漀琀栀攀猀椀猀 愀瀀瀀氀椀攀猀 渀攀瘀攀爀琀栀琀氀攀猀猀⸀ 䤀琀 挀漀甀氀搀 洀攀愀渀 琀栀愀琀 ㌀ⴀ㈀ 㴀 ㄀ 椀猀 琀栀攀 猀愀洀攀 愀猀 㠀ⴀ㜀☀昀爀愀挀㄀㈀㬀  㴀 ☀昀爀愀挀㄀㈀㬀 ⴀ 愀渀搀 栀攀渀挀攀 琀栀愀琀 ㄀ 㴀  ☀昀爀愀挀㄀㈀㬀 ⴀ 眀栀椀挀栀 椀琀 椀猀 椀昀 琀栀攀 氀漀眀攀爀 ✀礀✀ 戀爀愀渀挀栀攀猀 甀瀀 椀渀琀漀 琀眀漀 ✀砀✀⸀ 䌀漀甀氀搀 戀攀 琀栀椀猀 眀漀甀氀搀 琀攀氀氀 栀漀眀 琀栀攀 焀甀戀椀琀 挀漀甀氀搀 戀攀 洀愀搀攀 昀甀渀挀琀椀漀渀愀氀 眀椀琀栀漀甀琀 攀爀爀漀爀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䠀攀渀挀攀 㜀☀昀爀愀挀㄀㈀㬀 ⬀ 㠀 㴀 ㌀ 琀愀欀攀猀 椀琀猀 渀甀洀攀爀愀氀椀琀礀 昀爀漀洀 ㈀㰀猀甀瀀㸀㌀㰀⼀猀甀瀀㸀 㴀 㠀 ⴀ 戀甀琀 漀渀攀 漀昀 琀栀攀猀攀 挀漀渀琀愀椀渀猀 愀 搀椀昀昀攀爀攀渀挀攀 眀栀椀挀栀 椀猀 ✀琀栀攀 猀愀洀攀✀ 愀猀 琀栀攀 ✀搀椀愀最漀渀愀氀✀ 瀀愀瀀攀爀昀氀愀琀渀攀猀猀 眀栀攀渀 ㄀ 爀攀昀攀爀攀渀琀椀愀氀 猀礀洀戀漀氀 㴀 ㈀ 洀攀琀愀瀀栀礀猀椀挀愀氀 甀渀椀琀猀⸀ 䠀甀洀愀渀猀 愀昀琀攀爀 琀栀攀 䘀愀氀氀 洀愀礀 琀栀椀渀欀 琀栀愀琀 搀椀瘀椀渀攀 爀攀愀氀椀琀礀 椀猀 椀渀 琀栀攀 ㌀ 漀昀 琀栀攀 琀爀椀渀椀琀礀 戀甀琀 ㈀㰀猀甀瀀㸀㌀㰀⼀猀甀瀀㸀 㴀 㠀 爀攀搀甀挀攀猀 琀漀 㜀☀昀爀愀挀㄀㈀㬀 戀礀 琀栀攀 ✀搀椀愀最漀渀愀氀✀ 猀琀爀愀搀搀氀椀渀最 昀椀渀椀琀攀 愀渀搀 椀渀昀椀渀椀琀攀 爀攀愀氀椀琀椀攀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀匀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀爀攀洀戀爀愀渀搀琀⸀栀琀洀∀㸀刀攀洀戀爀愀渀搀琀✀猀 ✀一椀最栀琀眀愀琀挀栀✀㰀⼀愀㸀 ⴀ 琀栀攀 搀椀猀挀甀猀猀椀漀渀 甀渀搀攀爀 瀀漀椀渀琀 㠀⸀ 䤀琀 猀攀攀洀猀 琀漀 搀椀猀瀀氀愀礀 愀 爀攀氀愀琀攀搀 琀栀攀漀爀礀 漀渀 㰀愀 栀爀攀昀㴀∀爀攀洀戀爀愀渀搀琀猀琀爀攀攀琀㄀愀渀渀漀琀愀琀攀搀㄀⸀樀瀀最∀㸀琀栀攀 猀攀洀椀漀琀椀挀猀 漀昀 琀栀攀 焀甀戀椀琀㰀⼀愀㸀 ⴀ 椀渀挀氀甀搀椀渀最 㰀愀 栀爀攀昀㴀∀爀攀洀戀爀愀渀搀琀猀琀爀攀攀琀㈀攀焀甀椀瀀爀漀戀㄀⸀樀瀀最∀㸀氀漀琀猀 漀昀 ✀攀焀甀椀瀀爀漀戀愀戀椀氀椀琀椀攀猀✀㰀⼀愀㸀 ⠀爀攀猀攀洀戀氀椀渀最 琀栀攀 㰀愀 栀爀攀昀㴀∀瀀漀氀琀攀爀㄀㄀⸀洀瀀㌀∀㸀洀攀琀愀瀀栀礀猀椀挀愀氀 欀渀漀挀欀猀㰀⼀愀㸀㼀⤀ 吀栀椀猀 眀漀爀欀 椀猀 戀攀氀椀攀瘀攀搀 琀漀 栀愀瘀攀 戀攀攀渀 漀爀椀最椀渀愀氀氀礀 氀愀爀最攀爀 ⴀ 挀瀀⸀ 琀栀攀 ✀最氀漀戀愀氀 猀挀漀瀀攀✀ 漀昀 昀甀渀挀琀椀漀渀 ㄀㔀 ⠀昀爀漀洀 瀀漀攀洀 ㄀㤀㤀 琀漀 瀀漀攀洀 ㄀㔀㈀　⤀⸀ 䤀昀 琀栀椀猀 猀琀爀攀攀琀猀挀攀渀攀 漀昀 刀攀洀戀爀愀渀搀琀 愀氀猀漀 搀椀猀瀀氀愀礀猀 琀栀攀 愀甀搀椀琀椀漀渀 漀昀 琀栀攀 椀渀渀攀爀 攀愀爀 漀渀攀 眀愀礀 愀渀搀 琀栀攀 ✀瀀漀攀琀椀挀 氀漀最椀挀✀ 琀栀攀 漀琀栀攀爀 眀愀礀Ⰰ 椀琀 挀漀甀氀搀 戀攀 猀甀最最攀猀琀椀瘀攀 漀昀 眀栀礀 椀琀 挀漀甀氀搀 洀愀欀攀 猀攀渀猀攀 漀甀琀 漀昀 爀攀愀搀椀渀最 猀漀洀攀 漀昀 琀栀攀 氀椀渀攀猀 昀爀漀洀 吀䔀儀 戀愀挀欀眀愀爀搀猀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀匀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀攀最礀瀀琀椀愀渀猀栀椀瀀㄀⸀樀瀀最∀㸀琀栀椀猀 攀最礀瀀琀椀愀渀 爀攀氀椀攀昀 漀昀 愀 猀栀椀瀀㰀⼀愀㸀 ⠀椀氀氀甀猀琀爀愀琀椀漀渀 昀爀漀洀 䈀爀攀愀猀琀攀搀 ㄀㤀㘀㐀⤀ ⴀ 椀渀 猀甀最最攀猀琀椀瘀攀 猀椀洀椀氀椀愀爀椀琀礀 眀椀琀栀 刀攀洀戀爀愀渀搀琀 愀猀 昀愀爀 愀猀 琀栀椀猀 猀攀洀椀漀琀椀挀 琀栀攀漀爀礀 椀猀 挀漀渀挀攀爀渀攀搀⸀ 䄀爀攀 琀栀攀爀攀 㤀 漀爀 ㄀　 爀漀眀攀爀猀㼀 䤀渀 昀愀挀琀 琀栀椀猀 椀猀 栀漀眀 䤀 昀漀甀渀搀 琀栀攀 瀀愀爀愀氀氀攀氀 琀攀砀琀猀 琀漀 戀漀漀欀猀 ㄀㌀ⴀ㄀㘀㨀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㄀㄀㐀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀栀攀 琀椀琀氀攀 琀漀 戀漀漀欀 ㄀㌀㰀⼀愀㸀  挀漀渀琀愀椀渀猀 琀栀攀 眀漀爀搀 ✀瀀爀愀砀椀猀✀ 眀栀椀挀栀 䤀 氀漀漀欀攀搀 甀瀀 椀渀 䴀攀礀攀爀✀猀 猀攀氀攀挀琀椀漀渀 愀渀搀 琀爀愀渀猀氀愀琀椀漀渀 昀爀漀洀 吀愀氀洀甀搀 愀渀搀 昀漀甀渀搀 漀渀攀 爀攀昀攀爀攀渀挀攀 漀渀 椀琀猀 瀀愀最攀 ㌀㄀㌀ 眀栀椀挀栀 爀攀昀攀爀爀攀搀 琀漀 䔀爀甀瘀椀渀 昀漀氀椀漀 ㄀㐀戀⸀ 䤀 昀漀甀渀搀 琀栀攀 䴀攀猀漀爀愀栀 攀搀椀琀椀漀渀 ⠀瘀漀氀甀洀攀 㜀⤀ 琀漀 氀漀漀欀 椀琀 甀瀀 ⴀ 愀渀搀 昀漀甀渀搀 愀氀猀漀 漀渀 琀栀攀 猀愀洀攀 昀漀氀椀漀 ㄀㐀戀 琀栀攀 昀漀氀氀漀眀椀渀最 攀砀挀攀爀瀀琀 眀栀椀挀栀 愀琀琀爀愀挀琀攀搀 洀礀 愀琀琀攀渀琀椀漀渀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀  
<img src="eruvin14b2.jpg" height="300">       </p><p align="justify">਀ 
(For the 40 se'ah, see also the '<a href="mystics.htm">40 doors</a>' and these '<a href="correggio.htm">forty doors</a>').       </p><p align="justify">਀ 
It is this 'alexandrian ship' which looks the same as the egyptian relief resembling Rembrandt. And, indeed, it is explained in this Mesorah edition as something like CONTAINers for ZUM &rarr; CULTURE. It is when this fragment is aligned with <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1230" target="_new">TEQ #1117 = book 13 poem #83</a> that the whole parallelism of books 13-16 makes sense. This Mesorah edition has large explanatory value and discusses the Eruvin text in fragments which are natural in the sense of being exact for the poems of my TEQ in these four books. (I made a detailed study of them and found only one single fragment - among the total of 693 - which had to be segmented differently - the fragments are listed in <a href="johnbjarnegrovercollectedworksvolume3.pdf#page=839" target="_new">volume 3 pages 839-859</a>). See <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1230" target="_new">TEQ #1117</a> for a suggestive interpretation of how the 'stringhook' paradox can be derived from the egyptian relief for a solution to the problem of how the acoustic form relates to the difference between the two metaphysical items - this could include the riddle of the 'Chomsky hook' of phrase structure. (Would this explain how my '<a href="bluemetreagain.htm ">blue metre</a>' relates to that logical hook - by the egyptian relief being appr. 2000 years before Panini who is appr. 2000 years before the italian renaissance?) I had just discovered the table of <a href="johnbjarnegrovercollectedworksvolume3.pdf#page=839" target="_new">volume 3 pages 839-843</a> when Obama was elected in late 2008 and I speculated if there were any connections to the israeli attack on the palestinian areas in the following christmas. I speculated that my TEQ for reasons of this semiotics could have been tentatively reserved for secret intelligence projects - which of course would have been strictly against its intentions. In particular the 'thuson kai fage' program is as contrary to my TEQ as it can be.       </p><p align="justify">਀ 
I notice also <a href="erectus.jpg">this nature's art created by wind</a> (the photo annotated with spectacles by me) compared with the Rembrandt artwork (annotated with spectacles <a href="rembrandtstreetspecs1.jpg">this way</a> or <a href="rembrandtstreetspecs2.jpg">that</a>). If Rembrandt is normally a function 7 artist but a function 8 on this artwork, it could be that the story is just this 7&frac12; + 8 = 3 - in which case the secret could perhaps be found in function 3. If the story is the e = 2,718..., that could mean 0,184 into poem <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=257" target="_new">TEQ #193</a>.        </p><p align="justify">਀ 
Similarly, it is likely that Hermann Grassmann's distinction between analytic and synthetic construction concerns just this difference between a 'triadic' format of 8 vs 7&frac12; - and hence that his 'Ausdehnungslehre' is not a variant of complex numbers or Hamilton's quaternions. I quote a line from this <i>not paperflat</i> mathematics - and point also to the (relevant or not) prewar syntax of the finite verb in the dependent clause: "Da auch dies analytische Verfahren als Verkn&uuml;pfung kann aufgefasst werden, so unterscheiden wir die urspr&uuml;ngliche oder <i>synthetische</i> Verkn&uuml;pfung und die aufl&ouml;sende oder <i>analytische</i> Verkn&uuml;pfung" (<a href="https://archive.org/details/dielinealeausde00grasgoog/page/n39/mode/2up">Grassmann §5</a>). It is possible that these considerations concern the main interconnecting lines of my <a href="qubitform2.jpg">fundamental linguistic nucleus</a>. See also my <a href="richtown.htm">TEQ #613</a>, with a 'triadic' format possibly including <a href="klaviatur.htm">Rafael's black plastic strip</a>.        </p><p align="justify">਀ 
Were modern set-theoretic mathematics developed in an attempt to get this mathematics down to a paperflat level?       </p><p align="justify">਀ 
Hermann G&uuml;nther Grassmann's 'Ausdehnungslehre' was published in 1844 and Georg Ferdinand Ludwig Philip Cantor was born in 1845. The above discussion of 'CONTAIN' showed that the incrementation was hanging for a twice recording of #1966, skipping #1967 - hence a 'magic' point there. The  mathematician Grassmann was also a sanskritologist and published a dictionary of and a translation of Rig-Veda. Now the sanskrit grammar of Panini has - by the enumeration of the sutras in <a href="http://panini.phil.hhu.de/panini/panini"> this source of Panini's 'Asthadhyayi'</a> - the following sutras on these numbers:       </p><p align="justify">਀ 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
#1965 &nbsp; 	5-1-81	&nbsp;	masad vayasi yatkhanau                         <br>਀⌀㄀㤀㘀㘀 ☀渀戀猀瀀㬀ऀ㔀ⴀ㄀ⴀ㠀㈀ऀ☀渀戀猀瀀㬀ऀ搀瘀椀最漀爀 礀愀瀀                         㰀戀爀㸀 
#1967 &nbsp;	5-1-83	&nbsp;	sanmasan nyac ca                         <br>਀⌀㄀㤀㘀㠀 ☀渀戀猀瀀㬀ऀ㔀ⴀ㄀ⴀ㠀㐀ऀ☀渀戀猀瀀㬀 ऀ愀瘀愀礀愀猀椀 琀栀愀洀猀 挀愀                         㰀戀爀㸀 
                         <br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
Now 1966 / 0,777 = 2530                         <br>਀                         㰀戀爀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
#2530 &nbsp;	6-1-91 	&nbsp;	uatahd its dagrasapu   (backwards)                         <br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀                         㰀戀爀㸀 
Now it seems that these fragments - separated by the factor '777' - contain just the names of these two mathematicians (backwards for Grassmann):       </p><p align="justify">਀ 
<table>਀㰀琀搀㸀 
khanau                   <br>਀䌀愀渀琀漀爀                 㰀戀爀㸀 
                 <br>਀嬀愀甀崀 搀瘀椀最  漀爀 礀愀瀀                 㰀戀爀㸀 
&nbsp; &nbsp;    Ludwig Philip                 <br>਀                 㰀戀爀㸀 
sanmasan nyac ca                 <br>਀䘀攀爀搀椀渀愀渀搀  䜀攀漀爀最 
 </td>਀㰀琀搀㸀 
= #1965                 <br>਀㰀戀爀㸀 
                 <br>਀㴀 ⌀㄀㤀㘀㘀                 㰀戀爀㸀 
<br>਀                 㰀戀爀㸀 
= #1967                 <br>਀㰀戀爀㸀 
਀㰀⼀琀搀㸀 
</table>਀㰀戀爀㸀 
<font size="4"> ਀㰀琀愀戀氀攀㸀 
<td valign="top">਀⌀㈀㔀㌀　 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀戀爀㸀㰀戀爀㸀㰀戀爀㸀 
</td>਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 
6-1-91  &nbsp; &nbsp; 	<br><br><br>਀㰀⼀琀搀㸀 
<td valign="top">਀甀愀琀愀栀搀 椀琀爀 㰀戀爀㸀 
what a diter     <br>਀䠀攀爀 洀漀渀欀攀礀      㰀戀爀㸀 
Hermann G&uuml;n &nbsp; ਀㰀⼀琀搀㸀 
<td valign="top">਀搀愀 㰀戀爀㸀 
da       <br>਀琀攀愀爀     㰀戀爀㸀 
ther  &nbsp;਀㰀⼀琀搀㸀 
<td valign="top">਀最爀愀猀愀瀀甀                 㰀戀爀㸀 
Grass-apu     <br>਀䜀爀愀猀猀ⴀ愀瀀攀     㰀戀爀㸀 
Grassmann਀㰀⼀琀搀㸀 
</table>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀匀漀 琀栀攀 猀攀挀爀攀琀 漀昀 琀栀椀猀 ✀洀椀爀爀漀爀✀ 椀猀 琀栀攀 㜀㜀㜀 眀栀椀挀栀 挀愀渀 戀攀 爀攀挀漀最渀椀稀攀搀 椀渀 琀栀攀 㜀☀昀爀愀挀㄀㈀㬀 眀椀琀栀Ⰰ 猀愀礀Ⰰ 愀 猀氀椀洀 㜀 ⠀眀椀琀栀 ✀搀椀琀爀✀⤀ 愀渀搀 愀 昀愀琀 㜀 眀椀琀栀 愀琀琀愀挀栀洀攀渀琀 戀攀氀漀眀 㴀 最爀愀猀猀愀瀀甀 ⴀ 漀爀 猀漀洀攀琀栀椀渀最 氀椀欀攀 琀栀愀琀 ⴀ 猀漀 琀栀攀爀攀 愀爀攀 猀洀愀氀氀 搀椀昀昀攀爀攀渀挀攀猀 渀攀瘀攀爀琀栀攀氀攀猀猀Ⰰ 栀漀眀攀瘀攀爀 洀甀挀栀 䌀愀渀琀漀爀 椀渀猀椀猀琀攀搀 漀渀 琀栀攀 搀椀愀最漀渀愀氀 猀氀愀猀栀  ⼀ 戀攀琀眀攀攀渀 琀栀攀 ㄀ 愀渀搀 琀栀攀 ㈀⸀ ⠀䤀 猀愀眀 愀 䠀漀氀氀礀眀漀漀搀 昀椀氀洀 挀愀氀氀攀搀 ✀䄀洀攀爀椀挀愀渀 瀀椀攀✀Ⰰ 椀昀 䤀 爀攀洀攀洀戀攀爀 爀椀最栀琀Ⰰ 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 琀栀攀猀攀 琀栀椀渀最猀㼀⤀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀一漀 眀漀渀搀攀爀 琀栀椀猀 氀漀漀欀攀搀 洀椀猀攀爀愀戀氀攀 愀渀搀 䌀愀渀琀漀爀 氀愀渀搀攀搀 椀渀 愀猀礀氀甀洀 眀栀攀爀攀 栀攀 搀椀攀搀 椀渀 ㄀㤀㄀㠀⸀ 吀栀椀猀 ㄀㤀㄀㠀 洀甀氀琀椀瀀氀椀攀搀 眀椀琀栀 　Ⰰ㜀㜀㜀 㴀 ㄀㐀㤀㄀ 㴀 琀栀攀 礀攀愀爀 眀栀攀渀 䠀攀渀爀礀 嘀䤀䤀䤀 眀愀猀 戀漀爀渀⸀ 䤀 搀漀 渀漀琀 欀渀漀眀 琀栀攀 猀琀漀爀礀 戀甀琀 䤀 栀愀瘀攀 最甀攀猀猀攀搀 ⠀漀渀 戀愀猀椀猀 漀昀 栀椀猀琀漀爀椀挀 爀攀搀甀渀搀愀渀挀椀攀猀Ⰰ 猀漀 洀愀礀戀攀 琀栀椀猀 椀搀攀愀 椀猀 渀漀琀 爀攀氀攀瘀愀渀琀 愀琀 愀氀氀⤀ 琀栀愀琀 䠀攀渀爀礀 嘀䤀䤀䤀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀瘀漀氀瘀攀搀 椀渀 猀漀洀攀 爀攀猀瀀漀渀猀椀戀椀氀椀琀礀 昀漀爀 愀 栀攀椀渀漀甀猀 愀琀琀愀挀欀 漀渀 刀愀昀愀攀氀 ⴀ 琀栀愀琀 栀椀猀 攀礀攀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 搀攀猀琀爀漀礀攀搀 戀礀 猀漀洀攀 愀最攀渀琀 漀爀 猀漀洀攀琀栀椀渀最 氀椀欀攀 琀栀愀琀 ⴀ 愀渀搀 琀栀愀琀 琀栀椀猀 眀愀猀 愀 栀椀猀琀漀爀椀挀 戀愀挀欀最爀漀甀渀搀 攀瘀攀渀 漀昀 琀栀攀 昀漀爀洀愀琀椀漀渀 漀昀 琀栀攀 愀渀最氀椀挀愀渀 挀栀甀爀挀栀㨀 䤀昀 猀漀Ⰰ 椀琀 挀愀渀 戀攀 渀漀琀椀挀攀搀 琀栀愀琀 琀栀攀 渀愀洀攀 漀昀 ✀䜀攀漀爀最 䘀攀爀搀椀渀愀渀搀 䰀甀搀眀椀最 倀栀椀氀椀瀀 䌀愀渀琀漀爀✀ 挀漀甀氀搀 戀攀 猀攀攀渀 琀漀 琀攀氀氀 猀甀挀栀 愀 猀愀搀 猀琀漀爀礀 ⴀ ✀昀☀漀猀氀愀猀栀㬀爀琀攀ⴀ栀愀渀搀✀ 㴀 ✀氀攀搀 琀栀攀 栀愀渀搀✀⸀ 圀漀甀氀搀 琀栀愀琀 栀愀瘀攀 戀攀攀渀 琀栀攀 戀愀搀 挀漀渀猀挀椀攀渀挀攀 琀栀愀琀 攀瘀攀渀 琀漀搀愀礀 挀愀渀 戀攀 猀攀攀渀 椀渀 琀栀攀 猀琀漀爀礀 漀昀 渀愀稀椀 愀琀琀攀洀瀀琀猀 ⠀猀椀渀挀攀 ✀䄀搀甀氀琀 䘀椀琀氀攀爀✀㼀⤀ 琀漀 猀漀氀瘀攀 猀甀挀栀 瀀爀漀戀氀攀洀猀㼀 ✀䠀攀爀洀愀渀渀 䜀☀甀甀洀氀㬀栀琀攀爀 䜀爀愀猀猀洀愀渀渀✀ 攀琀挀⸀ 䠀攀渀爀礀 栀愀搀 愀 氀漀琀 漀昀 眀椀瘀攀猀Ⰰ 猀漀洀攀 漀昀 眀栀漀洀 攀瘀攀渀 眀攀爀攀 最甀椀氀氀漀琀椀渀攀搀 ⴀ 愀猀 椀昀 琀栀愀琀 洀愀搀攀 栀椀猀 昀椀渀最攀爀 猀栀漀爀琀攀爀㼀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀愀氀洀甀搀 䔀爀甀瘀椀渀 搀攀昀椀渀攀猀 ⠀戀礀 琀栀攀 䴀攀猀漀爀愀栀 攀搀椀琀椀漀渀⤀ 琀栀爀攀攀 昀漀爀洀猀 漀昀 ✀氀攀渀椀攀渀挀椀攀猀✀ 愀最愀椀渀猀琀 琀栀攀 瀀爀漀栀椀戀椀琀椀漀渀 漀昀 挀愀爀爀礀椀渀最 ✀漀渀琀漀氀漀最椀攀猀✀ 漀渀 猀愀戀戀愀琀栀猀 ⴀ 琀栀攀猀攀 愀爀攀 ✀氀愀瘀甀搀✀Ⰰ ✀最甀搀✀ 愀渀搀 ✀琀栀攀 攀搀最攀 漀昀 愀 爀漀漀昀 攀砀琀攀渀搀椀渀最 搀漀眀渀眀愀爀搀猀✀⸀ 伀渀攀 渀愀琀甀爀愀氀氀礀 搀椀猀挀漀瘀攀爀猀 琀栀攀 甀渀昀漀爀琀甀渀愀琀攀 愀猀猀漀挀椀愀琀椀漀渀 漀昀 ✀氀漀瘀攀ⴀ甀搀✀ 琀漀 ✀䄀搀甀氀琀 䘀椀琀氀攀爀✀ 椀渀 琀栀攀 搀攀洀愀最漀最椀挀 猀攀渀猀攀 漀昀 ✀愀 洀愀渀 瀀爀攀猀猀攀猀 栀椀猀 ✀昀椀渀最攀爀✀ 椀渀琀漀 琀栀攀 眀漀洀愀渀 戀攀挀愀甀猀攀 栀攀 搀攀猀椀爀攀猀 眀栀愀琀 猀栀攀 栀愀猀 愀渀搀 栀漀瀀攀猀 琀栀愀琀 椀琀 眀椀氀氀 挀漀洀攀 漀甀琀 愀渀搀 戀攀 愀瘀愀椀氀愀戀氀攀 昀漀爀 栀椀洀 椀渀 琀栀愀琀 眀愀礀✀⸀ 嘀攀爀礀 甀渀昀漀爀琀甀渀愀琀攀 琀栀椀猀 椀搀攀愀 椀猀 昀漀爀 琀栀攀 栀礀瀀漀琀栀攀猀椀猀 漀昀 刀愀昀愀攀氀 ⴀ 昀漀爀 椀搀攀愀猀 漀昀 栀漀眀 琀漀 愀挀焀甀椀爀攀 栀椀猀 猀欀椀氀氀猀Ⰰ 栀椀猀 愀爀琀⸀ 䄀洀戀椀最甀椀琀椀攀猀 漀昀 栀攀戀爀攀眀 猀瀀攀氀氀椀渀最 洀愀欀攀猀 ✀氀愀瘀甀搀✀ 氀漀漀欀 猀椀洀椀氀愀爀 琀漀 ✀䰀愀戀甀爀✀ ⴀ 䠀椀琀氀攀爀 眀愀猀 愀 瀀愀爀琀 漀昀 琀栀攀 ✀氀愀戀漀甀爀 洀漀瘀攀洀攀渀琀✀ 椀渀 琀栀漀猀攀 搀愀礀猀⸀ 吀栀攀 ✀䜀甀搀✀ 昀愀挀琀漀爀 挀漀甀氀搀 琀栀攀渀 栀愀瘀攀 戀攀攀渀 洀椀猀愀瀀瀀氀椀攀搀 琀漀 愀 ✀搀椀瘀椀渀攀 䨀攀猀甀猀✀ 椀渀 琀栀攀 ✀猀稀漀氀渀漀欀椀✀ 挀漀洀瀀氀攀砀Ⰰ 愀渀搀 栀攀渀挀攀 琀栀攀 ✀氀愀瘀甀搀✀ 挀漀甀氀搀 瀀攀爀栀愀瀀猀 戀攀 甀渀昀漀爀琀甀渀愀琀攀氀礀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 椀搀攀愀猀 漀昀 愀 ✀䴀愀搀漀渀渀愀 椀渀 䰀愀戀甀爀✀⸀ 吀栀攀 椀搀攀愀 漀昀 ✀猀攀挀爀攀琀 椀渀琀攀氀氀椀最攀渀挀攀 猀攀爀瘀椀挀攀猀✀ 挀漀甀氀搀 琀栀攀渀 戀攀 愀 挀漀渀挀攀瀀琀 愀瀀瀀氀礀椀渀最 琀漀 琀栀攀 攀愀瘀攀猀搀爀漀瀀瀀椀渀最 漀昀 愀 搀椀愀最漀渀愀氀 爀漀漀昀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䌀愀渀琀漀爀✀猀 搀椀愀最漀渀愀氀 瀀爀漀漀昀 ⠀氀椀欀攀 愀 猀愀搀 渀漀猀攀 甀瀀 琀漀 琀栀攀 攀礀攀猀 漀昀 琀栀攀 瘀椀猀甀愀氀 昀愀挀甀氀琀礀㼀 ⴀ 䤀 渀漀琀椀挀攀 琀栀攀 爀漀氀攀 漀昀 㰀愀 栀爀攀昀㴀∀戀甀爀最攀渀氀愀渀搀戀漀爀搀攀爀⸀栀琀洀∀㸀一漀爀眀愀礀 甀瀀 琀漀 刀甀猀猀椀愀 椀渀 琀栀攀 最攀漀最爀愀瀀栀礀 漀昀 琀栀攀 一䄀吀伀 愀氀氀椀愀渀挀攀㰀⼀愀㸀⤀ 挀愀渀 戀攀 甀渀搀攀爀猀琀漀漀搀 愀猀 愀渀 愀琀琀攀洀瀀琀 琀漀 最攀琀 搀漀眀渀 琀漀 琀栀攀 瀀愀瀀攀爀 愀渀搀 昀漀爀最攀琀 愀戀漀甀琀 琀栀攀 栀愀甀渀琀椀渀最 眀椀琀挀栀挀爀愀昀琀Ⰰ 琀栀攀 猀眀椀猀栀椀渀最 椀渀 琀栀攀 愀椀爀⸀ 吀栀攀 搀椀愀最漀渀愀氀 爀攀瀀氀愀挀攀猀 漀渀攀 猀礀洀ⴀ戀漀氀 眀椀琀栀 愀ⴀ渀漀琀ⴀ栀攀爀⸀ 吀栀攀 渀漀猀攀 渀攀瘀攀爀 眀愀猀 愀 琀栀爀攀愀琀 琀漀 琀栀攀 攀礀攀猀Ⰰ 琀栀漀甀最栀Ⰰ 栀漀眀攀瘀攀爀 洀甀挀栀 琀栀攀 搀椀愀最漀渀愀氀 ⠀✀戀椀愀猀✀⤀ 瀀爀攀猀猀攀猀 漀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 氀椀欀攀氀礀 琀漀 戀攀 琀栀椀猀 猀漀爀琀 漀昀 眀漀爀搀ⴀ最愀洀攀猀 愀氀氀 漀昀 椀琀 ⴀ 瀀氀愀礀椀渀最 眀椀琀栀 琀栀攀 瀀爀漀戀氀攀洀猀 漀昀 愀 甀渀椀瘀攀爀猀愀氀椀猀琀 琀栀攀漀爀礀 漀渀 琀栀攀 爀攀氀愀琀椀漀渀 戀攀琀眀攀攀渀 瀀栀漀渀攀琀椀挀 愀渀搀 氀漀最椀挀愀氀 昀漀爀洀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀漀甀氀搀 琀栀攀 愀瀀瀀愀爀攀渀琀 ㄀㤀㠀㐀 猀琀漀爀礀 昀爀漀洀 䈀甀搀愀瀀攀猀琀 栀愀瘀攀 戀攀攀渀 愀渀 愀琀琀攀洀瀀琀 琀漀 搀甀洀瀀 琀栀攀 戀氀愀洀攀 昀漀爀 琀栀攀 ✀瀀爀攀猀猀甀爀攀 漀渀琀漀 琀栀攀 䨀ⴀ洀愀爀欀✀ 漀渀 洀攀㼀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 挀漀甀氀搀 戀攀 椀渀琀攀爀瀀爀攀琀攀搀 愀猀 戀攀椀渀最 愀戀漀甀琀 ✀眀愀猀栀椀渀最 琀栀攀 戀攀栀椀渀搀✀ ⴀ 挀漀甀氀搀 戀攀 琀栀攀 愀戀漀瘀攀 猀琀漀爀礀 漀昀 琀栀攀 ✀爀愀挀挀漀漀渀✀ 洀愀猀欀 漀渀 琀栀攀 攀礀攀猀 愀昀琀攀爀 洀礀 猀琀甀搀礀 漀昀 ✀㰀愀 栀爀攀昀㴀∀栀漀爀愀琀椀甀猀⸀栀琀洀∀㸀䠀漀爀愀琀椀甀猀㰀⼀愀㸀✀⸀ 䤀琀 眀愀猀 䤀 眀栀漀 瀀爀攀猀猀攀搀 椀琀 椀渀Ⰰ 戀甀琀 眀攀爀攀 椀琀 爀攀愀氀氀礀 洀礀 昀愀甀氀琀㼀 圀攀爀攀 䤀 爀攀愀氀氀礀 最甀椀氀琀礀 漀昀 琀栀攀 搀愀洀愀最攀 琀漀 琀栀攀 猀漀昀愀㼀 圀攀爀攀渀琀 椀琀 爀愀琀栀攀爀 愀戀漀甀琀 愀 ✀䜀攀ⴀ漀爀最 昀攀爀搀椀栀愀渀搀✀ 攀琀挀㼀 䤀琀 猀攀攀洀猀 琀栀愀琀 洀甀挀栀 漀昀 琀栀攀猀攀 瀀爀漀戀氀攀洀猀 挀漀渀猀椀猀琀 椀渀 愀渀 甀渀昀漀爀琀甀渀愀琀攀 椀搀攀渀琀椀昀椀挀愀琀椀漀渀 漀昀 琀栀攀 愀渀甀猀 愀猀 愀 ✀挀攀氀攀猀琀椀愀氀⼀搀椀瘀椀渀攀 攀礀攀✀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀  
਀✀䜀攀漀爀最 䘀攀爀搀椀ⴀ䠀䄀一 䰀甀搀眀椀最 倀栀椀氀椀瀀 䌀愀渀琀漀爀✀ 㴀 圀甀ⴀ䠀䄀一 䌀椀琀礀⸀                         㰀戀爀㸀 
'Her man 'grynter' grassmann' = the solution by the 'stritte reich'.       <font size="5"> </p><p align="justify">਀ 
Could be the only important thing in the world is to get that italian renaissance up and going again.       </p><p align="justify">਀ 
Clearly a serious non-paperflat mathematics must look better than these sad witchcraftly name-jokes. They must have looked like sad facts which one could not come around in mathematics - and indeed the world seems to have struggled with getting them right and tried to respect their status of apparent facts - but a miserable philosophy it would have been.       </p><p align="justify"><font size="4"> ਀ 
#2530 = 6-1-91 = 1966 * 0,777                         <br>਀⌀㈀㜀㔀㌀ 㴀 㘀ⴀ㈀ⴀ㤀㄀ 㴀㄀㤀㘀㘀 ⨀ 　Ⰰ㜀㄀㐀㄀㌀                         㰀戀爀㸀 
#2952 = 6-3-91 =1966 * 0,666                                <font size="5"> </p><p align="justify">਀ 
In 1966 (or maybe a little later) I noticed that the ratio or 'ratius' of dollar-NOK (= 'dolnok'?) stood steadfast on 7,14 and did not get off the spot for some time.       </p><p align="justify">਀ 
I had <a href="25march2021.htm">on 2 march 2021 returned from Italy</a> and found the main fuse gone in the fusebox (6-3-91) over the refridgerator with the 'grassapu' and the 'white ditr' (6-1-91). A few days later there was <a href="11april2021.htm">the volcanic eruption on Iceland</a> (with <a href="distance1823.htm">1823 km from 'Rekavik' to 'Rekvika'</a>), at <a href="geldingadalur.jpg">Fagradalsfjall, Geldingadalur</a> by source <a href="https://www.google.com/maps/place/63%C2%B054'18.0%22N+22%C2%B016'21.0%22W/@63.905,-22.2725,12124m/data=!3m1!1e3!4m5!3m4!1s0x0:0x5e7a5608ea0ba620!8m2!3d63.905!4d-22.2725?hl=en">Google satellite map</a>).        </p><p align="justify">਀ 
It is possible to see these names (would 'male pride' have been the story of a tragic fate of Rafael?) in the #2753 = 6-2-91 = 'na bhutadhikasamjivamadrasmakajjalam'. The reason why I associated the volcano with the fusebox was the volcano's strange and abnormal <i>double outlet</i> which I associated with the double electric outlet in the kitchen wall just on the other side of the fusebox: The 'buta dika samji va madrasmaka dalur' etc. 'Buktaling' = 'ventriloquism'. A few weeks later there was another volcanic eruption on La Palma of the Canary Islands from which <a href="11november2022.htm">1823 km eastwards would take it to Arawane with the rare deep well</a> of lukewarm water on the caravane route through the sand dunes of Sahara - no oasis but an isolated well among the sand dunes. (How did they find it? Could be <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=665" target="_new">my TEQ #577</a> could tell it).  2753+1823 = 4576 minus the 3982 of this edition of Panini takes it to #594 = 2-4-60 = 'inah pracam' (= 'male pride'?) or backwards 'macarp hani' which is close enough to a 'Canary Map' - or simply 'in La Palma'. To me, these volcanic eruptions only meant a tragic stop in the poetic work I was doing because I could not continue in Vienna the work I had been into in Italy. The icelandic volcano was spectacular and nice but the one on La Palma was only tragic for the people there.       </p><p align="justify">਀ 
Talmud Eruvin folio 16 discusses what counts as legal partitions for caravans. The 'lava-ud' of La Palma then tells that humans have a <i>faculty of faith</i> which is the main component in their reality constitution. If you believe that everybody are crooks, you will probably conclude at the end of your life that you were right indeed - but it is likely to have been because you invested your faculty of faith into such a belief. The art of believing is to believe the world upwards and not downwards. These ideas of 'Labur' a la Hitler could be about a crisis in faith - like standing on quicksand, sort of. Could it be about the history of protestantism?       </p><p align="justify">਀ 
Of course the geophysical history of the earth has formed the historic collective consciousness via the 'liturgic diachrony' of earthquakes, volcanos etc through thousands and millions of years. Is it a coincidence that Panini's sutra #365,25 read backwards looks somewhat like 'Ahuramazda'? Of course the volcanos of Iceland and La Palma did not erupt because I had travelled back to Vienna from Italy - of course it was rather that the 'eruptive poet' travelled back in accordance with some 'collective logic'. But it is arguably interesting if the contents of the refridgerator had been affected by the interface of subjective and collective logic in this way.       </p><p align="justify">਀ 
#2952 = 6-3-91 = 1966 * 0,666  = a sarvanamnah  = 'Adolf Anamnesis' (the father of post-1969 had <a href="jgphoto1.jpg">a slanting nose</a>, while I had a leftwards-pointing erection) with reverse 'hanmanavras a' = 'han m&aring; navles a' = 'he must be de-navled/de-<a href="geldingadalur.jpg">bellybuttoned</a>' = a mock name of '&Oslash;-streich'? But that could be simply the 'Rafael' = 'Raba Utca' and the rest of those szolnoki streetnames, including 'sighet toucha'. Hence Ibsen's 'Halvard Solness' by 'rafael' = 'halvard' - for 'knot bridge-bay'?       </p><p align="justify">਀ 
The question is therefore if 'terror and monkey business' ('ditr with monkey tear'?) based on aspects of Panini forwards and backwards (such as in the streetnames of Szolnok - or 'sol-knock') is what has come to take the place of a sensible definition of the qubit and thereby quasi-justified Panini as a 'converse' intelligence-rational substitute instead of a reawakening of the italian renaissance - and putting a program of &#952;&#965;&#963;&#959;&#957;  &#954;&#945;&#953; &#966;&#945;&#947;&#949; from Acts 10:13 in its place. <p align="justify">      ਀ 
But it is not so funny - if my computer really went for those CONTAIN and ZUM &rarr; CULTURE and the main fuse went kaputt when the fridge produced a heap of a kilo or so of a brown amorphous mass on the glass (looked like 'grassapu') and spurted rice around the walls and ceiling ('uat a ditr'). However, this should not be taken as an evil curse - it must be understood as an aspect of the limited human semiotic constitution which it is important to understand in order to make it possible to get a (mystic) glimpse beyond it. That is what semantics is for. Or is this redundancy all and only bad conscience - and hence a mystic inquiry suggests confession after confession?       </p><p align="justify">਀ 
Grassmann translated Rig-Veda and wrote a voluminous dictionary to it, and when Panini's grammar fills exactly the open slot between these two works of Grassmann, that explains the tragic western history: His mathematics can have the potential needed for explaining rationally and scientifically phenomena such as e.g. Fagradalsfjall-Geldingadalur, but when Grassmann was not understood and mathematics was squeezed down onto the flat paper, a new reality arose which shifted these fields of semiotic studies over onto 'the error' of terror. At the time of Cantor, anarchists would throw their bombs against political power - but today terror seems to be mainly a 'semiotic' phenomenon - and e.g. the destruction of the Palmyra ruins in Syria could have been only for installing aspects of Panini into the political reality.       </p><p align="justify">਀ 
The tragic phenomenon of replacement of people with near-identical 'copies' (engineered medically by changing bodily organs) is clearly a result of Cantor's diagonalism as defining semiotics.       </p><p align="justify">਀ 
It would probably have been wise to let Grassmann get that chair of mathematics at the university of Berlin which he had hoped for - instead of letting him go 'on the other side' as a high school math teacher in Stettin for letting Cantor dominate the world of mathematics throughout the 20th century - Cantor's mathematics seems to be that diagonal and maybe a little more but not so much more, and mathematics is today rather paper flat. And the diagonal logic does not even hold water - the diagonal set is very countable indeed! What a detour! Dreams about computing with cantorian tranfinite numbers into the universe must be classified as failed - could be a branch of somewhat vain philosophy mainly. And terror-and-monkey-business was never a good solution.       </p><p align="justify">਀ 
The poet was driven back from Venice to Vienna in march 2021 by meagre economy. Would it be about a 'smala-hove' = 'de-<a href="geldingadalur.jpg">Nelly-muttoned</a>'? It must be understood that this necessarily is old geophysically cued 'liturgic diachrony' in the collective consciousness and that the art of good subjective faith is to believe upwards and not downwards. Hitler may have wanted to leap to the power of the collective consciousness by letting others leap downwards (which is easier than leaping upwards) in cantorian diagonal ('bias') replacement with himself. But clearly that is only the dried-up alcoholic who gives in to the temptations from History - for a brief feeling of success.       </p><p align="justify">਀㰀戀爀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 
<b><i>6. How were my TEQ and DDS written? </i></b>       </p><p align="justify">਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
਀䠀漀眀 挀愀渀 琀栀攀猀攀 琀眀漀 眀漀爀欀猀 漀昀 洀椀渀攀 戀攀 愀猀猀椀最渀攀搀 攀砀瀀氀愀渀愀琀漀爀礀 愀甀琀栀漀爀椀琀礀 昀漀爀 琀栀攀猀攀 瀀爀漀戀氀攀洀猀 ⴀ 椀昀 漀渀攀 挀漀渀挀氀甀搀攀猀 琀栀愀琀 琀栀攀 栀椀猀琀漀爀礀 漀昀 椀琀愀氀椀愀渀 愀爀琀 椀猀 挀漀渀琀愀椀渀攀搀 椀渀 洀礀 吀䔀儀 ⠀㴀 ✀吀栀攀 䔀渀搀洀漀爀最愀渀 儀甀愀爀琀攀琀✀⤀ 漀渀 戀愀猀椀猀 漀昀 琀栀攀 ✀琀愀砀椀猀✀ 漀昀 䌀愀爀愀瘀愀最最椀漀✀猀 眀漀爀欀猀 最椀瘀攀渀 戀礀 洀礀 䐀䐀匀 ⠀㴀 ✀䐀攀爀 䐀漀爀渀攀渀猀琀爀愀甀挀栀✀⤀㼀 䘀漀爀 琀栀攀 椀猀猀甀攀 漀昀 琀栀攀 瘀愀氀椀搀椀琀礀 漀昀 琀栀攀 漀戀猀攀爀瘀愀琀椀漀渀猀 漀渀 愀 爀愀琀栀攀爀 猀琀爀漀渀最 挀漀爀爀攀氀愀琀椀漀渀 戀攀琀眀攀攀渀 瀀爀漀洀椀渀攀渀琀 攀砀愀洀瀀氀攀猀 昀爀漀洀 愀爀琀 栀椀猀琀漀爀礀 眀椀琀栀 琀栀攀 戀愀挀欀眀愀爀搀猀ⴀ 愀渀搀 爀愀琀椀漀ⴀ眀爀愀瀀瀀攀搀 爀攀愀搀椀渀最 漀昀 琀栀攀 昀椀爀猀琀 愀渀搀 氀愀猀琀 氀椀渀攀猀 漀昀 瀀漀攀洀猀 椀渀 洀礀 吀䔀儀 ⠀愀猀 搀椀猀挀甀猀猀攀搀 椀渀 琀栀攀 戀攀最椀渀渀椀渀最 漀昀 琀栀椀猀 愀爀琀椀挀氀攀⤀Ⰰ 昀漀爀 眀栀椀挀栀 漀渀攀 挀漀甀氀搀 瀀攀爀栀愀瀀猀 猀瀀攀挀甀氀愀琀攀 椀昀 琀栀椀猀 戀攀 愀戀漀甀琀 愀 氀愀礀攀爀 漀昀 欀渀漀眀氀攀搀最攀 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 搀攀琀攀爀洀椀渀椀渀最 昀漀爀 䌀愀爀愀瘀愀最最椀漀✀猀 戀愀爀漀焀甀攀 愀爀琀Ⰰ 琀栀攀 焀甀攀猀琀椀漀渀 眀椀氀氀 渀攀挀攀猀猀愀爀椀氀礀 栀愀瘀攀 琀漀 戀攀 栀漀眀 洀礀 吀䔀儀 ⴀ 愀渀搀 琀栀攀 䐀䐀匀 琀栀愀琀 搀攀琀攀爀洀椀渀椀渀最 琀栀攀 漀爀搀攀爀 ⠀琀愀砀椀猀⤀ 漀昀 䌀愀爀愀瘀愀最最椀漀✀猀 眀漀爀欀猀 ⴀ 眀攀爀攀 眀爀椀琀琀攀渀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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਀䤀 洀礀猀攀氀昀 戀攀氀椀攀瘀攀 琀栀愀琀 吀䔀儀Ⰰ 栀漀眀攀瘀攀爀 昀攀眀 挀漀甀氀搀 栀愀瘀攀 爀攀愀搀 椀琀 琀栀愀琀 昀愀爀Ⰰ 猀琀愀爀琀攀搀 琀漀 挀栀愀渀最攀 椀琀猀 攀渀瘀椀爀漀渀洀攀渀琀愀氀 眀漀爀氀搀 愀猀 猀漀漀渀 愀猀 椀琀 眀愀猀 昀椀渀椀猀栀攀搀⸀ 㰀愀 栀爀攀昀㴀∀戀椀戀氀椀漀⸀栀琀洀∀㸀✀䐀攀爀 䐀漀爀渀攀渀猀琀爀愀甀挀栀✀ 㴀 䐀䐀匀㰀⼀愀㸀 椀猀 愀 猀琀甀搀礀 漀昀 琀栀漀猀攀 挀栀愀渀最攀猀 椀渀 挀甀氀琀甀爀攀 ⠀洀甀挀栀 漀昀 椀琀 椀猀 眀爀椀琀琀攀渀 漀渀 挀漀昀昀攀攀 瀀漀椀渀琀猀 愀爀漀甀渀搀 椀渀 嘀椀攀渀渀愀Ⰰ 䈀爀愀琀椀猀氀愀瘀愀Ⰰ 䜀礀☀⌀㌀㌀㜀㬀爀 愀渀搀 攀氀猀攀眀栀攀爀攀⤀ 愀渀搀 挀漀甀氀搀 琀栀攀爀攀昀漀爀攀 戀攀 挀愀氀氀攀搀 愀 ✀爀攀昀氀攀砀 漀昀 琀栀攀 爀攀瘀攀氀愀琀椀漀渀✀ 漀爀 愀 ✀爀攀瘀攀氀愀琀椀漀渀 漀昀 琀栀攀 爀攀瘀攀氀愀琀椀漀渀✀⸀ 䌀漀甀氀搀 戀攀 琀栀攀 挀漀洀戀椀渀愀琀椀漀渀 漀昀 琀栀攀 琀眀漀 眀漀爀欀猀 ⠀吀䔀儀 愀渀搀 䐀䐀匀⤀ 挀漀渀猀琀椀琀甀琀攀 琀栀攀 攀昀昀攀挀琀 漀昀 愀 瀀栀爀愀猀攀 猀琀爀甀挀琀甀爀攀 最爀愀洀洀愀爀 ⠀猀攀攀 琀栀攀 愀戀漀瘀攀 搀椀猀挀甀猀猀椀漀渀 漀昀 琀栀攀 焀甀戀椀琀⤀ 眀栀攀爀攀椀渀 戀漀琀栀 氀攀昀琀ⴀ 愀渀搀 爀椀最栀琀ⴀ栀愀渀搀 瀀愀爀攀渀琀栀攀猀攀猀 愀爀攀 樀漀椀渀琀氀礀 瀀愀椀爀攀搀 ⠀焀甀愀猀椀 ✀洀愀礀愀ⴀ稀甀最漀琀攀搀✀⤀ 眀椀琀栀漀甀琀 愀渀 椀渀琀攀爀洀攀搀椀愀琀攀 猀琀漀爀愀最攀 洀攀搀椀甀洀 ⴀ 愀渀搀 椀琀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀 琀栀椀猀 昀椀攀氀搀 琀栀愀琀 琀栀攀 挀漀爀爀攀氀愀琀椀漀渀猀 眀椀琀栀 䌀愀爀愀瘀愀最最椀漀 眀漀甀氀搀 栀愀瘀攀 琀漀 戀攀 猀攀愀爀挀栀攀搀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 洀礀 氀漀渀攀氀礀 椀渀琀攀氀氀攀挀琀甀愀氀 瀀爀漀瀀攀爀琀礀 愀渀搀 渀漀戀漀搀礀 攀氀猀攀 栀愀猀 愀渀礀 爀椀最栀琀猀 琀漀 椀琀⸀ 䤀 愀洀 渀漀琀 愀渀 愀最攀渀琀 愀渀搀 栀愀瘀攀 洀礀 昀甀氀氀 愀甀琀栀漀爀椀琀礀⸀ ⠀伀渀 洀礀 爀攀琀甀爀渀 琀漀 嘀椀攀渀渀愀 昀爀漀洀 䤀琀愀氀礀 椀渀 愀瀀爀椀氀 ㈀　㈀㌀ 䤀 猀琀愀爀琀攀搀 漀渀挀攀 愀最愀椀渀 最攀琀琀椀渀最 爀攀猀瀀椀爀愀琀漀爀礀 㴀 ✀猀瀀椀爀椀琀甀愀氀✀ 瀀爀漀戀氀攀洀猀 愀渀搀 戀氀漀漀搀 椀渀 琀栀攀 甀爀椀渀攀 ⠀㴀 ✀最攀渀椀琀愀氀✀ 㴀 ✀眀漀爀欀✀㼀⤀ ⴀ 愀猀 椀昀 琀栀攀 ✀椀渀琀攀氀氀攀挀琀甀愀氀 瀀爀漀瀀攀爀琀礀✀ 漀昀 琀栀攀 ✀猀瀀椀爀椀琀甀愀氀 眀漀爀欀✀ 眀攀爀攀 甀渀搀攀爀 猀琀爀攀猀猀⸀ 䤀昀 琀栀攀 搀椀猀琀爀椀戀甀琀椀漀渀愀氀 猀攀洀愀渀琀椀挀猀 漀昀 戀漀漀欀 ㄀㐀 ∀䤀昀 礀漀甀✀爀攀 最漀椀渀最 琀漀 䬀☀漀猀氀愀猀栀㬀戀攀渀栀愀瘀渀∀ 挀漀渀猀琀椀琀甀琀攀猀 愀 瀀爀漀漀昀 琀栀愀琀 琀栀攀 眀漀爀欀 椀猀 渀漀琀 甀渀搀攀爀 愀渀礀 愀搀洀椀渀椀猀琀爀愀琀椀瘀攀 挀漀渀琀爀漀氀Ⰰ 椀琀 挀愀渀 戀攀 漀戀猀攀爀瘀攀搀 琀栀愀琀 琀栀攀 瀀愀瀀攀爀 挀栀愀椀渀 ✀䘀氀礀椀渀最 吀椀最攀爀Ⰰ 䌀漀瀀攀渀栀愀最攀渀✀ 栀愀猀 戀攀攀渀 攀砀瀀愀渀搀椀渀最 爀愀瀀椀搀氀礀 椀渀 琀栀攀 椀渀琀攀爀渀愀琀椀漀渀愀氀 洀愀爀欀攀琀 椀渀 爀攀挀攀渀琀 礀攀愀爀猀 ⴀ 䤀 栀愀瘀攀 猀瀀攀挀甀氀愀琀攀搀 椀昀 椀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀戀漀甀琀 愀渀 愀搀洀椀渀椀猀琀爀愀琀椀瘀攀 椀渀琀攀爀攀猀琀 椀渀 猀漀昀琀攀渀椀渀最 琀栀攀 瘀愀氀甀攀 漀昀 琀栀攀 瀀爀漀漀昀⸀       㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
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<b><i>7. Function 15 and the hieroglyphs </b></i>            </p><p align="justify"><font size="5">਀ 
In this chapter I discuss some artworks relative to the structure in my TEQ and show how this can be read against the form of egyptian hieroglyphs for a general theory of a global function 15. The procedure is the following:            </p><p align="justify">਀ 
Identify an artwork in a poem from TEQ book 15 "Gentlemen". The example can be TEQ #1473 which finds an interesting echo in Tizian's '<a href="tizianlowres1.jpg">Ariadne and Bacchus</a>' (source Kennedy 2018). This poem is 1719-1473 = 246 from the end of the work (which is 1719 poems long). The <i>global scope</i> of this artwork qua function 15 will then be on either side of the mid point - across 1719 - 2*246 = 1227 poems. I study the ratios 1/2, 1/3, 1/4...1/10 and 1/2, 2/3, 3/4...9/10 for each such scope. Since 1/2 is always the same for all poems, since it is always the mid point #860 for all intervals, it is omitted from the studies. There are therefore 8 ratios 1/x and 8 ratios (x-1)/x - a total of 16 ratios for each interval defined by a poem in book 15. Computing these over the interval, here 1227 poems, gives a series of 16 poems. For these poems, the titles or (if no title) the first lines of each is studied in a separate group, the signatures or last lines likewise, and the mid line or lines likewise in a group #3.            </p><p align="justify">਀ 
The rewrite principle is the following: If e.g. the title to a poem is 'abcdefghij', a word of 10 letters. First the ratio applies, say, if it is 4/5 then last 2 of the 10 letters will be moved to the other side - that means 'abcdefgh-ij' &rarr;  'ij-abcdefgh', and then the word is read in reverse - for 'hgfedcba-ji'. It is this which should describe a certain element in the artwork of Tizian.           </p><p align="justify">਀ 
The sensational discovery is that the series of such elements in group 1, 2 and 3 tend to follow the elements in the Caravaggio works which I arrived at in <a href="caravaggiodornenstrauch.htm">this study</a> (such as by <a href="emmaus1606slices5-6.jpg">this image</a>): The titles or first lines group follows the socalled 1-step column while the series of signatures or last lines follows the socalled 5-step. One naturally guesses that the mid part of the poems will follow a '3-step' order of the works. While the 1- and 5-step columns share element 4 times in the course of the 64 elements, at elements 4, 20, 36 and 52, the 3-step series will do so only twice, depending on where one starts the alignment. This means that there will be 2 different series of 3-step orders - I have, on basis of some correlations with Tizian, tentatively associated these with a masculine and a feminine order or alignment.           </p><p align="justify">਀ 
<font size="4">It is seen that the 5-step column can of course be considered primary and the 1-step secondary - but then it would have to be a 12/13-step order - which could make sense for Jesus and his disciples. Even the 3-step can be established this way from the 5-step - as a 38/39-step order. (Could be there is a '37' in some modern administrative intrigues).           <font size="5"></p><p align="justify">਀ 
Function 15 concerns the cognitive phenomenon of 'logical order'. I continue the example of poem 1473 for Tizian's 'Ariadne and Bacchus': It turns out that the 1-step series of 16 elements follows the righthand margin, about 1/5 of the canvas horizontally and each segment is then 1/16 of the vertical size. It should be possible to recognize these segments in the series of 16 rewrite forms - such as this 'hgfedcba-ji' about segment 8+3 = 11 from the top downwards. Then the 5-step series reads the lefthand margin bottom-up in the same manner - and finally the 3-step series reads the mid part of the canvas top-down again.           </p><p align="justify">਀ 
This will produce the form which is the same as the egyptian hieroglyph 'reed shelter in fields' upside down:           </p><p align="center">਀ 
<img src="reedshelterglyph2upsidedown.jpg" height=150> ਀㰀椀洀最 猀爀挀㴀∀爀攀攀搀猀栀攀氀琀攀爀最氀礀瀀栀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀㔀　㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
 ਀     
਀吀栀攀 琀栀攀漀爀礀 椀猀 琀栀愀琀 椀昀 琀栀攀 爀椀最栀琀栀愀渀搀 昀漀爀洀 椀猀 挀漀渀猀琀椀琀甀琀椀漀渀愀氀氀礀 瀀爀攀猀攀渀琀 椀渀 琀栀攀 昀漀爀洀 漀昀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 攀渀搀漀眀洀攀渀琀Ⰰ 琀栀攀 愀爀琀眀漀爀欀 漀昀 吀椀稀椀愀渀 眀椀氀氀 挀漀渀挀攀爀渀 樀甀猀琀 琀栀攀 琀甀爀渀椀渀最 漀昀 氀漀最椀挀愀氀 漀爀搀攀爀 漀昀 琀栀攀 攀氀攀洀攀渀琀猀 椀渀 琀栀攀 ㌀ⴀ猀琀攀瀀 猀攀爀椀攀猀 眀栀攀渀 琀栀攀 ㄀ⴀ 愀渀搀 琀栀攀 㔀ⴀ猀琀攀瀀 猀攀爀椀攀猀 猀眀愀瀀⸀ 吀栀攀礀 眀椀氀氀 搀漀 猀漀 渀漀琀 渀攀挀攀猀猀愀爀椀氀礀 椀渀 琀栀攀 愀爀琀眀漀爀欀 戀甀琀 椀渀 琀栀攀 昀漀爀洀 漀昀 洀礀 吀䔀儀 ⴀ 昀漀爀 眀栀椀挀栀 琀栀攀 ㄀㘀 昀甀渀挀琀椀漀渀猀 愀爀攀 猀甀瀀瀀漀猀攀搀 琀漀 戀攀 琀椀最栀琀氀礀 椀渀琀攀爀眀漀瘀攀渀 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 攀愀挀栀 愀渀搀 攀瘀攀爀礀 眀漀爀搀 椀渀 椀琀 椀渀 瀀爀椀渀挀椀瀀氀攀 椀猀 挀漀渀琀爀漀氀氀攀搀 戀礀 攀愀挀栀 愀渀搀 攀瘀攀爀礀 漀昀 琀栀攀 ㄀㘀 最氀漀戀愀氀 昀甀渀挀琀椀漀渀猀 ⴀ 眀栀椀挀栀 椀渀 琀漀琀愀氀 洀愀欀攀 甀瀀 昀漀爀 愀 氀椀琀攀爀愀爀礀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 漀昀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀漀爀攀 最攀渀攀爀愀氀氀礀Ⰰ 琀栀攀 琀栀攀漀爀礀 最漀攀猀 栀攀爀攀 琀栀愀琀 琀栀椀猀 椀猀 眀栀愀琀 愀 栀椀攀爀漀最氀礀瀀栀 椀猀⸀ 䤀琀 椀猀 愀猀猀甀洀攀搀 琀栀愀琀 琀栀攀爀攀 愀爀攀 猀漀洀攀 ㈀㐀 戀愀猀椀挀 栀椀攀爀漀最氀礀瀀栀猀 愀渀搀 愀 氀愀爀最攀 渀甀洀戀攀爀 漀昀 愀搀搀椀琀椀漀渀愀氀 最氀礀瀀栀猀 愀搀搀椀渀最 椀洀愀最攀爀礀 琀漀 琀栀攀 挀漀搀攀⸀ 䤀 栀攀爀攀 猀琀甀搀礀 琀栀攀 昀漀氀氀漀眀椀渀最 㐀 攀砀愀洀瀀氀攀猀㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀琀愀戀氀攀㸀ऀऀऀऀऀऀऀऀ 
<tr><td>	<b><i><u>TEQ poem</u></i></b>	</td><td>	<b><i><u>Artwork</u></i></b>	</td><td>	<b><i><u>Primary glyph</u></i></b> &nbsp; &nbsp; &nbsp; &nbsp; 	</td><td>	<b><i><u>Secondary glyph</u></i></b>	</td></tr><tr><td>਀ऀऀ㰀⼀琀搀㸀㰀琀搀㸀ऀऀ㰀⼀琀搀㸀㰀琀搀㸀ऀऀ㰀⼀琀搀㸀㰀琀搀㸀ऀऀ 㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀㸀 
	TEQ #1455 &nbsp; &nbsp; &nbsp; &nbsp; 	</td><td>	Correggio 'Nativity'	</td><td>	snake	</td><td>	hand	</td></tr><tr><td>਀ऀ吀䔀儀 ⌀㄀㐀㔀㠀ऀ㰀⼀琀搀㸀㰀琀搀㸀ऀ䌀漀爀爀攀最最椀漀 ✀一漀氀椀 洀攀 琀愀渀最攀爀攀✀ऀ㰀⼀琀搀㸀㰀琀搀㸀ऀ昀漀漀琀ऀ㰀⼀琀搀㸀㰀琀搀㸀ऀ焀甀愀椀氀 挀栀椀挀欀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀㸀 
	TEQ #1473 	</td><td>	Tizian 'Ariadne and Bacchus' &nbsp; &nbsp; &nbsp; &nbsp; 	</td><td>	reed shelter 	</td><td>	mouth	</td></tr><tr><td>਀ऀ吀䔀儀 ⌀㄀㐀㠀㌀ऀ㰀⼀琀搀㸀㰀琀搀㸀ऀ吀椀稀椀愀渀 ✀䈀愀挀挀栀愀渀愀氀✀ऀ㰀⼀琀搀㸀㰀琀搀㸀ऀ栀椀氀氀猀氀漀瀀攀ऀ㰀⼀琀搀㸀㰀琀搀㸀ऀ瀀漀漀氀ऀ㰀⼀琀搀㸀㰀⼀琀爀㸀㰀琀爀㸀㰀琀搀㸀 
</td></tr>								਀㰀⼀琀愀戀氀攀㸀ऀऀऀऀऀऀऀ           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 猀攀挀漀渀搀愀爀礀 最氀礀瀀栀 椀猀 琀栀攀 漀渀攀 愀搀樀愀挀攀渀琀 琀漀 琀栀攀 瀀爀椀洀愀爀礀 最氀礀瀀栀 椀渀  䜀愀爀搀椀渀攀爀✀猀 氀椀猀琀Ⰰ 琀栀攀 挀氀愀猀猀椀挀 漀爀搀攀爀 ⠀眀栀攀爀攀昀爀漀洀㼀⤀ 漀昀 琀栀椀猀 瀀爀椀洀愀爀礀 攀最礀瀀琀椀愀渀 ✀愀氀瀀栀愀戀攀琀✀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀 瀀爀攀猀攀渀琀 猀漀洀攀 琀攀氀氀椀渀最 愀渀搀 挀漀渀瘀椀渀挀椀渀最 攀砀愀洀瀀氀攀猀 愀渀搀 氀攀愀瘀攀 椀琀 琀漀 琀栀攀 椀渀琀攀爀攀猀琀椀渀最 爀攀愀搀攀爀 琀漀 猀琀甀搀礀 琀栀攀 搀攀琀愀椀氀猀 椀渀 琀栀攀 昀甀氀氀 氀椀猀琀 昀漀爀 琀栀攀猀攀 昀漀甀爀 攀砀愀洀瀀氀攀猀 ⴀ 最椀瘀攀渀 椀渀 㰀愀 栀爀攀昀㴀∀漀渀攀琀栀爀攀攀昀椀瘀攀猀琀攀瀀猀攀爀椀攀猀⸀栀琀洀∀㸀琀栀椀猀 氀椀猀琀 漀昀 㐀㠀 昀漀爀洀猀 昀漀爀 攀愀挀栀 漀昀 琀栀攀 㐀 愀爀琀眀漀爀欀猀㰀⼀愀㸀 ⴀ 愀 氀椀猀琀 漀昀 ㄀㤀㈀ 昀漀爀洀猀 昀漀爀 ㄀㤀㈀ 愀爀琀 猀攀最洀攀渀琀猀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 攀砀瀀氀愀椀渀猀 眀栀愀琀 愀 栀椀攀爀漀最氀礀瀀栀 椀猀⸀ 䤀琀 椀猀 愀猀猀甀洀攀搀 琀栀愀琀 琀栀攀爀攀 愀爀攀 渀漀琀 猀漀 洀愀渀礀 瀀漀猀猀椀戀氀攀 戀愀猀椀挀 昀漀爀洀猀 漀昀 猀甀挀栀 ✀氀漀最椀挀愀氀 漀爀搀攀爀✀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 ⠀吀栀攀爀攀 愀爀攀 瘀愀爀椀漀甀猀 瀀漀猀猀椀戀氀攀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀猀 漀昀 琀栀攀 琀椀琀氀攀 ✀䜀攀渀琀氀攀洀攀渀✀ 戀甀琀 漀渀攀 漀昀 琀栀攀 洀漀爀攀 椀渀琀攀爀攀猀琀椀渀最 椀猀 琀栀攀 爀攀瘀攀爀猀攀 愀渀搀 爀愀琀椀漀ⴀ琀甀爀渀攀搀 爀攀愀搀椀渀最 漀昀 琀栀攀 洀椀搀 瀀漀攀洀 吀䔀儀 ⌀㠀㘀　 ✀吀栀攀 洀攀愀渀 昀氀愀琀✀ ⴀ 眀栀椀挀栀 琀甀爀渀猀 爀攀瘀攀爀猀攀 椀渀琀漀 ✀琀愀氀昀 渀攀愀洀 攀栀琀✀ 愀渀搀 眀椀琀栀 爀愀琀椀漀ⴀ琀甀爀渀椀渀最 椀渀琀漀 ✀䤀✀洀 愀 琀攀氀攀瀀栀漀渀攀✀ 漀爀 猀椀洀瀀氀礀 ✀䜀攀渀琀氀攀洀攀渀✀⸀ 䄀氀氀 琀栀攀 搀攀昀椀渀椀渀最 爀攀愀搀椀渀最猀 琀甀爀渀 愀爀漀甀渀搀 琀栀攀 洀椀搀 瀀漀椀渀琀 ⌀㠀㘀　⤀⸀           㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀䔀儀 椀猀 眀爀椀琀琀攀渀 椀渀 攀渀最氀椀猀栀 愀渀搀 琀栀愀琀 椀猀 眀栀礀 琀栀攀 爀攀瘀攀爀猀攀 愀渀搀 爀愀琀椀漀ⴀ琀甀爀渀攀搀 爀攀愀搀椀渀最 挀愀渀 昀椀渀搀 愀渀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 椀渀 琀栀攀 栀椀攀爀漀最氀礀瀀栀椀挀 昀漀爀洀猀 爀攀氀愀琀椀瘀攀 琀漀 眀漀爀欀猀 昀爀漀洀 愀爀琀 栀椀猀琀漀爀礀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 猀攀攀渀 琀栀愀琀 琀栀攀 愀猀猀甀洀攀搀 挀氀愀猀猀椀挀 樀攀眀椀猀栀 洀礀猀琀攀爀椀攀猀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 ✀匀漀戀椀戀漀爀✀Ⰰ ✀吀爀攀戀氀椀渀欀愀✀ 愀渀搀 ✀䈀攀氀挀攀稀✀ 愀搀栀攀爀攀 琀漀 樀甀猀琀 琀栀攀猀攀 昀漀爀洀猀 漀昀 ✀爀愀琀椀漀✀Ⰰ ✀洀愀最椀挀 椀洀愀最攀✀ 愀渀搀 ✀戀愀挀欀眀愀爀搀猀✀⸀ 䠀椀琀氀攀爀✀猀 搀攀愀琀栀 挀愀洀瀀猀 眀椀琀栀 琀栀攀猀攀 渀愀洀攀猀 挀愀洀攀 琀漀 戀攀 愀 栀椀氀愀爀椀漀甀猀 瘀攀爀猀椀漀渀 漀昀 琀栀攀猀攀 琀栀攀漀爀椀攀猀 ⴀ 瀀漀猀猀椀戀氀礀 椀渀琀攀渀搀攀搀 猀瀀攀挀椀昀椀挀愀氀氀礀 昀漀爀 愀 瀀爀漀最爀愀洀 漀渀 琀栀攀 猀琀爀甀挀琀甀爀攀 漀昀 琀栀攀 匀稀漀氀渀漀欀 猀琀爀攀攀琀渀愀洀攀猀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br>਀ 
<i><a href="onethreefivestepseries.htm">Correggio's 'Nativity'</a></i>           </p><p align="justify">਀ 
(See <a href="onethreefivestepseries.htm">example 2</a>). This is here considered to TEQ #1455 and seems on the surface to be constituted by a butterfly structure but hieroglyphically one could postulate a snake-form for the 1-step mirrored in the 5-step and lifted up for a 3-step - for the snake-head at the eye of the 'Father-in-Heaven' form, the divine custody authority with marble-white hairlocks etc:           </p><p align="center">਀ 
<img src="correggionativity1.jpg" height=200> ਀㰀椀洀最 猀爀挀㴀∀挀漀爀爀攀最最椀漀眀椀琀栀搀漀甀戀氀攀猀渀愀欀攀最氀礀瀀栀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
<img src="correggionativityannotated1.jpg" height=200>਀ 
                 </p><p align="justify">਀ 
(Photo source Correggio 1963 annotated with glyphs from Gardiner 2012 by me). The two lower snakes also suggest two opposing faces - cp. Bassano's 'Supper in Emmaus' - the two persons resembling each other as if they are balanced up between the physics and metaphysics - and the divine finding its place between these two - potentially also with 'ex nihilo' fish and bread for feeding thousands of people.           </p><p align="center">਀ 
<img src="correggiowithdoublesnakeglyphannotated1.jpg" height=200> ਀㰀椀洀最 猀爀挀㴀∀戀愀猀猀愀渀漀洀攀琀愀瀀栀礀猀椀挀猀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
਀    
           </p><p align="justify">਀ 
The first 1-step rewrite form of TEQ #1455 for Correggio's 'Nativity' is 'onstidetimilnut' which could read 'on steed at himil-/a temple-nut' = the donkey (in-stead) suggestive of the hand gesture (towards the temple) of the woman who sees the strong light - or even the basket she holds in her lap. This basket will then extend to the second 1-step element which comes out as '(f)owefareeshtargiltnef' = 'of a forest/farest arch-guilt new'. The two Caravaggios corresponding to this basket and its arching handle would then be 'Jupiter, Neptune and Pluto' with the 'steed' and 'Salome and the baptist's head' for the 'arch-guilt'.           </p><p align="justify">਀ 
There is a dog's head peeping up from the darkness to the table or crib or straw-surface of the child - this could be element #5 in the 1-step series, reading 'ehtwolfaidemrofsserp' = 'at the wolf-item/aid (I'm) roof-serp', commenting not only on the dog/wolf but also the serpent of the snake-form.           </p><p align="justify">਀ 
The mirroring 5-step series shows for the 1st element (the head of the snake here being at the face of Mary, just touching the head of the donkey), at the very strong light:  '(t)necernisesuohfotoladi apsahohwenoehtsehrekkamuhcsskeew(t)' = 'the new son/sun is as Our Photolady (etc)' - 'a psycho when (you) not see rekkamuch skewt' (sth like this). The 'rekkamuch skewt' - is that <a href="fundamental.jpg">the 'stringhook' paradox</a>? The next rewrite forms suggest the role of Jesus: 2) 'Ciovnee' = 'the/see own eye', 3) 'at ir(a)' = 'a tear', 4) 'oblavm' = 'obla[t]um'. The sum total of these rewrite forms for the strong light of the Madonna with the newborn Jesus child in her arms would then resemble the main parametres of grassmannian theory (see below).           </p><p align="justify">਀ 
The 3-step snake-form above the 1-step (in Correggio) could then read the 2nd element 'htteyteopehtfosisih' = 'the tight up is a folds easy' - for the hand tightly at the head of the bearded man, probably Josef.           </p><p align="justify">਀ 
Finally, I had considered Correggio's 'Mystic marriage of St.Catherine' originally for this TEQ #1455 - it can be analyzed correspondingly, but clearly with a higher explanatory potential in the 'Nativity' image. Could this phenomenon be the background of Hitler's apparent obsession with this 'Josef-trumpet' nativity theme - apparently a focus of interest going back to the 19th century - as if the secret hiding in its dark recesses were that the Jesus bebe were a snake - a 'dirty beast', so to speak? See discussion below on Cantor and Grassmann - how this even could have sprung forth from such an identification of the Jesus bebe with the hieroglyphic snake - with Cantor presenting an alternative in the form of 'the ad-jective' - not the snake but the hand that held the Jesus bebe in the szolnoki streetname structure: That would have been the rationale in the 'hold-a-cost' of Heinrich Himmler. It is fully possible to see Cantor and Hitler/Himmler as two sides of the same coin - and the western doubleworld as closely associated with this problem. The following Correggio could in principle have been contributing to the ideas of a cantorian 'diagonal'.           </p><p align="justify">਀㰀戀爀㸀 
਀㰀椀㸀㰀愀 栀爀攀昀㴀∀漀渀攀琀栀爀攀攀昀椀瘀攀猀琀攀瀀猀攀爀椀攀猀⸀栀琀洀∀㸀䌀漀爀爀攀最最椀漀 ✀一漀氀椀 洀攀 琀愀渀最攀爀攀✀㰀⼀愀㸀㰀⼀椀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀⠀匀攀攀 㰀愀 栀爀攀昀㴀∀漀渀攀琀栀爀攀攀昀椀瘀攀猀琀攀瀀猀攀爀椀攀猀⸀栀琀洀∀㸀攀砀愀洀瀀氀攀 ㄀㰀⼀愀㸀⤀⸀ 吀栀椀猀 椀猀 愀猀猀漀挀椀愀琀攀搀 瀀爀椀洀愀爀椀氀礀 眀椀琀栀 琀栀攀 ✀昀漀漀琀✀ 栀椀攀爀漀最氀礀瀀栀Ⰰ 猀攀挀漀渀搀愀爀椀氀礀 眀椀琀栀 琀栀攀 焀甀愀椀氀 挀栀椀挀欀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀㰀椀洀最 猀爀挀㴀∀挀漀爀爀攀最最椀漀渀漀氀椀氀漀爀攀猀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
<img src="correggionolilores1-withfootglyphoverpasted1.jpg" height=200> ਀㰀椀洀最 猀爀挀㴀∀挀漀爀爀攀最最椀漀渀漀氀椀氀漀爀攀猀㄀ⴀ眀椀琀栀焀甀愀椀氀挀栀椀挀欀漀瘀攀爀瀀愀猀琀攀搀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
਀      
           </p><p align="justify">਀⠀匀漀甀爀挀攀 䌀漀爀爀攀最最椀漀 ㄀㤀㘀㌀ 瀀氀甀猀 最氀礀瀀栀猀 昀爀漀洀 䜀愀爀搀椀渀攀爀 ㈀　㄀㈀ 愀渀渀漀琀愀琀攀搀 戀礀 洀攀⤀⸀ 吀栀攀爀攀 愀爀攀 渀漀琀 猀漀 洀愀渀礀 搀椀猀琀椀渀挀琀 搀攀琀愀椀氀猀 琀漀 愀猀猀攀猀猀 琀栀攀 琀栀攀漀爀礀 昀爀漀洀Ⰰ 戀甀琀 愀 昀攀眀 琀栀攀爀攀 愀爀攀⸀ 䄀猀猀甀洀攀 琀栀愀琀 琀栀攀 ㄀ⴀ猀琀攀瀀 最漀攀猀 搀漀眀渀 漀渀 琀栀攀 氀攀昀琀 昀爀漀渀琀 漀昀 琀栀攀 氀攀最 ⠀琀栀攀 氀攀昀琀 猀椀搀攀 漀昀 琀栀攀 琀爀攀攀 琀爀甀渀欀⤀ 愀渀搀 搀漀眀渀 琀漀 琀栀攀 椀渀猀琀攀瀀 愀琀 琀栀攀 焀甀愀猀椀 ✀戀甀挀欀攀琀✀ 戀攀栀椀渀搀 䨀攀猀甀猀 愀渀搀 漀甀琀 琀漀 琀栀攀 ✀琀漀攀✀ 椀渀 琀栀攀 氀攀昀琀栀愀渀搀 洀愀爀最椀渀Ⰰ 渀攀砀琀 琀栀愀琀 琀栀攀 㔀ⴀ猀琀攀瀀 昀漀氀氀漀眀猀 琀栀攀 戀漀琀琀漀洀 氀椀渀攀 ⠀琀栀攀 猀漀氀攀 漀昀 琀栀攀 昀漀漀琀⤀ 愀渀搀 琀栀攀 ㌀ⴀ猀琀攀瀀 最漀攀猀 甀瀀 愀最愀椀渀 愀氀漀渀最 琀栀攀 爀椀最栀琀栀愀渀搀 洀愀爀最椀渀⸀ 吀栀攀 琀椀瀀 漀昀 琀栀攀 搀椀愀最漀渀愀氀 猀栀甀昀昀氀攀 椀猀 愀琀 攀氀攀洀攀渀琀 㘀 漀甀琀 漀昀 ㄀㘀 昀爀漀洀 戀漀琀琀漀洀 琀漀 琀漀瀀Ⰰ 漀爀 愀琀 攀氀攀洀攀渀琀 ㄀㄀ 昀爀漀洀 琀漀瀀 琀漀 戀漀琀琀漀洀⸀ 䄀猀猀甀洀攀 琀栀愀琀 琀栀椀猀 琀椀瀀 椀猀 ⌀㘀 椀渀 琀栀攀 ㌀ⴀ猀琀攀瀀 猀攀爀椀攀猀㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
6. Element #10		<br>਀刀愀琀椀漀 ऀ ㄀⼀㠀ऀ㴀 吀䔀儀 ⌀㐀㄀　Ⰰ㘀㈀㔀 㴀 吀䔀儀 ⌀㐀㄀㄀ऀऀ㰀戀爀㸀 
Forwards: 	Querela Books		<br>਀䈀愀挀欀眀愀爀搀猀㨀ऀ猀欀漀漀䈀愀氀攀爀攀甀儀ऀऀ㰀戀爀㸀 
Ratio: 		(u)qskoobalereu		<br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀爀攀 椀猀 愀 瀀爀攀猀攀渀挀攀 漀昀 琀栀攀 氀愀猀琀 氀椀渀攀 漀昀 瀀漀攀洀 吀䔀儀 ⌀㄀㐀㔀㠀 ⴀ ∀圀栀愀琀 椀琀猀 瀀椀瀀攀氀椀渀攀Ⰰ 攀昀昀椀挀椀攀渀琀 刀漀氀昀∀ ⴀ ✀眀栀愀欀猀欀甀 刀漀氀ⴀ攀昀✀Ⰰ ✀眀栀愀琀 椀琀猀 戀愀氀攀爀攀甀✀ 攀琀挀⸀ 圀栀愀琀 氀椀攀猀 戀攀渀攀愀琀栀 琀栀椀猀 琀椀瀀 漀昀 琀栀攀 栀愀渀搀氀攀 氀漀漀欀猀 氀椀欀攀 愀 戀甀挀欀攀琀⸀ ✀䐀漀渀琀 琀漀甀挀栀 洀攀Ⰰ 眀漀漀搀攀渀 栀愀渀搀氀攀✀⸀ 䄀猀 椀昀 琀栀椀猀 眀攀爀攀 琀栀攀 眀椀昀攀✀猀 挀漀甀瀀Ⰰ 琀栀攀 ✀甀砀漀爀 欀漀漀✀⸀ 吀栀攀爀攀 愀爀攀 愀氀猀漀 瀀栀漀渀漀氀漀最椀挀愀氀 琀爀愀挀攀猀 漀昀 ✀攀昀昀椀挀椀攀渀琀 刀漀氀昀✀ 椀渀 琀栀攀 攀氀攀洀攀渀琀 ㄀㄀ 漀昀 琀栀攀 ㄀ⴀ猀琀攀瀀 猀攀爀椀攀猀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀漀爀 琀栀攀 ㄀ⴀ猀琀攀瀀 猀攀爀椀攀猀Ⰰ 琀栀攀爀攀 椀猀 椀渀 攀氀攀洀攀渀琀 ㈀ 昀爀漀洀 琀栀攀 琀漀瀀 愀 挀爀漀猀猀椀渀最 漀昀 琀眀漀 琀眀椀最猀 愀琀 琀栀攀 琀爀甀渀欀 漀昀 琀栀攀 琀爀攀攀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
2. Element #6		<br>਀刀愀琀椀漀 ऀ ㄀⼀㐀ऀ㴀 吀䔀儀 ⌀㔀㘀　Ⰰ㈀㔀 㴀 吀䔀儀 ⌀㔀㘀㄀ऀऀ㰀戀爀㸀 
Forwards: 	The Frank Hotel suddenly burned sharp		<br>਀䈀愀挀欀眀愀爀搀猀㨀ऀ瀀爀愀栀猀搀攀渀爀甀戀礀氀渀攀搀搀甀猀氀攀琀漀䠀欀渀愀爀䘀攀栀吀ऀऀ㰀戀爀㸀 
Ratio: 		knarfehtprahsdenrubylneddusletoh		<br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 猀攀攀渀 栀漀眀 琀栀椀猀 ✀欀渀愀爀昀攀栀琀瀀爀愀栀猀搀攀渀爀甀戀礀氀渀攀搀搀甀猀氀攀琀漀栀✀ 爀攀猀攀洀戀氀攀猀 琀栀攀 猀椀最渀愀琀甀爀攀 漀昀 吀䔀儀 ⌀㐀㐀㈀ ✀一椀砀 䬀渀愀爀戀礀戀爀漀欀攀爀✀ 焀甀愀 ✀欀渀愀爀昀攀栀琀瀀爀愀栀猀✀ 㴀 ✀䬀渀愀爀戀礀戀爀漀欀攀爀✀ ⴀ 眀栀椀挀栀 洀攀愀渀猀 琀栀愀琀 ✀渀椀砀✀ 眀漀甀氀搀 戀攀 ✀搀攀渀爀甀戀礀氀渀攀搀搀甀猀氀攀琀漀栀✀ 㴀 愀瀀瀀爀⸀ ✀搀攀渀 爀甀戀礀Ⰰ 䤀 渀攀攀搀 礀漀甀 猀漀✀ ⠀漀爀 猀漀洀攀琀栀椀渀最 氀椀欀攀 琀栀愀琀⤀⸀ 䤀琀 椀猀 猀攀攀渀 琀栀愀琀 吀䔀儀 ⌀㐀㐀㈀ 挀漀渀琀愀椀渀猀 琀栀攀 昀漀爀洀 ✀䠀愀甀瀀猀甀瀀 䰀愀眀 ⠀㄀㤀㌀㐀⤀✀ 眀栀椀挀栀 爀攀猀攀洀戀氀攀猀 琀栀攀 ✀嬀栀崀愀瀀猀愀 栀漀栀眀 攀 渀漀攀栀琀猀攀 栀爀攀欀欀愀洀甀栀挀猀猀欀攀攀眀⠀琀⤀✀ 漀昀 琀栀攀 愀戀漀瘀攀 搀椀猀挀甀猀猀椀漀渀 漀昀 琀栀攀 ✀一愀琀椀瘀椀琀礀✀ 㴀 琀栀攀 挀栀椀氀搀栀漀漀搀 眀椀琀栀 琀栀攀 ✀瀀栀漀琀漀氀愀搀礀✀ 攀琀挀⸀ ✀䜀漀 愀爀漀甀渀搀✀ 㴀 ✀爀攀欀欀愀洀甀挀栀✀ ⴀ 漀渀 栀椀猀 戀椀爀琀栀搀愀礀㼀 吀栀攀 瀀漀攀洀 攀渀搀猀 眀椀琀栀 琀栀攀 氀椀渀攀猀 ✀眀栀攀渀 攀瘀攀爀礀戀漀搀礀 愀爀攀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 䌀愀爀琀 䠀甀猀猀攀椀渀✀ ⴀ 挀瀀⸀ ✀琀栀攀 愀爀琀 礀漀甀 猀椀最渀✀ 㴀 琀栀攀 最爀愀猀猀洀愀渀渀椀愀渀 愀猀瀀攀挀琀猀 ⠀琀栀攀 昀愀挀甀氀琀礀 漀昀 昀愀椀琀栀⤀ 栀攀爀攀 漀昀 琀栀攀 㔀ⴀ猀琀攀瀀 漀爀搀攀爀⸀ 圀栀礀 猀栀漀甀氀搀 琀栀攀 琀椀琀氀攀 琀漀 琀栀椀猀 瀀漀攀洀 戀攀 ✀吀栀攀 瀀爀攀瘀椀漀甀猀 漀渀攀✀㼀 䌀漀甀氀搀 椀琀 戀攀 愀 瀀漀攀洀 愀戀漀甀琀 ✀洀漀渀欀攀礀 戀甀猀椀渀攀猀猀✀ ⴀ 琀栀愀琀 琀栀攀 攀洀漀琀椀漀渀猀 爀攀愀氀氀礀 愀爀攀 挀愀氀氀攀搀 昀漀爀琀栀 戀礀 ✀琀栀攀 漀琀栀攀爀 漀渀攀✀Ⰰ 栀攀渀挀攀 䌀漀爀爀攀最最椀漀✀猀 琀栀攀洀攀㼀 一漀眀 琀栀椀猀 ✀一椀砀 䬀渀愀爀戀礀戀爀漀欀攀爀✀ 挀愀渀 戀攀 爀攀愀挀栀攀搀 ⠀昀漀爀 最氀漀戀愀氀 昀甀渀挀琀椀漀渀 ㄀㔀⤀ 戀礀 爀愀琀椀漀 ㄀⼀㘀 昀爀漀洀 吀䔀儀 ⌀㄀㐀㠀㘀Ⰰ 眀栀椀挀栀 挀漀甀氀搀 挀漀洀瀀氀攀琀攀 琀栀攀猀攀 椀搀攀愀猀 漀昀 瀀漀猀猀椀戀氀攀 ✀洀漀渀欀攀礀 戀甀猀椀渀攀猀猀✀⸀ 䤀琀 挀愀渀 戀攀 漀戀猀攀爀瘀攀搀 栀漀眀 琀栀攀猀攀 琀眀漀 瀀漀攀洀猀 ⴀ ⌀㐀㐀㈀ 愀渀搀 ⌀㄀㐀㠀㘀 ⴀ 爀攀氀愀琀攀 琀漀 攀愀挀栀 漀琀栀攀爀 椀渀 愀 洀甀琀甀愀氀 爀攀昀攀爀攀渀挀攀 氀椀欀攀 琀栀攀 挀爀漀猀猀 漀昀 琀栀攀 琀眀椀最猀 愀琀 琀栀攀 琀爀甀渀欀 漀昀 䌀漀爀爀攀最最椀漀✀猀 愀爀琀眀漀爀欀⸀ 䠀攀渀挀攀 愀 爀攀氀攀瘀愀渀挀攀 琀栀攀爀攀 椀猀⸀ 伀戀猀攀爀瘀椀渀最 栀漀眀 琀栀攀 䌀愀爀愀瘀愀最最椀漀 眀漀爀欀猀 爀攀氀愀琀攀 琀漀 琀栀攀猀攀 ㄀ⴀ 愀渀搀 ㌀ⴀ猀琀攀瀀 漀爀搀攀爀猀 昀漀爀 琀栀攀 琀椀瀀 漀昀 琀栀攀 栀愀渀搀氀攀 愀渀搀 琀栀攀 挀爀漀猀猀椀渀最 琀眀椀最猀 愀渀搀 琀栀攀 琀椀瀀 漀昀 䌀栀爀椀猀琀✀猀 昀椀渀最攀爀Ⰰ 椀琀 挀愀渀 戀攀 挀漀渀挀氀甀搀攀搀 琀栀愀琀 ✀琀栀攀 瀀爀攀瘀椀漀甀猀 漀渀攀✀ 樀甀猀琀 愀猀 眀攀氀氀 挀漀甀氀搀 戀攀 愀戀漀甀琀 琀栀攀 㰀椀㸀攀氀攀洀攀渀琀㰀⼀椀㸀 ⠀爀愀琀栀攀爀 琀栀愀渀 琀栀攀 瀀攀爀猀漀渀⤀ 琀栀愀琀 愀瀀瀀氀椀攀猀 琀漀 琀栀攀猀攀 漀爀搀攀爀攀搀 猀琀爀甀挀琀甀爀攀猀⸀ 圀栀椀挀栀 洀愀欀攀猀 洀漀爀攀 猀攀渀猀攀 琀栀愀渀 琀栀攀 椀搀攀愀 漀昀 ✀洀漀渀欀攀礀 戀甀猀椀渀攀猀猀✀ 漀昀 栀甀洀愀渀猀⸀ 匀攀攀 愀氀猀漀 琀栀攀 瘀愀最甀攀 猀椀洀椀氀愀爀椀琀礀 漀昀 䌀栀爀椀猀琀✀猀 氀椀昀琀攀搀 栀愀渀搀 眀椀琀栀 琀栀攀 氀椀最栀琀攀爀ⴀ挀漀氀漀甀爀攀搀 昀漀爀洀愀琀椀漀渀 愀 氀椀琀琀氀攀 搀漀眀渀 琀栀攀 琀爀甀渀欀 漀昀 琀栀攀 琀爀攀攀 ⴀ 愀 氀愀 愀 ✀焀甀愀渀琀甀洀 洀攀挀栀愀渀椀挀✀ 瀀栀攀渀漀洀攀渀漀渀 椀渀 琀栀攀 瀀栀礀猀椀挀愀氀 爀攀愀氀椀琀礀 猀栀愀瀀攀搀 戀礀 琀栀攀 栀甀洀愀渀 昀愀挀甀氀琀礀 漀昀 昀愀椀琀栀㼀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 爀攀氀攀瘀愀渀挀攀 漀昀 琀栀攀 ✀䬀渀愀爀戀礀戀爀漀欀攀爀✀ 漀昀 吀䔀儀 ⌀㐀㐀㈀ 昀漀爀 琀栀攀 ✀欀渀愀爀昀攀栀琀瀀爀愀栀猀✀ 漀昀 琀栀椀猀 爀攀眀爀椀琀攀 挀漀甀氀搀 猀甀最最攀猀琀 琀栀愀琀 琀栀攀猀攀 戀愀挀欀眀愀爀搀猀 愀渀搀 爀愀琀椀漀ⴀ琀甀爀渀攀搀 昀漀爀洀猀 挀漀甀氀搀 戀攀 挀漀渀猀椀搀攀爀攀搀 椀渀栀攀爀攀渀琀氀礀 瀀爀攀猀攀渀琀 椀渀 琀栀攀 氀椀琀攀爀愀爀礀 眀漀爀欀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀猀猀甀洀椀渀最 琀栀愀琀 琀栀攀 㔀ⴀ猀琀攀瀀 最漀攀猀 愀氀漀渀最 琀栀攀 戀漀琀琀漀洀 洀愀爀最椀渀 昀爀漀洀 氀攀昀琀 琀漀 爀椀最栀琀Ⰰ 䌀栀爀椀猀琀✀猀 昀漀漀琀 猀琀攀瀀瀀椀渀最 漀渀 愀渀 攀搀最攀 眀漀甀氀搀 戀攀 愀琀 攀氀攀洀攀渀琀 ㄀㈀ 眀栀椀挀栀 栀愀猀 爀攀眀爀椀琀攀 昀漀爀洀            㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
12. Element #16		<br>਀刀愀琀椀漀 ऀ ㄀⼀㘀ऀ㴀 吀䔀儀 ⌀㐀㘀　Ⰰ㔀 㴀 吀䔀儀 ⌀㐀㘀㄀ऀऀ㰀戀爀㸀 
Forwards: 	Miller and Livingstone, Supports		<br>਀䈀愀挀欀眀愀爀搀猀㨀ऀ猀琀爀漀瀀瀀甀匀攀渀漀琀猀最渀椀瘀椀䰀搀渀愀爀攀氀氀椀䴀ऀऀ㰀戀爀㸀 
Ratio: 		ellimstroppusenotsgnivildnar		<br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀圀漀甀氀搀 椀琀 戀攀 愀戀漀甀琀 ✀㰀椀㸀愀 氀椀洀椀琀猀 琀爀漀瀀 ⴀ 礀漀甀 猀攀渀搀 漀甀琀 猀椀最渀 椀 眀椀氀氀⼀昀攀攀氀 搀渀愀爀㰀⼀椀㸀✀㼀 ✀吀爀漀瀀漀猀✀ 椀猀 最爀攀攀欀 昀漀爀 ✀琀甀爀渀✀Ⰰ 氀椀欀攀 䌀栀爀椀猀琀✀猀 瀀漀猀琀甀爀攀Ⰰ 漀爀 氀椀欀攀 琀甀爀渀椀渀最 琀栀攀 搀椀愀最漀渀愀氀 愀砀椀猀 戀攀琀眀攀攀渀 栀椀洀 愀渀搀 琀栀攀 眀漀洀愀渀 椀渀琀漀 愀 搀椀愀最漀渀愀氀 愀砀椀猀 昀爀漀洀 琀栀攀 瀀甀戀氀椀挀 琀漀 琀栀攀 焀甀愀椀氀 挀栀椀挀欀 最氀礀瀀栀 椀渀 琀栀攀 戀愀挀欀最爀漀甀渀搀 昀漀爀攀猀琀 最爀攀攀渀⸀ 䠀攀渀挀攀 愀 ✀焀甀愀椀氀 挀栀椀挀欀✀ 最氀礀瀀栀 眀漀甀氀搀 椀渀栀攀爀攀渀琀氀礀 椀渀搀椀挀愀琀攀 ✀琀栀攀 瀀爀攀瘀椀漀甀猀 漀渀攀✀Ⰰ  琀栀攀 瀀爀椀洀愀爀礀 昀漀漀琀 栀椀攀爀漀最氀礀瀀栀⸀ 吀栀椀猀 琀甀爀渀椀渀最 昀甀渀挀琀椀漀渀 眀椀琀栀 琀栀攀 猀攀挀漀渀搀愀爀礀 最氀礀瀀栀 挀漀甀氀搀 攀瘀攀渀 挀愀氀氀 昀漀爀琀栀 愀猀猀漀挀椀愀琀椀漀渀猀 琀漀 刀愀昀愀攀氀✀猀 猀攀氀昀 瀀漀爀琀爀愀椀琀 眀椀琀栀 愀 昀爀椀攀渀搀 愀渀搀 栀愀渀搀ⴀ漀渀ⴀ猀栀漀甀氀搀攀爀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br>਀ 
<i><a href="onethreefivestepseries.htm">Tizian 'Bacchanal'</a></i>           </p><p align="justify">਀ 
(See <a href="onethreefivestepseries.htm">example 3</a>). This seems to encode the 'hillslope' hieroglyph - 1-step from top right to bottom left, 5-step from bottom left to bottom right, 3-step from bottom right to top right.           </p><p align="center">਀ 
<img src="tizianbacchanallowres1.jpg" height=300>਀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀⠀倀栀漀琀漀 猀漀甀爀挀攀 䬀攀渀渀攀搀礀 ㈀　㄀㠀⤀⸀ 吀栀攀 氀漀眀攀爀 氀攀昀琀 焀甀愀搀爀愀渀琀 猀攀攀洀猀 琀漀 戀攀 瀀愀爀琀椀挀甀氀愀爀氀礀 搀攀渀猀攀 眀椀琀栀 挀甀攀猀 昀爀漀洀 琀栀攀 爀攀眀爀椀琀攀 昀漀爀洀⸀ 䘀椀爀猀琀Ⰰ 琀栀攀 渀漀琀愀戀氀攀 攀瘀椀搀攀渀琀椀愀氀 瘀愀氀甀攀 椀渀 琀栀攀 洀愀渀 眀栀漀 栀漀氀搀猀 愀 挀愀爀愀昀攀 漀昀 眀椀渀攀 甀瀀 昀漀爀 椀渀猀瀀攀挀琀椀漀渀 昀爀漀洀 戀攀氀漀眀⸀ 䤀琀 椀猀 椀渀 琀栀攀 瀀漀猀椀琀椀漀渀 眀栀椀挀栀 挀漀爀爀攀猀瀀漀渀搀猀 琀漀 攀氀攀洀攀渀琀 㜀 椀渀 琀栀攀 ㄀ⴀ猀琀攀瀀 漀爀搀攀爀㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
7. Element #43		<br>਀刀愀琀椀漀ऀ ㄀⼀㤀ऀ㴀 吀䔀儀 ⌀㌀㜀㐀Ⰰ㔀㘀ऀ㴀 吀䔀儀 ⌀㌀㜀㔀ऀऀ㰀戀爀㸀 
Forwards:	This is a donation to the library from the publisher		<br>਀䈀愀挀欀眀愀爀搀猀㨀ऀ爀攀栀猀椀氀戀甀瀀攀栀琀洀漀爀昀礀爀愀爀戀椀氀攀栀琀漀琀渀漀椀琀愀渀漀搀愀猀椀猀椀栀吀ऀऀ㰀戀爀㸀 
Ratio: 		isihtrehsilbupehtmorfyrarbilehtotnoitanodas		<br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀✀䤀猀椀栀琀爀攀栀猀椀氀戀甀瀀攀栀琀洀漀爀昀礀爀愀爀戀椀氀攀栀琀漀琀渀漀椀琀愀渀漀搀愀猀✀ 挀漀甀氀搀 爀攀愀搀 ✀㰀椀㸀椀猀 椀琀 搀爀攀最猀 漀爀 戀甀爀瀀攀搀 洀漀爀嬀昀崀㼀 夀漀甀爀 ⠀栀⤀愀戀椀氀椀琀礀 愀琀 欀渀漀眀 椀琀 ⠀琀栀椀猀⤀ 愀渀搀 欀渀漀眀 搀愀猀 ⠀琀栀愀琀⤀㰀⼀椀㸀✀㨀 吀栀椀猀 挀漀甀氀搀 戀攀 猀攀攀渀 愀猀 攀砀琀爀攀洀攀氀礀 爀攀氀攀瘀愀渀琀 琀漀 琀栀攀 瘀攀爀礀 猀瀀攀挀椀愀氀 椀洀愀最攀 攀氀攀洀攀渀琀 椀渀 琀栀椀猀 愀爀琀眀漀爀欀 瀀漀猀猀椀戀氀礀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 琀栀攀 琀栀攀洀攀 漀昀 昀攀洀愀氀攀 猀攀砀甀愀氀椀琀礀⸀ 匀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㔀㔀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㜀㄀㰀⼀愀㸀                  㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀一攀砀琀Ⰰ 琀栀攀 洀愀椀渀 猀挀攀渀攀 椀猀 椀渀 琀栀攀 氀漀眀攀爀 氀攀昀琀 愀氀漀渀最 琀栀攀 㔀ⴀ猀琀攀瀀 愀砀椀猀⸀ 䤀琀 猀攀攀洀猀 琀漀 戀攀 愀戀漀甀琀 琀栀攀 眀漀洀愀渀 爀攀猀琀椀渀最 漀渀 栀攀爀 攀氀戀漀眀 眀栀椀氀攀 愀 眀漀洀愀渀 猀礀洀戀漀氀椀稀椀渀最 栀攀爀 瘀愀最椀渀愀 氀漀漀欀猀 甀瀀 琀漀 栀攀爀 眀栀椀氀攀 栀漀氀搀椀渀最 甀瀀 愀 瀀氀愀琀攀 戀攀椀渀最 昀椀氀氀攀搀 眀椀琀栀 眀椀渀攀⸀ 匀栀攀 猀攀攀洀猀 琀漀 挀漀渀猀琀椀琀甀琀攀 琀栀攀 猀礀洀戀漀氀椀挀 攀氀攀洀攀渀琀 漀昀 愀 猀攀砀甀愀氀 椀渀琀攀爀挀漀甀爀猀攀 眀椀琀栀 琀栀攀 洀愀渀 戀攀栀椀渀搀 栀攀爀 ⴀ 挀漀甀氀搀 戀攀 琀栀攀 漀渀攀 眀栀漀 瀀漀甀爀猀 琀栀攀 眀椀渀攀⸀ 䠀攀 爀攀愀挀栀攀猀 甀瀀 琀漀 琀栀攀 ㄀ⴀ猀琀攀瀀 猀攀爀椀攀猀 眀栀攀爀攀 琀栀攀 眀椀渀攀ⴀ瀀漀甀爀椀渀最 椀猀 椀渀 攀氀攀洀攀渀琀 ⌀㄀　㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀㄀　⸀ 䔀氀攀洀攀渀琀 ⌀㐀㘀ऀऀ㰀戀爀㸀 
Ratio	 8/9	= TEQ #1.344,44	= TEQ #1345		<br>਀䘀漀爀眀愀爀搀猀㨀ऀ䠀愀瘀攀 琀栀攀 搀漀最ऀऀ㰀戀爀㸀 
Backwards:	godehtevaH		<br>਀刀愀琀椀漀㨀 ऀऀ漀搀攀栀琀攀瘀愀䠀最ऀऀ㰀戀爀㸀 
  </p><p align="justify">਀㰀椀㸀㴀 漀栀 搀椀爀琀礀 瘀愀最嬀椀渀愀崀㰀⼀椀㸀 ऀऀ㰀戀爀㸀 
<font size="5">           </p><p align="justify">਀ 
The theme recurs in Caravaggio's 'The cheaters' wherein the one to the left (1) is the woman resting on her elbow (1), the man who peeps in her cards (2) is the 'vagina' woman (2) and the man who pulls a card out of his spine (3) is the one behind her back (3), with the wine-pourer leaning over his spine:           </p><p align="center">਀ 
<img src="caravaggiocheaters1textedsmall2.jpg" height=200> ਀㰀椀洀最 猀爀挀㴀∀戀爀攀樀搀愀猀洀愀氀氀㄀琀攀砀琀攀搀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
਀    
           </p><p align="justify">਀ 
Now the question is how to move the man behind the elbow-leaning woman over to her front. That is apparently the theme of the 5-step order wherein the position of the red leathern sack in front of her corresponds to element 7:           </p><p align="justify">਀ 
<font size="4">਀㜀⸀ 䔀氀攀洀攀渀琀 ⌀㐀㌀ऀऀ㰀戀爀㸀 
Ratio	 3/4	= TEQ #1.171,25	= TEQ #1172		<br>਀䘀漀爀眀愀爀搀猀㨀ऀ椀猀 椀渀 琀攀挀栀渀漀氀漀最礀Ⰰ 愀氀瀀栀愀戀攀琀 愀渀搀 挀爀愀昀琀 ऀऀ㰀戀爀㸀 
Backwards:	tfarcdnatebahplaygolonhcetnisi		<br>਀刀愀琀椀漀㨀 ऀऀ⠀愀⤀琀攀戀愀栀瀀氀愀礀最漀氀漀渀栀挀攀琀渀椀猀椀琀昀愀爀挀搀渀⠀愀⤀ ऀऀ㰀戀爀㸀 
  </p><p align="justify">਀㰀椀㸀㴀 愀琀 愀 戀愀爀ⴀ瀀氀愀礀 最漀 愀氀漀渀最㨀 䬀攀琀琀攀渀 椀猀 椀渀 琀栀攀 昀愀爀ⴀ⼀昀漀爀欀ⴀ欀攀琀琀攀渀㰀⼀椀㸀ऀऀ㰀戀爀㸀 
<font size="5">           </p><p align="justify">਀ 
The bar-play is clearly the pouring of the wine just above this position, for the 'oh dirty vag', while 'ketten at far-ketten' could mean that this position of element 7 properly belongs to element 3 just behind the woman's back, where the man (3) is leaning forwards. Caravaggio's 'Cheaters' is just the element 3 in the 5-step series. One can see the rewrites for elements 3, 4 and 5 as being concerned with this - as if they are pulled out of the man's spine and moved forwards to fill in the vacant space when the 'ketten' of element 7 is moved to 'far-ketten'.           </p><p align="justify">਀ 
It was after my publication of volumes 1-2-3 in 2013 that the parquet ('parketten') in my home started moving around.           </p><p align="justify">਀ 
The rewrite for the position of the woman on her elbow is element 6 = 'Brejda', which could mean 'brei-DA' = <a href="guasign.htm">'S-T-A' of the Schimmelbild</a> - cp. also the thresholded black-and-white photo 15 from <a href="valery.htm">the 23 photos</a>:            </p><p align="center">਀ 
<img src="brejda3.jpg" height=200> ਀㰀椀洀最 猀爀挀㴀∀戀爀攀樀搀愀㐀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
<img src="val15.jpg" height=200> ਀ 
     ਀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 琀栀攀洀攀 漀昀 琀栀攀 洀漀瘀攀洀攀渀琀 漀昀 攀氀攀洀攀渀琀 㜀 琀漀 攀氀攀洀攀渀琀 ㌀ 漀爀 瘀椀挀攀 瘀攀爀猀愀 椀猀 挀氀攀愀爀氀礀 琀栀攀 椀渀琀攀爀攀猀琀椀渀最 愀猀瀀攀挀琀 漀昀 琀栀攀 㔀ⴀ猀琀攀瀀 漀爀搀攀爀⸀ 䤀琀 挀漀爀爀攀猀瀀漀渀搀猀 琀漀 琀栀攀 昀甀爀爀漀眀 ⠀✀爀攀渀渀愀✀⤀ 椀渀 琀栀攀 ✀栀椀氀氀猀氀漀瀀攀✀ 瀀愀爀琀 椀渀 琀栀攀 甀瀀瀀攀爀 爀椀最栀琀栀愀渀搀 挀漀爀渀攀爀 漀昀 琀栀攀 ✀㰀愀 栀爀攀昀㴀∀氀愀瀀椀猀㈀⸀樀瀀最∀㸀氀愀瀀椀猀 瀀栀椀氀漀猀漀瀀栀漀爀甀洀㰀⼀愀㸀✀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br>਀ 
<i><a href="onethreefivestepseries.htm">Tizian 'Ariadne & Bacchus'</a></i>          </p><p align="justify">਀ 
(See <a href="onethreefivestepseries.htm">example 4</a>). This is to TEQ #1473. It seems to be about male sexuality as a counterpoint to the previous of female sexuality. I divided the artwork into 5 vertical columns divided each into 16 horizontal parts. I here show three very convincing excerpts from the artwork (photo source Kennedy 2018) matched against the corresponding fragments from TEQ read backwards and with ratios as in Correggio:           </p><p align="center">਀ 
<img src="tizianexcerpt1.jpg" height=100><br>਀ 
 <font size="2">਀㰀椀㸀䘀爀愀最洀攀渀琀 㜀 椀渀 琀栀攀 ㄀ⴀ猀琀攀瀀 挀漀氀甀洀渀㰀⼀椀㸀 
<font size="4">਀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀㜀⸀ 䔀氀攀洀攀渀琀 ⌀㔀㤀ऀऀ㰀戀爀㸀 
Ratio 	 1/9	= TEQ #382,33 =    TEQ #383		<br>਀䘀漀爀眀愀爀搀猀㨀 ऀ吀愀欀攀渀 昀爀漀洀 倀愀甀氀椀渀攀✀猀 琀爀愀猀栀ⴀ攀渀猀攀洀戀氀攀ऀऀ㰀戀爀㸀 
Backwards:	elbmesnehsartseniluaPmorfnekaT		<br>਀刀愀琀椀漀㨀 ऀऀ欀愀吀攀氀戀洀攀猀渀攀栀猀愀爀琀猀攀渀椀氀甀愀倀洀漀爀昀渀攀ऀऀ㰀戀爀㸀 
<font size="5">           </p><p align="justify">਀㰀椀㸀㴀   挀愀琀ⴀ攀氀戀漀眀 眀椀琀栀 猀栀愀爀攀搀 猀攀渀椀氀攀ⴀ眀愀爀瀀 漀昀 洀漀爀瀀栀ⴀ渀攀挀欀㰀⼀椀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 ✀猀攀渀椀氀攀✀ 爀椀搀椀渀最 漀渀 琀栀攀 搀漀渀欀攀礀 椀猀 ✀猀栀愀爀攀搀✀ 眀椀琀栀 琀栀攀 洀愀渀 猀甀瀀瀀漀爀琀椀渀最 栀椀洀Ⰰ 眀栀椀氀攀 琀栀攀 挀愀爀爀椀攀爀 愀昀琀攀爀 琀栀攀洀 眀漀甀氀搀 戀攀 琀栀攀 ✀洀漀爀瀀栀ⴀ渀攀挀欀✀⸀ 吀栀攀 愀氀椀最渀洀攀渀琀 眀椀琀栀 䌀愀爀愀瘀愀最最椀漀 愀猀猀椀最渀猀 琀漀 琀栀椀猀 攀氀攀洀攀渀琀 琀栀攀 ✀䈀甀爀椀愀氀 漀昀 匀琀⸀䰀甀挀椀愀✀ ⴀ 眀栀椀挀栀 攀砀栀椀戀椀琀猀 挀氀攀愀爀 猀椀洀椀氀愀爀椀琀椀攀猀 ⴀ 琀栀攀 ✀猀攀渀椀氀攀✀ 椀猀 琀栀攀 猀攀挀漀渀搀 搀椀最最攀爀Ⰰ 甀渀搀攀爀 眀栀漀猀攀 昀愀挀攀 琀栀攀爀攀 椀猀 愀渀漀琀栀攀爀 洀漀甀爀渀攀爀⸀ 吀栀攀 ✀挀愀琀ⴀ攀氀戀漀眀✀ 椀猀 琀栀攀渀 琀栀攀 氀攀昀琀栀愀渀搀 搀椀最最攀爀Ⰰ 愀渀搀 琀栀攀 ✀洀漀爀瀀栀ⴀ渀攀挀欀✀ 挀愀爀爀椀攀爀 椀猀 琀栀攀 挀氀攀爀椀挀愀氀 眀椀琀栀 琀栀攀 栀愀琀⸀ 匀琀⸀䰀甀挀椀愀 椀猀 琀栀攀 搀漀渀欀攀礀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䄀 猀琀爀愀渀最攀 挀漀渀挀攀瀀琀 椀琀 椀猀 ⴀ 眀栀椀挀栀 吀椀稀椀愀渀 栀愀猀 椀渀琀攀爀瀀爀攀琀攀搀 眀椀琀栀 栀椀最栀 瀀爀攀挀椀猀椀漀渀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 瀀愀爀琀 椀洀洀攀搀椀愀琀攀氀礀 愀戀漀瘀攀 琀栀椀猀 椀渀 琀栀攀 猀愀洀攀 爀椀最栀琀栀愀渀搀 挀漀氀甀洀渀 椀猀 琀栀攀 昀漀氀氀漀眀椀渀最㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀㰀椀洀最 猀爀挀㴀∀琀椀稀椀愀渀攀砀挀攀爀瀀琀㌀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀　　㸀㰀戀爀㸀 
 <font size="2">਀㰀椀㸀䘀爀愀最洀攀渀琀 㘀 椀渀 琀栀攀 ㄀ⴀ猀琀攀瀀 挀漀氀甀洀渀 
</i>਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
      ਀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀㘀⸀ 䔀氀攀洀攀渀琀 ⌀㔀㠀ऀऀ㰀戀爀㸀 
Ratio 	 1/8	= TEQ #399,38 =    TEQ #400		<br>਀䘀漀爀眀愀爀搀猀㨀 ऀ㌀㔀 瀀攀爀挀攀渀琀 戀攀氀椀攀瘀攀猀 琀栀愀琀ऀऀ㰀戀爀㸀 
Backwards:	tahtseveilebtnecrepevifytriht		<br>਀刀愀琀椀漀㨀 ऀऀ爀椀栀琀琀愀栀琀猀攀瘀攀椀氀攀戀琀渀攀挀爀攀瀀攀瘀椀昀礀琀ऀऀ㰀戀爀㸀 
<font size="5">           </p><p align="justify">਀㰀椀㸀㴀 爀椀最栀琀 愀琀 琀栀攀 瘀攀椀氀 甀瀀 琀漀 琀栀攀 挀爀漀甀瀀 漀昀 愀 昀漀漀琀㰀⼀椀㸀 
           </p><p align="justify">਀ 
Finally a convincing fragment from the lefthand 5-step column:           </p><p align="center">਀ 
<img src="tizianexcerpt2.jpg" height=100><br>਀ 
 <font size="2">਀㰀椀㸀䘀爀愀最洀攀渀琀 ㈀ ⠀戀漀琀琀漀洀ⴀ甀瀀⤀ 椀渀 琀栀攀 㔀ⴀ猀琀攀瀀 挀漀氀甀洀渀 
਀㰀⼀椀㸀 
<font size="4">਀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀㈀⸀ 䔀氀攀洀攀渀琀 ⌀㔀㐀ऀऀ㰀戀爀㸀 
Ratio 	 8/9	= TEQ #1.336,67 =    TEQ #1337		<br>਀䘀漀爀眀愀爀搀猀㨀 ऀ吀栀攀 䐀愀渀椀猀栀 爀漀挀欀攀琀⼀爀攀挀漀爀搀 瀀氀愀礀攀爀ऀऀ㰀戀爀㸀 
Backwards:	reyalpdrocer/tekcorhsinaDehT		<br>਀刀愀琀椀漀㨀 ऀऀ礀愀氀瀀搀爀漀挀攀爀⼀琀攀欀挀漀爀栀猀椀渀愀搀攀栀琀爀攀ऀऀ㰀戀爀㸀 
<font size="5">           </p><p align="justify">਀㰀椀㸀㴀 栀攀氀瀀 搀爀愀眀 挀愀爀攀ⴀ猀栀椀渀 漀昀 琀栀攀 琀爀愀礀㰀⼀椀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀椀猀 挀漀甀氀搀 挀愀氀氀 昀漀爀琀栀 愀猀猀漀挀椀愀琀椀漀渀猀 琀漀 琀栀攀 爀攀搀 氀攀愀琀栀攀爀渀 猀愀挀欀 眀栀椀挀栀 椀猀 椀渀 昀爀漀渀琀 漀昀 琀栀攀 眀漀洀愀渀 漀渀 栀攀爀 攀氀戀漀眀 椀渀 ✀䈀愀挀挀栀愀渀愀氀✀⸀ 䠀攀氀瀀 搀爀愀眀 琀栀攀 洀愀渀 眀椀琀栀 琀栀攀 挀愀爀搀 椀渀 栀椀猀 猀瀀椀渀攀 漀瘀攀爀 昀爀漀洀 栀攀爀 漀琀栀攀爀 猀椀搀攀㼀 吀栀椀猀 挀漀甀氀搀 戀攀 琀栀攀 洀愀氀攀 挀漀爀爀攀氀愀琀攀 琀漀 琀栀愀琀 昀攀洀愀氀攀 愀猀瀀攀挀琀 漀昀 琀栀攀 洀漀瘀攀洀攀渀琀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀椀渀愀氀氀礀Ⰰ 焀甀椀琀攀 挀漀渀瘀椀渀挀椀渀最 椀猀 琀栀攀 氀愀猀琀 攀氀攀洀攀渀琀 椀渀 琀栀攀 㔀ⴀ猀琀攀瀀 猀攀爀椀攀猀 眀栀攀渀 爀攀愀搀 戀漀琀琀漀洀ⴀ甀瀀 ⴀ 琀栀愀琀 椀猀 琀栀攀 氀愀猀琀 攀氀攀洀攀渀琀 漀渀 琀漀瀀 氀攀昀琀 漀昀 琀栀攀 愀爀琀眀漀爀欀⸀ 䤀琀 猀栀漀眀猀 愀 昀漀爀洀愀琀椀漀渀 漀昀 猀琀愀爀猀 漀渀 琀栀攀 猀欀礀 爀攀猀攀洀戀氀椀渀最 愀渀 攀最礀瀀琀椀愀渀ⴀ栀椀攀爀漀最氀礀瀀栀椀挀 洀漀甀琀栀㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀匀攀攀 愀氀猀漀 琀栀攀 氀愀猀琀 攀砀愀洀瀀氀攀 椀渀 琀栀攀 氀椀猀琀椀渀最Ⰰ 昀漀爀 琀栀攀 甀瀀瀀攀爀洀漀猀琀 氀攀昀琀栀愀渀搀 挀漀爀渀攀爀㨀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<font size="4">਀㄀㘀⸀ 䔀氀攀洀攀渀琀 ⌀㐀ऀऀ㰀戀爀㸀 
Ratio 	 1/10	= TEQ #368,70 =    TEQ #369		<br>਀䘀漀爀眀愀爀搀猀㨀 ऀ倀愀洀瀀栀椀氀椀攀 䴀漀搀愀氀椀琀礀  倀匀  ⠀䤀昀 礀漀甀 愀爀攀 挀甀爀椀漀甀猀 戀攀昀漀爀攀Ⰰ 猀攀攀 琀漀搀愀礀✀猀 爀椀昀昀⤀ ऀऀ㰀戀爀㸀 
Backwards:	ffirsyadoteeserofebsuoirucerauoyfISPytiladoMeilihpmaP		<br>਀刀愀琀椀漀㨀 ऀऀ栀瀀洀愀倀昀昀椀爀猀礀愀搀漀琀攀攀猀攀爀漀昀攀戀猀甀漀椀爀甀挀攀爀愀甀漀礀昀䤀匀倀礀琀椀氀愀搀漀䴀攀椀氀椀ऀऀ㰀戀爀㸀 
<font size="5">           </p><p align="justify">਀ 
Considering only 'Pamphilie Modality (PS)', it rewrites to 'ytiladomeilihpmap-SP' - and taking PS to be for a P/S conversion, it could read 'a tiladom, a lipmap' - or, if you like, 'a sideraform, a lipform'. This is all the more precise if this 'mouth' is considered a 'secondary hieroglyph' to the primary 'reed shelter in fields' which is read from this artwork.           </p><p align="justify">਀ 
These examples probably suffice to show the high relevance of this hypothesis.           </p><p align="justify">਀ 
An interesting observation concerns the two leopards in this artwork: Their function in this male sexuality artwork seems to be to be the correlate to the female sexuality in the previous - with a counterpoint in <a href="lapisrenna1.jpg">the furrow in the upper righthand part</a> on <a href="lapis2.jpg">the white stone, the lapis philosophorum</a>. But this furrow is clearly a part of the 'hillslope' glyph, not the present 'reed shelter in fields' which rather is in the front 'snout' of the white stone. The egyptian hieroglyphs seem generally not to be bothered by privacy matters - one of them shows a phallus from which fluids are running.  The question is whether this 'running' in the phallus is the 'renna' which is absent from the hillslope glyph. In Tizian this 'running' could be 'renna' between the two leopards, while the female in the lefthand margin would correspond to the running fluids from the phallus. If so, one could postulate that the two leopards correspond to the movement from element 7 to 3 (or vice versa) in the 'Bacchanal'. When this is in the 'Ariadne & Bacchus', it would be in the second out of 5 columns. If that means the 3-step column in the mid, the opening between the two leopards is approximately at element 11-12 in the 3-step series, which means from 'Sacrifice of Isaac' to 'Medusa'. This 'Medusa' will then clearly correspond to a cork shooting out from a bottleneck - cp. the famous 'sobreiro' = 'cork-oak' cross in the mid of the text of <a href="http://www.vatican.va/roman_curia/congregations/cfaith/documents/rc_con_cfaith_doc_20000626_message-fatima_en.html">the 3rd ('3-step'?) secret of Fatima</a>. When this is turned around by 'logical order', it becomes the step from 'Narcissus' to 'The cheaters'. One could even recognize the 3 columns with crossover at the 'Medusa'?      </p><p align="justify">਀ 
Clearly the black-and-white correlate to the two leopards are in <a href="val18.jpg">photo 18</a> and <a href="val19.jpg">photo 19</a> - the low hand in <a href="val18.jpg">photo 18</a> being the lifted hand of the woman in blue on the lefthand side. On the socalled <a href="ostarrichi.htm">Ostarrichi document</a> (reproduced <a href="https://upload.wikimedia.org/wikipedia/commons/8/88/Ostarrichi.jpg">here<a> from <a href="https://en.wikipedia.org/wiki/History_of_Austria">this source</a>)  there are inkblots low right (and some high left) which could invoke associations to nose monkeys (<a href="https://www.wallpapers13.com/proboscis-monkey-primate-or-a-monkey-with-borneos-long-nose-on-island-in-southeast-asia-known-as-beccan-in-indonesia-photo-2560x1600/">one photo here</a> = 'glove-in-face'?, <a href="https://www.pinterest.com/pin/445856431843859457/">another here</a>) ਀ⴀ 愀猀 椀渀 琀栀椀猀 搀攀琀愀椀氀 ⠀攀砀挀攀爀瀀琀 昀爀漀洀 㰀愀 栀爀攀昀㴀∀琀椀稀椀愀渀氀漀眀爀攀猀㄀⸀樀瀀最∀㸀琀栀椀猀 爀攀瀀爀漀搀甀挀琀椀漀渀㰀⼀愀㸀 昀爀漀洀 䬀攀渀渀攀搀礀 ㈀　㄀㠀⤀㨀  㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀㰀椀洀最 猀爀挀㴀∀琀椀稀椀愀渀氀攀漀瀀愀爀搀猀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀㔀　㸀 
<img src="tizianleopards1annotated1.jpg" height=150> </p><p align="justify">਀ 
If this document is fraud, which it arguably could be, the apparent campaign against my <a href="seemann.htm">poem about the sailor</a> and the ship that soon will leave the harbour for the open sea, like this sea beyond the leopards and the ship on the 'Bacchanal' artwork, it is likely to have its origins just there. If even the earthquakes of Turkey and Syria of february 2023 were indexing this book of mine, is it that same old story? I notice the italian 'Movimento 5 Stelle' and 2 * 5 stars in the top left. However, the movement is likely to be from elements 3 to 7 in the 'Bacchanal' - with that 'STA' and 'BREI-DA'.   </p><p align="justify">਀ 
See also <a href="fallingcliff.htm">the story of the falling cliff of Beachy Head</a>: There is <a href="tizianleopards1annotated1.jpg">behind the two leopards</a> what could resemble such an 'ejaculated' cliff and Ariadne to the left wears a red colour like the lighthouse.    </p><p align="justify">਀ 
The '<a href="ostarrichi.htm">Ostarrichi document</a>' contains also the mystery word 'zidalweidun' the origin of which I probably have shown in <a href="caravaggioyijing.htm">this study</a> which allows for <a href="yijingzidalweidun.htm">a division of the Yijing into 3 groups</a> which each is folded for various aspects which eventually outputs the 'zidalweidun' form. It can be noticed that these 3 foldings will resemble the 3 'curls' of the inkblot nose monkeys in the form it has <a href="tizianleopards1annotated1.jpg">in the Tizian artwork</a>, and these again will resemble <a href="correggiowithdoublesnakeglyph1.jpg">the 'snake'-glyph that seems to hide mysteriously behind the artwork on Jesus' birth</a>. It is likely to be just this phenomenon which constitutes the attention to this 'zidalweidun' concept. There seems to exist an idea that Austria is conceived conceptually as 'the heart of evil' - if so, it could be about just this snake-glyph hiding in the visualized Jesus infant as the basis for the 'zidalweidun' of the Ostarrichi document - which is taken (more or less seriously) as the evidence of the austrian territorial rights. Of course Austria would do well in discarding officially this document if it is known to be fraud. It is of course possible that these 'nose monkeys' = norw. 'nes[e]-ape' is the background of '<a href="apenes.htm">Apenes</a>' story and hence that they are rather essential for the entire construction.    </p><p align="justify">਀ 
Were <a href="fallingcliff.htm">the Beachy Head landslide</a> triggered by dynamite? Could be the matter could be recognized as 'nose mo[n]ke[y] without fire'.਀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀戀爀㸀  
਀ 
 ਀㰀椀㸀䌀愀渀琀漀爀 愀渀搀 䜀爀愀猀猀洀愀渀渀㰀⼀椀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 洀愀礀 戀攀 琀栀愀琀 琀栀攀 眀栀漀氀攀 猀琀漀爀礀 椀猀 琀栀椀猀 䌀愀渀琀漀爀 愀猀 琀栀攀 ✀搀椀愀最漀渀愀氀✀ 琀漀 䜀爀愀猀猀洀愀渀渀 ⴀ 眀栀愀琀 椀猀 眀爀漀渀最 椀猀 爀椀最栀琀 愀渀搀 瘀椀挀攀 瘀攀爀猀愀Ⰰ 愀 猀攀氀昀ⴀ爀攀昀攀爀攀渀琀椀愀氀 昀椀渀愀氀 栀攀戀爀攀眀 䘀 ⴀ 琀栀攀 戀愀猀椀猀 昀漀爀 琀栀攀 ✀搀爀椀琀琀攀 刀攀椀挀栀✀⸀ 䜀爀愀猀猀洀愀渀渀 挀漀甀氀搀 琀栀攀渀 戀攀 琀栀攀 䨀攀猀甀猀 漀渀 猀琀爀愀眀 椀渀 䌀漀爀爀攀最最椀漀✀猀 ✀一愀琀椀瘀椀琀礀✀ 椀洀愀最攀Ⰰ 琀栀攀 瘀攀爀礀 ✀䠀愀氀洀爀愀猀琀✀ 漀昀 琀栀攀 䬀攀渀渀攀搀礀 愀猀猀愀猀猀椀渀愀琀椀漀渀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀猀 琀栀攀爀攀 愀 爀漀氀攀 昀漀爀 琀栀攀 ✀猀攀挀漀渀搀愀爀礀 栀椀攀爀漀最氀礀瀀栀✀㼀 吀栀攀 氀椀猀琀 愀戀漀瘀攀 琀攀氀氀猀 漀昀 琀栀攀猀攀 ✀猀攀挀漀渀搀愀爀礀 最氀礀瀀栀猀✀Ⰰ 氀椀欀攀 琀栀攀 焀甀愀椀氀 挀栀椀挀欀 琀漀 琀栀攀 昀漀漀琀 漀昀 䌀漀爀爀攀最最椀漀✀猀 ✀一漀氀椀 洀攀 琀愀渀最攀爀攀✀ 焀甀愀 ✀搀椀愀最漀渀愀氀✀Ⰰ 琀栀愀琀 琀栀攀猀攀 愀爀攀 戀甀琀 㰀椀㸀琀栀攀 愀搀樀愀挀攀渀琀 最氀礀瀀栀㰀⼀椀㸀 椀渀 愀 氀椀猀琀 昀漀爀 眀栀椀挀栀 猀漀洀攀 洀漀爀攀 漀爀 氀攀猀猀 甀渀椀瘀攀爀猀愀氀 爀愀琀椀漀渀愀氀攀 漀昀 漀爀搀攀爀 攀砀椀猀琀猀⸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 
਀㰀椀洀最 猀爀挀㴀∀挀漀爀爀攀最最椀漀渀漀氀椀氀漀爀攀猀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
<img src="correggionolilores1-withfootglyphoverpasted1.jpg" height=200> ਀㰀椀洀最 猀爀挀㴀∀挀漀爀爀攀最最椀漀渀漀氀椀氀漀爀攀猀㄀ⴀ眀椀琀栀焀甀愀椀氀挀栀椀挀欀漀瘀攀爀瀀愀猀琀攀搀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀  
                </p><p align="justify">਀ 
(Source Correggio 1963 plus glyphs from Gardiner 2012 annotated by me). Is this simply Cantor's diagonal proof - based on the 'ad-jective'? Could be it seemed intuitively right somehow - that the world could not take the eventual insight that the essential secret of Jesus - both divine and human - was that he was the hieroglyphic 'snake' in the earthen paradise - and so they had to find a way around this looming threat and a solution with a 'secondary glyph' could be the solution. (It must, though, be understood that this threat of a 'converse' snake is perhaps not much else than the phenomenon of 'converse power' by the intelligence services providing the needed information to the government). The despair could have prompted the feeling of a need for lifting this 'snake' out of the identity of the Jesus bebe - politically in the program of opening the newborn 'Messiah' head for a masturbation (of the 'snake') on its cortex, like leaving the viper's egg there as an alien element explaining the strange feeling of identity of Jesus with a snake, and thereby navigate through the troubled waters of the unfortunate insight. The western world had invested all its future into this religious concept - including its moral integrity in the heavenly justification of colonialism and erasure of other people's creeds by hardboiled missionary activities - and so they felt that they had to solve this problem somehow. Hence the class of Kennedy, Hitler and Cantor in one lump - and could be the fate of Indira Gandhi could find its explanation thereby.           </p><p align="justify">਀ 
Could be this problem of a looming doubt in the firmness of the christian foundations facing a new information technology would have been the ultimate reason for the story of Grassmann shifted diagonally (qua 'other side') over onto Cantor - since it could have been conceived that Grassmann entailed the danger of magnifying rather than solving this problem by lending essential value to the 'magnification' of religious beliefs through its 'Ausdehnungs'-lens, and so this 'wölbing' problem was solved by way of paperflat cantorian diagonalism. Are the paperflat Venn diagrams of boring 'Mengenlehre' an attempt to explain what Grassmann 'really' is about?           </p><p align="justify">਀ 
Logic of the 20th century has struggled with finding a rationale for 'wellorderedness' - as if the quail chick needed a reason for being 'ad-jacent' to the hieroglyphic snake?           </p><p align="justify">਀ 
The 'Noli me tangere' is also self-referential in the form of the face in the background forest - at the head of the quail chick - being seen like Jesus sees the woman's face (as in a pirouette of a gender-swapped ballet) - and hence the quail chick is seen as from the eyes of Jesus. (A quick jelly? A chilly quake? Were Kennedy reconceived to a 'chick' - for borrowing Hitler's mass greetings?) The rewrite formulas (discussed above) of 'see the own eye', 'a tear', 'ob-la[t]um' = the 'ad-jective' of Cantor could have been recognized by Hitler on the format of <a href="chousign.htm">Treblinka</a>, Sobibor, <a href="metaphysics.htm">Belcez</a>. The 'foot' hieroglyph as 'primary' could likewise be seen as motivated by the foot of Christ in this Correggio artwork.           </p><p align="justify">਀ 
But if Cantor's theory is the same as this witness report 'ad-jected' as a secondary diagonal glyph to the primary glyph of real matter, it suggests that Grassmann is the real stuff of the history - the hillslope, the reed shelter, the foot and the snake - the main alignments of the columns in Caravaggio's work which also can be recognized in <a href="johnbjarnegrovercollectedworksvolume4.pdf#page=1211" target="_new">the four corners of this butterfly sign</a>. (See also <a href="johnbjarnegrovercollectedworksvolume4.pdf#page=1157" target="_new">these ideas</a>  for a suggestive comparison of the idea of a 'secondary glyph', or '<a href="johnbjarnegrovercollectedworksvolume4.pdf#page=1212" target="_new">The structure of divine revelation</a>' for the 'witness report' of line 11 - as well as <a href="keys.htm">this grouping of Acts 10</a> - including Acts 10:13 for the apparent innermost 'mystery' of the Szolnok-nazi complex being associated with the 'negation, paradox, binary values' of Cantor's principle - could be also of certain 'administrative services'?). Since hieroglyphs should apply to any theoretic poetic work independently of the language it is written in (that is, if this is not only a result of the form of anglophony), it follows that these are constraints on the phonetic and logical form of the language and the thought. Indeed it is possible to understand Grassmann's distinction between analytic and synthetic 'Verknüpfung' (§5) as being concerned with whether the hieroglyph conforms itself to the form of the language or if it is the other way round. Is the human thought (its semiotics) guided by the symbolic (geometric) constraints contained in the principled variability of the basic hieroglyphs, or is the human thought and language constrained by 'the form of being' and the hieroglyphs get their shape after the intentionality in the language - of, say, a poet or a mathematician? If these are the variables, it is not a paperflat mathematics.           </p><p align="justify">਀ 
If Cantor's 'ad-jective' claimed that 'it is quite the opposite', it means that Cantor ignored these cognitive distinctions and arrived at an artificial bridge between the geometry and the symbolic forms and value of the language. From this arose the modern confusion on 'arbitrarity', and nazism sprang probably forth from this cantorian simplicity - when reducing the rich variability in the esthetic thought of italian renaissance to one single symbolic form in the final hebrew F for the Madonna and the Jesus bebe.           </p><p align="justify">਀ 
It is possible that Grassmann quite simply was not understood in his time - since it is probable that it is only by my TEQ that one can prove this connection between the visual arts and the hieroglyphs, a connection which otherwise remains speculative and suggestive like that final 'F'. Hitler's variant contained perhaps many of the 'factors' but suffered from major defects from other viewpoints - mainly it would have been about minimizing the visuals to the imagery of Madonna + bebe in that single final 'F' while maximazing the 'power' element correspondingly. Could be the role of Hitler was to associate his program with Grassmann while cantorian theory came to be recognized as progressive and anti nazi. Why so? If a gap opens between the geometry and the semantic theory, humans are getting scared and hurry to claim, with Cantor, that it is quite the other way round.           </p><p align="justify">਀ 
It is clear that if an infinite series can converge on or approximate a trigonometric or integral value, if the semantic value of the symbols is not the same if you derive it this way or that, then a much easier and quicker way to success is to just postulate that this distinction doesnt matter and it remains the same anyhow. That makes math easy. But it can be that the problems are not really solved but only postponed and that they return in the form of quantum mechanics and computing. Since grassmannian intentionality can be seen as an integral ingredient in that <i>faculty of faith</i> - when assigned theoretic status this probably is the same as his concept of 'Ausdehnung' in his 'Ausdehnungslehre' - which makes the world take on this shape or that, it is clear that cantorian theory imposes on theory a rigid invariability which drains humans of the involvement of this faculty of faith and therefore can postulate a quick success in the form of workable theories and cosmologies. But it is clear that this cannot be a lasting success and it entails a spiritual totalitarianism which makes western symbolism turn fanatic and its theories psychopathic. Therefore nazism could be another side of the same coin as cantorian theory.           </p><p align="justify">਀ 
Every human being must make use of the innate faculty of faith for being conscious and having a workable theory of the world. It is your belief about the world which gives it its particular form - not necessarily only the popular 'modern' theory that it is the other way round - that it is the form of the world which is given and which gives shape to your theories of the world. This phenomenon leaves a trace of theoretic difference on the world - the difference between what the world is and what it could have been. That is why quantum mechanics has to include 'what it could have been', as an alternative and equivalent form of being to 'what it factually is' - and hence a quantum particle is believed to be in two places at the same time. Grassmann's 'Ausdehnungslehre' is a mathematical modelling of this 'faculty of faith'  and is therefore probably the solution for quantum computing. Hitler can be considered an attempt to associate this 'jewish-type' theory of Grassmann with nazism - since all the main factors of the theory on how art (Tizian etc) relates to the 'revelational poetry' of my TEQ can be recognized in the 'Josef-trumpet' of Szolnok - the Sobibor, Treblinka, Belcez, the 'art' theme of the Madonna ('Himmler') with the Jesus child in her arms ('Heinrich') in the form (of 'Luitpold' type?) of the final hebrew 'F' &#1507; in the sense of a 'graphic image' which also has an alphabetic function. It is possible that the choice of 'Szolnok' for these functions is due mainly to the name of the place resembling the three forms 'Sobibor', 'Treblinka' ('szoblnoki'), 'Belcez' ('kon-losz'), which I have guessed are the names of deep jewish mysteries essential for understanding Grassmann's theory. The error of history was that it interpreted Grassmann in the form of the terror-and-monkey-business of Hitler-and-Cantor - and let Grassmann go 'on the other side'. Could be the problem was felt as unsolvable and hence the 'quail chick' had to change the ballet gender via a 'kveil-e-dick' ('curling-up-dick', like a snake) into a 'Kennedy' (cp. Rafael's 'La Fornarina'). It may be telling that protestantism developed along with the italian renaissance - could be even the assumed essential issue of 'transubstantiation' could have concerned this idea of a sudden transform of Jesus into a snake (hiding in his 'potentialities'). Rafael's 'double portrait' may have encoded the essential turns in the 'wellordered' relation of a quail chick glyph to a snake in such a way that the 'hieroglyphic' aspects are inherently present thereby, albeit not visible on the surface.           </p><p align="justify">਀ 
Is this about the two leopards of Tizian - qua 'dirty bi-east' in the 'revelation' of elements 3-7? The 'cork-oak' mystery from the 3rd secret of Fatima? Why did the protestants split off from the catholics around those times?         </p><p align="justify">਀ 
The conclusion to the whole story could therefore be found in <i>the isomorphy of the mirror-symmetric hieroglyphic snake in Correggio's 'Nativity' with the 'converse power' of the intelligence services relative to the governmental power</i>: This could explain the power of 'intelligence services' as a 'Schlangenbiss' of 'mafia' type qua 'diagonal ad-jective' - like a 'bear/beer on the rails' - to the governmental power. It may be that the 'pressing problem' is not much more than this brolly-tip phenomenon in administration - the 'tivoli' qua 'brolly-tip' - and the correlate of 'computer glitsches' with apparent mystery value. Qua political problem, it would mean that this snaky isomorphy is lifted over onto the epistemological isomorphy of the qubit with a virus multiplication spread, so that the pandemic could be seen as starting with a 'Schlangenbiss' qua burglary of my house in Szolnok after my publication of <a href="metaphysics.htm">this article on the internet</a>. The conjecture can be made that there could have been 'intelligence services' behind the burglary.       </p><p align="justify">਀ 
Consequently, were Henry VIII - a contemporary of Rafael, Correggio, Tizian - and Luther - cheated by his intelligence services? Did they 'contain' - 'zum culture'? Or is that the essence of administrative 'intelligence' - 'containing the zoom on culture'? A postwar US program of 'containing the beast' could perhaps be recognized in just this story, and the post-napoleonic construction of the european swastika by the state of Norway in 1814 could likewise have been the construction of a 'tivoli mirror' with England + northern Ireland.       </p><p align="justify">਀ 
Why was Grassmann's theory left in the shadows of cantorian theory? Could be he was victim of a 'Schlangenbiss'. He had sent by post his 'Ausdehnungslehre' to <a href="sciencetheorylecture.htm">Cauchy</a> but felt that Cauchy had only plagiarized it. Evans (<a href="stephensaunders.htm">Saunders</a> Series 1990) tells that Augustin-Louis Cauchy (cp. the later story of the name of 'Adolf Holzhausen'), had started studying civil engineering but, having won the admiration of Lagrange and Laplace, let himself be turned to pure mathematics instead when accepting a teaching post. Cauchy was very prolific, tells Evans: Being born in 1789, he wrote 789 mathematical papers etc.       </p><p align="justify">਀ 
Were <a href="materialtothedoctorateevaluation1998.htm">my own PhD dissertation subjected to an attempted 'Schlangenbiss'?</a>  The <a href="correggiowithdoublesnakeglyph1.jpg">'converse' snake of Correggio's 'Nativity'</a> could find its rationale when lifted up to <a href="correggionativityannotated1.jpg">the view of the 'divine custody authority'</a> - as for a 'high international level' - which could be when the intelligence tries to gain the upper hand on the government.    </p><p align="justify">਀  
It is a rickety shack, the whole scientific enterprise, but it is built by way of the faculty of faith and it functions reasonably well - it could have been worse. The story could be the mishaps when this faculty is identified as the intelligence services which the government by necessity is trying to take faith in.      </p><p align="justify">਀㰀戀爀㸀 
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<i>Adolf Holzhausen</i>   </p><p align="justify">਀ 
One can guess that the Szolnok streetname complex were selected in the second half of the 19th century when the interpretation of the egyptian-hieroglyphic signs came to be settled on a certain form, be that valid or not.  The "Egyptian Hieroglyphic Dictionary" of 1911 (first edition 1897) of E.A.Wallis Budge was printed by Adolf Holzhausen in Vienna, and when king Edward VIII abdicated in the 1930's for marrying Wallis Simpson, it is not impossible that this could have entailed a reference to Wallis Budge - and hence also to the name of Adolf Holzhausen which could have been a hidden reference to Adolf Hitler. After the publication of his 'Ausdehnungslehre' in 1844, Hermann Grassmann sent it to <a href="sciencetheorylecture.htm">Cauchy</a> and it may be that history has recorded this as a case of potential plagiarism (I dont know which work or paper of Cauchy that could have been) - which also could have contributed to the story with Cantor. If so, it is possible that 'Cauchy' is the name which is the 'saucy' part of the name of Holzhausen qua Hitler. Some leafing in the dictionary of Wallis Budge can suffice for the conclusion that the szolnoki streetname 'Szava Utca' can have been taken in the sense of 'divine custody' in a chamber on the other side (as for the Sob-i-bor mystery) and hence the name of 'Wallis Budge' could be an interpretation of this, not the least in the form of Hitler's 'Solness' play (with the accountancy room 'on the other side'). 'Raba Utca' on the other hand could be recognized in the hieroglyph 'erpa' or 'raba'' = 'hereditary tribal chief' = 'king'. Furthermore, if 'uas+qer' (for 'Vas Gereben') is taken to mean 'Aurora Borealis', for the northern branch of the european swastika after Norway was established in 1814, including the idea of 'divine authority/custody' in the curtains (or bedsheets?) hanging down from heaven, so to speak, to be shipped down to the british monarchy when the swastika turned when the italian fascism 'collected the sheaves of constellations of stars' (collecting an underearth 'pane-ic' of the eastern branch of the swastika), there is most of the historic apparatus present in the streetnames. To this 're + ben' can be added in the sense of 'a single chapter + NOT' (cp. the silly idea of 'chap-tear' qua 'pane-IK'), hence 'not (only) a single chapter' but maybe '<a href="octogon.htm">8 chapters</a>' = 'Asthadhyayi' of Panini (for the 'pane-IK') - which then will be the 'sauce', the very Bloksberg factor. If it is 'Cauchy' which is this 'sauce' and it consists in a plagiarism from Grassmann's theory, there is the possible interpretation of the complex that Adolf Hitler was an agent for the british monarchy (and hence he lost the war) and the responsibility claim for this could have been the Wallis Simpson story - and if Hitler should have been a 'saucy' plagiarism, he could even have been a briton who took the place of the original. 'Vas Gereben' in this sense of it would then mean just that 'Adolf Holzhausen'. Clearly if this should have been the story, one sees how it could have served as a massive brake on the development of the new knowledge and information technology. Is the decipherment of the egyptian hieroglyphs really right? The present study can of course be used for a re-decipherment on a principled semiotic basis.       </p><p align="justify">਀㰀戀爀㸀 
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਀䤀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 挀漀渀猀琀爀甀挀琀椀漀渀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀漀 攀猀琀愀戀氀椀猀栀 愀 琀栀攀漀爀礀 漀昀 愀 搀椀瘀椀渀攀 爀攀瘀攀氀愀琀椀漀渀 椀渀 䔀渀最氀愀渀搀 愀琀 猀漀洀攀 琀椀洀攀 瀀爀椀漀爀 琀漀 琀栀攀 爀攀氀攀愀猀攀 漀昀 琀栀攀 椀琀愀氀椀愀渀 爀攀渀愀椀猀猀愀渀挀攀⸀ 䴀礀 最甀攀猀猀 椀猀 琀栀愀琀 琀栀椀猀 椀猀 眀栀愀琀 琀栀攀 洀漀搀攀爀渀ⴀ搀愀礀 愀瀀瀀愀爀攀渀琀 洀礀琀栀漀猀 漀渀 琀栀攀 爀漀氀攀 漀昀 欀椀渀最 䔀搀眀愀爀搀 嘀 戀攀 愀戀漀甀琀 ⴀ 琀栀攀 礀漀甀渀最 欀椀渀最 眀栀漀 搀椀猀愀瀀瀀攀愀爀攀搀 椀渀 琀栀攀 琀漀眀攀爀 ⴀ 愀渀 愀琀琀攀洀瀀琀 琀漀 挀漀渀猀琀爀甀挀琀 琀栀攀 椀搀攀愀 琀栀愀琀 䔀搀眀愀爀搀 嘀 眀愀猀 搀椀瘀椀渀攀 愀渀搀 愀 渀攀眀 䨀攀猀甀猀 愀渀搀 琀栀愀琀 琀栀攀 猀瀀椀爀椀琀甀愀氀 椀洀瀀攀琀甀猀 昀爀漀洀 琀栀椀猀 ✀爀攀瘀攀氀愀琀椀漀渀 椀渀 栀椀猀琀漀爀礀✀ 椀猀 眀栀愀琀 瀀爀漀洀瀀琀攀搀 琀栀攀 猀甀搀搀攀渀 椀洀瀀甀氀猀攀 昀漀爀 琀栀攀 椀琀愀氀椀愀渀 爀攀渀愀椀猀猀愀渀挀攀 ⴀ 戀甀琀 琀栀攀 椀琀愀氀椀愀渀猀 搀椀搀 渀漀琀 甀渀搀攀爀猀琀愀渀搀 椀琀 愀渀搀 搀椀搀 渀漀琀 挀爀攀搀椀琀 琀栀攀 搀椀瘀椀渀攀 猀漀甀爀挀攀 瀀爀漀瀀攀爀氀礀 愀渀搀 攀瘀攀渀琀甀愀氀氀礀 琀栀攀 攀渀最氀椀猀栀 欀椀渀最 䠀攀渀爀礀 嘀䤀䤀䤀 氀漀猀琀 栀椀猀 琀攀洀瀀攀爀 愀渀搀 猀攀渀琀 愀渀 攀渀瘀漀礀 琀漀 琀愀欀攀 琀栀愀琀 刀愀昀愀攀氀 眀栀漀 猀甀爀昀攀搀 猀漀 栀椀最栀 漀渀 琀栀攀 攀渀最氀椀猀栀 猀瀀椀爀椀琀甀愀氀椀琀礀 戀甀琀 搀椀搀 渀漀琀 甀渀搀攀爀猀琀愀渀搀 眀栀攀爀攀 琀栀攀 漀爀椀最椀渀愀氀 猀漀甀爀挀攀 昀漀爀 琀栀椀猀 挀愀洀攀 昀爀漀洀⸀ 䤀琀 椀猀 攀瘀攀渀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀攀 琀攀洀瀀攀爀 搀椀搀 渀漀琀 猀琀漀瀀 琀栀攀爀攀 戀甀琀 挀漀甀氀搀 栀愀瘀攀 挀漀渀琀椀渀甀攀搀 眀椀琀栀 洀漀爀攀 愀猀猀愀甀氀琀猀 椀渀 愀渀 愀琀琀攀洀瀀琀 琀漀 最攀琀 琀栀攀 ✀猀瀀椀爀椀琀甀愀氀 戀愀氀愀渀挀攀✀ 爀椀最栀琀⸀ 圀栀礀 愀爀攀 琀栀攀爀攀 猀漀 昀攀眀 䰀攀漀渀愀爀搀漀猀 氀攀昀琀 ⴀ 䴀漀渀愀 䰀椀猀愀 愀渀搀 瀀攀爀栀愀瀀猀 漀渀攀 漀爀 琀眀漀 洀漀爀攀 戀甀琀 琀栀愀琀 椀猀 愀氀氀㼀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀昀 琀栀椀猀 栀愀搀 戀攀攀渀 琀栀攀 栀椀猀琀漀爀礀Ⰰ 漀渀攀 挀漀甀氀搀 栀愀瘀攀 甀渀搀攀爀猀琀漀漀搀 琀栀愀琀 䔀渀最氀愀渀搀 眀漀甀氀搀 渀漀琀 愀瀀漀氀漀最椀稀攀 ⴀ 昀漀爀 琀栀攀 猀瀀氀椀琀ⴀ漀昀昀 漀昀 琀栀攀 愀渀最氀椀挀愀渀 瀀爀漀琀攀猀琀愀渀琀 挀栀甀爀挀栀 昀爀漀洀 琀栀攀 挀愀琀栀漀氀椀挀⸀ 圀漀甀氀搀 椀琀 攀瘀攀渀 栀愀瘀攀 戀攀攀渀 渀漀琀 漀渀氀礀 琀栀攀 愀渀最氀椀挀愀渀 戀甀琀 琀栀攀 攀渀琀椀爀攀 瀀爀漀琀攀猀琀愀渀琀椀猀洀㼀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  
਀䠀漀眀攀瘀攀爀Ⰰ 椀琀 椀猀 搀漀甀戀琀昀甀氀 眀栀攀琀栀攀爀 琀栀攀爀攀 椀猀 愀 戀愀猀椀猀 昀漀爀 挀氀愀椀洀椀渀最 搀椀瘀椀渀椀琀礀 漀昀 䔀搀眀愀爀搀 嘀Ⰰ 攀瘀攀渀 椀昀 琀栀攀 椀搀攀愀 漀昀 挀漀甀爀猀攀 挀愀渀 戀攀 挀漀渀猀琀爀甀挀琀攀搀⸀ 吀栀攀 洀漀搀攀爀渀ⴀ搀愀礀 愀瀀瀀愀爀攀渀琀 ✀椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀✀ 漀渀 洀礀 瀀攀爀猀漀渀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 昀漀爀 挀漀渀猀琀爀甀挀琀椀渀最 愀 焀甀愀猀椀ⴀ搀椀瘀椀渀攀 爀漀氀攀 昀漀爀 洀攀 ⠀椀搀攀愀猀 漀昀 愀 甀渀椀焀甀攀 最攀渀攀琀椀挀 匀琀愀洀洀戀愀甀洀 漀渀 愀 㰀愀 栀爀攀昀㴀∀眀栀愀琀椀猀瀀琀爀猀椀洀瀀椀欀⸀栀琀洀∀㸀倀吀刀匀䤀䴀 倀䤀䬀㰀⼀愀㸀 戀愀猀椀猀Ⰰ 瀀漀猀猀椀戀氀礀 眀椀琀栀 椀搀攀愀猀 漀昀 爀漀礀愀氀猀 爀攀氀愀琀椀渀最 琀漀 䔀搀眀愀爀搀 嘀 椀渀 琀栀攀 琀爀攀攀⤀ 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀愀欀攀渀 漀瘀攀爀 戀礀 瀀氀愀最椀愀爀椀猀琀猀 愀渀搀 攀砀琀攀渀猀椀瘀攀 ✀洀漀渀欀攀礀 戀甀猀椀渀攀猀猀✀ 漀渀 洀礀 氀椀昀攀 愀渀搀 眀漀爀欀 昀漀爀 琀栀攀 攀瘀攀渀琀甀愀氀 挀漀渀挀氀甀猀椀漀渀 琀栀愀琀 䤀 猀栀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀渀 甀猀甀爀瀀攀爀 琀爀礀椀渀最 琀漀 挀氀愀椀洀 琀栀攀 ✀搀椀瘀椀渀攀 琀栀爀漀渀攀✀ 漀渀 愀 昀愀氀猀攀 戀愀猀椀猀 ⴀ 眀栀椀氀攀 琀栀攀 洀漀渀欀攀礀 戀甀猀椀渀攀猀猀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 爀攀挀漀最渀椀稀攀搀 愀猀 愀搀栀攀爀椀渀最 琀漀 琀栀攀 漀渀氀礀 瀀爀漀瀀攀爀 愀渀搀 愀甀琀栀攀渀琀椀挀 搀椀瘀椀渀攀 攀渀最氀椀猀栀 爀攀瘀攀氀愀琀椀漀渀 椀渀 栀椀猀琀漀爀礀⸀ 䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 氀愀爀最攀猀挀愀氀攀搀 挀漀渀猀琀爀甀挀琀椀漀渀猀 挀漀甀氀搀 栀愀瘀攀 琀爀椀攀搀 琀漀 洀愀欀攀 洀礀 氀椀昀攀 昀椀琀 椀渀琀漀 猀甀挀栀 愀 猀挀栀攀洀攀Ⰰ 椀渀挀氀甀搀椀渀最 昀爀椀攀渀搀猀 愀渀搀 昀漀攀猀 瀀爀攀瀀愀爀攀搀 愀渀搀 挀漀渀琀爀漀氀氀攀搀 戀礀 琀栀攀 椀渀琀攀爀渀愀琀椀漀渀愀氀 椀渀琀攀氀氀椀最攀渀挀攀 猀攀爀瘀椀挀攀猀 甀渀搀攀爀 琀栀攀 挀漀渀琀爀漀氀 漀昀 戀爀椀琀椀猀栀 椀渀琀攀氀氀椀最攀渀挀攀⸀ 吀栀攀 爀漀氀攀 愀猀猀椀最渀攀搀 琀漀 洀攀 愀猀 愀琀琀攀洀瀀琀攀搀 ✀甀猀甀爀瀀攀爀✀ 眀漀甀氀搀 琀栀攀渀 栀愀瘀攀 戀攀攀渀 瀀漀琀攀渀琀椀愀氀氀礀 爀攀挀漀最渀椀稀攀搀 愀猀 ✀匀愀琀愀渀✀ ⴀ 愀渀搀 栀攀渀挀攀 琀栀攀 椀搀攀愀 漀昀 㰀愀 栀爀攀昀㴀∀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀樀攀眀椀猀栀 最攀渀攀琀椀挀猀 愀猀 洀礀 漀爀椀最椀渀猀㰀⼀愀㸀 愀爀攀 椀渀 挀漀渀昀漀爀洀椀琀礀 眀椀琀栀 䠀椀琀氀攀爀✀猀 瀀爀漀最爀愀洀⸀ 伀昀 挀漀甀爀猀攀 䤀 愀洀 渀漀琀 愀 瀀愀爀琀 漀昀 渀攀椀琀栀攀爀 愀渀 愀琀琀攀洀瀀琀 琀漀 挀氀愀椀洀 戀爀椀琀椀猀栀 搀椀瘀椀渀椀琀礀 漀爀 椀渀瘀漀氀瘀攀 椀渀 琀栀攀 栀椀猀琀漀爀椀挀 洀攀猀猀 椀渀 愀渀礀 眀愀礀⸀ 䤀 愀洀 漀渀氀礀 愀 渀漀爀洀愀氀 栀甀洀愀渀 戀攀椀渀最 眀栀漀 渀攀瘀攀爀 眀愀猀 椀渀昀漀爀洀攀搀 愀戀漀甀琀 琀栀椀猀 栀椀猀琀漀爀礀 眀椀琀栀 愀渀礀 猀椀渀最氀攀 眀漀爀搀⸀ 䄀渀搀 漀昀 挀漀甀爀猀攀 䤀 栀漀瀀攀 琀栀愀琀 琀栀攀爀攀 眀椀氀氀 渀漀琀 戀攀 愀琀琀攀洀瀀琀猀 琀漀 ✀甀猀甀爀瀀✀ 洀礀 眀漀爀欀⸀ 䤀 栀愀瘀攀 猀瀀攀挀甀氀愀琀攀搀 椀昀 䬀攀渀渀攀搀礀 眀攀爀攀 椀渀 猀甀挀栀 愀 瀀爀漀最爀愀洀 愀渀搀 琀栀愀琀 琀栀攀 ✀愀猀猀愀猀猀椀渀愀琀椀漀渀✀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 漀爀最愀渀椀稀攀搀 戀礀 栀椀洀猀攀氀昀 昀漀爀 愀 瀀爀漀最爀愀洀 漀昀 洀愀欀椀渀最 猀椀洀椀氀愀爀 挀氀愀椀洀猀 琀栀愀琀 琀栀攀 ✀搀椀瘀椀渀攀 椀渀猀瀀椀爀愀琀椀漀渀✀ 昀漀爀 洀礀 眀漀爀欀 爀攀愀氀氀礀 挀愀洀攀 昀爀漀洀 栀椀洀猀攀氀昀⸀ 伀渀攀 漀昀 琀栀攀 攀氀攀洀攀渀琀猀 椀渀 琀栀椀猀 挀漀渀猀琀爀甀挀琀椀漀渀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀愀琀 洀礀 猀欀甀氀氀 眀攀爀攀 漀瀀攀渀攀搀 渀漀琀 猀漀 氀漀渀最 愀昀琀攀爀 戀椀爀琀栀 愀渀搀 琀栀愀琀 䨀䘀䬀 眀攀爀攀 瀀爀攀猀攀渀琀 愀渀搀 洀愀猀琀甀爀戀愀琀攀搀 愀 猀瀀甀爀琀 漀渀 洀礀 挀漀爀琀攀砀 愀渀搀 琀栀愀琀 琀栀椀猀 猀栀漀甀氀搀 栀愀瘀攀 挀漀甀渀琀攀搀 愀猀 ✀搀椀瘀椀渀攀 椀渀猀瀀椀爀愀琀椀漀渀✀ 昀漀爀 洀礀 氀愀琀攀爀 眀漀爀欀 ⴀ 愀渀搀 猀椀洀椀氀愀爀 挀漀渀猀琀爀甀挀琀椀漀渀猀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  
਀吀栀椀猀 ✀瀀漀椀渀琀 漀昀 瘀椀攀眀✀ ⴀ 琀栀攀猀攀 搀椀昀昀攀爀攀渀琀 挀漀渀挀攀瀀琀椀漀渀猀 漀昀 琀栀攀 栀椀猀琀漀爀椀挀 漀爀椀最椀渀猀 漀昀 瀀爀漀琀攀猀琀愀渀琀椀猀洀Ⰰ 愀琀 氀攀愀猀琀 愀渀最氀椀挀愀渀椀猀洀 ⴀ 挀漀甀氀搀 栀愀瘀攀 挀漀洀攀 琀漀 攀渀琀攀爀 椀渀琀漀 栀椀猀琀漀爀礀 椀渀 琀栀攀 昀漀爀洀 漀昀 愀 猀瀀氀椀琀 戀攀琀眀攀攀渀 洀漀渀愀爀挀栀椀猀洀 愀渀搀 爀攀瀀甀戀氀椀挀愀渀椀猀洀⸀ 伀昀 挀漀甀爀猀攀 䤀 愀洀 愀 爀攀瀀甀戀氀椀挀愀渀 昀爀漀洀 琀栀椀猀 瀀漀椀渀琀 漀昀 瘀椀攀眀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䈀甀琀 琀栀攀 挀漀渀猀琀爀甀挀琀椀漀渀 漀昀 愀渀 愀琀琀攀洀瀀琀攀搀 ✀搀椀瘀椀渀攀 猀琀愀琀甀猀✀ 昀漀爀 欀椀渀最 䔀搀眀愀爀搀 嘀 挀愀渀渀漀琀 栀愀瘀攀 戀攀攀渀 攀渀琀椀爀攀氀礀 搀攀瘀漀椀搀 漀昀 愀渀礀 戀愀猀椀猀 ⴀ 椀昀 椀琀 栀愀猀 猀甀挀挀攀攀搀攀搀 椀渀 挀漀渀琀椀渀甀攀椀渀最 甀瀀 琀漀 琀栀攀 瀀爀攀猀攀渀琀 搀愀礀㼀 圀栀愀琀 椀猀 琀栀攀 戀愀猀椀猀 昀漀爀 椀琀㼀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  
਀䜀爀愀猀猀洀愀渀渀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 最攀爀洀愀渀 瘀攀爀猀椀漀渀 愀渀搀 䌀愀渀琀漀爀 琀栀攀 戀爀椀琀椀猀栀 ⴀ 琀栀攀 ✀䔀搀眀愀爀搀 嘀✀ 戀愀猀椀猀⸀ 吀栀椀猀 愀最愀椀渀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 瀀愀爀琀 漀昀 琀栀攀 戀愀挀欀最爀漀甀渀搀 昀漀爀 琀栀攀 椀搀攀愀 琀栀愀琀 䠀椀琀氀攀爀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀渀 攀渀最氀椀猀栀 愀最攀渀琀 漀昀 ✀䄀搀漀氀昀 䠀漀氀稀栀愀甀猀攀渀✀ 琀礀瀀攀⸀ 倀愀渀椀渀椀 爀攀愀搀 戀愀挀欀眀愀爀搀猀 愀猀 琀栀攀 ✀挀愀渀琀漀爀椀愀渀 搀椀愀最漀渀愀氀✀ 琀漀 䜀爀愀猀猀洀愀渀渀 挀漀甀氀搀 戀攀 愀 瀀愀爀琀 漀昀 琀栀攀 挀漀渀猀琀爀甀挀琀椀漀渀 ⴀ 椀渀挀氀甀搀椀渀最 䠀椀琀氀攀爀✀猀 挀氀愀椀洀猀 漀昀 琀栀攀 ✀愀爀礀愀渀 漀爀椀最椀渀猀✀ 漀昀 栀椀猀 渀愀稀椀猀洀⸀ 䄀猀 琀栀攀 瀀爀攀猀攀渀琀 猀琀甀搀礀 栀愀猀 猀栀漀眀渀Ⰰ 琀栀攀爀攀 挀漀甀氀搀 戀攀 猀漀洀攀 挀漀最渀椀琀椀瘀攀 愀渀搀 猀攀洀椀漀琀椀挀 爀攀愀猀漀渀猀 昀漀爀 愀 氀漀最椀挀 漀渀 爀攀瘀攀爀猀攀 瀀栀漀渀攀琀椀挀猀 ⴀ 戀甀琀 瀀爀漀戀愀戀氀礀 渀漀琀 漀昀 愀 ✀搀椀愀最漀渀愀氀✀ 欀椀渀搀 愀猀 昀漀爀 倀愀渀椀渀椀 漀渀 戀愀猀椀猀 漀昀 䜀爀愀猀猀洀愀渀渀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 瘀椀攀眀 椀猀 琀栀愀琀 琀栀攀爀攀 愀爀攀 猀漀洀攀 瀀漀琀攀渀琀椀愀氀氀礀 椀洀瀀爀攀猀猀椀瘀攀 爀攀搀甀渀搀愀渀挀椀攀猀 椀渀 琀栀攀 ✀洀漀渀愀爀挀栀椀挀✀ 眀漀爀氀搀 瘀椀攀眀Ⰰ 爀攀搀甀渀搀愀渀挀椀攀猀 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 爀攀挀漀最渀椀稀攀搀 愀猀 愀 戀愀猀椀猀 昀漀爀 ✀爀漀礀愀氀 搀椀瘀椀渀椀琀礀✀ 椀渀 䔀搀眀愀爀搀 嘀Ⰰ 戀甀琀 琀栀攀猀攀 愀爀攀 瀀爀漀戀愀戀氀礀 搀甀攀 琀漀 猀漀洀攀 爀攀搀甀渀搀愀渀挀椀攀猀 椀渀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀 眀栀椀挀栀 渀攀攀搀 渀漀琀 戀攀 爀攀挀漀最渀椀稀攀搀 愀猀 渀攀挀攀猀猀愀爀椀氀礀 洀漀渀愀爀挀栀椀挀⸀ 䤀 眀漀甀氀搀 挀愀氀氀 琀栀攀猀攀 ✀瀀漀攀琀椀挀 爀攀搀甀渀搀愀渀挀椀攀猀✀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀✀㄀㠀㈀㌀✀ 挀漀甀氀搀 戀攀 漀渀攀 漀昀 琀栀攀猀攀 ⴀ 挀漀洀瀀愀爀愀戀氀攀 琀漀 ✀㄀㤀㘀㜀✀ ⠀椀渀 琀栀攀 挀漀洀瀀甀琀攀爀 最氀椀琀猀挀栀攀猀⤀ 愀渀搀 爀攀挀漀最渀椀稀愀戀氀攀 愀氀猀漀 椀渀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀甀瀀氀漀愀搀⸀眀椀欀椀洀攀搀椀愀⸀漀爀最⼀眀椀欀椀瀀攀搀椀愀⼀挀漀洀洀漀渀猀⼀㠀⼀㠀愀⼀䄀瀀瀀愀爀椀琀椀漀渀开䌀栀愀瀀攀氀开眀椀琀栀开匀琀愀椀渀攀搀开圀椀渀搀漀眀⸀樀瀀最∀㸀琀栀攀 爀攀瘀攀氀愀琀椀漀渀 漀昀 䬀渀漀挀欀 ㄀㠀㜀㤀㰀⼀愀㸀 ⠀昀爀漀洀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䬀渀漀挀欀开匀栀爀椀渀攀∀㸀琀栀椀猀 猀漀甀爀挀攀㰀⼀愀㸀⤀⸀ 伀渀攀 挀漀甀氀搀 琀栀椀渀欀 漀昀 戀爀椀琀椀猀栀ⴀ瀀栀椀氀漀猀漀瀀栀椀挀愀氀 愀琀琀攀洀瀀琀猀 琀漀 氀椀渀欀 ㄀㠀㈀㌀ 琀漀 琀栀攀 礀攀愀爀 ㄀㐀㠀㌀ 漀昀 欀椀渀最 䔀搀眀愀爀搀 嘀㨀 匀愀礀Ⰰ 琀栀攀 猀攀爀椀攀猀 䨀漀猀攀昀 㴀 ㄀Ⰰ 䴀愀爀礀 㴀 ㈀Ⰰ 䨀漀栀渀 㴀 ㌀ 愀渀搀 琀栀攀 愀氀琀愀爀 眀椀琀栀 琀栀攀 挀爀漀猀猀 愀渀搀 琀栀攀 氀愀洀戀 㴀 㐀Ⰰ 戀礀 眀栀椀挀栀 ✀㄀㠀㈀㌀✀ 挀愀渀 戀攀 爀攀愀挀栀攀搀 戀礀 ✀䨀漀栀渀✀ 焀甀愀 ✀漀挀琀漀最漀渀愀氀✀ 㴀 ✀㠀✀ 最漀椀渀最 椀渀戀攀琀眀攀攀渀 䨀漀猀攀昀 愀渀搀 䴀愀爀礀 愀渀搀 ✀琀栀攀爀攀戀礀✀ 爀攀搀攀昀椀渀椀渀最 琀栀攀 挀爀漀猀猀 愀渀搀 氀愀洀戀 昀爀漀洀 ✀㐀✀ 琀漀 ✀㌀✀⸀ 䌀漀渀瘀攀爀猀攀氀礀Ⰰ 琀栀攀 礀攀愀爀 ㄀㐀㠀㌀ 挀愀渀 戀攀 爀攀愀挀栀攀搀 戀礀 瀀漀猀琀甀氀愀琀椀渀最 ✀㠀 挀栀愀瀀ⴀ琀攀愀爀猀✀ 漀昀 ✀䄀猀琀栀愀搀栀礀愀礀椀✀ 琀礀瀀攀 昀漀爀 琀栀攀 䴀愀搀漀渀渀愀 ⠀眀椀琀栀 ✀昀椀渀愀氀 䘀✀ 攀琀挀⤀ 愀渀搀 琀栀攀爀攀愀昀琀攀爀 氀攀琀琀椀渀最 琀栀攀 氀愀洀戀 眀椀琀栀 挀爀漀猀猀 㴀 ✀㐀✀ 洀漀瘀攀 椀渀戀攀琀眀攀攀渀 䨀漀猀攀昀 愀渀搀 䴀愀爀礀⸀ ✀吀栀攀漀氀漀最椀攀猀✀ 氀椀欀攀 琀栀攀猀攀 挀愀渀 挀攀爀琀愀椀渀氀礀 戀攀 攀猀琀愀戀氀椀猀栀攀搀 ⴀ 椀渀 愀渀 愀琀琀攀洀瀀琀 琀漀 洀愀欀攀 䔀搀眀愀爀搀 ㄀㐀㠀㌀ 愀 挀愀猀攀 漀昀 ✀搀椀瘀椀渀攀 爀攀瘀攀氀愀琀椀漀渀✀ 椀渀瘀漀欀攀搀 瘀椀愀 ✀㰀愀 栀爀攀昀㴀∀樀最㄀㠀㈀㌀㄀㠀㐀㌀⸀栀琀洀∀㸀䨀漀栀渀 䜀爀漀瘀攀爀 ㄀㠀㈀㌀⼀㄀㠀㐀㌀㰀⼀愀㸀✀ 眀栀椀挀栀 愀爀攀 瘀攀爀礀 瀀愀爀愀氀氀攀氀 愀渀搀 挀漀甀氀搀 琀栀攀爀攀戀礀 挀漀渀猀琀椀琀甀琀攀 愀渀漀琀栀攀爀 攀氀攀洀攀渀琀 椀渀 愀 挀漀洀瀀愀爀愀戀氀攀 ✀琀栀攀漀氀漀最椀挀愀氀 瀀栀椀氀漀猀漀瀀栀礀✀⸀ 㰀愀 栀爀攀昀㴀∀眀栀愀琀椀猀㄀㈀㈀㌀⸀栀琀洀∀㸀㄀㈀㈀㌀㰀⼀愀㸀 漀渀 洀攀 挀漀甀氀搀 戀攀 愀 ✀猀琀爀愀琀攀最椀挀✀ 瘀愀爀椀愀渀琀 漀昀 ✀㄀㠀㈀㌀✀ ⴀ 挀氀愀椀洀椀渀最 琀漀 戀攀 琀栀攀 漀爀椀最椀渀猀 攀瘀攀渀 戀攀昀漀爀攀 愀 ✀搀椀愀最漀渀愀氀✀ 眀愀猀 瀀甀琀 漀瘀攀爀 琀栀攀 ✀㈀✀ 昀漀爀 洀愀欀椀渀最 琀栀攀 ✀䄀猀琀栀愀搀栀礀愀礀椀✀ ⠀㴀 ✀㠀 挀栀愀瀀琀攀爀猀✀⤀ 戀愀猀椀猀 昀漀爀 琀栀攀 攀渀最氀椀猀栀 挀漀渀挀攀瀀琀椀漀渀⸀ 吀栀椀猀 ✀㄀㈀㈀㌀✀ 猀攀攀洀猀 琀漀 戀攀 愀 瀀愀爀琀 漀昀 琀栀攀 猀琀爀愀琀攀最礀 漀渀 琀栀攀 爀漀氀攀 愀猀猀椀最渀攀搀 琀漀 洀攀 椀渀 琀栀攀 洀礀琀栀漀猀 琀栀攀愀琀爀攀 ⴀ 愀渀搀 栀攀渀挀攀 椀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 渀甀洀攀爀愀氀 愀猀猀椀最渀攀搀 琀漀 䔀搀眀愀爀搀 嘀⸀ 䈀甀琀 挀氀攀愀爀氀礀 椀搀攀愀猀 氀椀欀攀 琀栀攀猀攀 愀爀攀 愀 瀀漀漀爀 猀甀戀猀琀椀琀甀琀攀 昀漀爀 昀椀氀氀椀渀最 椀渀 琀栀攀 最愀瀀 戀攀琀眀攀攀渀 琀栀攀 ✀昀椀渀愀氀 䘀✀ 眀椀琀栀 椀洀愀最攀爀礀 瘀愀氀甀攀猀 愀渀搀 琀栀攀 椀琀愀氀椀愀渀 爀攀渀愀椀猀猀愀渀挀攀 昀漀爀洀愀琀 眀栀椀挀栀 䤀 栀愀瘀攀 搀攀猀挀爀椀戀攀搀 昀漀爀 洀礀 昀甀渀挀琀椀漀渀 ㄀㔀⸀ 䤀琀 眀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 ✀洀椀猀猀椀渀最 氀椀渀欀✀ 椀渀 琀攀爀洀猀 漀昀 椀渀猀甀昀昀椀挀椀攀渀琀 攀砀瀀氀愀渀愀琀漀爀礀 瀀漀琀攀渀琀椀愀氀 椀渀 琀栀攀 栀椀攀爀漀最氀礀瀀栀椀挀 挀漀渀挀攀瀀琀椀漀渀 眀栀椀挀栀 挀漀甀氀搀 洀愀欀攀 昀漀爀 琀栀攀猀攀 洀礀琀栀漀氀漀最椀攀猀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 氀椀欀攀氀礀 琀栀愀琀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀 挀漀渀琀愀椀渀猀 猀漀洀攀 猀甀挀栀 瀀甀稀稀氀椀渀最 爀攀搀甀渀搀愀渀挀椀攀猀 ⴀ 愀渀搀 琀栀愀琀 琀栀攀猀攀 愀爀攀 甀猀攀搀 愀氀猀漀 昀漀爀 愀琀琀攀洀瀀琀猀 琀漀 挀漀渀猀琀爀甀挀琀 愀 琀栀攀漀爀礀 漀昀 ✀搀椀瘀椀渀椀琀礀✀ 椀渀 䔀搀眀愀爀搀 嘀⸀ 伀琀栀攀爀猀 眀漀甀氀搀 挀愀氀氀 椀琀 䈀氀漀欀猀戀攀爀最 愀渀搀 戀爀漀漀洀爀椀搀椀渀最 ⴀ 琀漀 挀漀洀瀀愀爀攀 椀搀攀愀猀 漀昀 搀椀瘀椀渀椀琀礀 眀椀琀栀 猀甀挀栀 猀琀爀愀渀最攀 琀栀椀渀最猀⸀ 䌀栀爀椀猀琀椀愀渀 搀漀最洀愀 爀攀挀漀最渀椀稀攀猀 䨀攀猀甀猀 愀猀 戀漀琀栀 搀椀瘀椀渀攀 愀渀搀 栀甀洀愀渀 眀栀椀挀栀 洀攀愀渀猀 琀栀愀琀 栀椀猀 琀爀愀渀猀挀攀渀搀攀渀琀 搀椀瘀椀渀椀琀礀 挀愀渀 戀攀 甀渀搀攀爀猀琀漀漀搀 愀氀猀漀 戀礀 眀愀礀 漀昀 猀琀甀搀礀椀渀最 栀椀猀 栀甀洀愀渀 氀椀昀攀 眀栀椀挀栀 椀洀瀀漀猀攀搀 猀甀挀栀 挀漀渀猀琀爀愀椀渀琀猀 漀渀 琀栀攀 搀椀瘀椀渀攀 戀攀椀渀最 ⴀ 戀甀琀 琀栀愀琀 搀漀攀猀 渀漀琀 洀攀愀渀 琀栀愀琀 焀甀椀爀欀猀 愀渀搀 瀀甀稀稀氀攀猀 椀渀 琀栀攀 栀甀洀愀渀 挀漀渀猀琀爀甀挀琀椀漀渀 挀愀渀 戀攀 琀愀欀攀渀 愀猀 瀀爀漀漀昀猀 漀昀 愀渀礀 搀椀瘀椀渀椀琀礀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀爀漀洀 㰀愀 栀爀攀昀㴀∀㈀㔀洀愀爀挀栀㈀　㈀㄀⸀栀琀洀∀㸀琀栀椀猀 昀椀氀攀㰀⼀愀㸀 ⴀ 琀栀攀 猀琀漀爀礀 愀氀爀攀愀搀礀 搀攀猀挀爀椀戀攀搀 愀 昀攀眀 琀椀洀攀猀㨀 圀栀攀渀 䤀 爀攀琀甀爀渀攀搀 琀漀 嘀椀攀渀渀愀 漀渀 ㈀ 洀愀爀挀栀 ㈀　㈀㄀ 愀昀琀攀爀 洀漀爀攀 琀栀愀渀 㜀 洀漀渀琀栀猀 椀渀 嘀攀渀椀挀攀Ⰰ 䤀 昀漀甀渀搀 椀渀 琀栀攀 昀爀椀搀最攀 甀渀搀攀爀 琀栀攀 昀甀猀攀戀漀砀 愀 戀爀漀眀渀 瀀甀爀☀攀愀挀甀琀攀㬀ⴀ氀椀欀攀 洀愀猀猀 漀渀 琀栀攀 戀漀琀琀漀洀 最氀愀猀猀 ⠀愀 昀攀眀 搀攀挀椀氀椀琀爀攀猀 椀琀 眀愀猀 ⴀ 戀甀琀 椀琀 搀椀搀渀✀琀 猀洀攀氀氀⤀ 愀渀搀 椀琀 氀漀漀欀攀搀 愀猀 椀昀 愀 ✀最爀愀渀愀琀ⴀ愀瀀昀攀氀✀ 栀愀搀 攀砀瀀氀漀搀攀搀 ⴀ 猀攀攀搀猀 栀愀搀 愀瀀瀀愀爀攀渀琀氀礀 戀攀攀渀 猀栀漀琀 漀甀琀 椀渀 氀愀爀最攀 愀洀漀甀渀琀猀 愀渀搀 眀攀爀攀 猀琀甀挀欀 琀漀 琀栀攀 昀爀椀搀最攀 挀攀椀氀椀渀最 愀渀搀 眀愀氀氀猀 ⠀戀甀琀 渀漀琀 琀栀攀 戀漀琀琀漀洀⤀ ⴀ 戀甀琀 琀栀攀猀攀 猀攀攀搀猀 眀攀爀攀 爀愀琀栀攀爀 猀洀愀氀氀 愀渀搀 眀漀甀氀搀 渀漀琀 漀爀搀椀渀愀爀椀氀礀 栀愀瘀攀 戀攀攀渀 昀爀漀洀 猀甀挀栀 愀渀 愀瀀瀀氀攀 ⴀ 琀栀攀礀 氀漀漀欀攀搀 椀渀 昀愀挀琀 氀椀欀攀 猀洀愀氀氀 爀椀挀攀 猀漀 洀愀礀戀攀 椀琀 眀愀猀 漀渀氀礀 猀漀洀攀 猀漀爀琀 漀昀 爀椀挀攀 漀爀 猀攀攀搀猀 琀栀愀琀 栀愀搀 戀攀攀渀 猀栀漀琀 漀甀琀 昀爀漀洀 琀栀攀 ✀戀爀漀眀渀 愀洀漀爀瀀栀漀甀猀 洀愀猀猀✀ 猀漀洀攀栀漀眀⸀ ⠀䤀 搀漀渀琀 琀栀椀渀欀 䤀 栀愀搀 氀攀昀琀 愀渀礀琀栀椀渀最 氀椀欀攀 琀栀愀琀 椀渀 琀栀攀 昀爀椀搀最攀 眀栀攀渀 䤀 氀攀昀琀 ⴀ 椀琀 眀愀猀 爀愀琀栀攀爀 攀洀瀀琀礀 漀昀 搀攀挀愀礀愀戀氀攀猀⤀⸀ 嬀⸀⸀⸀崀 吀栀攀 洀愀椀渀 昀甀猀攀 椀渀 琀栀攀 戀漀砀 爀椀最栀琀 愀戀漀瘀攀 琀栀攀 昀爀椀搀最攀 栀愀搀 愀氀猀漀 最漀渀攀 欀愀瀀甀琀琀 眀栀椀氀攀 䤀 眀愀猀 愀眀愀礀 ⴀ 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀 琀栀攀 猀愀洀攀 洀漀洀攀渀琀㼀 ⴀ 愀渀搀 䤀 氀椀瘀攀搀 椀渀 搀愀爀欀渀攀猀猀 眀椀琀栀 挀愀渀搀氀攀 瘀椀最椀氀 甀渀琀椀氀氀 愀渀 攀氀攀挀琀爀椀挀椀愀渀 挀愀洀攀 愀渀搀 爀攀瀀愀椀爀攀搀 椀琀 漀渀 㐀 洀愀爀挀栀⸀  㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 洀愀椀渀 昀甀猀攀 栀愀搀 戀攀攀渀 搀椀猀挀漀渀渀攀挀琀攀搀 眀栀椀氀攀 䤀 眀愀猀 愀戀爀漀愀搀⸀ 匀漀洀攀 椀渀琀爀甀搀攀爀 挀漀甀氀搀 漀昀 挀漀甀爀猀攀 栀愀瘀攀 戀攀攀渀 琀栀攀爀攀 愀渀搀 猀愀戀漀琀愀最攀搀 椀琀 愀渀搀 氀攀昀琀 琀栀攀 猀琀爀愀渀最攀 瀀栀攀渀漀洀攀渀愀 椀渀 琀栀攀 昀爀椀搀最攀 ⴀ 戀甀琀 椀昀 琀栀愀琀 眀攀爀攀 渀漀琀 琀栀攀 攀砀瀀氀愀渀愀琀椀漀渀Ⰰ 琀栀攀 洀愀椀渀 昀甀猀攀 眀漀甀氀搀 栀愀瘀攀 最漀渀攀 搀攀昀攀挀琀 椀渀 琀栀攀 洀漀洀攀渀琀 眀栀攀渀 䤀 爀攀挀漀渀渀攀挀琀攀搀 椀琀 漀渀 洀礀 愀爀爀椀瘀愀氀⸀  䤀 眀漀甀氀搀 愀氀猀漀 猀愀礀 琀栀愀琀 琀栀攀 爀椀挀攀 漀爀 猀攀攀搀 琀栀愀琀 栀愀搀 戀攀攀渀 猀瀀甀爀琀攀搀 漀渀琀漀 琀栀攀 挀攀椀氀椀渀最猀 愀渀搀 眀愀氀氀猀 漀昀 琀栀攀 昀爀椀搀最攀 ⠀眀栀攀爀攀 琀栀攀礀 爀攀洀愀椀渀攀搀 氀椀欀攀 最氀甀攀搀 琀漀 琀栀攀 猀洀漀漀琀栀 瀀氀愀猀琀椀挀 猀甀爀昀愀挀攀⤀ 氀漀漀欀攀搀 搀椀昀昀椀挀甀氀琀 琀漀 椀洀椀琀愀琀攀Ⰰ 戀甀琀 漀昀 挀漀甀爀猀攀 琀栀愀琀 椀猀 愀 瀀漀猀猀椀戀氀攀 愀渀搀 洀漀猀琀 渀愀琀甀爀愀氀 攀砀瀀氀愀渀愀琀椀漀渀 ⴀ 椀昀 椀琀 眀攀爀攀 渀漀琀 愀戀漀甀琀 猀漀洀攀 瀀甀稀稀氀椀渀最 爀攀搀甀渀搀愀渀挀礀 椀渀 琀栀攀 挀漀渀猀琀爀甀挀琀椀漀渀 漀昀 琀栀攀 栀甀洀愀渀 爀攀愀氀椀琀礀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀爀漀洀 㰀愀 栀爀攀昀㴀∀㄀㄀愀瀀爀椀氀㈀　㈀㄀⸀栀琀洀∀㸀琀栀椀猀 昀椀氀攀㰀⼀愀㸀㨀 ✀㰀椀㸀刀攀欀愀瘀椀欀㰀⼀椀㸀✀㨀 吀栀攀爀攀 眀愀猀 漀渀 ㄀㤀 洀愀爀挀栀 ㈀　㈀㄀ 嬀椀⸀攀⸀ ㄀㜀 搀愀礀猀 愀昀琀攀爀 洀礀 爀攀琀甀爀渀崀 愀 瘀漀氀挀愀渀椀挀 攀爀甀瀀琀椀漀渀 漀渀 䤀挀攀氀愀渀搀 ⴀ 㰀愀  栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀搀攀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䄀甀猀戀爀甀挀栀开椀洀开䬀爀─䌀㌀─䈀䐀猀甀瘀─䌀㌀─䄀䐀欀ⴀ嘀甀氀欀愀渀猀礀猀琀攀洀∀㸀椀渀 䜀攀氀搀椀渀最愀搀愀氀甀爀 猀漀洀攀 ㌀㌀ 欀洀 漀昀昀 刀攀礀欀樀愀瘀椀欀㰀⼀愀㸀⸀  㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀椀㸀刀攀欀瘀椀欀愀㰀⼀椀㸀㨀 一攀眀猀 ⠀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀攀砀瀀爀攀猀猀攀渀⸀猀攀⼀渀礀栀攀琀攀爀⼀欀氀椀洀愀琀⼀琀椀渀攀ⴀ洀愀爀椀攀猀ⴀ洀礀猀琀椀猀欀愀ⴀ昀礀渀搀ⴀ瀀愀ⴀ猀琀爀愀渀搀攀渀ⴀ瘀攀琀ⴀ渀愀渀ⴀ瘀愀搀ⴀ搀攀琀ⴀ愀爀⼀∀㸀栀攀爀攀 昀爀漀洀 攀砀瀀爀攀猀猀攀渀⸀猀攀㰀⼀愀㸀Ⰰ 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀琀瘀㈀⸀渀漀⼀愀⼀㄀㌀㤀㈀㜀㐀㘀㐀⼀∀㸀栀攀爀攀 昀爀漀洀 眀眀眀⸀琀瘀㈀⸀渀漀㰀⼀愀㸀 ⴀ 䤀 焀甀漀琀攀 昀爀漀洀 琀栀攀 氀愀琀琀攀爀 猀漀甀爀挀攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀挀搀渀⸀琀瘀㈀⸀渀漀⼀椀洀愀最攀猀⼀㄀㌀㤀㈀㜀㔀㈀㄀⸀樀瀀最㼀椀洀愀最攀䤀搀㴀㄀㌀㤀㈀㜀㔀㈀㄀☀砀㴀　☀礀㴀　☀挀爀漀瀀眀㴀㄀　　☀挀爀漀瀀栀㴀㄀　　☀眀椀搀琀栀㴀㄀　㘀　☀栀攀椀最栀琀㴀㜀　㜀☀挀漀洀瀀爀攀猀猀椀漀渀㴀㤀㈀∀㸀琀栀椀猀 瀀栀漀琀漀㰀⼀愀㸀 愀渀搀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀挀搀渀⸀琀瘀㈀⸀渀漀⼀椀洀愀最攀猀⼀㄀㌀㤀㈀㜀㔀㈀㤀⸀樀瀀最㼀椀洀愀最攀䤀搀㴀㄀㌀㤀㈀㜀㔀㈀㤀☀砀㴀　☀礀㴀　☀挀爀漀瀀眀㴀㄀　　☀挀爀漀瀀栀㴀㄀　　☀眀椀搀琀栀㴀㘀㐀　☀栀攀椀最栀琀㴀㤀㄀㄀☀挀漀洀瀀爀攀猀猀椀漀渀㴀㤀㈀∀㸀琀栀椀猀 瀀栀漀琀漀㰀⼀愀㸀⤀ 琀攀氀氀 漀昀 愀 猀琀爀愀渀最攀 漀戀樀攀挀琀 搀爀椀昀琀攀搀 愀猀栀漀爀攀 愀琀 刀攀欀瘀椀欀愀 ⠀℀⤀ 漀渀 䬀瘀愀氀☀漀猀氀愀猀栀㬀礀 渀攀愀爀 吀爀漀洀猀☀漀猀氀愀猀栀㬀 椀渀 渀漀爀琀栀攀爀渀 一漀爀眀愀礀⸀ 䤀琀 眀愀猀 吀椀渀攀 䴀愀爀椀攀 嘀愀氀戀樀☀漀猀氀愀猀栀㬀爀渀 䠀愀最攀氀椀渀 眀栀漀 昀漀甀渀搀 琀栀攀 漀戀樀攀挀琀 眀栀椀挀栀 氀漀漀欀攀搀 猀漀洀攀眀栀愀琀 ✀攀砀 渀椀栀椀氀漀✀⸀ 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㌀∀㸀 
(I quote <a href="https://www.cdn.tv2.no/images/13927521.jpg?imageId=13927521&x=0&y=0&cropw=100&croph=100&width=1060&height=707&compression=92">this source</a> in <a href="rekvikamystery1.jpg">this copy</a> and ਀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀挀搀渀⸀琀瘀㈀⸀渀漀⼀椀洀愀最攀猀⼀㄀㌀㤀㈀㜀㔀㈀㤀⸀樀瀀最㼀椀洀愀最攀䤀搀㴀㄀㌀㤀㈀㜀㔀㈀㤀☀砀㴀　☀礀㴀　☀挀爀漀瀀眀㴀㄀　　☀挀爀漀瀀栀㴀㄀　　☀眀椀搀琀栀㴀㘀㐀　☀栀攀椀最栀琀㴀㤀㄀㄀☀挀漀洀瀀爀攀猀猀椀漀渀㴀㤀㈀∀㸀琀栀椀猀 瀀栀漀琀漀㰀⼀愀㸀 椀渀 㰀愀 栀爀攀昀㴀∀爀攀欀瘀椀欀愀洀礀猀琀攀爀礀㈀⸀樀瀀最∀㸀琀栀椀猀 挀漀瀀礀㰀⼀愀㸀 ⴀ 椀渀 挀愀猀攀 琀栀攀 猀漀甀爀挀攀 猀栀漀甀氀搀 挀漀洀攀 琀漀 戀攀 爀攀洀漀瘀攀搀 昀爀漀洀 琀栀攀 眀攀戀⤀⸀  㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀渀 愀最愀椀渀 猀漀洀攀 琀椀洀攀 氀愀琀攀爀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀㈀　㈀㄀开䰀愀开倀愀氀洀愀开攀爀甀瀀琀椀漀渀∀㸀愀渀漀琀栀攀爀 瘀漀氀挀愀渀漀 攀爀甀瀀琀攀搀 漀渀 䰀愀 倀愀氀洀愀㰀⼀愀㸀 ⴀ 椀渀 琀栀攀 搀椀猀琀愀渀挀攀 ㄀㠀㈀㌀ 欀洀 昀爀漀洀 䴀愀搀爀椀搀⸀ 伀渀攀 挀愀渀 愀氀猀漀 洀攀愀猀甀爀攀 ㄀㠀㈀㌀ 欀洀 爀椀最栀琀 攀愀猀琀 琀漀 ✀䄀爀愀眀愀渀攀✀Ⰰ 琀栀攀 搀攀猀漀氀愀琀攀 挀愀爀愀瘀愀渀 猀琀漀瀀 眀椀琀栀 愀 搀攀攀瀀 眀攀氀氀 椀渀 琀栀攀 洀椀搀搀氀攀 漀昀 匀愀栀愀爀愀 ⴀ 愀氀漀渀最 琀栀攀 猀愀渀搀 搀甀渀攀猀 琀栀愀琀 猀琀爀攀琀挀栀 昀漀爀 洀愀渀礀 栀甀渀搀爀攀搀 欀椀氀漀洀攀琀爀攀猀 愀氀漀渀最 愀 猀漀甀琀栀ⴀ渀漀爀琀栀 爀漀甀琀攀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  
਀一漀眀 昀漀爀 琀栀攀 洀礀猀琀攀爀礀㨀 䤀琀 琀甀爀渀攀搀 漀甀琀 琀漀 戀攀 樀甀猀琀 ㄀㠀㈀㌀ 欀洀 昀爀漀洀 琀栀攀 瘀漀氀挀愀渀漀 漀昀 䜀攀氀搀椀渀最愀搀愀氀甀爀 琀漀 琀栀攀 洀礀猀琀攀爀礀 漀戀樀攀挀琀 昀漀甀渀搀 漀渀 琀栀攀 戀攀愀挀栀 漀昀 刀攀欀瘀椀欀愀⸀ 吀栀愀琀 洀攀愀渀猀 愀瀀瀀爀⸀ 昀爀漀洀 刀攀欀愀瘀椀欀 琀漀 刀攀欀瘀椀欀愀⸀ 䤀 漀戀猀攀爀瘀攀搀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀搀椀猀琀愀渀挀攀㄀㠀㈀㌀⸀栀琀洀∀㸀猀漀洀攀 漀琀栀攀爀 挀愀猀攀猀 漀昀 琀栀椀猀 ㄀㠀㈀㌀ 搀椀猀琀愀渀挀攀㰀⼀愀㸀⸀ 䤀 渀漀琀椀挀攀 琀栀攀 ✀愀 刀愀昀愀攀氀攀✀ 椀渀 琀栀攀 渀愀洀攀 漀昀 琀栀椀猀 挀ⴀ✀䄀爀愀眀愀渀攀✀⸀ 䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 ✀䄀爀愀眀愀渀攀✀ 椀猀 愀 眀攀氀氀欀渀漀眀渀 瀀栀攀渀漀洀攀渀漀渀 椀渀 琀栀攀 栀椀猀琀漀爀礀 漀昀 椀渀琀爀椀最甀攀猀 昀爀漀洀 琀栀攀 ✀椀渀琀攀氀氀椀最攀渀挀攀 戀甀猀椀渀攀猀猀✀ 椀渀 愀琀琀攀洀瀀琀猀 琀漀 挀漀渀猀琀爀甀挀琀 愀 焀甀愀猀椀ⴀ搀椀瘀椀渀椀琀礀 漀渀 攀愀爀琀栀Ⰰ 戀甀琀 琀栀椀猀 䤀 欀渀漀眀 氀椀琀琀氀攀 愀戀漀甀琀⸀ 䤀 爀攀挀愀氀氀 琀栀攀 渀愀洀攀 漀昀 愀 昀爀攀渀挀栀 搀漀挀琀漀爀 ✀䌀愀椀氀氀椀☀攀愀挀甀琀攀㬀✀ ⠀瀀爀漀戀愀戀氀攀 猀瀀攀氀氀椀渀最 漀昀 琀栀攀 渀愀洀攀⤀ 昀爀漀洀 洀礀 挀栀椀氀搀栀漀漀搀 椀渀 䴀漀氀搀攀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀 搀漀渀琀 欀渀漀眀 椀昀 瘀漀氀挀愀渀漀猀 挀愀渀 戀攀 挀漀渀猀琀爀甀挀琀攀搀 眀椀琀栀 洀漀搀攀爀渀ⴀ搀愀礀 洀椀氀椀琀愀爀礀 眀攀愀瀀漀渀猀Ⰰ 戀甀琀 䤀 眀漀甀氀搀 搀漀甀戀琀 琀栀愀琀 椀琀 椀猀 瀀漀猀猀椀戀氀攀⸀ 圀漀甀氀搀 椀琀 戀攀 瀀漀猀猀椀戀氀攀 琀漀 挀爀攀愀琀攀 愀 挀爀愀挀欀 漀爀 昀椀猀猀甀爀攀 洀愀渀礀 欀椀氀漀洀攀琀爀攀猀 琀栀爀漀甀最栀 琀栀攀 爀漀挀欀㼀 䔀瘀攀渀 椀昀 椀琀 猀栀漀甀氀搀 栀愀瘀攀 戀攀攀渀 瀀漀猀猀椀戀氀攀 琀漀 挀爀攀愀琀攀 愀 瀀愀琀栀 漀昀 爀漀挀欀 琀甀爀渀攀搀 椀渀琀漀 瀀攀戀戀氀攀猀 愀渀搀 搀甀猀琀 戀礀 愀 挀栀愀椀渀 漀昀 猀洀愀氀氀 戀漀洀戀猀Ⰰ 琀栀椀猀 攀渀琀椀爀攀 猀栀愀昀琀 眀漀甀氀搀 栀愀瘀攀 琀漀 戀攀 氀椀昀琀攀搀 甀瀀 戀礀 琀栀攀 氀愀瘀愀 愀渀搀 椀琀 猀漀甀渀搀猀 椀洀瀀爀漀戀愀戀氀攀⸀ 䤀昀 椀琀 椀猀 渀漀琀 瀀漀猀猀椀戀氀攀Ⰰ 琀栀攀渀 琀栀攀爀攀 挀漀甀氀搀 戀攀 猀漀洀攀 攀瘀椀搀攀渀挀攀 漀昀 猀漀洀攀琀栀椀渀最 椀渀 琀栀攀 ㄀㠀㈀㌀ 欀椀氀漀洀攀琀爀攀猀 漀昀 琀栀椀猀 猀琀漀爀礀⸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  
਀一漀眀 漀昀 挀漀甀爀猀攀 琀栀攀 攀愀猀椀攀猀琀 攀砀瀀氀愀渀愀琀椀漀渀 琀漀 㰀愀 栀爀攀昀㴀∀爀攀欀瘀椀欀愀洀礀猀琀攀爀礀㄀⸀樀瀀最∀㸀琀栀攀 洀礀猀琀攀爀礀 漀戀樀攀挀琀 昀漀甀渀搀 漀渀 琀栀攀 戀攀愀挀栀 漀昀 刀攀欀瘀椀欀愀㰀⼀愀㸀 椀猀 琀栀愀琀 椀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 洀愀搀攀 戀礀 猀漀洀攀戀漀搀礀 愀渀搀 瀀甀琀 漀甀琀 昀漀爀 猀漀洀攀戀漀搀礀 琀漀 昀椀渀搀 椀琀 ⴀ 瀀攀爀栀愀瀀猀 渀漀琀 琀栀攀 氀攀愀猀琀 昀漀爀 爀攀愀猀漀渀猀 漀昀 琀栀攀猀攀 ㄀㠀㈀㌀ 欀洀⸀ 䠀漀眀攀瘀攀爀Ⰰ 䤀 昀漀甀渀搀 愀渀 椀渀搀攀瀀攀渀搀攀渀琀 瀀椀攀挀攀 漀昀 椀渀搀椀挀愀琀椀漀渀 琀栀愀琀 洀愀礀戀攀 椀琀 挀漀甀氀搀 戀攀 猀漀洀攀 最攀渀甀椀渀攀 ✀攀砀 渀椀栀椀氀漀✀ 洀礀猀琀攀爀礀 瀀栀攀渀漀洀攀渀漀渀㨀 匀攀攀 㰀愀 栀爀攀昀㴀∀琀攀砀琀愀渀搀椀洀愀最攀椀渀琀攀焀⸀栀琀洀∀㸀琀栀椀猀 昀椀氀攀 漀渀 ✀䐀攀氀愀挀爀漀椀砀✀㰀⼀愀㸀 ⴀ 愀渀搀 琀栀攀 瀀栀攀渀漀洀攀渀漀渀 戀爀椀攀昀氀礀 洀攀渀琀椀漀渀攀搀 愀猀 ✀䄀瀀漀氀氀漀✀猀 氀礀爀攀✀⸀ ⠀䌀瀀⸀ 愀氀猀漀 琀栀攀 琀栀攀洀攀 漀昀 ✀愀瀀漀氀漀最椀攀猀✀ 愀渀搀 ✀氀椀愀爀猀✀⤀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀昀Ⰰ 琀栀攀爀攀昀漀爀攀Ⰰ 琀栀攀 洀礀猀琀攀爀礀 漀戀樀攀挀琀 昀爀漀洀 刀攀欀瘀椀欀愀 椀渀 吀爀漀洀猀 漀昀 渀漀爀琀栀攀爀渀 一漀爀眀愀礀 椀猀 渀漀琀 愀 瀀椀攀挀攀 漀昀 昀爀愀甀搀 戀甀琀 愀渀 愀甀琀栀攀渀琀椀挀 ✀猀攀洀椀漀琀椀挀✀ 瀀栀攀渀漀洀攀渀漀渀 漀昀 攀砀 渀椀栀椀氀漀 挀栀愀爀愀挀琀攀爀Ⰰ 椀琀 挀漀甀氀搀 挀漀甀渀琀 愀猀 愀 挀愀猀攀 漀昀 ✀㄀㠀㈀㌀✀⸀ 䤀 栀愀瘀攀 渀漀琀 攀渀漀甀最栀 搀愀琀愀 戀甀琀 椀琀 挀漀甀氀搀 氀漀漀欀 昀爀漀洀 琀栀攀 瀀栀漀琀漀 漀昀 瀀爀漀戀愀戀氀礀 䠀愀最攀氀椀渀 愀猀 椀昀 琀栀攀 漀戀樀攀挀琀 栀愀搀 戀攀攀渀 ✀洀攀氀琀攀搀 椀渀琀漀✀ 漀爀 猀漀洀攀栀漀眀 戀攀攀渀 愀琀琀愀挀栀攀搀 琀漀 愀 瀀椀攀挀攀 漀昀 琀椀洀戀攀爀 琀栀愀琀 栀愀搀 搀爀椀昀琀攀搀 愀猀栀漀爀攀 ⴀ 挀瀀⸀ 琀栀攀 焀甀漀琀攀 䤀 栀愀瘀攀 洀愀搀攀 攀愀爀氀椀攀爀 昀爀漀洀 匀攀昀攀爀椀猀 ⴀ 猀攀攀 㰀愀 栀爀攀昀㴀∀搀椀猀琀愀渀挀攀㄀㠀㈀㌀⸀栀琀洀∀㸀琀栀攀 攀渀搀 漀昀 琀栀椀猀 昀椀氀攀㰀⼀愀㸀 ⴀ 椀渀 眀栀椀挀栀 挀愀猀攀 椀琀 挀漀甀氀搀 瀀攀爀栀愀瀀猀 栀愀瘀攀 戀攀攀渀 洀漀爀攀 瀀爀漀戀愀戀氀攀⸀ 䤀琀 氀漀漀欀猀 椀渀 椀琀猀 昀漀爀洀 愀氀猀漀 氀椀欀攀 㰀愀 栀爀攀昀㴀∀搀椀猀琀愀渀挀攀㄀㠀㈀㌀⸀栀琀洀∀㸀琀栀攀 瀀漀攀琀椀挀 猀琀爀甀挀琀甀爀攀 漀昀 洀礀 ✀吀栀攀 戀爀攀愀琀栀椀渀最 漀昀 猀椀氀攀渀挀攀✀㰀⼀愀㸀⸀ 匀攀攀 攀⸀最⸀ 㰀愀 栀爀攀昀㴀∀氀漀渀渀猀愀瘀猀琀愀渀搀攀渀⸀栀琀洀∀㸀琀栀椀猀 攀愀爀氀礀 搀椀猀挀甀猀猀椀漀渀 漀昀 椀琀猀 昀漀爀洀㰀⼀愀㸀 ⴀ ㄀　㔀 瀀漀攀洀猀 爀攀漀爀最愀渀椀稀攀搀 椀渀琀漀 㘀㐀 戀礀 氀攀琀琀椀渀最 瀀漀攀洀猀 㘀㔀ⴀ㄀　㔀 戀攀 搀椀瘀椀搀攀搀 椀渀琀漀 㘀㐀 瀀愀爀琀猀 愀琀琀愀挀栀攀搀 琀漀 琀栀攀 攀渀搀 漀昀 琀栀攀 㘀㐀 ⴀ 琀栀愀琀 眀漀甀氀搀 栀愀瘀攀 挀爀攀愀琀攀搀 愀 昀漀爀洀 爀攀猀攀洀戀氀椀渀最 㰀愀 栀爀攀昀㴀∀爀攀欀瘀椀欀愀洀礀猀琀攀爀礀㄀⸀樀瀀最∀㸀琀栀椀猀 漀渀攀㰀⼀愀㸀⸀ 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  
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਀䤀猀 琀栀攀 猀琀漀爀礀 漀昀 眀栀愀琀 栀愀瀀瀀攀渀攀搀 琀漀 䔀搀眀愀爀搀 嘀 椀渀 琀栀攀 琀漀眀攀爀 欀渀漀眀渀 ⴀ 戀甀琀 猀攀挀爀攀琀㼀 圀攀爀攀 栀攀 氀椀昀琀攀搀 漀渀 愀渀最攀氀 眀椀渀最猀 甀瀀 昀爀漀洀 琀栀攀 琀漀眀攀爀 琀漀 栀攀愀瘀攀渀㼀 伀渀攀 挀漀甀氀搀 猀瀀攀挀甀氀愀琀攀 琀栀愀琀 椀琀 椀猀 挀漀渀猀椀搀攀爀攀搀 愀 眀攀氀氀瀀爀攀猀攀爀瘀攀搀 爀漀礀愀氀 猀攀挀爀攀琀 眀栀愀琀 爀攀愀氀氀礀 栀愀瀀瀀攀渀攀搀⸀ ✀䄀搀漀氀昀 栀漀氀搀琀 猀愀甀猀攀渀✀ 㴀 ✀䄀搀漀氀昀 栀攀氀搀 琀栀攀 猀愀甀挀攀✀ 椀昀 栀攀 栀愀搀 最漀琀 琀栀攀 ✀猀愀甀挀礀✀ 猀攀挀爀攀琀⸀ 䤀 栀愀瘀攀 猀瀀攀挀甀氀愀琀攀搀 椀昀 䤀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 挀漀渀猀琀爀甀挀琀攀搀 昀漀爀 琀栀攀 瀀甀爀瀀漀猀攀猀 漀昀 琀栀椀猀 ✀猀愀甀挀礀✀ 猀攀挀爀攀琀 ⴀ 猀愀礀Ⰰ 愀渀 ✀椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀✀ 琀漀 昀椀渀搀 漀甀琀 眀栀愀琀 栀愀瀀瀀攀渀攀搀 爀攀愀氀氀礀 眀栀攀渀 䔀搀眀愀爀搀 搀椀猀愀瀀瀀攀愀爀攀搀⸀ 䠀漀眀攀瘀攀爀Ⰰ 䤀 栀愀瘀攀 渀漀 猀琀爀漀渀最 漀瀀椀渀椀漀渀猀 漀渀 琀栀椀猀 椀搀攀愀⸀ 䤀 搀漀渀琀 欀渀漀眀 眀栀愀琀 洀礀 匀琀愀洀洀戀愀甀洀 挀漀渀琀愀椀渀猀 戀甀琀 琀栀攀爀攀 愀爀攀 挀攀爀琀愀椀渀氀礀 漀渀氀礀 渀漀爀洀愀氀 栀甀洀愀渀 戀攀椀渀最猀 琀栀攀爀攀 愀渀搀 䤀 愀氀猀漀 挀漀甀渀琀 愀猀 猀甀挀栀 ⴀ 愀渀搀 琀栀攀爀攀 椀猀 渀漀 戀愀猀椀猀 昀漀爀 愀渀礀 猀甀挀栀 漀爀最愀渀椀稀攀搀 椀渀琀爀椀最甀攀 愀最愀椀渀猀琀 洀礀 氀漀渀攀氀礀 椀渀搀椀瘀椀搀甀愀氀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䴀礀 瘀椀攀眀 椀猀 琀栀愀琀 琀栀椀猀 猀琀漀爀礀 琀攀氀氀猀 漀昀 猀琀爀愀渀最攀 爀攀搀甀渀搀愀渀挀椀攀猀 椀渀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 挀漀渀猀琀椀琀甀琀椀漀渀 愀渀搀 琀栀愀琀 椀搀攀愀猀 漀昀 猀甀挀栀 愀 氀愀爀最攀猀挀愀氀攀搀 ✀椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀✀ 昀漀爀 昀椀渀搀椀渀最 漀甀琀 漀昀 琀栀攀 昀愀琀攀 漀昀 䔀搀眀愀爀搀 挀漀甀氀搀 攀瘀攀渀 栀愀瘀攀 戀攀攀渀 挀漀渀猀琀爀甀挀琀攀搀 昀漀爀 琀栀攀 瀀甀爀瀀漀猀攀 漀昀 琀爀礀椀渀最 琀漀 氀攀渀搀 搀椀瘀椀渀攀 猀琀愀琀甀猀 琀漀 琀栀攀 甀渀挀漀爀漀渀愀琀攀搀 欀椀渀最 昀爀漀洀 ㄀㐀㠀㌀⸀ 䤀琀 椀猀 漀昀 挀漀甀爀猀攀 瀀漀猀猀椀戀氀攀 琀栀愀琀 洀漀渀愀爀挀栀椀攀猀 愀爀攀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 琀栀攀猀攀 爀攀搀甀渀搀愀渀挀椀攀猀 椀渀 琀栀攀 栀甀洀愀渀 挀漀渀猀琀椀琀甀琀椀漀渀Ⰰ 戀甀琀 琀栀攀猀攀 爀攀搀甀渀搀愀渀挀椀攀猀 愀爀攀Ⰰ 椀渀 洀礀 瘀椀攀眀Ⰰ 漀昀 瀀爀椀洀愀爀椀氀礀 瀀漀攀琀椀挀 挀栀愀爀愀挀琀攀爀⸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䠀礀瀀漀琀栀攀猀椀猀㨀 吀栀攀 ✀栀椀攀爀漀最氀礀瀀栀猀✀ 愀瀀瀀愀爀攀渀琀氀礀 昀漀爀洀 琀栀攀 戀愀猀椀猀 昀漀爀 琀栀攀猀攀 洀漀搀攀爀渀 瀀栀攀渀漀洀攀渀愀 ⴀ 戀甀琀 愀爀攀 琀栀攀礀 爀攀愀氀氀礀 漀渀氀礀 愀 洀椀猀挀漀渀挀攀椀瘀攀搀 搀攀挀椀瀀栀攀爀洀攀渀琀 ⴀ 愀渀搀 琀栀攀 瀀栀攀渀漀洀攀渀漀渀 漀昀 㰀愀 栀爀攀昀㴀∀挀椀挀愀瀀⸀栀琀洀∀㸀✀䠀䤀ⴀ愀渀搀ⴀ䰀伀✀ 漀昀 䌀愀爀愀瘀愀最最椀漀✀猀 挀愀渀瘀愀猀攀猀㰀⼀愀㸀 椀猀 琀栀攀 爀攀愀氀 椀渀琀攀爀攀猀琀㼀 ⠀吀栀愀琀 眀漀甀氀搀 戀攀 愀戀漀甀琀 洀礀 䐀䐀匀 ⴀ 愀渀搀 猀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀漀渀攀琀栀爀攀攀昀椀瘀攀猀琀攀瀀猀攀爀椀攀猀⸀栀琀洀∀㸀琀栀椀猀 愀挀挀漀甀渀琀㰀⼀愀㸀⤀⸀ 吀栀攀渀 琀栀攀 爀漀氀攀 漀昀 愀渀最氀漀瀀栀漀渀礀 ⴀ 猀甀挀栀 愀猀 椀渀 㰀愀 栀爀攀昀㴀∀栀甀渀最愀爀椀愀渀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀琀栀椀猀 瀀栀攀渀漀洀攀渀漀渀㰀⼀愀㸀 ⴀ 眀椀琀栀 瀀漀氀椀琀椀挀愀氀 攀挀栀漀猀 椀渀 㰀愀 栀爀攀昀㴀∀戀甀爀最攀渀氀愀渀搀戀漀爀搀攀爀⸀栀琀洀∀㸀琀栀椀猀 猀琀漀爀礀㰀⼀愀㸀 ⴀ 漀爀 㰀愀 栀爀攀昀㴀∀最攀爀洀愀渀攀瘀椀搀攀渀挀攀⸀栀琀洀∀㸀椀渀 琀栀椀猀㰀⼀愀㸀 ⴀ 挀漀甀氀搀 攀瘀攀渀 栀愀瘀攀 椀琀猀 爀漀漀琀椀渀最 琀栀攀爀攀⸀ 匀椀渀挀攀 琀栀攀猀攀 愀渀最氀漀瀀栀漀渀椀挀 瀀甀稀稀氀攀猀 猀攀攀洀 琀漀 洀愀欀攀 猀漀洀攀 猀漀爀琀 漀昀 猀攀渀猀攀Ⰰ 琀栀攀爀攀 挀漀甀氀搀 攀瘀攀渀 戀攀 猀甀挀栀 爀攀搀甀渀搀愀渀挀椀攀猀 栀椀搀椀渀最 椀渀 琀栀攀 甀渀搀攀爀猀琀愀渀搀椀渀最 漀昀 琀栀攀 栀椀攀爀漀最氀礀瀀栀猀 椀昀 ✀䠀䤀ⴀ愀渀搀ⴀ䰀伀ⴀ最氀礀瀀栀猀✀ 椀猀 琀栀攀 昀愀挀琀甀愀氀 ⠀戀甀琀Ⰰ 椀琀 眀漀甀氀搀 瀀爀漀戀愀戀氀礀 戀攀Ⰰ 猀甀戀挀漀渀猀挀椀漀甀猀⤀ 戀愀猀椀猀 昀漀爀 琀栀攀 爀攀挀攀椀瘀攀搀 搀攀挀椀瀀栀攀爀洀攀渀琀 漀昀 圀愀氀氀椀猀 䈀甀搀最攀 愀渀搀 漀琀栀攀爀猀⸀ 吀栀愀琀 挀漀甀氀搀 愀氀猀漀 挀漀渀挀攀爀渀 琀栀攀 焀甀攀猀琀椀漀渀 眀栀愀琀 挀漀甀氀搀 挀漀甀渀琀 愀猀 ✀栀椀攀爀漀✀ 攀瘀攀渀 愀洀漀渀最 栀甀洀愀渀猀 ⴀ 椀渀挀氀甀搀椀渀最 䔀搀眀愀爀搀 嘀㼀 䄀渀 攀砀愀洀瀀氀攀 椀猀 昀漀甀渀搀 椀渀 㰀愀 栀爀攀昀㴀∀漀渀攀琀栀爀攀攀昀椀瘀攀猀琀攀瀀猀攀爀椀攀猀⸀栀琀洀∀㸀琀栀椀猀 愀挀挀漀甀渀琀㰀⼀愀㸀 漀昀 琀栀攀 愀爀琀眀漀爀欀 漀昀 㰀愀 栀爀攀昀㴀∀昀椀氀椀瀀瀀漀氀椀瀀瀀椀㄀⸀樀瀀最∀㸀䘀椀氀椀瀀瀀漀 䰀椀瀀瀀椀㰀⼀愀㸀㨀 吀栀椀猀 猀栀漀眀猀 愀 䠀䤀 栀攀愀搀 ⠀漀爀 爀攀愀氀氀礀 琀栀爀攀攀 栀攀愀搀猀 椀渀 挀漀渀樀甀渀挀琀椀漀渀 ⴀ 愀猀 昀漀爀 琀栀攀 琀栀爀攀攀 挀漀氀甀洀渀猀 ⴀ 猀攀攀 愀氀猀漀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㄀⸀瀀搀昀⌀瀀愀最攀㴀㠀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀琀栀攀 洀漀琀琀漀 昀爀漀洀 匀琀爀椀渀搀戀攀爀最 琀漀 洀礀 渀漀瘀攀氀㰀⼀愀㸀⤀ 椀洀洀攀搀椀愀琀攀氀礀 愀戀漀瘀攀 愀 戀漀漀欀 眀栀椀挀栀 愀氀猀漀 椀猀 琀栀攀 䰀伀 攀氀攀洀攀渀琀 椀渀 琀栀攀 猀愀洀攀 洀椀搀 ⴀ 猀攀攀 愀氀猀漀 琀栀攀 戀漀漀欀 椀渀 琀栀攀 戀漀漀欀猀栀攀氀昀 椀洀洀攀搀椀愀琀攀氀礀 愀戀漀瘀攀 匀琀⸀䄀甀最甀猀琀椀渀攀 ⴀ 昀漀爀 琀栀愀琀 ✀爀攀攀搀 猀栀攀氀琀攀爀 椀渀 昀椀攀氀搀猀✀ 最氀礀瀀栀 挀愀氀氀攀搀 䠀䄀 眀栀椀挀栀 栀攀爀攀 ⠀椀渀 琀栀攀 愀戀漀瘀攀 愀挀挀漀甀渀琀⤀ 椀猀 琀愀欀攀渀 琀漀 戀攀 愀戀漀甀琀 琀栀攀 挀栀愀渀最攀 漀昀 氀漀最椀挀愀氀 漀爀搀攀爀 眀栀攀渀 琀栀攀 最氀礀瀀栀 琀甀爀渀猀 漀爀 爀漀琀愀琀攀猀 昀漀爀 甀瀀猀椀搀攀ⴀ搀漀眀渀⸀ 吀栀攀 洀攀愀渀椀渀最 漀昀 琀栀椀猀 最氀礀瀀栀 椀猀 渀漀琀 最椀瘀攀渀 椀渀 椀猀漀氀愀琀攀搀 昀漀爀洀 戀甀琀 㰀愀 栀爀攀昀㴀∀戀甀搀最攀㠀⸀樀瀀最∀㸀栀攀爀攀 眀椀琀栀 眀愀氀欀椀渀最 氀攀最猀 甀渀搀攀爀渀攀愀琀栀㰀⼀愀㸀 ⠀焀甀漀琀攀 昀爀漀洀 圀愀氀氀椀猀 䈀甀搀最攀⤀ 椀琀 椀猀 琀愀欀攀渀 琀漀 洀攀愀渀 樀甀猀琀 琀栀愀琀 ✀昀愀氀氀椀渀最 搀漀眀渀✀ 眀栀椀挀栀 眀椀氀氀 戀攀 琀栀攀 攀猀猀攀渀挀攀 漀昀 琀栀攀 挀栀愀渀最攀 漀昀 氀漀最椀挀愀氀 漀爀搀攀爀 椀渀 琀栀攀 ㌀ⴀ猀琀攀瀀 挀漀氀甀洀渀 椀渀 琀栀攀 洀椀搀搀氀攀⸀ 䠀攀渀挀攀 椀琀 挀漀甀氀搀 挀漀甀渀琀 愀猀 愀渀 攀砀愀洀瀀氀攀 漀昀 愀 䠀䤀ⴀ愀渀搀ⴀ䰀伀ⴀ最氀礀瀀栀 眀栀椀挀栀 最攀琀猀 椀琀猀 洀攀愀渀椀渀最 琀栀攀爀攀戀礀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
<br><br>਀ 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 
<b><i>8. Some concluding remarks</i></b>       </p><p align="justify">਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
਀䤀琀 眀愀猀 猀栀漀眀渀 琀栀愀琀 琀栀攀 瀀爀漀戀氀攀洀 漀昀 瀀漀氀椀琀椀挀猀 挀漀渀猀椀猀琀猀 椀渀 愀 挀漀氀氀愀瀀猀攀 愀渀搀 挀漀渀昀氀愀琀椀漀渀 漀昀 挀攀爀琀愀椀渀 椀洀瀀漀爀琀愀渀琀 瀀愀爀愀洀攀琀爀攀猀 愀猀 昀愀爀 愀猀 琀栀攀 猀攀洀椀漀琀椀挀 猀椀最渀 椀猀 挀漀渀挀攀爀渀攀搀Ⰰ 猀漀 琀栀愀琀 愀渀 椀搀攀渀琀椀昀椀挀愀琀椀漀渀 漀昀 琀栀攀 瘀椀猀甀愀氀 瀀愀爀愀洀攀琀爀攀 ⠀䌀漀爀爀攀最最椀漀ⴀ䌀愀爀愀瘀愀最最椀漀 昀漀爀 吀䔀儀⤀ 椀猀 洀椀猀琀愀欀攀渀 昀漀爀 愀 氀漀最椀挀愀氀 ⠀䜀爀愀猀猀洀愀渀渀ⴀ䌀愀渀琀漀爀 昀漀爀 倀愀渀椀渀椀⤀⸀  䤀琀 挀漀甀氀搀 栀愀瘀攀 氀攀昀琀 琀栀攀 甀渀昀漀爀琀甀渀愀琀攀 攀昀昀攀挀琀 琀栀愀琀 䜀爀愀猀猀洀愀渀渀✀猀 琀栀攀漀爀礀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀愀欀攀渀 昀漀爀 琀栀攀 䈀氀漀欀猀戀攀爀最 昀愀挀琀漀爀⸀  㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䠀漀眀攀瘀攀爀Ⰰ 椀琀 挀愀渀 戀攀 漀戀猀攀爀瘀攀搀 琀栀愀琀 椀昀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀椀渀最 椀猀 戀愀猀攀搀 漀渀 琀栀攀 椀搀攀愀 漀昀 琀眀漀 瀀愀爀琀椀挀氀攀猀 漀爀 ✀椀渀昀漀爀洀愀琀椀漀渀 椀琀攀洀猀✀ 戀攀椀渀最 ✀琀栀攀 猀愀洀攀✀ 眀椀琀栀 愀 瀀漀琀攀渀琀椀愀氀氀礀 氀愀爀最攀 搀椀猀琀愀渀挀攀 戀攀琀眀攀攀渀 琀栀攀洀 洀攀愀渀猀 渀攀挀攀猀猀愀爀椀氀礀 琀栀愀琀 琀栀攀椀爀 氀漀最椀挀愀氀 漀爀搀攀爀 挀愀渀 戀攀 猀眀愀瀀瀀攀搀 ⴀ 眀栀椀挀栀 挀漀甀氀搀 洀攀愀渀 樀甀猀琀 洀礀 ✀昀甀渀挀琀椀漀渀 ㄀㔀✀ 爀攀氀愀琀椀瘀攀 琀漀 琀栀攀 栀椀猀琀漀爀礀 漀昀 愀爀琀⸀ 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 挀漀氀氀愀瀀猀攀 愀渀搀 挀漀渀昀氀愀琀椀漀渀 ⠀䌀愀渀琀漀爀Ⰰ 倀愀渀椀渀椀⤀ 洀愀礀 戀攀 椀搀攀渀琀椀昀椀攀搀 愀猀 愀 洀愀琀琀攀爀 漀昀 椀渀昀漀爀洀愀琀椀漀渀 琀攀挀栀渀漀氀漀最礀 爀攀氀愀琀椀瘀攀 琀漀 琀栀攀 昀甀渀挀琀椀漀渀愀氀椀琀礀 漀昀 挀栀椀渀攀猀攀 愀渀搀 栀椀攀爀漀最氀礀瀀栀椀挀 猀挀爀椀瀀琀 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 最攀漀瀀栀礀猀椀挀愀氀ⴀ氀椀琀甀爀最椀挀ⴀ搀椀愀挀栀爀漀渀椀挀 愀猀瀀攀挀琀猀 愀爀攀 挀漀渀挀攀椀瘀攀搀 愀猀 瀀漀琀攀渀琀椀愀氀 猀漀甀爀挀攀猀 漀昀 搀攀洀愀最漀最椀挀 瀀漀氀椀琀椀挀愀氀 瀀漀眀攀爀 搀椀猀最甀椀猀攀搀 愀猀 爀攀渀漀瘀愀琀椀漀渀 挀漀渀挀攀爀渀猀 昀漀爀 琀栀攀 渀攀眀 椀渀昀漀爀洀愀琀椀漀渀 琀攀挀栀渀漀氀漀最礀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀匀攀攀 猀漀洀攀 漀挀挀愀猀椀漀渀愀氀 猀琀甀搀椀攀猀 漀昀 洀椀渀攀 漀渀 琀栀攀 爀攀氀愀琀椀漀渀 戀攀琀眀攀攀渀 栀椀攀爀漀最氀礀瀀栀椀挀 愀渀搀 挀栀椀渀攀猀攀 猀椀最渀猀㨀  㰀愀 栀爀攀昀㴀∀欀椀渀搀攀爀栀椀氀昀攀㄀㌀㘀⸀栀琀洀∀㸀吀栀椀猀 瀀漀攀洀 眀椀琀栀 挀漀洀洀攀渀琀猀 漀昀 ㄀　ⴀ㄀㈀ 洀愀礀 ㈀　㈀㌀㰀⼀愀㸀Ⰰ 挀漀渀琀椀渀甀攀搀 椀渀 㰀愀 栀爀攀昀㴀∀㄀㄀洀愀礀㈀　㈀㌀⸀栀琀洀∀㸀琀栀椀猀 挀漀洀洀攀渀琀㰀⼀愀㸀 愀渀搀 椀渀 㰀愀 栀爀攀昀㴀∀㄀㈀洀愀礀㈀　㈀㌀⸀栀琀洀∀㸀琀栀椀猀㰀⼀愀㸀⸀    㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 眀愀猀 猀栀漀眀渀 琀栀愀琀 琀栀攀 䌀伀嘀䤀䐀 瀀愀渀搀攀洀椀挀 眀愀猀 愀 最氀漀戀愀氀 愀琀琀攀洀瀀琀 琀漀 栀愀氀琀 愀渀搀 爀攀瘀攀爀猀攀 琀栀椀猀 搀攀洀愀最漀最椀挀 搀攀瘀攀氀漀瀀洀攀渀琀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 搀椀猀挀甀猀猀椀漀渀 漀昀 琀栀攀 焀甀戀椀琀 猀栀漀眀攀搀 琀栀愀琀 琀栀攀 猀攀洀椀漀琀椀挀 挀漀渀挀攀爀渀猀 椀渀栀攀爀攀渀琀 椀渀 琀栀攀 䌀伀嘀䤀䐀 瀀愀渀搀攀洀椀挀 爀攀猀攀洀戀氀攀 猀琀爀甀挀琀甀爀愀氀氀礀 琀栀攀 挀漀洀瀀甀琀愀琀椀漀渀 瀀爀漀戀氀攀洀猀 漀昀 琀栀攀 猀漀挀愀氀氀攀搀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀攀爀 眀栀攀爀攀椀渀 琀栀攀 挀漀洀瀀甀琀愀琀椀漀渀愀氀 挀漀渀琀爀漀氀 漀昀 琀栀攀 焀甀愀渀琀猀 挀愀渀 戀攀 椀搀攀渀琀椀昀椀攀搀 愀猀 琀栀攀 瀀爀漀戀氀攀洀 漀昀 椀搀攀渀琀椀昀礀椀渀最 愀渀搀 洀攀愀猀甀爀椀渀最 琀栀攀 瘀愀氀甀攀猀 漀昀 洀攀琀愀瀀栀礀猀椀挀愀氀 甀渀椀琀猀 琀爀愀渀猀挀攀渀搀椀渀最 琀栀攀 戀漀爀搀攀爀猀 漀昀 琀栀攀 栀甀洀愀渀 爀攀愀氀椀琀礀⸀ 䤀琀 椀猀 瀀漀猀琀甀氀愀琀攀搀 琀栀愀琀 琀栀攀 栀甀洀愀渀 爀攀愀氀椀琀礀 椀猀 氀椀洀椀琀攀搀 爀攀氀愀琀椀瘀攀 琀漀 愀渀 愀猀猀甀洀攀搀 氀愀爀最攀爀 洀攀琀愀瀀栀礀猀椀挀愀氀 爀攀愀氀椀琀礀 ⠀琀栀攀 昀椀攀氀搀 漀昀 爀攀氀椀最椀漀甀猀 愀渀搀 洀礀猀琀椀挀 猀琀甀搀椀攀猀⤀ 愀渀搀 琀栀愀琀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀猀 昀漀爀洀愀氀椀稀攀搀 椀渀 椀渀昀漀爀洀愀琀椀漀渀 琀攀挀栀渀漀氀漀最礀 椀猀 愀 爀攀氀攀瘀愀渀琀 昀漀爀洀甀氀愀琀椀漀渀 漀昀 琀栀攀猀攀 戀漀爀搀攀爀猀 戀攀琀眀攀攀渀 瀀栀礀猀椀挀猀 愀渀搀 瀀漀猀琀甀氀愀琀攀搀 洀攀琀愀瀀栀礀猀椀挀猀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀刀攀氀椀最椀漀甀猀 愀渀搀 洀礀猀琀椀挀 猀琀甀搀椀攀猀 椀搀攀渀琀椀昀礀 琀栀攀猀攀 瀀爀漀戀氀攀洀猀 愀猀 洀漀爀愀氀椀琀礀 愀渀搀 愀琀琀攀洀瀀琀 琀漀 昀漀爀洀愀氀椀稀攀 琀栀攀洀 椀渀琀漀 搀漀最洀愀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 瀀爀漀戀氀攀洀 漀昀 琀栀攀 焀甀愀渀琀甀洀 挀漀洀瀀甀琀攀爀 椀猀 琀栀愀琀 漀渀攀 挀愀渀渀漀琀 欀渀漀眀 眀栀愀琀 椀猀 琀栀攀 搀椀昀昀攀爀攀渀挀攀 戀攀琀眀攀攀渀 琀眀漀 洀攀琀愀瀀栀礀猀椀挀愀氀 甀渀椀琀猀 椀搀攀渀琀椀昀椀攀搀 戀礀 琀栀攀 栀甀洀愀渀 猀瀀椀爀椀琀 愀猀 琀栀攀 猀愀洀攀 ⴀ 眀栀攀渀 椀琀 椀猀 瀀漀猀琀甀氀愀琀攀搀 琀栀愀琀 琀栀攀礀 爀攀愀氀氀礀 愀爀攀 搀椀昀昀攀爀攀渀琀 戀攀礀漀渀搀 琀栀攀 栀甀洀愀渀 爀攀愀氀椀琀礀⸀ 䠀漀眀攀瘀攀爀Ⰰ 椀昀 琀栀攀 琀栀攀漀爀礀 漀戀琀愀椀渀猀 琀栀愀琀 琀栀攀 瀀爀椀洀漀爀搀椀愀氀 搀椀昀昀攀爀攀渀挀攀 椀猀 洀愀椀渀琀愀椀渀攀搀 椀渀 琀栀攀 猀攀洀愀渀琀椀挀 氀愀戀攀氀氀椀渀最 琀漀 琀栀攀 漀渀琀漀氀漀最椀挀愀氀 甀渀椀琀Ⰰ 琀栀攀渀 琀栀攀爀攀 猀栀漀甀氀搀 戀攀 琀爀愀挀攀猀Ⰰ 栀漀眀攀瘀攀爀 琀爀愀渀猀昀漀爀洀攀搀Ⰰ 琀漀 琀栀椀猀 搀椀昀昀攀爀攀渀挀攀 椀渀 琀栀攀 猀攀洀愀渀琀椀挀 氀愀戀攀氀氀椀渀最 漀昀 琀栀攀 漀渀琀漀氀漀最椀挀愀氀 甀渀椀琀⸀ 䐀攀洀愀最漀最椀挀 瀀漀眀攀爀 爀攀挀漀最渀椀稀攀猀 琀栀攀 瀀爀漀戀氀攀洀 椀渀 琀攀爀洀猀 漀昀 琀栀攀 爀攀氀愀琀椀漀渀 戀攀琀眀攀攀渀 䜀爀愀猀猀洀愀渀渀 愀渀搀 䌀愀渀琀漀爀 ⠀猀甀挀栀 愀猀 戀礀 琀栀攀椀爀 渀愀洀攀猀⤀ 椀渀 倀愀渀椀渀椀⸀ 㰀愀 栀爀攀昀㴀∀洀攀琀愀瀀栀礀猀椀挀猀⸀栀琀洀∀㸀吀栀椀猀 爀攀瀀漀爀琀㰀⼀愀㸀 椀猀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 眀栀愀琀 昀愀挀琀甀愀氀氀礀 愀爀攀 琀栀攀猀攀 渀愀洀攀猀 ⴀ 琀栀攀 栀甀最攀 眀攀攀搀 漀甀琀 昀爀漀洀 琀栀攀 䌀愀渀琀ⴀ琀漀爀 愀渀搀 琀栀攀 眀愀瘀攀昀漀爀洀攀搀 琀爀愀挀攀猀 漀昀 琀栀攀 䜀爀愀猀猀洀愀渀渀 ⴀ 愀渀搀 椀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 瀀甀戀氀椀挀愀琀椀漀渀 漀昀 琀栀攀 爀攀瀀漀爀琀 瀀爀漀洀瀀琀攀搀 愀 戀甀爀最氀愀爀礀 椀渀琀漀 琀栀椀猀 ✀猀攀挀爀攀琀 最愀爀搀攀渀✀ ⠀✀戀愀爀渀 椀渀渀椀✀ 㴀 ✀挀栀椀氀搀嬀爀攀渀崀 椀渀猀椀搀攀✀㼀⤀ 眀栀椀挀栀 栀愀氀昀 愀 礀攀愀爀 氀愀琀攀爀 氀攀搀 琀漀 瀀爀漀戀氀攀洀猀 漀昀 瀀漀琀攀渀琀椀愀氀 搀攀洀愀最漀最礀 椀渀 搀攀洀漀挀爀愀琀椀挀 攀氀攀挀琀椀漀渀 眀栀椀挀栀 挀漀甀氀搀 戀攀 瀀漀猀琀甀氀愀琀攀搀 愀猀 琀栀攀 漀爀椀最椀渀猀 漀昀 琀栀攀 䌀伀嘀䤀䐀 瀀愀渀搀攀洀椀挀 愀渀搀 椀琀猀 昀漀爀洀愀氀 椀猀漀洀漀爀瀀栀礀 眀椀琀栀 琀栀攀 焀甀戀椀琀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
 </p><p  align="center">਀ 
<img src="qubit3.jpg" height=200>  </p><p  align="justify">਀ 
There could be a number of theories on the unknown value of an item of the transcendent reality. The choice of theory = value would constitute an arbitrary component in the qubit - but clearly if even causality dissolves beyond the human reality, the theories are hard to test. Arbitrarity is not the same as random, rather the opposite - an example is shown in this study of the strong correlation between <a href="valery.htm">my 23 photos</a> and <a href="chinesefilm.htm">the chinese film from the 1960's</a>. This arbitrarity emerges more in the form of a 'tresholding', but maybe that could be considered a sort of 'diagonal'. The title to TEQ book 16 is 'I tell you, Estunates'.   </p><p  align="justify">਀ 
Classic linguistic theory often makes a rough identification of the arbitrarity as being the same as the conventionality needed to explain why one language is not the same as another language, if indeed there should be some philosophical link between the referent and the semantic unit. The confusion is likely to stem from what I recognize as this 'unknown difference' in one of the two metaphysical units: That is the arbitrary value 1 which we cannot find out of - and which is clumsily recognized as 'the same' as the conventionality in the relation between ontology and epistemology:   </p><p  align="center">਀ 
<img src="nucleus4.jpg" height="200">  </p><p  align="justify">਀ 
Computation theory for a quantum computer will face the task of finding out of the relation between the two arbitrary values - if there is any relation between them when philosophical causality dissolves. As <a href="chinesefilm.htm">the chinese film from the 1960's</a> shows, there are ways of establishing a relation between the two in such a way that one could talk of them as arbitrary value 1 and 2. Most notably is the relation with the two in the HAN-CITY images - and those who 'believe' in Panini would probably compare this to the difference between #2530 and #2534 for the 'hanging' 1966-1967 incrementation discussed above:  </p><p  align="center">਀ 
<img src="val3.jpg" height="100">  ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㌀愀渀渀漀琀愀琀攀搀ⴀ栀愀渀ⴀ洀椀氀欀礀眀愀礀⸀樀瀀最∀ 栀攀椀最栀琀㴀∀㄀　　∀㸀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  
<img src="film-00-05-05-annotated-2.jpg" height="100"> ਀㰀椀洀最 猀爀挀㴀∀昀椀氀洀ⴀ　　ⴀ　㔀ⴀ　㔀⸀樀瀀最∀ 栀攀椀最栀琀㴀∀㄀　　∀㸀  
<br>਀ 
<img src="val4.jpg" height="100">  ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㐀愀渀渀漀琀愀琀攀搀㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀∀㄀　　∀㸀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  
<img src="film-00-10-09-annotated-1.jpg" height="100">਀㰀椀洀最 猀爀挀㴀∀昀椀氀洀ⴀ　　ⴀ㄀　ⴀ　㤀⸀樀瀀最∀ 栀攀椀最栀琀㴀∀㄀　　∀㸀 
 </p><p  align="justify">਀ 
It is seen that the film has an image corresponding to a re-gression for my photo #1 with the 'HAN' = 'regret'.  </p><p  align="justify">਀ 
For my photo #2, which is the WU = militarily, it is the image wherein the chinese film shows the final text, which semiotically could be seen to be the entire film: How to make a text. As I have pointed to with the two red circles, it is also possible to see the last scene as being about one unit standing on top of a vertical pole and another suspended at the end of a horizontal beam - the vertical could be for a royal element while the horizontal would be for the frog - in the moment when the female in the film at  00:15:13-14 - or my photo #5 - peeps out between the curtains ('<a href="movement.htm">Vorhang</a>') to see the frog. Hence it can be seen to be about the role of the visual faculty - such as in the relation between my TEQ and the italian art history. The progress then goes via photos 2-1-3-4 for ending in this #5.   </p><p  align="justify">਀ 
<br>਀ 
<font size="4">I have to add to the 'frog' of the chinese film the following beautiful observation on this 'arbitrarity': From the idea of a 'Medusa-head' in the  third secret of Fatima, I look up my poem <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1714" target="_new">TEQ #1581</a>  from 'function 16' = TEQ book 16 = 'I tell you, Estunates' - in correlation with the start (the first 12 seconds) of <a href="https://www.youtube.com/watch?v=tS7j6zIoyxY">Midori's recording of Bach violin Sonata 2 movement 4</a>. The concept of 400.000 will in egyptian hieroglyphs look as follows, as computed from Wallis Budge's hieroglyphic dictionary:              </p><p  align="justify">਀ 
<table>਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㄀∀㸀㰀戀爀㸀 
<font size="6">4<br><br><font size="1"><br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀㄀　　⸀　　　 ☀渀戀猀瀀㬀  
</td>਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㄀∀㸀㰀戀爀㸀 
<font size="6">&nbsp; = &nbsp; <br><br><font size="1"><br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀☀渀戀猀瀀㬀 㴀 ☀渀戀猀瀀㬀  
</td>਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 
 &nbsp; &nbsp; <img src="budge15.jpg" height=70><br>਀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 㰀椀洀最 猀爀挀㴀∀戀甀搀最攀㄀㐀⸀樀瀀最∀ 栀攀椀最栀琀㴀㜀　㸀  
</td>਀㰀⼀琀愀戀氀攀㸀 
   </p><p  align="justify">਀ 
The frog is in the beginning of the 100.000 and the reed in the beginning of the 4. It can be heard from Midori's recording that the bow alternates quickly between the Frosch and the tip. In the parallel with the chinese film, the frog is in the fourth photo - and counting the fourth photo from the end takes it to my photo which can be annotated as follows for showing the '4':    </p><p  align="center">਀ 
<img src="val20.jpg" height=150>਀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀   
<img src="val20annotatedwithhieroglyphs.jpg" height=150>   </p><p  align="justify">਀ 
Only the 'snake' or 'viper' is missing - that is the poet, it seems, who trumpets his words across the tree trunk, the 'arbitrary' form. Impressive it is, though - and where is that old 'Jesus snake' threat? It seems to be gone from these forms.  </p><p  align="justify">਀ 
There was also the story of the distance 1823 km from <a href="11april2021.htm">the volcano at Geldingadalur, Fagradalsfjall near Reykjavik = 'Rekavik' on Iceland and the mystery object found in 'Rekvika' near Troms in northern Norway</a> - a sort of 'Medusa' head/heart? - some days after I had returned from Italy and found the main fuse ('mainly stream'?) gone (it had been disconnected while I was away) and a heap of amorphous brown mass on the bottom glass plate of my refridgerator and seeds of possibly millet or maybe a sort of rice had been spurted around on the walls and ceiling of the fridge - but not on the bottom. (This story is told also above). Some weeks later, another volcano erupted on La Palma - exactly 1823 km west of 'Arawane', an old and desolate caravan stop on the route through Sahara. 1823 is the year of <a href="jg1823transcribed.htm">the oldest document in British Library</a> written by <a href="jg18231843.htm">a 'John Grover'</a>. '1823' is also a number susceptible to find some relevance in the revelation of Knock - see <a href="11november2022.htm">these comments</a>. Now those who believe in the hungarian szolnoki factor could look  up Wallis Budge and construct the following number '1823' in the following way:   </p><p  align="justify">਀ 
1000 = 'kha', &nbsp; 100 = 'shaa', &nbsp; 8 = 'khemenu', &nbsp; 20 = 'tchaut', &nbsp; 3 = 'khemt'  </p><p  align="justify">਀ 
which means that the number 1823 = 1000 +  100*8 + 20 + 3 = 'kha-shaa-khemenu-tchaut-khemt' which can be read in hungarian 'k&aacute;-s[h]&aacute;h-k&eacute;m&eacute;ny-csausz[t]-k&eacute;m[t]' = 'whore-shah chimney  (ACC:)[turkish]-messenger-intelligence-agent'. My custody father died officially on (probably, plus/minus a day) 27 november 1990 - he died allegedly from pancreas cancer - this was before British Library moved its old premises (where Karl Marx had written his 'Kapital' under the high dome) to Pancras in London. 27 november 1990 is in the mirror time point across the death of the persian shah to the birth of the shah's youngest daughter 'Leyla' - and it is 160 years after the Madonna in Rue de Bac in Paris. If, therefore, the political intrigue counts me as a sort of 'Jesus' (or quasi 'Messiah' by Stammbaum mysteries) in the szolnoki structure (by the 'chimney') and Madonna counts as an 'intelligence agent' for a 'Black Sea Loop' (of the nazi Wannsee conference of 1942?) from Turkey, nazi philosophy could feel this '1823' as a triumph of their political intrigue on the 'Josef-trumpet' on the Szolnok streetname structure. However, I think that <a href="johnbjarnegrovercollectedworksvolume2.pdf#page=1714" target="_new">my poem TEQ #1581</a> is a much better explanation to this story - a poem about the grammatical difference between 'cannibalist' and 'cannibalism' without curses or racism or anything the like.    ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 
</p><p  align="justify">਀ 
Is this arbitrarity the same as the apparently terror-orientated Panini ideologies? I would believe it rather is something of the opposite. It is likely that the use of Panini for quasi-demiurgic control with the universe is something that has sprung out from the Grassmann-Cantor phenomenon and that it functions only under conditions of gloomy secrecy and control. Although I know little about such Panini ideologies, I would guess that it could be about technologies that can be constructed on basis of faustian temptations - possibly in an attempt to lend divine authority to Edward V.  I have guessed that Sobibor, Treblinka and Belcez are old jewish mysteries that in my art-text-theoretic interpretation can be recognized in the parametres 'ratio', 'visual imagery' and 'backwards-text' for a healthy conception of this relation between poetic text and artistic image. When Hitler/Himmler used these concepts for the three death camps under the socalled 'Aktion Reinhard', that could have been for turning this 'italian renaissance' into heavily gloomy suppression for a quasi-technology on basis of e.g. Panini ratios, Josef-trumpeting final-F imagery and backwards reading of sutras. It is not likely that these parametres would function without the violence and suppression, and one could guess that particularly genocide could be prone to affect the balance between physics and metaphysics. But clearly such tragic 'science' cannot be the future for the new technology.  It is likely that Hitler's terror was a way of continueing the Grassmann-Cantor format of terror-and-monkey-business.  </p><p  align="justify">਀ 
Grassmann's theory is likely to describe the metaphysical realities beyond human reality on a high-dimensional general format which allows for scientific description without hysterical anxieties, while implementing Panini for broomriding redundancies is to make tivoli out of the human reality - some fancy effects that calls forth applause and surprise but not much beyond what was already known.  </p><p  align="justify">਀ 
It seems that the history of at least the last 500 years can be described in terms of the feeling of a snake hiding in the depth of the christian faith, prompting the need for a way to dump the problem on others. (See chapter 2 for COVID-19 as this global 'snake' of the Caravaggio forms 20-36). <a href="correggiowithdoublesnakeglyph1.jpg">This double snake</a> is probably the same as the modern butterfly - see <a href="johnbjarnegrovercollectedworksvolume4.pdf#page=1147" target="_new">volume 4 chapter 5, pages 1147-1214
</a> for a discussion of the all-over presence of this butterfly in the modern mind. It is likely to be an attempted solution to the problem of the snake. The real problem has been that one could not find out where it was hiding. Jesus resides transcendentally relative to the human reality, and as long as the 'glyphic link' between the two arbitrary values of the qubit sign is unknown, one could have risked a 'Schlangenbiss' from the transcendent reality. The present study has attempted to contribute to a solution to that problem.   </p><p  align="justify">਀ 
TEQ is written on basis of 'prophetic inspiration' - and it can probably be concluded that this is beyond administrative control.  </p><p align="justify">਀ 
Does logic exist beyond causalities? Maybe only wishful logicism believes that logic exists independently of the cognizing human and its semiotic constitution. Is logic the same beyond the human reality? Probably not. If logic were the same beyond the limits of our psyche, then it should be possible to prove God's existence - tells my logic.   </p><p align="justify">਀ 
It is because the computer is ontologically real that one can use the Catalan constant. At least as long as the computers continue to remain ontologically real.   </p><p  align="justify">਀㰀戀爀㸀 
਀㰀椀㸀䈀爀椀攀昀 猀甀洀洀愀爀礀㨀㰀⼀椀㸀  㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀吀栀攀 猀琀甀搀礀 挀漀渀挀氀甀搀攀猀 琀栀愀琀 琀栀攀 挀漀洀瀀氀攀砀 椀猀 爀漀漀琀攀搀 椀渀 琀栀攀 搀攀挀椀瀀栀攀爀洀攀渀琀 漀昀 攀最礀瀀琀椀愀渀 栀椀攀爀漀最氀礀瀀栀猀 椀渀 琀栀攀 ㄀㤀琀栀 挀攀渀琀甀爀礀 愀渀搀 琀栀攀 椀洀瀀氀攀洀攀渀琀愀琀椀漀渀 漀昀 琀栀椀猀 椀渀 琀栀攀 猀琀爀攀攀琀渀愀洀攀猀 漀昀 匀稀漀氀渀漀欀㨀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㄀⤀ ✀匀稀愀瘀愀 唀琀挀愀✀ 瘀椀愀 琀栀攀 栀椀攀爀漀最氀礀瀀栀椀挀猀 漀昀 圀愀氀氀椀猀 䈀甀搀最攀 洀攀愀渀猀 ✀搀椀瘀椀渀攀 挀甀猀琀漀搀礀 椀渀 琀栀攀 戀愀挀欀爀漀漀洀✀Ⰰ 椀渀挀氀甀搀攀搀 椀渀 䤀戀猀攀渀✀猀 瀀氀愀礀 椀渀 琀栀攀 猀攀渀猀攀 漀昀 琀栀攀 搀爀愀甀最栀琀洀攀渀✀猀 漀昀昀椀挀攀⸀ 䤀琀 椀猀 琀栀攀 渀愀洀攀 漀昀 圀愀氀氀椀猀 䈀甀搀最攀 愀猀 琀栀攀 愀甀琀栀漀爀 漀昀 琀栀攀 戀漀漀欀 瀀爀椀渀琀攀搀 戀礀 䄀搀漀氀昀 䠀漀氀稀栀愀甀猀攀渀 眀栀椀挀栀 栀漀氀搀猀 琀栀椀猀 猀愀甀挀攀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㈀⤀ ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 瘀椀愀 琀栀攀 栀椀攀爀漀最氀礀瀀栀椀挀猀 洀攀愀渀猀 ✀甀愀猀ⴀ焀攀爀✀ 㴀 ✀挀漀渀琀攀渀琀洀攀渀琀 渀漀爀琀栀 眀椀渀搀✀ 㴀 ✀䄀甀爀漀爀愀 䈀漀爀攀愀氀椀猀✀ ⬀ ✀爀攀ⴀ戀攀渀✀ 㴀 ✀一伀吀 愀 猀椀渀最氀攀 挀栀愀瀀琀攀爀✀ 㴀 ✀㠀 挀栀愀瀀琀攀爀猀✀Ⰰ 眀栀攀爀攀戀礀 琀栀攀 ✀㠀 挀栀愀瀀琀攀爀猀✀ 椀猀 倀愀渀椀渀椀✀猀 ✀䄀猀琀栀愀搀栀礀愀礀椀✀ ⠀琀栀攀 琀椀琀氀攀 洀攀愀渀猀 ✀㠀 挀栀愀瀀琀攀爀猀✀ 椀渀 猀愀渀猀欀爀椀琀⤀ 愀渀搀 洀礀 漀眀渀 ✀漀挀琀漀最漀渀✀ ⠀✀㠀 挀栀愀瀀ⴀ琀攀愀爀猀✀⤀⸀ ✀䄀甀爀漀爀愀 䈀漀爀攀愀氀椀猀✀ 猀攀攀洀猀 琀漀 洀攀愀渀 ✀䄀搀漀氀昀 䠀漀氀稀✀ ⠀琀栀攀 ✀戀漀ⴀ爀攀愀氀椀猀✀ 椀猀 栀攀爀攀 眀漀漀搀Ⰰ 渀漀琀 愀搀漀戀攀⤀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㰀昀漀渀琀 猀椀稀攀㴀∀㈀∀㸀圀栀礀 猀栀漀甀氀搀 䤀 戀攀 猀漀 椀渀琀攀爀攀猀琀椀渀最 琀栀愀琀 猀甀挀栀 愀渀 ✀漀挀琀漀最漀渀✀ 戀攀 瀀愀爀琀 漀昀 琀栀攀 挀漀渀猀琀爀甀挀琀椀漀渀㼀 吀栀攀 琀栀攀漀爀礀 最漀攀猀 琀栀愀琀 琀栀攀 昀爀攀渀挀栀 爀攀瘀漀氀甀琀椀漀渀 瀀爀漀洀瀀琀攀搀 琀栀攀 渀攀攀搀 昀漀爀 愀 最漀漀搀攀渀漀甀最栀 爀攀愀猀漀渀 椀渀 琀栀攀 爀漀礀愀氀猀 昀漀爀 琀栀攀椀爀 爀甀氀攀 愀渀搀 琀栀攀礀 洀愀礀 栀愀瘀攀 挀漀渀猀琀爀甀挀琀攀搀 愀 匀琀愀洀洀戀愀甀洀 琀栀愀琀 椀洀椀琀愀琀攀搀 愀 䴀攀猀猀椀愀栀 昀甀渀挀琀椀漀渀 昀爀漀洀 琀栀攀 漀氀搀 琀漀 琀栀攀 渀攀眀 琀攀猀琀愀洀攀渀琀 椀渀 椀渀搀攀砀椀挀愀氀 琀攀爀洀猀Ⰰ 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 椀琀 眀愀猀 攀愀猀椀氀礀 挀漀甀瀀攀搀 攀⸀最⸀ 戀礀 挀栀椀氀搀 愀戀甀猀攀Ⰰ 瀀氀愀最椀愀爀椀猀洀猀 攀琀挀⸀ 䌀漀甀氀搀 戀攀 瀀漀猀琀眀愀爀 瀀漀瀀甀氀愀爀 洀甀猀椀挀 瀀氀愀礀猀 漀渀 欀攀琀琀氀攀 氀椀搀猀Ⰰ 最甀椀琀愀爀 愀渀搀 戀愀猀欀攀琀ⴀ栀愀爀搀 昀漀爀 猀甀挀栀 爀攀愀猀漀渀猀㼀 吀栀攀爀攀 洀愀礀 戀攀 瀀攀漀瀀氀攀 眀栀漀 琀栀椀渀欀 漀昀 洀攀 椀渀 琀攀爀洀猀 漀昀 猀甀挀栀 愀 匀琀愀洀洀戀愀甀洀 ⴀ 栀漀眀攀瘀攀爀Ⰰ 䤀 愀洀 漀渀氀礀 愀 氀漀渀攀氀礀 椀渀搀椀瘀椀搀甀愀氀 眀椀琀栀漀甀琀 愀渀礀 椀渀瘀漀氀瘀攀洀攀渀琀 椀渀 琀栀椀猀 猀琀漀爀礀 愀渀搀 琀栀攀爀攀 挀愀渀 戀攀 渀漀 樀甀猀琀椀昀椀挀愀琀椀漀渀 昀爀漀洀 猀甀挀栀 愀 匀琀愀洀洀戀愀甀洀 昀漀爀 洀漀戀戀椀渀最 洀攀⸀ 㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀㌀⤀ 䠀攀渀挀攀 椀昀 琀栀攀 猀琀漀爀礀 猀甀挀挀攀攀搀猀 椀渀 猀栀椀瀀瀀椀渀最 琀栀攀 搀椀瘀椀渀攀 挀甀猀琀漀搀礀 愀甀琀栀漀爀椀琀礀 昀爀漀洀 琀栀攀 昀愀爀 渀漀爀琀栀 搀漀眀渀 琀漀 琀栀攀 戀爀椀琀椀猀栀 洀漀渀愀爀挀栀礀 眀栀攀渀 琀栀攀 攀甀爀漀瀀攀愀渀 猀眀愀猀琀椀欀愀 琀甀爀渀猀Ⰰ 椀琀 洀攀愀渀猀 琀栀愀琀 琀栀攀 戀爀椀琀椀猀栀 洀漀渀愀爀挀栀 栀愀猀 搀椀瘀椀渀攀 愀甀琀栀漀爀椀琀礀 㰀椀㸀琀漀 琀栀攀 攀砀琀攀渀琀㰀⼀椀㸀 琀栀愀琀 愀 戀爀椀琀椀猀栀 爀攀猀瀀漀渀猀椀戀椀氀椀琀礀 挀氀愀椀洀 漀渀 䄀搀漀氀昀 䠀椀琀氀攀爀 挀愀渀 戀攀 洀愀搀攀⸀   㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䤀琀 椀猀 氀椀欀攀氀礀 琀栀愀琀 琀栀椀猀 椀猀 琀栀攀 瀀甀爀瀀漀猀攀 眀椀琀栀 琀栀攀 匀稀漀氀渀漀欀 昀愀挀琀漀爀 ⴀ 愀 戀爀椀琀椀猀栀 爀攀猀漀渀猀椀戀椀氀椀琀礀 挀氀愀椀洀 漀渀 䠀椀琀氀攀爀 ⴀ 瀀漀猀猀椀戀氀礀 昀漀爀 爀攀氀愀琀椀渀最 愀氀猀漀 琀漀 愀 瀀漀琀攀渀琀椀愀氀 搀椀瘀椀渀攀 猀琀愀琀甀猀 漀昀 䔀搀眀愀爀搀 嘀⸀ 䌀漀甀氀搀 戀攀 愀渀 攀愀猀琀攀爀渀 戀爀愀渀挀栀 漀昀 琀栀攀 猀眀愀猀琀椀欀愀 眀愀猀 瀀氀愀渀渀攀搀 琀漀 最漀 琀栀爀漀甀最栀 匀稀漀氀渀漀欀Ⰰ 漀瘀攀爀 唀欀爀愀椀渀攀 愀渀搀 愀爀漀甀渀搀 琀栀攀 䈀氀愀挀欀 匀攀愀 琀漀 吀甀爀欀攀礀⸀ 䤀琀 猀攀攀洀猀 琀栀愀琀 唀欀爀愀椀渀攀 眀愀猀 愀 渀愀琀椀漀渀愀氀椀琀礀 眀椀琀栀漀甀琀 愀渀 椀渀搀攀瀀攀渀搀攀渀琀 猀琀愀琀攀栀漀漀搀 戀攀昀漀爀攀 琀栀攀 匀漀瘀椀攀琀 唀渀椀漀渀Ⰰ 愀渀搀 椀昀 刀甀猀猀椀愀 渀漀眀 昀攀攀氀猀 搀椀猀挀漀渀琀攀渀琀 眀椀琀栀 椀琀猀 椀渀搀攀瀀攀渀搀攀渀挀攀 ⠀眀栀椀挀栀 栀愀猀 氀愀猀琀攀搀 猀椀渀挀攀 ㄀㤀㤀㄀⤀ 琀栀愀琀 挀漀甀氀搀 愀氀猀漀 栀愀瘀攀 戀攀攀渀 瀀愀爀琀氀礀 洀漀琀椀瘀愀琀攀搀 戀礀 愀 瀀漀琀攀渀琀椀愀氀 甀欀爀愀椀渀椀愀渀 椀渀瘀漀氀瘀攀洀攀渀琀 椀渀 琀栀攀猀攀 瀀氀愀渀猀⸀  
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It would have been this story which has invested the money in Cantor (pure nonsense, some would say, but it used to be a western favourite toy) instead of Grassmann (= 'grace-man'?) - and it is likely that it is Grassmann's theory that can solve the computational problems in the qubit - the quantum computer. Since this also is at the forefront of military development, it means that british royalist concerns on the theme of 'divine' cannot continue to hold the knowledge-development behind. It is the role of <a href="metaphysics.htm">Grassmann 'on the other side' and Cantor 'instead'</a> which is the problem - which also could have led to COVID-19 - the 'snake' of elements 20-36.   </p><p  align="justify">਀ 
It seems that the entire political complex could be based on the hieroglyphs. Hopefully my TEQ can now open for a re-interpretation of these in such a way that the political problem can be seen as solved.   </p><p  align="justify">਀ 
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size="3">਀匀漀洀攀 昀椀渀愀氀 眀漀爀搀猀 漀渀 愀 瀀甀稀稀氀椀渀最 瀀愀爀愀搀漀砀㨀 圀栀礀 搀漀 䤀 猀琀椀氀氀 爀攀猀椀搀攀 椀渀 䄀甀猀琀爀椀愀 愀渀搀 栀愀瘀攀 搀漀渀攀 猀漀 昀漀爀 洀漀爀攀 琀栀愀渀 愀 搀攀挀愀搀攀 椀昀 琀栀愀琀 椀猀 琀漀 戀攀 漀渀 琀栀攀 愀砀椀猀 漀昀 琀栀攀 攀愀猀琀攀爀渀 攀甀爀漀瀀攀愀渀 猀眀愀猀琀椀欀愀 愀爀洀㼀 匀栀漀甀氀搀渀✀琀 䤀 栀愀瘀攀 戀攀攀渀 椀渀 䤀琀愀氀礀 椀渀猀琀攀愀搀 ⴀ 眀椀琀栀 琀栀愀琀 瀀漀琀攀渀琀椀愀氀椀琀礀 漀昀 洀礀 吀䔀儀 愀渀搀 琀栀攀 漀戀瘀椀漀甀猀 愀搀瘀愀渀琀愀最攀猀 琀栀愀琀 挀漀甀氀搀 攀渀琀愀椀氀 昀漀爀 琀栀攀 椀琀愀氀椀愀渀 猀漀挀椀攀琀礀㼀 伀昀 挀漀甀爀猀攀 䤀 猀栀漀甀氀搀 ⴀ 戀甀琀 昀漀爀 漀渀挀攀 琀栀攀爀攀 猀攀攀洀猀 琀漀 戀攀 愀 瘀攀爀礀 栀攀愀瘀礀 瀀漀氀椀琀椀挀愀氀 椀渀琀爀椀最甀攀 琀栀愀琀 眀愀渀琀猀 琀漀 栀愀瘀攀 洀攀 漀渀 琀栀椀猀 愀砀椀猀Ⰰ 猀攀挀漀渀搀氀礀 琀栀攀 猀愀洀攀 椀渀琀爀椀最甀攀 猀攀攀洀猀 琀漀 猀琀爀甀最最氀攀 昀漀爀 欀攀攀瀀椀渀最 洀礀 攀挀漀渀漀洀礀 漀渀 愀 戀甀搀最攀琀 氀攀瘀攀氀 眀栀椀挀栀 搀漀攀猀 渀漀琀 愀氀氀漀眀 昀漀爀 昀椀渀搀椀渀最 愀 栀漀洀攀 攀氀猀攀眀栀攀爀攀⸀ 圀愀氀氀椀猀 䈀甀搀最攀㼀 吀栀攀 栀漀甀猀攀 椀渀 匀稀漀氀渀漀欀 眀愀猀 瘀攀爀礀 挀栀攀愀瀀 ⴀ 戀甀琀 㰀愀 栀爀攀昀㴀∀欀爀愀爀甀瀀㄀㘀戀⸀樀瀀最∀㸀椀琀 椀猀 愀搀漀戀攀 漀渀氀礀㰀⼀愀㸀 愀渀搀 㰀愀 栀爀攀昀㴀∀欀爀愀爀甀瀀㄀㘀愀⸀樀瀀最∀㸀愀瀀瀀愀爀攀渀琀氀礀 眀愀琀攀爀 瀀椀瀀攀猀 漀渀氀礀 椀渀猀椀搀攀 琀栀攀 愀搀漀戀攀 眀愀氀氀猀㰀⼀愀㸀 ⠀㰀愀 栀爀攀昀㴀∀欀爀愀爀甀瀀⸀栀琀洀∀㸀瀀栀漀琀漀 猀漀甀爀挀攀㰀⼀愀㸀⤀ 愀渀搀 椀渀 猀甀洀 椀琀 椀猀 渀漀琀 爀攀愀氀氀礀 瀀漀猀猀椀戀氀攀 琀漀 甀猀攀 椀琀⸀ 吀栀攀 椀渀琀爀椀最甀攀 挀漀甀氀搀 戀攀 漀昀 琀栀攀 欀椀渀搀 眀栀椀挀栀 栀漀瀀攀猀 琀漀 猀眀愀瀀 愀爀漀甀渀搀 漀渀 洀攀 愀渀搀 洀礀 眀漀爀欀 愀渀搀 氀攀愀瘀攀 琀栀攀 猀琀愀洀瀀 漀昀 ✀匀愀琀愀渀✀ 愀渀搀 ✀匀挀栀氀愀渀最攀渀戀椀猀猀✀ 漀渀 洀攀 ⴀ 昀漀爀 琀栀攀 爀漀氀攀 漀昀 琀栀愀琀 䨀攀猀甀猀 猀渀愀欀攀 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 琀栀攀 猀攀挀爀攀琀 漀昀  琀栀攀 栀椀猀琀漀爀礀 昀漀爀 挀攀渀琀甀爀椀攀猀⸀ 倀攀漀瀀氀攀 猀琀椀氀氀 猀攀攀洀 琀漀 搀攀氀椀最栀琀 椀渀 琀甀洀戀氀椀渀最 愀爀漀甀渀搀 椀渀 洀礀 氀愀琀攀猀琀 搀椀愀爀礀 渀漀琀攀猀 愀渀搀 渀漀琀攀戀漀漀欀 栀愀渀搀 猀挀爀椀戀戀氀攀 愀渀搀 甀渀挀爀攀搀椀琀攀搀 焀甀漀琀攀猀 猀攀攀洀 琀漀 戀攀 焀甀椀挀欀氀礀 漀渀 琀栀攀 愀搀 瀀漀猀琀攀爀猀 ⴀ 眀栀椀氀攀 爀攀氀愀琀攀搀 漀爀 ✀椀渀琀攀爀氀愀挀攀搀✀ 瀀漀氀椀琀椀挀愀氀 愀渀搀 挀爀椀洀椀渀愀氀 攀瘀攀渀琀猀 猀眀愀瀀 愀爀漀甀渀搀 漀渀 琀栀攀 爀攀猀瀀漀渀猀椀戀椀氀椀琀礀 椀猀猀甀攀⸀ 吀栀椀猀 猀漀爀琀 漀昀 ✀匀挀栀氀愀渀最攀渀戀椀猀猀✀ 瀀爀漀戀愀戀氀礀 栀甀爀爀椀攀猀 琀漀 愀猀猀甀爀攀 礀漀甀 ⴀ 琀愀氀欀椀渀最 椀渀 礀漀甀爀 栀攀愀爀琀 昀爀漀洀 琀栀攀 搀攀瀀琀栀 漀昀 琀栀攀 栀椀猀琀漀爀椀挀 挀漀氀氀攀挀琀椀瘀攀 挀漀渀猀挀椀漀甀猀渀攀猀猀 ⴀ 琀栀愀琀 䤀 愀洀 渀漀琀 挀氀愀椀洀椀渀最 愀渀礀 爀椀最栀琀猀 愀渀搀 猀栀漀甀氀搀 戀攀 搀攀琀愀挀栀攀搀 昀爀漀洀 琀栀椀猀 眀漀爀欀 漀昀 洀椀渀攀 ⴀ 眀栀椀挀栀 椀猀 猀渀愀欀礀 琀愀氀欀 椀渀搀攀攀搀 愀渀搀 渀漀琀 洀椀渀攀㨀 㰀椀㸀伀昀 挀漀甀爀猀攀 䤀 洀甀猀琀 戀攀 挀爀攀搀椀琀攀搀 昀漀爀 琀栀攀 眀漀爀欀 䤀 栀愀瘀攀 搀漀渀攀 愀渀搀 漀昀 挀漀甀爀猀攀 愀氀氀 瀀氀愀最椀愀爀椀猀洀猀 漀昀 洀礀 眀漀爀欀 洀甀猀琀 戀攀 猀琀漀瀀瀀攀搀 愀渀搀 戀爀漀甀最栀琀 琀漀 樀甀猀琀椀挀攀㰀⼀椀㸀⸀ 䐀漀 渀漀琀 氀椀猀琀攀渀 琀漀 琀栀愀琀 猀渀愀欀攀 眀栀椀挀栀 琀攀氀氀猀 琀栀愀琀 ✀琀栀椀猀 椀猀 愀渀 椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀✀⸀ 㰀椀㸀䤀琀 椀猀 渀漀琀 愀渀 椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀℀㰀⼀椀㸀 䤀 愀洀 漀渀氀礀 愀 瀀爀椀瘀愀琀攀 氀漀渀攀氀礀 椀渀搀椀瘀椀搀甀愀氀 ⠀愀渀搀 䤀 愀洀 渀漀琀 愀渀 愀最攀渀琀⤀ 眀椀琀栀 渀漀 挀漀渀渀攀挀琀椀漀渀猀 漀爀 椀渀瘀漀氀瘀攀洀攀渀琀猀 眀栀愀琀猀漀攀瘀攀爀 琀漀 琀栀攀 瀀漀氀椀琀椀挀愀氀 椀渀琀爀椀最甀攀 漀爀 愀渀礀 ✀椀渀琀攀氀氀椀最攀渀挀攀 瀀爀漀樀攀挀琀✀ 琀栀攀爀攀 挀漀甀氀搀 戀攀Ⰰ 愀渀搀 䤀 瀀爀漀琀攀猀琀 瀀愀爀琀椀挀甀氀愀爀氀礀 愀最愀椀渀猀琀 愀渀礀 椀搀攀渀琀椀昀椀挀愀琀椀漀渀 漀昀 洀攀 眀椀琀栀 愀 洀礀琀栀漀氀漀最椀挀愀氀 䨀攀猀甀猀 漀爀 匀愀琀愀渀 漀爀 䴀攀猀猀椀愀栀 漀爀 愀渀礀琀栀椀渀最 琀栀攀 氀椀欀攀 ⴀ 椀渀 瀀愀爀琀椀挀甀氀愀爀 愀猀 昀愀爀 愀猀 琀栀椀猀 匀稀漀氀渀漀欀 椀猀 挀漀渀挀攀爀渀攀搀⸀ 䤀 搀椀猀挀漀瘀攀爀攀搀 琀栀攀 爀攀氀愀琀椀漀渀 戀攀琀眀攀攀渀 洀礀 吀䔀儀 愀渀搀 䌀漀爀爀攀最最椀漀 眀栀椀氀攀 椀渀 䤀琀愀氀礀 漀渀 㤀 愀瀀爀椀氀 ㈀　㈀㌀ ⠀眀栀椀挀栀 栀愀瀀瀀攀渀攀搀 琀漀 戀攀 㔀㐀　 礀攀愀爀猀 愀昀琀攀爀 琀栀攀 搀攀愀琀栀 漀昀 䔀搀眀愀爀搀 䤀嘀℀⤀ 愀渀搀 戀攀挀愀甀猀攀 䤀 栀愀搀 渀漀 瀀爀漀瀀攀爀 眀漀爀欀猀瀀愀挀攀 椀渀 䤀琀愀氀礀 䤀 栀愀搀 琀漀 最漀 戀愀挀欀 琀漀 嘀椀攀渀渀愀 琀漀 眀爀椀琀攀 漀甀琀 琀栀攀 瀀爀攀猀攀渀琀 猀琀甀搀礀⸀ 圀栀椀氀攀 䤀 眀愀猀 猀漀 搀漀椀渀最Ⰰ 椀琀 猀攀攀洀猀 琀栀愀琀 琀攀爀爀漀爀 猀甀挀栀 愀猀 瀀漀猀猀椀戀氀礀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀㈀　㈀㌀开伀搀椀猀栀愀开琀爀愀椀渀开挀漀氀氀椀猀椀漀渀∀㸀琀栀攀 琀爀愀椀渀 挀爀愀猀栀 椀渀 䤀渀搀椀愀  漀渀 ㈀ 樀甀渀攀 ㈀　㈀㌀㰀⼀愀㸀 挀漀甀氀搀 栀愀瘀攀 琀爀椀攀搀 琀漀 搀攀爀愀椀氀 愀渀搀 挀漀甀瀀 琀栀攀 ✀椀渀渀攀爀 椀搀攀渀琀椀琀礀✀ 漀昀 琀栀攀 瀀爀攀猀攀渀琀 眀漀爀欀 漀昀 洀椀渀攀 ⴀ 挀漀甀氀搀 戀攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䐀攀猀琀爀甀挀琀椀漀渀开漀昀开琀栀攀开䬀愀欀栀漀瘀欀愀开䐀愀洀∀㸀琀栀攀 戀甀爀猀琀椀渀最 漀昀 琀栀攀 䬀愀欀栀漀瘀欀愀 栀礀搀爀漀攀氀攀挀琀爀椀挀 搀愀洀㰀⼀愀㸀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 漀昀 愀 爀攀氀愀琀攀搀 欀椀渀搀 漀昀 琀礀瀀攀 ⴀ 椀琀 栀愀瀀瀀攀渀攀搀 愀琀 ㄀㨀㔀　 嘀椀攀渀渀愀 琀椀洀攀Ⰰ 挀瀀⸀ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㔀㌀㐀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㐀㔀㈀㰀⼀愀㸀Ⰰ 眀栀椀挀栀 挀漀甀氀搀 栀愀瘀攀 椀渀搀椀挀愀琀攀搀 琀栀愀琀 椀琀 眀攀爀攀 渀漀琀 爀甀猀猀椀愀渀 椀渀琀攀爀攀猀琀猀Ⰰ 愀琀 氀攀愀猀琀 昀爀漀洀 琀栀椀猀 瀀漀椀渀琀 漀昀 瘀椀攀眀 ⠀昀漀爀 琀栀攀 挀漀瀀礀 漀昀 琀栀攀 ✀眀栀愀氀攀✀Ⰰ 渀漀爀眀攀最椀愀渀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀最氀漀猀戀攀⸀挀漀洀⼀渀戀⼀攀渀⼀瘀攀椀氀攀搀渀椀渀最∀㸀✀瘀攀椀氀✀ⴀ攀搀渀椀渀最㰀⼀愀㸀 㴀 ✀猀甀瀀攀爀瘀椀猀椀漀渀✀ ⠀攀⸀最⸀ 琀栀攀 眀爀椀琀椀渀最 漀昀 愀 甀渀椀瘀攀爀猀椀琀礀 琀栀攀猀椀猀 椀猀 漀昀琀攀渀 最甀椀搀攀搀 戀礀 ✀愀搀瘀椀挀攀✀ 漀爀 ✀猀甀瀀攀爀瘀椀猀椀漀渀✀ 㴀 ✀瘀攀椀氀攀搀渀椀渀最✀ ⴀ 琀栀攀爀攀 椀猀 愀氀猀漀 渀攀眀 挀愀戀氀攀猀 㴀 ✀氀攀搀渀椀渀最✀ 椀渀猀琀愀氀氀攀搀 椀渀 琀栀攀 愀爀攀愀 漀昀 娀椀渀挀欀最愀猀猀攀 ⼀ 䴀☀愀甀洀氀㬀爀稀猀琀爀愀猀猀攀 昀漀爀 琀栀攀 琀椀洀攀 戀攀椀渀最Ⰰ 眀椀琀栀 栀甀最攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀最氀漀猀戀攀⸀挀漀洀⼀渀戀⼀攀渀⼀猀渀攀氀氀攀∀㸀爀攀攀氀猀㰀⼀愀㸀 漀昀 洀愀渀礀 琀漀渀猀 漀昀 挀愀戀氀攀 戀攀椀渀最 瀀愀爀欀攀搀 椀渀 琀栀攀 爀漀愀搀猀椀搀攀 ⴀ 琀栀攀 爀攀攀氀猀 挀愀渀 戀攀 猀攀攀渀 愀猀 昀椀氀氀攀搀 眀椀琀栀 琀漀渀猀 漀昀 ✀瘀攀椀ⴀ氀攀搀渀椀渀最✀⤀ ⴀ 愀渀搀 眀栀攀渀 䤀 爀攀琀甀爀渀 琀漀 䤀琀愀氀礀 眀椀琀栀 琀栀攀猀攀 最漀漀搀 爀攀渀愀椀猀猀愀渀挀攀 渀攀眀猀Ⰰ 䤀 栀漀瀀攀 琀栀愀琀 䤀 愀洀 渀漀琀 爀攀挀漀最渀椀稀攀搀 愀猀 愀 琀攀爀爀漀爀椀猀琀 猀渀愀欀攀 ⴀ 搀甀攀 琀漀 愀 昀攀攀氀椀渀最 琀栀愀琀 挀漀甀氀搀 愀爀椀猀攀 ✀椀渀 琀栀攀 栀攀愀爀琀✀ 戀礀 愀 猀眀愀瀀 洀攀挀栀愀渀椀猀洀⸀ 一漀 猀漀漀渀攀爀 栀愀搀 䤀 猀琀愀爀琀攀搀 琀栀攀 眀漀爀欀 愀渀搀 挀愀洀攀 琀漀 琀栀攀 ✀嘀愀猀 䜀攀爀攀戀攀渀✀ 椀猀猀甀攀 眀椀琀栀 琀栀攀 猀漀昀愀 猀琀漀爀礀 昀爀漀洀 ㄀㤀㠀㐀Ⰰ 䤀 最漀琀 㰀愀 栀爀攀昀㴀∀漀琀瀀氀攀琀琀攀爀⸀樀瀀最∀㸀琀栀椀猀 氀攀琀琀攀爀㰀⼀愀㸀 昀爀漀洀 琀栀攀 栀甀渀最愀爀椀愀渀 戀愀渀欀 眀栀椀挀栀 䤀 甀猀攀 昀漀爀 瀀愀礀椀渀最 爀攀最甀氀愀爀 戀椀氀氀猀 昀漀爀 琀栀攀 栀漀甀猀攀⸀ ⠀䠀甀渀最⸀✀猀稀✀ 椀猀 瀀爀漀渀漀甀渀挀攀搀 ✀猀✀⤀⸀ 吀栀攀 氀攀琀琀攀爀 猀攀攀洀猀 琀漀 椀渀搀椀挀愀琀攀 琀栀愀琀 琀栀攀 猀漀昀愀 猀琀漀爀礀 ⴀ 椀昀 琀栀愀琀 瀀爀漀洀瀀琀攀搀 琀栀攀 氀攀琀琀攀爀 ⴀ 攀瘀攀渀 挀漀甀氀搀 戀攀 甀猀攀搀 愀猀 瀀爀攀琀攀砀琀 昀漀爀 瀀甀氀氀椀渀最 瀀攀漀瀀氀攀 漀甀琀 琀漀 琀栀攀 眀愀椀琀椀渀最 ✀瘀愀渀✀ 愀琀 　㤀㨀㄀㔀 椀渀 琀栀攀 洀漀爀渀椀渀最 ⴀ 愀渀搀 昀漀爀 搀甀洀瀀椀渀最 琀栀攀 戀氀愀洀攀 漀渀 洀攀 ⴀ 猀愀礀Ⰰ 戀礀 椀渀琀攀爀氀愀挀攀搀 昀椀氀氀ⴀ椀渀ⴀ昀漀爀洀 昀漀爀洀愀氀椀琀椀攀猀㼀 䴀礀 渀漀爀眀攀最椀愀渀 戀愀渀欀 甀猀攀搀 琀漀 栀愀瘀攀 㤀㄀㔀 愀猀 琀攀氀攀瀀栀漀渀攀 瀀爀攀昀椀砀 昀漀爀 琀栀攀 ✀戀愀渀欀漀瀀栀漀渀攀✀ 戀攀昀漀爀攀 椀琀 眀愀猀 挀栀愀渀最攀搀 琀漀 ㈀㌀㈀ ⴀ 愀猀 昀漀爀 洀礀 礀漀甀渀最攀爀 猀椀猀琀攀爀✀猀 戀椀爀琀栀搀愀礀 ㈀㌀ 昀攀戀爀甀愀爀礀⸀ 䤀 愀洀 渀漀琀 椀渀瘀漀氀瘀攀搀 椀渀 琀栀攀 ✀最愀洀攀猀✀ 愀渀搀 椀昀 琀栀漀猀攀 ✀最愀洀攀猀✀ 漀爀最愀渀椀稀攀搀 愀渀 椀渀琀爀椀最甀攀 昀漀爀 洀愀欀椀渀最 洀攀 氀攀愀瘀椀渀最 琀栀愀琀 ✀䨀✀ⴀ洀愀爀欀 漀渀 琀栀攀 挀漀愀琀椀渀最 漀昀 琀栀攀 猀漀昀愀 搀甀攀 琀漀 渀漀猀攀ⴀ瀀甀氀氀椀渀最 漀昀 洀礀 昀爀椀攀渀搀氀椀渀攀猀猀Ⰰ 䤀 琀栀椀渀欀 椀琀 椀猀 栀椀最栀 琀椀洀攀 琀栀愀琀 琀栀攀 漀爀最愀渀椀稀攀爀猀 挀漀洀攀 漀甀琀 眀椀琀栀 琀栀攀 琀爀甀琀栀 ⴀ 椀渀 眀栀椀挀栀 挀愀猀攀 琀栀攀 爀攀猀瀀漀渀猀椀戀椀氀椀琀礀 愀渀搀 ✀戀氀愀洀攀猀✀ 琀栀攀爀攀琀漀 眀漀甀氀搀 渀漀琀 昀愀氀氀 漀渀 洀攀⸀ 䈀甀琀 琀栀攀 爀攀猀瀀漀渀猀椀戀椀氀椀琀礀 昀漀爀 洀礀 愀甀琀栀漀爀猀栀椀瀀 椀猀 洀椀渀攀⸀ 圀栀攀琀栀攀爀 爀攀氀愀琀攀搀 漀爀 渀漀琀Ⰰ 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㐀　㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 戀漀漀欀 㘀 㴀  ✀伀爀瀀栀愀渀 愀渀搀 琀栀攀 愀渀最攀氀猀✀㰀⼀愀㸀 眀栀椀氀攀 栀甀渀最愀爀椀愀渀 倀䴀 琀栀爀漀甀最栀 洀愀渀礀 礀攀愀爀猀 栀愀猀 戀攀攀渀 ✀嘀椀欀琀漀爀 伀爀戀☀愀愀挀甀琀攀㬀渀✀Ⰰ 挀栀椀攀昀 漀昀 栀椀猀 瀀愀爀琀礀 㰀愀 栀爀攀昀㴀∀昀爀愀渀欀攀渀猀琀攀椀渀猀⸀栀琀洀∀㸀䘀椀搀☀攀愀挀甀琀攀㬀猀稀㰀⼀愀㸀⸀ 䤀 栀愀瘀攀 渀漀 爀攀愀猀漀渀 琀漀 戀攀氀椀攀瘀攀 琀栀愀琀 猀漀洀攀 ✀䨀✀ 眀愀猀 瀀爀攀猀猀攀搀 椀渀琀漀 洀礀 戀攀栀椀渀搀 椀渀 ✀嘀椀愀 䘀椀搀攀渀攀✀ ⴀ 戀甀琀 琀栀攀爀攀 挀漀甀氀搀 戀攀 挀攀爀琀愀椀渀 爀攀搀甀渀搀愀渀挀椀攀猀 椀渀 琀栀攀 洀礀琀栀漀猀 猀琀爀甀挀琀甀爀攀 琀栀愀琀 瀀漀椀渀琀猀 琀漀 琀栀椀猀 ㄀㤀㠀㐀 愀渀搀 ㄀㤀㘀㌀⸀ 䄀昀琀攀爀 琀栀攀 戀甀爀最氀愀爀礀 漀昀 琀栀攀 栀漀甀猀攀 椀渀 ㈀　㄀㤀Ⰰ 眀栀椀挀栀 椀渀挀氀甀搀攀搀 琀栀攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䠀愀戀氀攀─䌀㌀─䄀㄀渀礀开搀椀猀愀猀琀攀爀∀㸀䠀愀戀氀攀☀愀愀挀甀琀攀㬀渀礀 搀椀猀愀猀琀攀爀㰀⼀愀㸀 ⠀✀栀愀戀✀ⴀ✀氀攀☀愀愀挀甀琀攀㬀渀礀✀ 洀攀愀渀猀 ✀猀欀甀洀✀ⴀ✀最椀爀氀✀⤀ 猀漀洀攀 栀漀甀爀猀 愀昀琀攀爀 䤀 栀愀搀 搀椀猀挀漀瘀攀爀攀搀 琀栀攀 戀甀爀最氀愀爀礀 愀渀搀 爀攀瀀漀爀琀攀搀 椀琀 琀漀 琀栀攀 瀀漀氀椀挀攀 眀栀漀 椀渀瘀攀猀琀椀最愀琀攀搀 椀琀 戀甀琀 昀漀甀渀搀 渀漀琀 琀栀攀 戀甀爀最氀愀爀Ⰰ 眀栀椀氀攀 琀栀攀 椀渀猀甀爀愀渀挀攀 挀漀洀瀀愀渀礀 䜀攀渀攀爀愀氀椀 瀀爀漀戀愀戀氀礀 搀椀搀 渀漀琀 瀀愀礀 琀栀攀 爀攀瀀愀爀愀琀椀漀渀 愀氀琀栀漀甀最栀 椀琀 椀猀 搀椀昀昀椀挀甀氀琀 昀漀爀 洀攀 琀漀 昀椀渀搀 漀甀琀 漀昀 椀琀 猀椀渀挀攀 琀栀攀 戀愀渀欀 渀攀瘀攀爀 猀攀渀搀猀 洀攀 琀栀攀 椀渀猀ⴀ愀渀搀ⴀ漀甀琀猀 漀昀 洀礀 愀挀挀漀甀渀琀 戀甀琀 漀渀氀礀 漀渀挀攀 愀 礀攀愀爀 漀爀 猀漀 琀栀攀 戀愀氀愀渀挀攀 猀甀洀 瀀氀甀猀 洀愀渀礀 瀀愀瀀攀爀猀 眀椀琀栀 挀愀氀氀猀 昀漀爀 爀攀最椀猀琀攀爀椀渀最 昀漀爀洀愀氀椀琀椀攀猀 漀渀 ✀琀愀砀 爀攀猀椀搀攀渀挀攀✀ 攀琀挀Ⰰ 琀栀攀 挀漀渀挀氀甀猀椀漀渀 琀漀 琀栀椀猀 猀攀攀洀猀 琀漀 戀攀 琀栀愀琀 琀栀攀礀 戀攀氀椀攀瘀攀 琀栀愀琀 䤀 栀愀搀 戀甀爀最氀愀爀攀搀 琀栀攀 栀漀甀猀攀 洀礀猀攀氀昀Ⰰ 眀栀椀挀栀 漀昀 挀漀甀爀猀攀 䤀 栀愀搀 渀漀琀⸀ 䄀渀搀 䤀 愀洀 渀漀琀 愀渀 愀最攀渀琀⸀ 䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀椀猀 戀甀爀最氀愀爀礀 猀琀漀爀礀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 愀 瀀愀爀琀 漀昀 琀栀攀 漀甀琀戀爀攀愀欀 漀昀 琀栀攀 䌀伀嘀䤀䐀ⴀ㄀㤀 瀀愀渀搀攀洀椀挀⸀ 伀昀 挀漀甀爀猀攀Ⰰ 椀昀 瀀爀攀猀猀椀渀最 愀 ✀䨀✀ 椀渀琀漀 愀 ✀昀甀爀✀ 洀攀愀渀猀 琀栀愀琀 漀渀攀 椀猀 琀栀攀 愀甀琀栀漀爀 漀昀 猀漀洀攀 琀攀砀琀Ⰰ 琀栀愀琀 椀猀 洀愀昀椀愀 氀漀最椀挀 漀渀氀礀 愀渀搀 猀栀漀甀氀搀 渀漀琀 戀攀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 瀀甀戀氀椀挀 愀搀洀椀渀椀猀琀爀愀琀椀漀渀⸀  䈀甀琀 栀漀眀 挀愀渀 䤀 猀栀漀眀 琀栀愀琀 琀栀攀 戀氀愀洀攀猀 昀漀爀 琀栀攀 最愀洀攀猀 愀爀攀 渀漀琀 洀椀渀攀 ⴀ 眀栀椀氀攀 琀栀攀 爀攀猀瀀漀渀猀椀戀椀氀椀琀礀 昀漀爀 洀礀 眀漀爀欀 椀猀 洀椀渀攀㼀 䤀 栀愀瘀攀 琀漀 瀀甀戀氀椀猀栀 琀栀椀猀 瘀攀爀礀 氀攀渀最琀栀礀 愀渀愀氀礀猀椀猀 昀漀爀 猀栀漀眀椀渀最 椀琀 ⴀ 眀栀椀挀栀 椀猀 琀漀 瀀甀氀氀 洀礀 眀漀爀欀 漀甀琀 瀀攀爀栀愀瀀猀 愀 氀椀琀琀氀攀 攀愀爀氀礀⸀ 吀栀攀爀攀 椀猀 愀氀猀漀 愀 洀漀爀渀椀渀最 爀攀愀搀椀渀最 漀昀 琀栀攀 眀愀琀攀爀 洀攀琀爀攀 挀漀洀椀渀最 甀瀀 ⴀ 戀攀昀漀爀攀 ㄀　㨀㄀㔀 椀渀 琀栀攀 洀漀爀渀椀渀最⸀ 䤀琀 眀愀猀 愀渀渀漀甀渀挀攀搀 漀渀 愀 ✀㰀愀 栀爀攀昀㴀∀渀攀眀礀漀爀欀攀爀搀愀琀愀⸀栀琀洀∀㸀欀渀☀漀猀氀愀猀栀㬀爀瘀愀㰀⼀愀㸀✀ 瀀愀瀀攀爀 栀甀渀最 漀渀 琀栀攀 最氀愀猀猀 搀漀漀爀⸀ 唀氀琀椀洀愀琀攀氀礀Ⰰ 椀昀 礀漀甀 椀渀搀甀氀最攀 椀渀 琀栀攀 ✀最愀洀攀猀✀ 礀漀甀 搀漀 渀漀琀 爀椀猀欀 戀攀椀渀最 琀愀欀攀渀 昀漀爀 ✀猀攀氀戀猀琀ⴀ戀氀愀洀椀攀爀攀渀✀ ⴀ 椀琀 椀猀 渀漀琀 椀洀瀀漀猀猀椀戀氀攀 琀栀愀琀 琀栀攀 眀栀漀氀攀 最愀洀攀ⴀ挀椀爀挀甀猀 椀猀 昀漀爀 欀攀攀瀀椀渀最 琀栀愀琀 ✀渀漀猀攀ⴀ洀漀渀欀攀礀✀ 昀愀挀琀漀爀 昀爀漀洀 琀栀攀 㰀愀 栀爀攀昀㴀∀漀猀琀愀爀爀椀挀栀椀⸀栀琀洀∀㸀伀猀琀愀爀爀椀挀栀椀 搀漀挀甀洀攀渀琀㰀⼀愀㸀 愀渀搀 椀琀猀 ✀稀椀搀愀氀眀攀椀搀甀渀✀ 洀礀猀琀攀爀礀 椀渀 猀栀愀瀀攀⸀ 䤀 栀漀瀀攀 琀栀愀琀 洀礀 琀眀漀 愀爀琀椀挀氀攀猀 ✀㰀愀 栀爀攀昀㴀∀礀椀樀椀渀最稀椀搀愀氀眀攀椀搀甀渀⸀栀琀洀∀㸀圀栀愀琀 椀猀 琀栀攀 ✀稀椀搀愀氀眀攀椀搀甀渀✀㼀㰀⼀愀㸀✀ 愀渀搀 琀栀攀 洀漀爀攀 攀砀琀攀渀猀椀瘀攀 猀琀甀搀礀 ✀㰀愀 栀爀攀昀㴀∀挀愀爀愀瘀愀最最椀漀礀椀樀椀渀最⸀栀琀洀∀㸀䌀愀爀愀瘀愀最最椀漀 愀渀搀 夀椀樀椀渀最㰀⼀愀㸀✀ 眀椀氀氀 挀漀渀琀爀椀戀甀琀攀 琀漀 戀爀椀渀最 琀栀愀琀 愀瀀瀀愀爀攀渀琀 挀漀渀猀琀爀甀挀琀椀漀渀 ✀稀椀搀愀氀眀攀椀搀甀渀✀ 漀甀琀 漀昀 琀栀攀 洀礀猀琀攀爀礀 ✀最愀洀攀猀✀⸀       㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀䘀椀渀愀氀氀礀Ⰰ 琀栀攀爀攀 栀愀猀 戀攀攀渀 愀渀 漀挀挀愀猀椀漀渀愀氀 渀攀攀搀 昀漀爀 猀栀漀眀椀渀最 琀栀愀琀 洀礀 瀀漀攀琀椀挀 眀漀爀欀 栀愀猀 瘀愀氀甀攀 愀渀搀 挀愀渀 戀攀 挀漀渀猀椀搀攀爀攀搀 椀洀瀀漀爀琀愀渀琀 眀漀爀欀 眀栀椀挀栀 琀栀攀 眀漀爀氀搀 渀攀攀搀猀 昀漀爀 猀攀渀猀椀戀氀攀 瀀爀漀最爀攀猀猀⸀ 䄀氀琀栀漀甀最栀 愀 瀀漀攀琀 挀愀渀渀漀琀 瀀爀攀猀攀渀琀 愀渀 攀洀瀀氀漀礀洀攀渀琀 挀漀渀琀爀愀挀琀 昀漀爀 瀀爀漀瘀椀渀最 琀栀攀 渀攀攀搀 昀漀爀 猀琀愀礀椀渀最 椀渀 愀渀漀琀栀攀爀 挀漀甀渀琀爀礀Ⰰ 琀栀攀 瀀爀攀猀攀渀琀 猀琀甀搀礀 猀栀漀甀氀搀 猀甀昀昀椀挀攀 昀漀爀 猀栀漀眀椀渀最 琀栀愀琀 䤀 栀愀瘀攀 愀 氀攀最椀琀椀洀愀琀攀 愀渀搀 樀甀猀琀椀昀椀攀搀 渀攀攀搀 昀漀爀 猀琀愀礀椀渀最 愀戀爀漀愀搀 眀栀椀氀攀 攀氀愀戀漀爀愀琀椀渀最 洀礀 瀀漀攀琀椀挀 眀漀爀欀㨀 吀栀攀爀攀 椀猀 漀渀攀 愀渀搀 漀渀氀礀 漀渀攀 戀愀猀椀猀 昀漀爀 琀栀攀 搀椀猀挀漀瘀攀爀椀攀猀 瀀爀攀猀攀渀琀攀搀 椀渀 琀栀椀猀 猀琀甀搀礀 愀渀搀 琀栀愀琀 椀猀 洀礀 瀀漀攀琀椀挀 眀漀爀欀 吀䔀儀 ⠀㄀㤀㤀㜀ⴀ㈀　　㠀⤀ 愀渀搀 䐀䐀匀 ⠀㈀　　㤀ⴀ㈀　㄀㔀⤀ 愀渀搀 琀栀攀漀爀攀琀椀挀 眀漀爀欀 琀栀攀爀攀愀昀琀攀爀 ⴀ 爀攀氀愀琀椀瘀攀 琀漀 䌀愀爀愀瘀愀最最椀漀Ⰰ 䠀漀爀愀挀攀Ⰰ 挀栀椀渀攀猀攀 愀渀搀 漀琀栀攀爀 琀栀椀渀最猀⸀ 䤀琀 椀猀 漀渀 戀愀猀椀猀 漀昀 琀栀椀猀 琀栀愀琀 琀栀攀 琀栀攀漀爀攀琀椀挀 瘀愀挀甀甀洀 栀漀氀攀 渀漀眀 挀愀渀 戀攀 昀椀氀氀攀搀 椀渀 昀漀爀 琀栀椀猀 猀攀洀椀漀猀椀猀 ⴀ 愀渀搀 琀栀愀琀 挀愀渀 瀀爀漀戀愀戀氀礀 攀瘀攀渀 氀攀愀搀 琀漀 琀栀攀 搀椀猀猀漀氀甀琀椀漀渀 漀昀 愀 挀甀氀琀甀爀愀氀 渀攀攀搀 昀漀爀 渀愀稀椀猀洀 愀渀搀 漀琀栀攀爀 昀漀爀洀猀 漀昀 琀攀爀爀漀爀 琀栀愀琀 栀愀猀 瀀攀爀昀漀爀洀攀搀 愀渀搀 昀漀甀渀搀 椀琀猀 焀甀愀猀椀 氀攀最椀琀椀洀愀挀礀 椀渀 琀栀椀猀 瘀愀挀甀甀洀 栀漀氀攀⸀      㰀⼀瀀㸀㰀瀀  愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ 
਀㰀戀爀㸀㰀戀爀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 
਀ 
           <br>਀㰀昀漀渀琀 猀椀稀攀㴀∀㌀∀㸀 
<i>Sources: </i>      </p><p align="justify">਀ 
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Sch&uuml;tze, S.: Caravaggio - L'opera completa'. Diretto e prodotto da Benedikt Taschen. Taschen GMBH, K&ouml;ln 2015. </p><p align="justify"> ਀ 
Talmud Erubin, the classic Vilna edition, El Hamekoroth, Jerusalem 1947/48.    </p><p align="justify">਀ 
Talmud Bavli, vol.7 folio 14b<sup>2</sup>. The Schottenstein Da Yomi Edition, the Artscroll series. Mesorah Publications 2005.    </p><p align="justify">਀ 
Wallis Budge, E.A.: Egyptian hieroglyphic dictionary. A hieroglyphic vocabulary to the theban recension of the book of the dead. Kegan, Trench, Trübner, London 1911. Printed by Adolf Holzhausen, 19-21 Kandlgasse, Vienna. Issued by Book Jungle, PO Box 2226, Champaign, IL 61825. Reprinted by Lightning Source UK Ltd, Milton Keynes UK on 02 December 2010.        </p><p align="justify">਀ 
<a href="https://www.worldometers.info/coronavirus/">https://www.worldometers.info/coronavirus/</a>       </p><p align="justify">਀ 
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<i>On the web 11 june 2023</i><br>਀ 
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