More on 'Rosens triangel'

More on 'Rosens triangel'

John Bjarne Grover

My 'Rosens triangel' (written in Venice in july 2018) is a counterpoint to the harmony of 'Stillhetens åndedrag' (2016) - together they make for a piece of music which you can hear if you are in the right Stimmung.

Could be the Stimmung is when the triangle is a trinity. For a triangle the grammatical number 2 counts as plural: Then the fundamental theorem tells that two and only two items can be the same across different realities. For a trinity I guess that the fundamental theorem rewrites to three and only three (which is philosophically far more difficult). Through three points one can always draw a circle - except when they are on a line.

'Rosens triangel' consists of 64 poems of 3 stanzas each, the 64 poems distributing over four parts:

1.
2.
3.
4. Dominikaner (Dominican)
Fransiskaner (Franciscan).
Karmelitt (Carmelite)
Benediktiner (Benedictine) 1-16
17-32
33-48
49-64

The benedictines got their 'Regula benedicti' in AD 529, while the other three orders are from the high middle ages, some 7 centuries later - founded between 1210 and 1230 - and therefore the benedictines are a natural historic basis for the other three.

I soon discovered that the fourth part could be distributed over the three first, and have now probably found the right solution when I read the wisdom of Dom Andreas Rask OSB on the Benedictines in Broomé et al (1963) which tells of its character (page 45 - my translation):

"One should consequently, in a certain simplified sense, be able to trace all benedictine monansteries to three main forms: The monastery of cult, the monastery of studies and the monastery of pastorality. This subdivision is very closely affiliated with the three contants of the benedictine life and with ways wherein these develop. From a certain point of view the benedictine life is built on and conditioned by the prayer, opus Dei, of the spiritual reading, lectio divina, and of the work, labor".

This makes much sense for the fourth part of 'Rosens triangel' relative to the three first parts when one sees that part 1 = dominican = studies (lectio divina), part 2 = franciscan = work (labor), and part 3 = carmelite = prayer (opus Dei). This distribution seems to obtain for each of the 16 poems of part 4 - that each poem of three stanzas has one stanza to each such character type. It seems that the three stanzas of poem 49 can be attached at the end to poems 16, 32 and 48 respectively, the next poem 48 to 15, 31 and 47 and so forth down to 64 = 1, 17, 33.

The interesting example - in light of the 'Nono wrapover' at the last stanza of Stillheten #50 - is what happens to the third stanza of poem #50 - a stanza which comes to be attached to poem 47. Here is first #47 in the english word-by-word translation (it is rather word-by-word relative to the norwegian original):

The woman ensouls a beautiful body
she got from the Lord as gift.
She lifts one of her arms up
and scratches herself at the shirtcollar

in the neck that is in my view.
She stands with her back [turned] aside
but turned towards me who is just as tactile
as her body is it in time.

She touches her neck under her hair.
She touches with her finger.
I think she knows it is me she brings
almost to the verge of tears/weeping.

+ the third stanza of 'Rosens triangel' #50:

Only the third column
carries the certain narration/story.
The bricks in the spirit
transcend your count.

What is the third column?

There is an exhibition with Tizian in Vienna for the time being - on the poster announcing it there is his 'Young woman with mirror' (or 'Portrait d'une femme à sa toilette') where she holds her finger up in front of her face, not in the neck, as for lifting her hair aside a little (cp. also the idea of 'lockdown' in the current corona-pandemic times), while there is a big dark 'eye' behind in the position of the poetic observer in my poem (cp. also the notable 'horn' form relative to the mention of the 'drinking horn' observed in this file):

(Source Kennedy 2018 page 21)

The line "almost to the verge of tears/weeping" is in the norwegian original "nesten te å grine" (which is rather oral language) - as the 'converse' of what could be thought as "nesten teologisk" = 'the next / almost theologic'. The theology is the one which tells that christianity is a way of transgressing the paradox that eating food is a transgression of the border to or integrity of the body and therefore it is not really possible to eat without developing hostility towards fellow humans - the 'next' - but christianity is a solution which transgresses this and makes it possible to build a peaceful society wherein it is not necessary to suppress one of the members and later elevate him to the status of Son of God for cult purposes. (One sometimes sees the idea of Christ as a 'ransom'). If the christian cross is seen as the result of a density ('suppression') of the graphic slices of the visual sensory screen - such as in this example - to make them compressed into one vertical and one horizontal woodbar of the new-testamental cross over which the acoustic old-testamental reality is attached in a 'sob-i-bor' functionality, then one can consult DDS part 2 for an explanation. 'Rosens triangel' #47 has its 'counterpoint' (when reading 'Rosens triangel' on reverse relative to 'Stillhetens åndedrag') in 'Stillhetens åndedrag' #18, which suggests that one can look up the parallel DDS II:17 (Vorwort + 17 = 18). What is 'the third column'? If the Tizian artwork is subdivided into 16 vertical columns or 'slices' (for the horizontal dimension), the third runs just across the mouth of the male holding the mirror - he is probably the one telling the 'certain narration'. In DDS II:17 the two first stanzas are these:

Das ist es auch ein Ewigkeit Gebilde
als gehe ich die Gasse Halb entlang
wo junge Frauen mit Erwachen-Hilfe
sich drehen um inmitten ihres Gangs.

Im Fenster sind es drei und einmal eins
die ihre Haupt in Händen wieder ruht.
Die sind der Inbegriff des Menschen Seins,
in Hand ist Häupter inbegriffner Hut.

wherein the third and fourth lines explain why her finger lands in her neck in my poem and not in front of her face. This poem tells even the structure of 'Rosens triangel' when the fourth part (here line) turns around and is distributed over the three first.

Tizian is therefore probably about just this phenomenon that the vertical and horizontal axes interchange when they have reached a sufficient degree of 'density' or 'concentration' in the cultural development.

One guesses that Tizian can be interpreted for diagonal slices in DDS II:18 and vertical in DDS II:19. The diagonal of #18 will contain the bottle of perfume - or is it ink - in the lower righthand side in the two last lines:

Das einzige, das in der Regel ist,
ist in den Dialekten, die ein Segel ist.

For the 'Regel', see 'Regula benedicti'.

For the relevance of such horizontal-diagonal-vertical reading of DDS II as for Caravaggio, see also e.g. Tizian's 'Bacchanal (Die Andrier)' for DDS II:2-3-4.

The bricks in the spirit
transcend your count.

It has been reported that some bricks in Venice seem to try and turn around in their walls - so much that this has come to be a very serious problem in the town. It seems that the bricks struggle with turning around in the walls so that they can reach a higher spiritual level. In fact this seems to be the theme of the other 'Nono wrapover' point in 'Rosens triangel': The one discussed above is the third and last stanza in 'Rosens triangel' poem #50 which is moved to the end of #47, but if you take the first stanza in the same #50 and follow the same principle of movement, it lands on #15 which is #50 if counted on reverse (as for the counterpoint meeting the harmony of 'Stillheten'). In fact this poem #15 including the appended first stanza from #50 seems to be about just this struggle of the bricks of Venice walls:

It is in slow-motion filming
that glides along a shady grove / wooded place
when somebody tried to say something
with expectations and read

such as the birds fly on wings
- and search for [seek] an interval -
in this way it is thrown when they bring
the conditions of shadows that

stop/halt the direction of movement/motion.
Why is it stopping?
It remains standing like a guess[work]
without a clear top.

+ #50 first stanza:

The doves, as quick as swallows,
over and under the bridge -
over the dark canals
they fly as certain as the faith.

Then remains only the mid stanza of #50 - which then should be the riddle of 'Rosens triangel':

The human forms - the skeleton,
the hand and all the organs -
live in the evening's palettes
inbetween the gray oceans.

Could be this explains why the violin has a cochlea at the end of the gripboard - as a symbol of the human ear or the human embodiment of the principles of hearing. Here the sound meets the palettes inbetween the gray oceans.

The woman on the gold that materialized a few years ago while I was translating a line of Rigveda from sanskrit could be embodying this relation between trinity and triangle:

The arm she lifts tells of how the two forearm bones - radius and ulna - count as 2 while the upper arm (humerus) counts as 1, for the normal version of the fundamental theorem of linguistics. However, for the folded/bent arm it could mean that the three bones are considered as united into a trinity.

PS1 'Tissemann' is norwegian child language for the penis

PS2 I wrote most of the above on my home computer on 17 november 2021, this article occurred in the newspaper 'Heute' (page 4) on 19 november 2021.

Sources:

Broomé C. and Rootzén, K. (eds): Katolska ordnar och kloster. Petrus de Daciaföreningen Stockholm 1963.
Kennedy, I.G.: Tizian um 1490-1576. Taschen GmbH 2018. www.taschen.com