'Kinderhilfe' (2014) and Friedrich Schiller's 'Sammlung von 1804'

'Kinderhilfe' (2014) and Friedrich Schiller's 'Sammlung von 1804'

John Bjarne Grover

'Der Dornenstrauch' of 2016 consists of 440 poems in four parts:

1. Kinderhilfe (2009-2013), 294 poems
2. Unter Gesellschaft (2013-2014), 64+2 = 66 poems
3. Linien die prägen... (2014), 64 poems
4. Die Schönheit der Welt (2015), 16 poems

Part 1 can be called 'the catalogue of mysteries', part 2 is the transcendent or 'outer' coil in the convergence of these metaphysical mysteries towards the constitution of the ontological historic reality, part 3 is the immanent or 'inner' coil that follows part 2 somewhat, leading up to the formation of the material white stone, and part 4 is to insert the whole thing into the historic reality.

Part 2 and 3 are 64 poems each, part 2 with Vorrede and Nachrede in addition. Both parts were written as more than 64 poems but the poems beyond 64 were divided into pairs of lines that were appended to the 64 first poems - this reduction is what eventually led to the formation of the white stone 'lapis philosophorum' at the end of the work with part 3. The reality of this formation was proven or attested by the writing of 'Stillhetens åndedrag' (2016), written in norwegian language, another work of 64 poems - reduced heavily from 105 poems: This work led to the formation of another white stone - and this stone contained a sensational representation of the semantic contents of poem #5 - a phenomenon which then could be attested also for the first 'lapis philosophorum' of 'Der Dornenstrauch' part 3.

Now there is a natural connection between parts 1 and 2 - which means that the catalogue of mysteries can be seen as systematically and inherently susceptible to such a 'coil'-formation as in part 2. This 'coil' was written between Midori's concert in Berlin on 22 november 2013 (50th anniversary date for the Kennedy assassination) and her concert in Vienna on 15 january 2014 (I could not go to the concert as long as my letters to her were unanswered - otherwise 'support' could have come around in the entrance room). It is likely that the last line I wrote in part 2 - written in the morning thereafter - could have been around the time when her airplane took off from Vienna international airport - and the writing was completely blocked there and could not be continued - untill I found the solution of reducing the series of poems to 64 - appending 2 and 2 lines from the poems 65 and beyond to the 12-liners 1-64 for a resulting series of 64 'sonnets' (shakespearean-looking, sort of). This story tells also of a certain affinity with the Nono alignment of the norwegian work.

The catalogue of mysteries contains 294 poems enumerated from 1 to 187 with much sub-numbers (107, 107a, 107b...). The catalogue seems to tell of the chinese system of 188 radicals, but it tells also of the former system of 214 radicals - when the full work of 440 poems is seen as mirror symmetric around poem #214 in absolute enumeration. There existed also an even older system of 360 chinese radicals - this tells of the mutual relevance of parts 1 (294 poems) and 2 (66 poems).

These could be among the main reasons why I published parts 1 and 2 under the common title 'Kinderhilfe' in 2014.

There is also a very strong affinity to this in the work of Friedrich Schiller - cp. a sort of 'Kinderschilfrohr' or 'Kinderhilfe' in his name. He himself made two conclusive editions of his poetic work - one 'Sammlung von 1804' and another 'Sammlung von 1805'. It is the 'Sammlung von 1804' which has very strong affinities with 'Kinderhilfe' in the sense of part 2. The collection of 1804 contains 67 poems, and it is fully possible to see the first 64 of these as following the 64 poems 1-64 of part 2 in parallel. That leaves the 3 poems at the end as a 'Nachrede'. These three poems are "Die Hochzeit der Thetis / Nach dem Euripides", "Würde der Frauen" and "Abschied vom Leser" - they contain in total 140 lines - to which can be added the three titles plus undertitle of the first, for a total of 144 lines.

Now my Nachrede poem (#66 of part 2 that is) consists of 10 lines - and if you divide the 140 poems with these 10 lines you get the resulting 14 lines of the eventual 64 poems of part 2 - after the 12-liners had got their rhymed pair appended. The 'Vorrede' has 15 lines which can be read in backwards parallel with the last lines of "Abschied vom Leser". This leaves appr 128 lines of the three poems - precisely the number of lines which I appended 2 and (only?) 2 to the 64 poems of part 2. There are very strong affinities between these 128 lines of Schiller and the corresponding 128 lines of mine, reading backwards as follows:

Two last lines of my part 2 poem #1, appended from another poem:

Ich suchte meine Mutter unter Waisen.
Sie dachte an die Jungen und die Greisen.

paralleling the two lines of Schiller's last poem of 1804:

Als bis ihr Klang ein fühlend Herz erfreut,
mit schönern Phantasieen es umgeben

Next example, the two last lines of my part 2 poem #2, appended from another poem:

So sprach ich schon in meinem vorigen Papier
über die jungen Frauen, war es fünf oder nur vier.

paralleling the two next lines (backwards towards the beginning) of Schiller's last poem of 1804:

Im Busen schlägt, ist wärt, daß es sie kröne.
Nicht länger wollen diese Lieder leben

and so forth, continueing untill the second last poem of mine, #63, the two appended lines:

Vergangnes in der Zukunft ist
des neuen Frühjahrs spürbare Frist.

paralleling the lines 3 and 4 of Schiller's "Die Hochzeit der Thetis / Nach dem Euripides":

Den zu der Zither tanzlustigen Tönen,
zur Schalmei und zum libyschen Rohr

where in fact one can spot the Schamei und Rohr of that 'Kinderschilfrohr', and finally the two appended last lines of my #64:

Mehr als ein hundert Jahre ist es schon
und Sohn ist seines Vaters Sohn und Sohn.

paralleling the two first lines of Schiller's "Die Hochzeit der Thetis / Nach dem Euripides":

Wie lieblich erklang
Der Hochzeitgesang

It is fair to say that the parallelism is quite interesting throughout - and there are probably interesting observations to be made around that point where my own appending broke off from the mechanical procedure and leapt to another part of the manuscript - which was around my poems 43-44 which have the following two appended lines:

43:
Man lässt den Zucker in den heißen Tee
und lässt den Zucker im heißen Kaffee.

44:
Und rühren sie auch den Löffel um
dann springt er entzwei. Die Zeit ist krumm.

with the following parallelisms for Schiller:

43:
Der zu Priams Königssitze
Kommen würde an der Spitze

44:
Seiner Myrmidonenscharen,
In des Speeres Wurf erfahren

The conclusion is, even if I have not studied the details of the mid third, that there is a very strong relevance of Schiller's 'Sammlung von 1804' for my parts 1-2 of 'Der Dornenstrauch', the two first parts self-published in 2014 under the title 'Kinderhilfe'. In the continued Dornenstrauch work, part 2 leads with strong metaphysical guidance over onto part 3 and the formation of the 'lapis philosophorum' at the end of that work, around september-october 2014. It is the phenomenon of reduction - which seems to be precisely what causes the formation of the white stone - which is so strongly present in Schiller's work: This can be proven with my book in hand. (I should not have to say it myself - that this work of mine can have a value for german literature).

Schiller has along with Goethe a unique role for the formation of the german cultural consciousness and identity and has a defining role as such.

Clearly it could have been this which was the original reason for the 'political' project which seems to have been started around the 'lapis philosophorum' streetnames in Vienna near Johnstrasse - although the plotters would likely have been ignorant of the phenomenon except perhaps on an intuitive basis. I don't know if these streetnames were used also for the formation of Adolf Hitler's 'apparition' into the historic reality of Germany in the 1920-30's, but there anyhow seems to be such a role for this phenomenon today.

That is a dirty trick for hooking the germans onto Hitler - by way of that 'lapis philosophorum' of Friedrich Schiller. It could be the very essential trick for that Vienna streetname program.

My ideas that my 'Kinderhilfe' part 1 could have been illegally copied by burglars and installed into Obama's 'Obamacare' social insurance legislation of october 2013 probably derive from these phenomena. Clearly, if it really also should turn out to be a fact, it would be very alarming indeed - and then the tentative hijacking of german cultural identity and consciousness could have been driven not the least by such things as the Kosovo and Belgrade bombing by the NATO alliance in 1999 - when Solana (not Soledades!) was chief of NATO. And if, in addition, the socalled Paris Convention of 2015 is conceived as a 'Browns' Convention via that 'brown-grade' (hungarian 'sötét barna') NATO bombing of 1999 which probably can be seen to encode the name of Barack Hussein Obama, then there are all good reasons to think that politics over again.

In particular, do not consider me and my work a part of that western NATO power program. My work must be published with my name on the front page of the books. If the 'services' or politics try and prevent this for abusing my work for their intrigue programs, do not listen to them. They do not have the copyright or any other rights to my work.