Tentative proof of the authenticity of the stone
John Bjarne Grover
Evelyn Underhill (see the Evlyn shoe - it is #12) in her book 'Mysticism' talks of the philosopher's stone, the lapis philosophorum, on page 144: "For the true Hermetic Philosopher's Stone is not something which can be found but something which must be made". She quotes Boehme ("The Threefold Life of Man") on the stone: "For it hath no more but three numbers. First tell from one till you come to the Cross, which is ten (X) ... and there lieth the Stone without any great painstaking, for it is pure and not defiled with any earthly nature". I start from poem #1 in 'Linien...' (64 poems which I completed just before I found the stone) and read till I come to the Cross - that is in poem #7 - here the two first stanzas:
Der Himmel ist uns heute nah
Im christlichen Leben schneit es
von Zufälligkeiten dicht
wie traben die Pferde in Straße
der schimmernden Regen Sicht.
Es hängt ein Christ auf dem Kreuze
eines russischen Kunst-Ikons
wie hängt es im tiefen Herzen
der Ewigkeiten Äons.
For the first computation I took it that the poem, like the other 63 poems in the book, has 21 lines, title included. The theory is that the stone is exactly 'e' = 2,718... cm. Since Boehme says that the Cross is ten (X), I multiply 21 with one tenth of the constant and get line 5,71 - which is exactly the word 'dem Kreuze'. So that is right - one tenth - and I divide 64 poems with 10 and come to 21* 0,4 = line 8,4 = 'der Ewig' on line 9. Finally I divide 21 with the constant itself and get line 7,7 - which is 'Herzen' - and hence 'Herzen der Ewig' is what Boehme talks of at the Cross which is ten (X): "for it is pure and not defiled with any earthly nature".
So it is in accordance with Boehme's description - which is the reason why the stone is just 2,718 cm long.
Ah, but this is when I discover the error - there are 17 lines per poem in 'Linien', not 21 - so I should have computed with 17 insted of 21. Computing similarly on the 17 lines rather than 21 of 'Linien' poem 7 takes it to "Regen Sicht. / Es hängt ein Christ auf dem Kreuze / eines russischen Kunst" - where Boehme's Cross is in the middle.
It is 'Stillheten', which led to the second white stone, which has 21 lines per poem in its 64 poems. The second white stone is a little bigger - not 2,718 cm but rather closer to 3 cm
So the natural exponential constant 'e' - by Boehme - is defined where the stone of the yellow metre turns into or contains the white metre stone - which could be when light is emitted.
The corresponding parts of Stillheten is poem 7 = 'Jesus plays the flute' which has second and third stanzas
Så gripes du av en lengsel
mot noe du vet er sant
i menneskehetens trengsel
når menneske menneske fant.
Da gir du henne en fordel
og hører en stemme som sa
at hvis du ser kattens formel
da er den vel foran, da.
Then you are gripped by a yearning
towards something you know is true
in the humanity's thronging
when human human found.
Then you give her an advantage
and hear a voice that said
that if you see the cat's formula
then it is in the front, probably.
which tells in the same lines (5-9) of that situation in Venice (after the poem was written but before the book was finished) when I in a busy and crowded morning bar (coffee place) was speaking with a japanese woman when both of us heard a clear voice spoken over the heads of the people, telling "è un ragazzo": This could mean 'e = ragazzo'. How do you transform RAGAZZO into 2,7182818284...? The apparition in the auditory modality had a counterpart in the visual some time later when I stood in a queue in a similar place in Budapest, with only one in front of me in the queue of some 5-6 people, when the woman who was selling bread and coffee became aware of a man suddenly appearing at the end of the queue, in the doorway, with a trolley on which there lay two transparent bottles of orange juice in parallel on the flat trolley body on four wheels - and she greeted him as if the last should be the first, the end the beginning - that is as if the man standing behind the trolley should be the boy pulling the wagon after him in a rope. Is it as simple as that - that the G (in RAGAZZO) = 6 = sex but the boy is a minor and hence sex = 1? Could be. The cat's formula in the poem 7 could be this GAZZO - and with a plural it turns into GAZZI. It is probably possible to interpret the voice in Venice into the formula 'e = 2,7182818284'. Expectedly, each rewrite principle will have a principled function.
The question of 1, 2 and 10 (X) can be recognized on the white stone:
The diagonal marked in black up from left to right is 2 cm out of the total length 2,71828 cm, and the diagonal from left down to right (crossing down from the eye to the VOICE feature notch - cp. the visual and auditory apparitions of Venice-Budapest) intersects it at 1 cm exactly, at the mid. (On the white stone there is also a black spot one tenth down the diagonal from the end tip up right - just above the eyebrow of the man to the right). The two diagonals could be called an X. It is because of these relations of exactitude that one can take it as evidenced that the stone derives from the text - and could be also that it is a true 'lapis philosophorum' according to Boehme.
These lines of poem 7 had an echo - in the corresponding lines 5-6 of poem 8 "Die Luft ist in Kleidern gesammelt / als trocknet der Regen auf" - in an event some months ago - at the Ring, having come with tram 49, I changed to another tram along the Ring - I stepped in and on the free seat (there were many of these) there lay a piece of black cloth of strange type - it was very light and could have been a shawl of some kind but had a strange form. It was humid even if the day was cloud-free. I could not explain its presence and gave it to the driver of the tram. A week or two later exactly the same happened again - I think the second cloth-piece was a little heavier. This means that the two white stones had opposite-valued counterparts in these two black and humid and quite airy cloth-pieces.
See also my 'Caravaggio' study - which shows a regular cyclicity including the phenomenon of 'just above the head' of some major character in each of his paintings. The cyclicity is listed at the end of this file - and the two cycles are in steps of 2 and 5 respectively - as tells the flower which I found under-heel on my shoe - apparently ex nihilo. (The 'sunflowers' is also that essential turning point of the new Nono harmonics at 105 seconds into part 2 of his quartet relative to my 'Stillheten'). In that Caravaggio listing at the end of the file, see #7. "Der Himmel ist uns heute nah" correlating with Caravaggio's "Lute player" (the auditory apparition right above the heads in Venice) and "Alof di Wignacourt with pagen" (the visual apparition in Budapest). Just above the head of the female lute player there is a diagonal line.
See also Caravaggio's first Emmaus study (1602) - for its similarity with the white stone symbolism. A closer study of the tip of the eagle's beak, the leftmost part of the stone, seems to suggest a person climbing up onto something from a deep-seated position:
One easily recognizes Caravaggio's Christ in the stone's woman and Caravaggio's standing man in the eye of the stone's lamb/eagle.
Mirror poem to #7 is #58 - and my Caravaggio study sees his two Emmaus artworks (1602, 1606) as related:
2. Die Kleider über den Schatten
7. Der Himmel ist uns heute nah
58. Es fährt vorbei, die Rosen
63. Dass die Erde trug
Madonna del Rosario
Decollazione del Battista
Crucifixion of St.Andreas
Alof di Wignacourt w/ pagen
How was that in the mirror poem to the black clothes-pieces of #8? Mirror is in #57 - "Die Fischamend sind / in Südwester gegelbt, / am Rande geschwind / sie drängen sich selbst". Were these the two avatars of 1 august 2017? And the two yellow bottles in Budapest?
See also poem 58 in 'Labyrinth 101' in 'My mention e Anna'.
In Caravaggio's 'Madonna del Rosario', there are two cycles of 'white stones' handed out which could resemble the circles of glory over the heads of Madonna and the Jesus child - and there is a big red cloth over their heads. The theme could be 'the other way round' - as in Emmaus 1606. But this means that the two avatars could be the theme of 'Decollazione del Battista' - with my own 'flesh and blood' (behind bars in the artwork?) running out? Well, tells Caravaggio, at least the 'blood' could have run out. But, as tells the cyclic list, next to Emmaus 1606 with its 'other way round' there is also 'Resurrection of Lazarus' to poem 3.
It is a great problem for poetic-semiotic research such as my work of this type if I have been followed by secret surveillance who donate the data generously to political candidates for use in election campaigns and similar political activities - and who then could come to abuse such data without crediting the source. (It may be that one has no copyright to the statistics if surveillance data from a zebra stripe which one has walked over is used for scientific studies of the traffic, but if one finds a possibly ex nihilo black cloth that echos a poem written by oneself, then it is not so certain that the surveillance data can be freely used by others). This clearly is a very big problem for work such as my kind if the white stone is used as a common matrix for politics all over the world and that (paradoxically!) leads to control mechanisms attempting to keep the stone secret and away from the people's knowledge - for the sake of political control with the masses. Then the reward for the mystic-philosophic-poetic work could come to be suppression and confinement rather than credits. Clearly the world cannot accept this. The white stone must be a level of knowledge available to anybody. The constant 'e' is 'the Base' = 'Al Qaida' for the natural logarithms. To reserve the white stone for terror-driven politics is not permitted.
Is the white stone symbolism taught in university courses on art history such as Caravaggio? If not, that certainly looks like a very black hole in the knowledge.
See also this file for some further comments on Jacob Böhme's work.
This is the reason why one has to pose the question whether the two 'avatars' rather could have been political agents - and it could even turn out to be surprisingly difficult to find out of. Would political abuse of surveillance data inform me about their research? So far not.
I have to say this very explicitly and clearly: My work is written for being published and the law tells that if you use any of the material, then me as the source must be properly credited. This should be self-evident and should not need specific mention. If you are a publisher who contacts the 'services' - asking what is this really - and the info provider tells you that the material is not to be published, or that it is not permitted to mention my name, then it is just to put the receiver on and contact the police. It is mafia bandits only who could nourish such ideas. The law is very clear: It is forbidden to abuse intellectual property like mine or to suppress the source when using it, and all talk about me having restricted authority or the like is nonsense produced only in the hope of being able to run off with the values, to drain my resources of what I need to continue the work. Briefly: It seems that many people are aquainted with my ideas - but I have only given out a few copies to some libraries - have people been reading pirate copies? Then it is urgent to make legal copies available - and that is what publishers are for.
© John Bjarne Grover
On the web 16 october 2017