The chinese sign WO

The chinese sign WO

John Bjarne Grover

The article sums up the western-dominated world history for the last 2 centuries or so in the form of the emergence of an understanding of the need for an understanding of the new level of arbitrarity contained in the chinese script.

Photo 2

If one reads through the articles on 'The chinese bronze inscription from 800 BC' and 'The chinese film of 1963 and the ethnologic parametre in language', one comes to the conclusion that there is one common clue to both of these - the chinese bronze inscription from 800 BC and the chinese film from 1963 - and that is in my photo #2 from the Danube island. This exhibits also remarkable parallels with the chinese sign WO which is the personal pronoun for 1) I, me, my and 2) we, our - and hence interprets the essentials for the relation between the subject and the community, the subjective and collective consciousness:

The similarity between the script sign for WO and the photo is striking - and I notice that my photo lacks the main cross-stroke in black uniting the two halves of the chinese sign. This difference between photo and sign is the main theme of this article. It is the theme also of Rilke and Shakespeare in their sonnets parallel to my sonnet for this phenomenon. These three sonnets - Rilke, Shakespeare and mine, are found in my vol.3 page 1010 - my poem is the sonnet (= LINEBREAK) version of TEQ book 5 when this book is divided by linebreaks into 48 'sonnets' (that is, poems of 14 lines each) - which in vol.3 chapter 19 are aligned against the 48 sonnets of Rilke's Orpheus Sonnets from part 1:8 to the end of the work = part 2:29, as well as with Shakespeare's 48 first sonnets, starting on #17 (at my sonnet #1, Rilke's part 1:8) going up to #48 and from there with wrapover to #1 up to #16. The poem which interprets photo 2 from the Danube island - along with the chinese sign WO - is my #27 along with Rilke's part 2:8 and Shakespeare's #43. The most striking relevance is found in Rilke's sonnet line 4 which tells "und, wie das Lamm mit dem redenden Blatt" which here is the leaping lamb in the mid of my photo: You see it leaps towards you with the face like a Blatt, its legs with patellas are underneath down towards the bottom of the photo and its chest and front seems to contain a Gestalt-switch to the dentist Dr.Hitcotch. The face of the leaping lamb is the 'redendem Blatt' in line 4 - where Shakespeare (sonnet 43) in line 4 has "And, darkly bright, are bright in dark directed" - the theme of this article. This entire sonnet of Shakespeare is about just this black-and-white phenomenon - the secret of the mystery of the Blatt (see below) in the relation between subjective and collective consciousness. My linebreak version poem 27 in parallel to these starts in line 1 with "We have the sun, its address and name on a box" - the line 4 corresponding to Rilke's and Shakespeare's is "Some days I suppose it is sufficient". This line 4 of mine is telling the three crossing lines in the middle of the sign WO - with the essential uniting line then being 'Some days':

The lefthand 'I suppose' puts a supporting or 'supposing' hand under the chest of the leaping lamb - as told by the subject. The righthand side with 'it is sufficient' is told by the rest of the community - and should not be misunderstood by angst-thinking of the subject - with anxious glance at the patellas etc. One notices also the role of Dr.Hitcotch - a dentist whose passion it is to help and 'suppose' people.

The crossover line of 'some days' - shared by both subject and community - corresponds to the point in photo 2 where there hangs a minor protrusion just in front of the nose of dr.Hitcotch - before the nose where the world of another human begins. If there is a reality in the political focus on 'PTRSIM PIK', it could be recognized in this poetic phenomenon - cp. also Mr. Boldog up left who seems to have found something like the lighthouse of 'Beachy Head' = 'ptrsi mpik'?

The crossover line corresponds also to line 5 in the ancient chinese bronze inscription - and if the 10 lines on the bronze correspond to the 10 poems in chapter 8 of my SNEEFT COEIL, this line is poem 5 ('Hier es blieb durch Jahre') wherein the relevant line will be "es kommt ein anderer Mensch dabei".

It is the crossover line in photo 2 which is special in the sign WO - the SOME DAYS is white while I SUPPOSE and IT IS SUFFICIENT are black. It seems that this special function of SOME DAYS (for the meetingplace of the subjective reality with the reality of the others) constitutes by chinese logic the following photo 3.

Photo 3

'Days some' in chinese looks like photo 3, in particular when the lefthand part is considered a 'bei' or 'pei' + 'ji-ge' - that makes for the 'me' (in humble form) plus the 'some' = plural = we of the sign WO. The three chinese signs are RI + JI + GE = JIGE RI = 'some days':

= 'some days'

There are some crossing bamboos under the RI sign. What is my poetry on this photo 3? It is my poem 28 (linebreak version) which has line 4 "and the entgulfing dialogue".

Chinese for 'dialogue' = 'dui-hua' =

Maybe the dialogue should be entgulfed in the lower righthand part - the 'box'. The word for 'gulf' = 'hai-wan' which contains two diagonals a la photo 3.

Furthermore, the discussion is rooted in the lamb with the talking 'Blatt' of photo 2: This 'Blatt' is in chinese 'shu-ye' - a sign combination which looks like a quite perfect representation of photo 3 which interprets the poetic line #4 to photo 2:

Hence

whereby the 'bamboo' under the lefthand 'subject' is moved to the right of the 'subject' instead of being under. This means that my 'dialogue' of this photo 3 is quite relevant to Rilke's 'Blatt' of the previous photo 2.

This obtains for more than only this line: The photo 3 shows what looks like a double-sided battleaxe to the right. The word for that in chinese is 'ko' or 'ge' - indeed looking like the righthand half of the 'WO' of photo 2:

Rilke and Shakespeare see photo 3 upside down - and it then shows a shooter sending forth a 'bird' in front of a big female breast. The 'bird' is white to the left and turns black when it shoots forth:

This upside-down is indeed what Rilke and Shakespeare write about in their sonnets parallel to my #28.

Rilke Orpheus sonnets part II sonnet 9

Rühmt euch, ihr Richtenden, nicht der entbehrlichen Folter
und daß das Eisen nicht länger an Hälsen sperrt.
Keins ist gesteigert, kein Herz –, weil ein gewollter
Krampf der Milde euch zarter verzerrt.

Was es durch Zeiten bekam, das schenkt das Schafott
wieder zurück, wie Kinder ihr Spielzeug vom vorig
alten Geburtstag. Ins reine, ins hohe, ins thorig
offene Herz träte er anders, der Gott

wirklicher Milde. Er käme gewaltig und griffe
strahlender um sich, wie Göttliche sind.
Mehr als ein Wind für die großen gesicherten Schiffe.

Weniger nicht, als die heimliche leise Gewahrung,
die uns im Innern schweigend gewinnt
wie ein still spielendes Kind aus unendlicher Paarung. Shakespeare sonnet 44

If the dull substance of my flesh were thought,
Injurious distance should not stop my way;
For then, despite of space, I would be brought,
From limits far remote, where thou dost stay.

No matter then although my foot did stand
Upon the farthest earth removed from thee;
For nimble thought can jump both sea and land,
As soon as think the place where he would be.

But, ah, thought kills me that I am not thought,
To leap large lengths of miles when thou art gone,
But that, so much of earth and water wrought,
I must attend time's leisure with my moan;

Receiving nought by elements so slow
But heavy tears, badges of either's woe.

The Hafen-Flocker

The story seems to be this 'Lamb' of Rilke with its 'Blatt' - a Gestalt switch of Hitcotch and possibly the baby pram of a french president.

I bought at SPAR three packs of Bio Hafer-Flocken Großblatt - aus biologischer Landwirtschaft.

I ate a part of the first pack and then some time elapsed before I used the rest of it and should open the next - but why was there only one left? Where was the third?

It may be a case of ex nihilo reversed - and I found the answer in the ancient chinese bronze inscription - the last line which seems to tell:

BIO-HAFEN-FLOCKER groß-[Blatt] aus...

The BIO is the first sign low left, partly hidden under a stamp. The Hafen (for 'Hafer' - the 'Haferflocken' = 'rolled oats') is seen in the second sign, in the form of an apparent map of the town - how to find the way down to the harbour - while the 'Flocker', which means norwegian 'karder' = one who is making new-cut washed wool fluffy and airy for the spinning wheel, is seen in the third sign - which contains in its mid the same sign as the first. I have searched a little for a modern sign that could resemble this third sign and found a reasonable modern correlate in Mathews 2947:

To take a walk down in the harbour region of sign 2? Flogger, Frogger? The fourth sign looks like 'groß' in the form 'gao-da-de':

gao da = = groß

which is a good approximation - when GAO+DA are written the one upon the other - to the fourth sign on the bronze. (See also the sign for 'wood' below).

But then the BLATT of the 'groß-Blatt' - the very speaking mystery of the Lamb - is in the black field, the black vertical stripe, after the fourth sign on the old bronze bowl - which could have contained the oats. (It is not visible, but the brazen tripod bowls were said to be very high status and were considered very 'precious').

This black 'Blatt' could call for looking up my 'Schwarze Blätter', the third chapter in my poetry book SNEEFT COEIL. The first poem (out of 16 in this chapter) contains (after 6-8 preceding, depending on how to count the linebreaks, and 8 following lines) the lines that correspond well to this 'Hafer-Flocken' mystery:

Nur der neuen Straße
in die geräumsten Tage kommen und
die Treibe
früh und in den Wunden hochgestapelt:
Neunundzwanzig.

Früh und Morgen hebe ich ihn -
darin sind Schlaf und Träumerin
[flat on Logik: Wassertropfen].
Und wofür kommt es der Bogenbau?
Man glaubt, sie war eine Wunderfrau. = SPAR
= Natur * pur
= Bio-
= Hafer-
= Flocken

= Großblatt
= aus
= biologischer Landwirtschaft
= WINDOW
= 100% Qualität aus Österreich

This seems to make sense for the chinese signs on the bronze - in the brazen bowl that could contain also such rolled oats. The sign for 'Hafen', the fragment of a map of the town, is indeed 'hochgestapelt'. The line with the 'Bogenbau' seems to be that sign with the 'hat':

It is the window in the pack - through which you can see the rolled oats. Cp. also the crossover line of the WO. 'Bio' = 'Die Treibe' could here count as 'Getreide'.

Flocker = Frogger, the power that fell from the cliff - here it disappeared from my kitchen bench. Certainly this could have been what the chinese king served in the brazen bowls to his aristocratic guests nearly 3000 years ago. With jam and milk - the latter they could have got directly from the cow in the backyard.

The rest of the 'inscription' on the pack can be easily seen from the bronze. In particular that 100% is impressive.

Diachrony = synchrony

But what had happened with the rolled oats? Could be a chinese king 3000 years ago needed something to serve for his aristocratic guests and grabbed for the pack of Bio Hafer-Flocken Großblatt - aus biologischer Landwirtschaft - that was standing on my kitchenbench. Now one of my theses is that if semantic assignment is the same as lexical order, which it could be when the aristocratic guests were seated on wooden tripods around the table with brazen tripod bowls of well-ordered lexical inscriptions, then the synchrony should be the same as the diachrony - for which reason he could reach for this pack on my kitchen bench since the lexical order on the synchronic pack seemed to be the same as in the diachronic bowl. (The pack was by SPAR 'Natur * Pur' - cp. also photo 23). The first poem of 'Schwarze Blätter' in the third chapter of SNEEFT COEIL (cp. the 'Schneeflocken' of the rolled oats?) is poem 17 out of 142 in that synchronic book - computing the same ratio on the 440 poems of the diachronic Dornenstrauch takes it to the poems 38-40-41-42 (poem 39 does not exist in this book), which seem to describe the royal party well. Here is poem 41 from 'Der Dornenstrauch', part 1:

41

Eine ausgeübte Zeile
verweilet in der Luft.
Es weilet wo ich weile
in dem Menschenduft.

Es ist ein bisschen länger
als andere ich weiß,
ein wirklich Meistersänger
geübt mit Lieb' und Fleiß.

Es weilet noch
[hier] als unwirklich
und wirklich doch.
Es ist die Zeile 'ich'.

This poem is about a line that is a lexical order - here the study is on the last line on the bronze where the rolled oats disappeared.

Lexical order = lexical B-order (of the bronze and the wooden seats), lexical BL-order = 'Schwarze Blätter' of 'SNEEFT COEIL'. Cp. the 'groß-Latt' from the backyard cow of the chinese king for the rolled oats.

Hieroglyphs

The story is likely to be about the tripods of wood, where the guests were 'assigned', and the tripods of bronze, where the inscription was engraved (or moulded). The difference between chinese bronze (qing-tong) and chinese wood (mu-tou) can be seen in the structural similarity of the two - whereby the latter part of each sign can be seen as a transform of the first part in terms of division and movement.

= mu-tou = wood
= qing-tong = bronze
= tong = copper
= xi = tin

For the wood, this means that the lower mid stroke (as for another wooden leg, making it four) is lifted up on the seat for two small spots there on the wooden seat of a tripod - the fourth 'log' has been lifted and turned into a semiotic sign, so to speak. This is likely to be the logic of my first scientific observation - at age 3 when I discovered the 'dialogic' 'vava' of egyptian hieroglyphic script by the two spots or 'blots' on the wooden seat of the quadrupod stool. Bronze is an alloy of copper (tong) and tin (xi) - those two signs resemble the mutual relation of 'hai' and 'wan' in such a way that the two diagonals can be recognized in photo 3 - this is likely to be the Taiwan issue of modern chinese politics - the 'entgulfing' strategies which will make it resemble the bronze.

A wooden 'assigned' tripod is 3 in the power of 2 = 9, while the two spots or blots on its seat will be 2 in the power of tree = 8, imprinted into the wood, as goes the logic. Mi-land, Turreen, Gen-ova, Ve-ne-sia - this is likely to be the real reason for the 'anglophonic' interest in placenames in Italy. The hieroglyph for 'stool' in relation to the 'lapis philosophorum' - just by the 'water' and the 'foot' on the lapis - resembles those two essential parts: The little box inside the 'tong' and the two spots or 'blots' lifted up left on the 'tou'. The 'knowledge like an old verse' is here like that line on the bronze.

Considering the righthand side of the above sign for 'Blatt' in photo 3, the 'ye' of 'shu-ye', I notice that Mathews mentions the sign TOU (or 'dou'), like the second part of the 'wood':

The pack contained 500 grams and could have been about 20 * 10 * 5 cm,

The political story with Austria and Italy

The turning of black and white in the crossover line of the sign WO has a counterpoint in the turning upside-down of photo 3 for Rilke and Shakespeare. It is likely that these poetic functions - of profound importance for understanding the logic here read from the chinese script - is interpreted tragically in western warfare and intrigue structure on Vietnam and Iraq and possibly planned also for Italy.

The story seems to be contained in the form SOME DAYS for the black-white line uniting the two halves of the sign WO. In anglophonic tongue, such as could interpret the hungarian HYMEN, this could appear as threatening (WO-fare?) due to the dagger-axe form to the right in the WO sign and to the corresponding right in photo 3. It could look as if hostility threatens from the east - for example coming westwards from the eastern arm of the european swastika on the map. Is it WO they are thinking of?

For the case of Austria, it is interesting to notice a certain correlation with the Burgenland border established in 1919 - via the potential rooting of this in the 'Fischamand' of the 'lapis philosophorum' (much monkey business there could have been on Wittgenstein's 'Logisch-Philoso-PHISCHE Abhandlung' from 1918):

Since this eastern border marks the border to the anglophonic interpretation of the hungarian HYMEN, it is interesting to notice the difference between the anglophonic WAR (WO) and german KRIEG. Studying the details of the sign WO, one finds that the righthand side has aspects of spear, lance, dart, needle - pointed things - here in the signs 'I' and 'KO' or 'ge' (in chinese, but one notices the suggestive anglophonic 'I' and 'co'):

= KO, ge

= I

One guesses that the anglophonic 'co' takes it to be sufficient but the 'I' does not. Is that why the west seems more belligerent than the east after all? Is the subject, the very 'I', of the lefthand side of the WO turned around to the righthand side by this anglophonic 'I' - feeling that it is not sufficient? Both of these - the I and the KO - seem to suggest such a sharply pointed tool for potential WO-fare. Cp. the eastern 'PIK' at the nose of the dentist, hanging under the 'Justcan keys' of the cancan dancer in Mrs.Boldog - vs. the apparent PIK of Mr.Boldog - the lighthouse of 'Beachy Head'.

The answer to the mystery could be in the bisected cupboard- or chest-of-drawer-shaped chinese sign which seems to be the RI of 'the sun', 'the day' - with only two drawers and a line between them.

The story of Italy relative to Iraq could be telling of ideas of dividing the country in two (cp. the 'Padania' program of 'Lega Nord' - a program for paying the rising state debt) - which, though, on a closer inspection could be the problems relating to Austria with its Burgenland border to the east. It seems to be a fact that monkey business on Wittgenstein was an aspect of the political reality in Austria even during WWI - and hence the basis for getting Hitler through in Germany. Some would say that Austria succeeded in demolishing Germany through WWII by way of the monkey business on Wittgenstein since WWI - but Germany nevertheless paid the war compensation money to England and licked their wounds after WWII - and did not make claims relative to Austria. However, it is doubtful whether this will succeed once again without economic claims being raised - and indeed there is a logic in the idea that if Austria tries to repeat the story with Hitler once again, then indeed the claims can be raised that they should pay not only the war compensation which Germany paid to England but they can pay the whole destruction of Germany which Hitler caused as well. That can come to be too expensive for Austria - and then they could come to be forced to pay this state debt with territory. What about selling off half of it? The italian state debt started rising from the moment when I moved from Venice to Vienna in late 2009 - and there seems to have been quite a lot of monkey business on my work and life in Austria since 2009 - much advertisement in public space seem to have suggested so - and today indeed the question could be relevant whether the state debt can be paid at all.

I mention two recent cases of apparent monkey business on my work: 1) My study of the relation between the work of Caravaggio and the white 'philosophers stone' is a discovery that could have been the background of the current large exhibition in Vienna of Caravaggio and Bernini in combination. I have not seen it - my name is probably not mentioned - even if the reason for the exhibition could have been in this 2014 discovery of mine (although of course other reasons are possible) - quite a lot of work that was. If the reason for the exhibition should be in my discovery, why should my name not be mentioned? That would have been only for pasting the label of PTRSIM PIK on me - the shepherd who is to lead the flock over the cliff-pass and into the green valley (value) below - but this would be only the trick in the construction of new nazism and I have never agreed to any such role at all. 2) I put this photo out on the internet and some days later this ad and this ad came up in Vienna. But of course no mention of my name - that would be for the same reasons of construction of new nazism in Germany. What is that 'Giant Chance' ('kjempesjansen', 'bor i Sjohnson'?) of Austria? That would be that I could live and thrive in Austria without seeing such monkey business on my work - such monkey business as Wittgenstein also suffered from - and then Austria could have got their independence consolidated. But advertising in public space seems to have been crowded with apparent fragments from my life and work since I came here in late 2009, something which has been not so promising. (Hm).

How do they solve the problem? If they will not sell off territory, it could be by selling their most 'precious commodities' - such as Burgenland = Pamhagen = Pentagon power sold to the west is one solution. That could perhaps be the 'Kennedy' way of doing it - in extension from Vietnam and Iraq. If 'hymen' is the innermost code word for this border, such as seems to have constituted Hitler's cabinet, one could notice that 'Bill Clinton' could be a name telling of this. But would this mean that the 'precious commodity' that could be offered to the west by Austria with a 'Pamhagen' border is the idea of warfare in Italy, as if Italy should pay for the monkey business in Austria since WWI and the war damages in Germany and England - to the extent that Italy could sell off half of its territory? That sounds absurd - and hence Italy could point to the other end of the north-south axis on the european swastika and say that Norway is be blamed because their state-formation in 1814 created these problems and if they dissolve the state again, the world can return to reality. And then the question is how Norway would consider such ideas - that is, whether they would agree to that or rather continue the pointing elsewhere and point at me for claiming that PTRSIM PIK is the reason for the problems and hence I could be blamed as a scapegoat. But clearly that would not be much fair. There is a logic applied to this construction, though - could be based on my name 'Bjarne' as a 'Precious' commodity which could look like what is relevant to the sign RI = 'sun', 'day', in chinese - for that SOME DAYS. From this follows a logic of 'pressures':

= the sun, the day

= the white of the crossbar line of the sign WO.

= this is when the commodity gets 'too precious' and it breaks: That is the bowl of the chinese bronze inscription.

One can 'suppose' another drawer on top of the 'commodity':

and put pressure onto this:

Indeed this is probably the most precious commodity - their freedom and independence and the right to it. Can it be sold? It can - in the form of political influence via 'allieds' who generate their powers from the Burgenland border at Pamhagen = Pentagon. That is power.

Could be the ultimate answer lies in the role of the anglophony for engineering power from the Burgenland border phenomenon. Since the ultimate function is found in the black-white or upside-down of the RI = sun, day, one notices also the similar sign 'yue':

This was the bronze. What is 'film' in chinese? One form is 'DIAN-YING' - whereby the first part, the DIAN, looks like another 'commodity' with a broom in front of it:

This resembles my 'rathunt memory' from 1960 or 1961 - before the film was launched in 1963 - how I grabbed a broom standing at the chest-of-drawers and went behind the house for a rathunt. The sign DIAN means really 'electricity', including the 'electric shocks' given to Nelly Sachs in the psychiatric treatment of her from 1960 onwards, in the psychiatric hospital in Bromma. It could have been this I remember.

The Lamb

I have shown in my article on the subject that hymen can be seen as the innermost secret concept for the hungarian language on the other side of the 'Burgenland' border to Hungary - seen from the viewpoint of anglophony. What is the innermost secret of the german language of Austria? In my SNEEFT COEIL there is the chapter 6 called 'Die Verwandlung (Unter vier Wänden)' which contains 16 poems for 16 such languages of Europe. Hungarian is #2 called 'Die einsame Jungfrau'. The poem for the german language is #3 called 'Die Lampe' - which then is assumed to be the innermost concept of the german language seen from the viewpoint of anglophony (at Dover, for example). It is likely that this is the Lamb of photo 2. More specifically, in political interpretation this is likely to be the LAMB+Pe for the second vertical division line - the lamb to the left and the P to the right - for the two halves of the WO sign. The 'magic power' of the Burgenland border will then be the little protrusion hanging right in front of the nose of dr.Hitcotch.

The 'austrian empire' underwent reduction in 1919. If one considers photo 2 to be a map of Europe, this seems also to constitute a map of Austria. Then it seems that Bratislava will be the 'PIK' of connection, Budapest will be the 'd' down right, the PIK found by Mr.Boldog up left will be Salzburg while Innsbruck will be the division line at the channel. Graz = the patellas of the leaping lamb. This will lend to Vienna the role of the chest of the lamb - at Pamhagen = Pentagon - and if it is a chest of drawers, such as 'Pentagon' could suggest, it is 'supposed' by the lefthand diagonal on the sign WO - and there is the symbolism of the chinese script. Hence Vienna-Pamhagen could be the locus of the extensive 'chest-of-drawers' = 'commodities' in the symbolism on the chinese script. The map is from Microsoft Encarta, the photo 2 is compressed vertically:

Unfortunately, it seems that the PIK which Boldog is lifting up is appr at Braunau am Inn - the birthplace of Adolf Hitler - or, rather, it is a little beyond Braunau. (And then the proletariat writer comes from Bruntal?) But clearly the map can be framed and adjusted to the photo for Salzburg at the PIK, München at London etc. It seems that the cancan dancer throws a shoetip up towards Poland.

Where is the talking 'Blatt'? Is it at Vienna - or is that rather the face of Hitcotch?

The chinese bronze comments on this. The rolled oats that disappeared from my kitchen bench seems to suggest that the white flock at the harbour is in Venice.

The conclusion would then be that Austria can be seen as the Lamb in this photo mysticism - with the anglophonic interpretation in the Lamp - and such 'Pentagon' logic could of course sound like very sweet music to the once grandiose austrian empire, since 1919 reduced to a mere fragment of Europe - but by this logic it seems as if Austria covers most of the european territory.

Here is my poem - written in Venice on 15 august 2015 - from SNEEFT COEIL:

Die Lampe

Die Lampe ist ein bekanntes Wort
das läßt sich bei Tag nicht verstehen.
Bei Nacht, doch, erschließt es seinen wahren Ort
in Dunkelheit vor unsrem Sehen.

Es zieht ein Licht über Bäume und Strauch
von Föhn in dem Wind einer Wand
als ziehe die Dunkelheit mit in dem Hauch
als wär' sie dem Licht unbekannt.

Der Vogel fliegt in dem schnellen Wald
und läßt sich nach Hummel fliehen.
Da zieht er wie Salz in dem Herbste kalt
nach was sich die Frühlinge ziehen.

Da war es die dunkle Frage entblößt
von welcher kein Lebe-Gast stand
als wär' es bei Donner und Blitze getöst
bei Fenster, bei Lampe, bei Wand.

It would be this mystery at daytime that makes it difficult to discover the origins for Hitler in Germany from the political situation in Austria - and the story ends in Blitz & Donner. This means that if there is an ethnologic parametre in language, by lending enormous stress onto the 'Pamhagen' factor at the Burgenland border, a Hitler can be generated from its origins in the Lamb of Austria. This Blitz & Donner Hitler would then have been elected as the Lamb, the very Saviour of christian mysticism - that reveals itself to the believers in the darkness before their eyes - such as the depression 1929-1933. But that is only when seen from an anglophonic viewpoint - such as they speak in Pentagon or in Dover - since the mystery gets its explanation through the line 1 of my anglophonic 'POLAKK English Bloggi'.

I have studied this line 1 in detail for hungarian and more superficially for polish and italian and it seems to make sense. It is a little hard to find etymological data that are reliable (hungarian has exceptionally good data, it seems) - but those I have found seem to support the theory.

This means that it should be possible to avoid a new Hitler.

The Han

Norwegian 'han' means 'he', male gender, or demonstratively 'that male there', while chinese 'han' is the name of the largest ethnic group of chinese people - making up for at least 90 percent of the chinese, that is well beyond one billion people. Mathews is a good dictionary which presents interesting observations where other dictionaries do not - and the interesting observation he presents on the syllable HAN is that it means (or did mean) 'cliff' = 'PTR' - here aligned with the sign for 'roof' = 'yen':

Clearly if the righthand side means a 'cover' or 'roof' onto which one has put pressure for attaching it, if this should mean e.g. a child for whom the skull helmet had been briefly removed after birth for onanism onto the cortex before the helmet would be reattached by 'pressures', the 'precious commodity' that had been landed on the cortex could come to select that single person (me?) as being equivalent with the one billion chinese people.

Then it be vital that cheap politics does not find it convenient with a scapegoat function onto this single person - officially an offspring from the PTRSIM PIK Stammbaum of Devold, Eidsvig, Jensen, Gröver, but really an offspring from jewish genetics - a person whose helmet could enclose (pressure onto) the masturbator's 'commodities' like the ancient brazen bowl encloses the inscriptions into it. If, therefore, the bronze is the chinese people, mainly HAN, identified as a single person identified as jewish genetics, the logic tells that the masturbator is jewish genetics. And, voila, that completes the circle.

The trick seems to be situated on the Stammbaum identity - the move from official to real genetics, and the move lifted from the one person to the other.

(See this image from the chinese film, this from Krarup Nielsen's book "Mitt livs eventyrreise", and another from Krarup Nielsen's book).

But that little 'precious' dot over the 'cliff' for the 'roof' sign cannot be that much worth?

In more modern dictionaries the sign HAN is given as CHANG = 'factory', a reduction from an earlier more elaborate form.

Clearly the original meaning of 'cliff' has large explanatory value for understanding the role of the PTRSIM PIK program: Peter = the cliff of the christian church, while 'PIK' is understood in norwegian (the locus of the 'Klipra connection' = 'cliffs-off connection') to mean 'male gender' = 'HAN'. The conclusion could be that the entire PTRSIM PIK program is nothing but an attempt to 'understand' China.

Conclusion

The photo complex shows an example of 'arbitrarity' of extreme kind: I bought a 300mm automatic lens for my Spiegelreflex camera and went out to the Danube island where I hopped into a grove and put the camera down on the ground with the long lens pointing up on the trees and the remote glimpses of sky among the leaves - and there I photographed 23 times without seeing what the camera would capture when I moved it around hither and thither. The autofocus sent the lens going swildly in and out - were it fixed on a nearby leaf in one position, moving the camera just one tenth of a millimetre off this position would make it focus on a faraway twig or trunk - and the result - when these photos went through a thresholding filter for either black or white - would be totally impossible to predict. I had, though, seemingly prepared for these 23 photos in my Endmorgan Quartet - such as in poem #182 written on 2 may 1998 with the scene of the copulation of cats on an industrial storage site in some harbour region - where the successful landing of the fertile material is told of as 'Valery' - the poem ends with the lines:

I see you have a sister called Roxü.
Yes, I can get it but spurt it like früh...

...Valery.
Well, I think that it doesn't make sense, or -
It's okay, it's down there, it's okay.
Begat.

There are a few of these 'previews' of the Danube island photos - of immense 'arbitrarity' - in my TEQ. This new arbitrarity is likely to be recognized in the chinese script - and then the two world wars and the PTRSIM PIK program could have been about a european or anglophonic attempt to understand this new way of thinking - unfortunately in ways of war and violence which could be seen as reflected in the two parts of the sign WO relative to the socalled Burgenland border phenomenon. The wars would then have been an attempt to demolish the metaphysics that was for the building of a new.

I add that it is possible to see the entire story as being about the LINEBREAK function in the 'Sonnets' version of my TEQ book 5. I have suggested that if NEGATION is the only or at least most important logical operator in traditional logic at least up to Wittgenstein, this LINEBREAK will come to be the new.

Of course it would be very unfair and unjust and an outright crime against the most fundamental laws of democracy to sacrifice me as a 'scapegoat' for turning the power hither and thither. Did you get a good idea in this moment? If you try to turn it into some power intrigue, it is not for you.

If the west quite simply is envious of the impressive script of China, isnt it better to admit it and say thanks to the chinese instead of all this warfare?

Sources

Grover, John: The Endmorgan Quartet. Collected works vol.2. Vienna 2013.

Grover, John: SNEEFT COEIL. Gedichte. Collected works vol.4.Vienna 2019.

Handwörterbuch Deutsch-Chinesisch Chinesisch-Deutsch. Susanne Brudermüller. The Commercial Press / Langenscheidt 1994.

Manser, M.H.: Concise english-chinese chinese-english dictionary. (Third edition). The Commercial Press / Oxford University Press 2004.

Mathews, R.H.: Chinese-English Dictionary. (A Chinese-English Dictionary Compiled for the China Inland Mission by R.H.Mathews, Shanghai: China Inland Mission and Presbyterian Mission Press, 1931). Revised american edition 1943. Harvard University Press, Cambridge, Massachusetts.

Microsoft Encarta World Atlas 99.

Pocket chinese dictionary - english/chinese chinese/english. (Based on earlier work by Martin H. Manser). Oxford University Press 1999

Rilke, Rainer Maria: Die Sonette an Orpheus. Insel, Leipzig 1923.

Shakspere, William: The sonnets. Ed. Dowden, Edw. London 1881.

The reproduction of the chinese bronze inscription is from this source.