Zhang Jiuling's poem #1 in '300 Tang poems'

Zhang Jiuling's poem #1 in '300 Tang poems'

John Bjarne Grover

There are some reasons to guess that this poem is the innermost secret in the intrigue against my person and work.

It happened not long before I started working with the poem that I saw in an inner vision a clear view of what probably in the essential contents of the poem: I was climbing up a tree, a strong branch which was an extension of the main trunk before it divided a little further down into several branches, when I looked up and saw a small bird sitting on a horizontal branch. This smaller bird suddenly seemed to expose its tail in a pecular manner, as if the feathers were lifted 'lifted' somewhat to expose it, or as if the tail feathers were a sort of extra trousers or something like that - which were exposed in a manner which seemed to be a little explicit. I thought - oops, better back out of this - and I switched the body around 180 degrees for climbing upside-down the same branch again, such as perhaps some animals can do but not all. There I found that I would hardly be able to get down again, clasping around the broad trunk-branch with the arms and having the legs upwards towards the little bird. Some progress downwards could be made by climbing 'downwards' with arms as if around a telephone pole (as in Jerusalem?), but it would soon become clear that it would be difficult to climb downwards like this - and how should I be able to swing the legs down again in that position?

Studying the poem it seems that this is the essential contents of the poem - perhaps also in the sense of me (the spectator) being somewhat similar to the bird on top: Turning 180 degrees would be somewhat what the bird's 'exposed' tail-part was as well.

It soon becomes clear that a part of the puzzling situation in the poem is that it seems that a swan or goose is climbing a tree - that is normally not so easy for such a bird.

I have not been able to find out if the poem really has a standard title, but if 'Thoughts' is the normal heading, it could mean that this situation is what a thought is and that is why thought and formal logic are something more than amorphous emotions.

It is likely that this story is contained in the poem's sign structure.

It is also likely that the poem, for just this reason of being about formal aspects of thought in terms of a turn-around which also applies to the seriality of time, somewhat essentially contains this inner vision in advance as part of itself. As I outline below, this inner-outer could be used as a part of the political intrigue against my work.

However, the essential reason why this poem could be at the core of an intrigue against my work - as for hijacking it by role-switching swan and bird-on-branch - is in the role of the tail-feathers: In norwegian language this is called 'stjerten' with short first vowels, while a long first consonant turns this form from 'the tail feathers' into 'have/has stolen it' - as for an accusation that 'you have stolen it!' - that part of the story which the norwegian language of the bird-on-twig could hope to role-swap with the swan underneath. But not only is this oral Oslo language (the conventional form is 'stjå'let den'), it is also a rather uninteresting and farfetched interpretation which has nothing to do with a bird's tail feathers. It would probably be very special for a norwegian interpretation - and that could be another part of why this poem could be used in the plan of an intrigue - that it makes 'norwegian' be the essential part of it.

I here bring the poem in chinese with links to the 'wiktionary' source material for each sign. The original poem is from this source.

感遇其⼀

孤鴻海上來
 池潢不敢顧
 側⾒雙翠⿃
巢在三珠樹
 矯矯珍⽊巔

 得無⾦丸懼
 美服患⼈指
 ⾼明逼神惡
 今我遊冥冥
 ⼷者何所慕

My suggested translation is the following, which can be checked against the chinese sign-by-sign. I have tried to keep up the seriality of the signs.

Zhang Jiuling: Thoughts 1

The lonely swan now comes around:
Water's expanse dares not regard
the wrong side of the bird on branch
that's in a tree, a third eye's guard,
dissembling precious timbers down.

Attain without gold pellets' gyre
in comely garments, troubled joint,
the high bright branch, divine the fire.
Now we can climb the unseen point:
A perch that bears a cause desires.

The swan is a little alien up in the tree but recognizes the position like a swan lifting from the water surface - like lightbeams reflected in its vision.

On my view, the poem can also be seen as rooted in the jewish sobibor mystery - here the drill going up and turning there before it goes down again as the outside part of the story, coupled with the inside story of the (divine?) sobs heard through the wall having some sort of relation with the bird above - and is not about the tragic norwegian 'stjerten' in the sense of 'you have stolen it' - or 'ape' solutions (copies of people) in the sense of tree-climbers.

The mystery is rather how a swan could get up in a tree. It is not an ape climbing the wood - but it may be about the sound of distant swans or geese flying in the distance as an essential part of the inner-outer aspect: I was inside in the hotel room when I heard the cries from geese or swans flying by, and I went out on the balcony to see them but saw only the drill going around with somewhat mechanic- technological sounds which outside the housewall were what inside had sounded like the flying geese. Hence the strange aspect of a swan or goose in a tree - it could be this transposition of the nature of the source of the sound when stepping from inside to outside. This makes sense also in terms of the SOUND being turns around on the way up - in the sine waves.

It was only the 'gold' I could not solve. Then I went for a walk and came across this plaque on a wall - in Zollergasse between Mariahilferstrasse and Lindengasse:

April 2008 was the time when I moved out of Vienna, going for Athens - after a 'Wohnungs-Auflösung' that meant that I threw or gave away most of my belongings to a fleemarket. (That could have been a pleasant feeling for the constructors of the intigue - could be they hope to have it once again. It is of course not impossible that the plaque was hung for just that reason of me moving out of the town. Perch-told-sdorf ('A perch that bears a cause desires') is told in the engravement in the stone as with cherubic gold. Perchtoldsdorf is not so far from Hinterbrühl (cp also the bird above) - a sort of counterpoint to Purkersdorf. Israel was established with british 'endeavors' in the Balfour declaration.

The intrigue structure

I got the cue to this phenomenon from the situation with Wesenlund in 'Bristol bar' - the similarity of 'se der sitter Wesenlund' ('look, there sits Wesenlund') with the 'schläger' 'se, der danser bestefar' = 'look, there dances grandfather'.

1) 'Seder' is a well-known tree type - it could have been the tree of the inner vision.

2) 'Wesen-lund' can mean 'the innermost character of Mr.Grover'.

3) 'Sed er' can mean i) 'conventional habit is', or ii) 'semen is' (spelt 'sæd er' but pronounced nearly the same way as 'se der').

The intrigue seems to be based on the chinese for 'bestefar' = 'wai-zu-fu' and the similarity of the chinese with 'BEI-STE-FAr' = 'beast-father':

外 = WAI = outside, beyond, alien
祖 = ZU = ancestor; forebear; forefather, grandparent; grandfather or grandmother
⽗ = FU = 'father'

The construction seems to based on three graphic-semiotic relations between the three signs of 'wai-zu-fu' and the three last signs in the end of line 1 in the poem - for 'the sea - above - coming' = the identity of the vision of the bird above with the undulating sea:

海 = HAI
上 = SHANG
來 = LAI

These three relations can be defined as follows:

1) The first sign pair 外 - 海 = WAI-HAI and is seen in a difference between maximally front (labial) articulation of WAI vs the glottal friction in HAI = maximally back articulation. The maximal difference can perhaps also be recognized in the two chinese signs being 'maximally different', sort of (sth like that)

2) The second sign pair 祖 - 上 = ZU-SHANG is of a different type: It consists in a quasi graphic similarity of the chinese signs with the latin letters - such as the 祖 containing a graphic 'ZU' in the upper half - plus various additional strokes

3) The third sign pair ⽗ - 來 = FU-LAI is of the type that describes in its main graphic component the difference and relation between the two articulations: FU goes from the labial to the velar = the diagonal from low left to high right, while LAI goes the other way, from high left (dental) to low right (A) - these two movements of articulations are depicted in the graphics of the chinese signs, tells this logic.

Now these three relations can also be recognized as constiuting the formation of the anglophone word 'exhibition' in the three parts EX-HIB-ASIAN:

1) EX = 'X' is trivially represented in the sign ⽗ = FU and also as a part of the LAI = 來 which adds an additional '+' to, the 'X' turned some degrees around - as for the WAI-HAI dimension

2) If you remove the graphics of latin ZU from the chinese sign 祖 = ZU, what is left of strokes easily reshapes (with the help of some movements of strokes - chinese for 'wheelchair' = LUNYI) into HIB or 'hib'

3) Chinese for 'asian' = YA-ZHOU (or YA-ZHOU-de) = 亚- 洲 ( - 的)

Studying the relation between these chinese signs and the chinese for HAI-WAI = 海外 could be squeezed towards a sort of identity if one moves strokes around in a proper manner

The intended conclusion seems to be that EX-HIB-ITION is the word which contains the whole intrigue structure in its natural semiotic form.

Se der sitter Wesenlund
Se der danser be[i]stefar
Se der danser wei-zu-fu

The intrigue is therefore probably based on the idea that these three 'semiotic' changes are of so essential kind that human nature and character necessarily moves the strokes around in a proper manner anyhow.

'Sitter' = 'sits' is a word used also for 'serves a sentence in prison'. The name of 'Tone Helene Grøver' can be seen to mean just the sort of conventional cartoon-style prison-'brisk' with two chains going down to a flat board hinged at the wall: 'Two down the whole down, g-røver' can therefore be taken to mean 'sitter' = 'sits'.

The hope of the constructors of the intrigue could therefore be that the human nature created by God is what necessarily lifts my authorship over from me to her - by way of this poem by Zhang Jiuling.

However, my interpretation of this story is based on another aspect of the same sign complex:

1) The WAI-HAI is the front-back of the relation between outside and inside the wall of the sobibor mystery or the articulatory space

2) The ZU-SHANG relation tells of the forms of alphabetic letter which some will take to be the essence of poetry - the nib pressed into the paper and the ink running like 'gold' along the furrows

3) The FU-LAI tells of the movements of articulation in the oral space

Hence the construction can more conveniently be seen to be concerned with the far more essential idea of

1) INNER
2) POETIC
3) ARTICULATION

- the 'inner poetic articulations<' which are the essence of my TEQ = 'The Endmorgan Quartet'.

The question is 'where do these come from'? The poet strives towards a level 4 while the constructors of a pirating of the work tries by use of terror and other means to pull the conception of a level 4 down to 3, 2 or 1 - for allowing themselves the conclusion that "this poet has let himself be inspired by the manipulations from the secret intelligence services and therefore it is these services who properly hold the copyright to the work".

But since it probably can be shown with some scientific rigor that TEQ has an independent consistent and coherent structure which cannot be the result of administrative manipulations, it follows that the swindle program is destined to fail - in the sense that there is no natural or automatic transference of any authorship in the complex.

But it is not the inner poetic articulations they base the intrigue on - it is the name of the alleged author?

Most of the poems in TEQ have a 'signature' and it seems that these signatures to the poems generally encode an essential aspect of my name - the poet's formal identity. (The signatures are spaced in as with tabulator in the text editing - cp. the theory of line 6 in the blue PEB).

The 'Wesen-Lund' that could be.

I can add the interesting reason to why I have stopped by this poem and guess that it could be of essential importance for the intrigue: TEQ is written all and only by 'inner poetic articulations' which take shape 'by themselves' in the poet's mind. The principle is that the poet does not write anything as long as the poet can choose between alternatives but wait untill there is no alternatives left and then there is only one alternative and that thereby articulates itself in the poet's mind. It happened that I made some recordings from a street scene with some ex nihilo music in the air and when I later listened to the recording, there was a voice saying "Jiuling Frau?". It goes by itself that this could be the poem.

There is perhaps also a puzzling redundancy relative to this poem of Zhang Jiuling in some african languages: Ful-ful-de, Hausa, FU-LA-nI etc. 'Fu[g]l' is norwegian for 'bird'. (See also the mention of 'strong aspiration' in the sense of glottal friction in this file).

Source:

http://wengu.tartarie.com/wg/wengu.php?l=Tangshi&no=1