਀㰀昀漀渀琀 猀椀稀攀㴀∀㘀∀㸀 ਀ Ablikhos, Yeats and thresholding਀ ਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㰀戀爀㸀㰀戀爀㸀 John Bjarne Grover਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀

਀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀攀 琀栀攀漀爀礀 椀猀 琀栀愀琀 琀栀攀 瀀漀攀琀爀礀 漀昀 最爀攀攀欀 瀀漀攀琀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀栀攀氀氀攀渀椀挀愀眀漀爀氀搀⸀挀漀洀⼀䜀爀攀攀挀攀⼀倀攀爀猀漀渀⼀攀渀⼀䴀椀欀攀氀椀猀䄀瘀氀椀挀栀漀猀⸀栀琀洀氀∀㸀䴀椀欀攀氀椀猀 䄀戀氀椀欀栀漀猀 ⠀㄀㠀㐀㔀ⴀ㄀㤀㄀㜀⤀㰀⼀愀㸀 挀愀渀 戀攀 搀攀猀挀爀椀戀攀搀 椀渀 琀攀爀洀猀 漀昀 㰀愀 栀爀攀昀㴀∀瘀愀氀攀爀礀⸀栀琀洀∀㸀洀礀 ㈀㌀ 瀀栀漀琀漀猀㰀⼀愀㸀㨀 吀栀攀猀攀 氀攀渀搀 猀甀戀猀琀愀渀挀攀 琀漀 琀栀攀 椀搀攀愀 琀栀愀琀 䄀戀氀椀欀栀漀猀 椀猀 瀀爀漀瀀栀攀琀椀挀 氀愀渀最甀愀最攀Ⰰ 攀瘀椀搀攀渀挀攀搀 椀渀 琀栀攀猀攀 瀀栀漀琀漀猀⸀ 䠀甀猀猀攀爀氀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 椀渀琀漀 愀 猀椀洀椀氀愀爀 ⠀栀漀眀攀瘀攀爀 猀甀戀挀漀渀猀挀椀漀甀猀⤀ 瀀爀漀樀攀挀琀 ⴀ 猀栀漀眀椀渀最 琀栀攀 瀀爀漀瀀栀攀琀椀挀 氀攀昀琀栀愀渀搀 瀀愀爀攀渀琀栀攀猀攀猀 漀昀 䄀戀氀椀欀栀漀猀 爀攀挀攀椀瘀椀渀最 愀 爀椀最栀琀栀愀渀搀ⴀ瀀愀爀攀渀琀栀攀琀椀挀愀氀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 椀渀 䠀甀猀猀攀爀氀✀猀 瀀栀攀渀漀洀攀渀漀氀漀最礀⸀ 吀栀攀猀攀 昀椀渀搀 愀渀 攀砀瀀爀攀猀猀椀漀渀 椀渀 琀攀爀洀猀 漀昀 愀 㘀㘀㘀 椀渀 倀愀渀椀渀椀 戀愀挀欀眀愀爀搀猀㨀 䠀甀猀猀攀爀氀✀猀 昀甀氀氀 渀愀洀攀 椀猀 椀渀 倀愀渀椀渀椀 ⌀㐀㌀㐀 愀渀搀 䄀戀氀椀欀栀漀猀 椀渀 㐀㌀㐀 ⼀ 　Ⰰ㘀㘀㘀 㴀 ⌀㘀㔀㈀Ⰰ 琀栀攀 猀愀洀攀 愀猀 昀漀爀 㰀愀 栀爀攀昀㴀∀爀攀渀愀椀猀猀愀渀挀攀⸀栀琀洀∀㸀䜀爀愀猀猀洀愀渀渀 愀渀搀 䌀愀渀琀漀爀 搀椀瘀椀搀攀搀 眀椀琀栀 㜀㜀㜀㰀⼀愀㸀⸀ 吀栀攀 愀爀琀椀挀氀攀 猀甀最最攀猀琀猀 琀栀愀琀 䄀戀氀椀欀栀漀猀 椀猀 攀猀猀攀渀琀椀愀氀氀礀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 琀栀攀 琀栀爀攀猀栀漀氀搀椀渀最 昀爀漀洀 挀漀氀漀甀爀 琀漀 戀氀愀挀欀ⴀ愀渀搀ⴀ眀栀椀琀攀 椀渀 㰀愀 栀爀攀昀㴀∀瘀愀氀攀爀礀⸀栀琀洀∀㸀洀礀 ㈀㌀ 瀀栀漀琀漀猀㰀⼀愀㸀 ⴀ 愀渀搀 琀栀愀琀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀瀀漀攀琀爀礀昀漀甀渀搀愀琀椀漀渀⸀漀爀最⼀瀀漀攀琀猀⼀眀椀氀氀椀愀洀ⴀ戀甀琀氀攀爀ⴀ礀攀愀琀猀∀㸀夀攀愀琀猀㰀⼀愀㸀✀ 瀀漀攀洀猀 挀愀渀 戀攀 挀漀渀猀椀搀攀爀攀搀 琀漀 搀攀愀氀 眀椀琀栀 琀栀攀 猀愀洀攀 琀栀爀攀猀栀漀氀搀椀渀最⸀ 䄀戀氀椀欀栀漀猀 椀猀 ㈀㄀ 礀攀愀爀猀 漀氀搀攀爀 琀栀愀渀 夀攀愀琀猀Ⰰ 愀渀搀 愀氀琀栀漀甀最栀 夀攀愀琀猀✀ 昀愀琀栀攀爀 眀愀猀 愀 瀀愀椀渀琀攀爀 眀椀琀栀 瀀爀漀戀愀戀氀礀 挀栀椀愀爀漀猀挀甀爀漀 椀渀琀攀爀攀猀琀猀Ⰰ 琀栀攀 愀爀琀椀挀氀攀 琀愀欀攀猀 椀琀 琀栀愀琀 琀栀椀猀 瀀栀攀渀漀洀攀渀漀渀 椀猀 洀甀挀栀 洀漀爀攀 氀椀欀攀氀礀 琀漀 戀攀 挀氀愀猀猀椀昀椀攀搀 愀猀 愀 挀漀椀渀挀椀搀攀渀挀攀 琀栀愀渀 琀栀愀琀 琀栀攀 ㈀㌀ 瀀栀漀琀漀猀 愀爀攀 ⴀ 愀渀搀 栀攀渀挀攀 琀栀愀琀 琀栀攀 ㈀㄀ 礀攀愀爀猀 椀渀琀攀爀瘀愀氀 椀猀 洀漀爀攀 ✀挀漀椀渀挀椀搀攀渀琀愀氀✀ 琀栀愀渀 琀栀攀 最攀渀攀爀愀氀 挀漀渀挀氀甀猀椀漀渀 琀栀愀琀 椀渀琀攀最爀椀琀礀 愀渀搀 琀爀甀琀栀昀甀氀氀渀攀猀猀 椀猀 琀栀攀 攀砀瀀氀愀渀愀琀椀漀渀 琀漀 琀栀攀猀攀 挀漀爀爀攀氀愀琀椀漀渀猀Ⰰ 渀漀琀 猀漀洀攀 猀琀爀愀渀最攀 挀愀甀猀愀氀椀琀礀ⴀ搀爀椀瘀攀渀 ✀猀漀挀椀愀氀 昀甀渀挀琀椀漀渀✀ 昀爀漀洀 䄀戀氀椀欀栀漀猀 琀漀 夀攀愀琀猀⼀䠀甀猀猀攀爀氀⸀ 䌀漀甀氀搀 戀攀 椀琀 愀氀猀漀 洀攀愀渀猀 琀栀愀琀 琀栀攀 ㈀㌀ 瀀栀漀琀漀猀 挀漀渀猀琀椀琀甀琀攀 愀 猀漀爀琀 漀昀 渀攀眀 ✀栀椀攀爀漀最氀礀瀀栀椀挀✀ 愀氀瀀栀愀戀攀琀⸀ 吀栀攀 搀椀猀挀甀猀猀椀漀渀 漀昀 琀栀攀 爀攀氀攀瘀愀渀挀攀 漀昀 琀栀攀 瀀漀攀洀猀 眀椀琀栀 琀栀攀猀攀 ㈀㌀ 瀀栀漀琀漀猀 挀愀渀 愀氀猀漀 戀攀 昀漀氀氀漀眀攀搀 眀椀琀栀 愀 挀漀洀瀀愀爀椀猀漀渀 眀椀琀栀 㰀愀 栀爀攀昀㴀∀挀栀椀渀攀猀攀昀椀氀洀⸀栀琀洀∀㸀琀栀攀 挀栀椀渀攀猀攀 昀椀氀洀㰀⼀愀㸀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀䤀渀 琀栀攀 昀漀氀氀漀眀椀渀最 䤀 搀椀猀挀甀猀猀 猀漀洀攀 攀砀愀洀瀀氀攀猀 昀爀漀洀 䄀戀氀椀欀栀漀猀✀ 瀀漀攀琀爀礀 愀最愀椀渀猀琀 琀栀攀 琀栀攀漀爀礀 琀栀愀琀 琀栀攀礀 爀攀氀愀琀攀 攀猀猀攀渀琀椀愀氀氀礀 琀漀 琀栀攀 琀栀爀攀猀栀漀氀搀椀渀最 椀渀 㰀愀 栀爀攀昀㴀∀瘀愀氀攀爀礀⸀栀琀洀∀㸀洀礀 ㈀㌀ 瀀栀漀琀漀猀㰀⼀愀㸀 ⴀ 愀渀搀 氀椀猀琀 猀漀洀攀 夀攀愀琀猀 瀀漀攀洀猀 琀栀愀琀 猀攀攀洀 琀漀 戀攀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 琀栀攀 猀愀洀攀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀㰀愀 栀爀攀昀㴀∀栀琀琀瀀㨀⼀⼀瘀椀瘀氀ⴀ氀椀砀漀甀爀⸀欀攀昀⸀猀挀栀⸀最爀⼀㼀瀀愀最攀开椀搀㴀㔀㔀㌀☀氀愀渀最㴀攀氀∀㸀吀栀椀猀 瀀愀最攀 椀猀 洀礀 猀漀甀爀挀攀 昀漀爀 琀栀攀 最爀攀攀欀 琀攀砀琀㰀⼀愀㸀⸀ 䤀 栀愀瘀攀 渀漀琀 昀漀甀渀搀 愀渀礀 琀爀愀渀猀氀愀琀椀漀渀猀 漀昀 琀栀攀 最爀攀攀欀 瀀漀攀琀 愀渀搀 眀椀琀栀 戀漀琀栀 洀礀 欀渀漀眀氀攀搀最攀 漀昀 洀漀搀攀爀渀 最爀攀攀欀 愀渀搀 琀栀攀 搀椀挀琀椀漀渀愀爀椀攀猀 愀渀搀 漀琀栀攀爀 氀椀渀最甀椀猀琀椀挀 洀愀琀攀爀椀愀氀 愀瘀愀椀氀愀戀氀攀 琀漀 洀攀 戀攀椀渀最 漀昀 愀 爀愀琀栀攀爀 洀漀搀攀猀琀 氀攀瘀攀氀Ⰰ 䤀 栀愀瘀攀 琀爀愀渀猀氀愀琀攀搀 琀栀攀 瀀漀攀洀猀 愀猀 眀攀氀氀 愀猀 䤀 挀漀甀氀搀 昀漀爀 洀愀欀椀渀最 洀礀 愀渀愀氀礀琀椀挀愀氀 漀戀猀攀爀瘀愀琀椀漀渀猀 愀瀀瀀氀礀 眀椀琀栀 爀攀氀攀瘀愀渀挀攀Ⰰ 戀甀琀 愀 氀椀琀攀爀愀爀礀 琀爀愀渀猀氀愀琀椀漀渀 挀漀甀氀搀 瀀爀漀戀愀戀氀礀 昀椀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 猀漀氀甀琀椀漀渀猀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 ㄀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀    㰀戀爀㸀㰀戀爀㸀 ਀㰀戀㸀꜀섃뤃쌃쐃뼃촃댃딃봃봃넃㰃⼀戀㸀         㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀ꌀ쐃뜃 였갃쐃봃뜃 쐀줃봃 윀쐃뜃봃츃봃 ꜀섃뤃쌃쐃찃숃 대딃봃봃갃쐃넃뤃           㰀戀爀㸀 χωρίς της επιστήμης συνδρομή,
਀뜀 렀딃꼃넃 였촃쌃뤃숃 먀갃봃딃뤃 대뤃넃 밀넃밃긃           㰀戀爀㸀 κι? ο δράκος σαν αρνί, Θεός κοιμάται.
਀           㰀戀爀㸀 Αύριον, άντρας, σα ληστής κρεμάται,
਀ጀ†봀괃넃 쐀뼃씃 먀찃쌃밃뼃씃 렀괃묃딃뤃 뼀뤃먃뼃됃뼃밃긃 ⴀ           㰀戀爀㸀 σταυρό του δίνει ο Νόμος πληρωμή,
਀쀀묃뜃봃 가댃뤃뼃 였줃숃 쌀쐃뼃봃 쐀갃옃뼃 쐀뼃씃 대딃봃봃갃쐃넃뤃⸃           㰀戀爀㸀
਀鐀뤃갃먃뼃뤃 쐀뼃씃 鈀갃넃묃Ⰳ 됀딃봃 딀꼃봃넃뤃 됀뤃먃찃숃 쌀넃숃           㰀戀爀㸀 αυτός της φάτνης ο φτωχός Χριστός,
਀쀀뼃씃 딀먃긃섃씃븃딃 대뤃넃 봀찃밃뼃 쐀뼃씃 쐀뜃 윀갃섃뤃⸃           㰀戀爀㸀
਀销쌃갃숃 쐀뤃밃긃 쌀넃숃 밀찃봃뜃 쐀뼃 쌀쐃뤃윃갃섃뤃Ⰳ           㰀戀爀㸀 πομπές, θεοπομπές το ιδανικό σας,
਀먀뤃㼃 딀꼃봃㼃 뼀 頀딃찃숃 쌀넃숃 쌀넃봃 먀넃뤃 딀쌃갃숃Ⰳ 밀뤃넃섃찃숃℃☀†          㰀戀爀㸀 ਀㰀戀爀㸀㰀戀爀㸀 ਀☀渀戀猀瀀㬀 　⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀椀㸀䌀栀爀椀猀琀洀愀猀㰀⼀椀㸀                   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀☀渀戀猀瀀㬀 ㄀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ䤀渀 洀愀渀最攀爀 漀昀 琀栀攀 戀攀愀猀琀猀 眀愀猀 戀漀爀渀 琀栀攀 䌀栀爀椀猀琀               㰀戀爀㸀   2.     without support from science empirical.
਀☀渀戀猀瀀㬀 ㌀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ吀栀攀 愀甀渀琀 漀昀 渀愀琀甀爀攀 眀愀猀 栀椀猀 猀漀氀攀 洀椀搀眀椀昀攀Ⰰ               㰀戀爀㸀   4.     and bloodthirst like a lamb put Christ to sleep.
਀               㰀戀爀㸀   5.     Tomorrow, man, like criminal withheld,
਀☀渀戀猀瀀㬀 㘀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ琀栀攀 眀漀爀氀搀 椀猀 渀攀眀 愀渀搀 眀愀渀琀猀 椀琀猀 挀漀渀猀琀爀甀挀琀椀漀渀 ⴀ               㰀戀爀㸀   7.     its cross gives what the law fullfilled is for
਀☀渀戀猀瀀㬀 㠀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ眀椀琀栀漀甀琀 琀栀攀 栀漀氀礀 氀椀最栀琀 椀渀 琀漀洀戀 漀昀 搀愀眀渀⸀               㰀戀爀㸀
਀☀渀戀猀瀀㬀 㤀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ䐀攀愀挀漀渀 漀昀 䈀愀愀氀Ⰰ 椀琀 椀猀 渀漀琀 琀爀甀氀礀 礀漀甀爀猀               㰀戀爀㸀 10.     over the crib of the animal Christ
਀㄀㄀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ眀栀漀 栀愀搀 愀渀渀漀甀渀挀攀搀 戀礀 氀愀眀 琀栀攀 昀椀渀愀氀 最爀愀挀攀⸀                㰀戀爀㸀
਀㄀㈀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ夀漀甀爀 栀漀渀漀甀爀Ⰰ 愀渀搀 礀漀甀爀 洀漀渀愀猀琀攀爀礀Ⰰ 礀漀甀爀 瘀攀爀猀攀猀 ⠀㼀⤀               㰀戀爀㸀 13.     wicked, godwicked, what's ideally yours
਀㄀㐀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ愀渀搀 椀猀 琀栀攀 䜀漀搀 氀椀欀攀 礀漀甀 愀渀搀 礀漀甀爀猀 ⴀ 瀀爀漀昀愀渀攀℀               㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀     㰀戀爀㸀 ਀ (The last word μιαρός means 'profane' but it is possibly intended as related to µιasµ- in the sense of the mystery of a child born from a manger being alive in and with its blood - see also my DDS IV:12. For the word 'dawn', it really should have been 'birth' but it is seen how Christ being born from a manger makes sense for this word - and how that makes sense of the english rhyme).

਀ Lines 1-4 seem concerned with photo #17 - see also the chinese film for the idea of the 'bloodthirsty' military cast in a geometric mystery which makes him look like an abstract fullgrown 'manger'.

਀ Lines 5-7 are #8 - the chinese film could show the relevant photo as a nature's abstract and withheld form of the mangerous man - here with 'criminalities' running down the mountainside like the triadic shadows of the photo 17.

਀ The most impressive presence of my photos in this poem is in line #8 for photo #23 - in which one can decipher with much clarity φως στο[ν] τάφο in the 'landscape' of my photo. See also the chinese film.

਀ Lines 9-11 is photo #13 wherein the 'burning raft' in the upper lefthand corner can be seen to tell of at least 2 forms of 'A', could be with differing crossover line, plus a greek 'Λ'. When this is #13 there is the 13AAΛ = BAAΛ. Cp. Rembrandt's base 13. See the 'crown of thorns' in my photo and in the chinese film.

਀ Finally, lines 12-14 can be recognized in photo #2 - the dentist Dr.Hitcotch and his Janus brother could be the 'wicked and godwicked' - a pair of words which could apply to the black and light of the 'wick' of a candle as the border of thresholding. The monastery in Ablikhos' poem could be the confinement lines of the quasi 'window' of my colour version.

਀ Is there a special emphasis on the thresholding conversion from colour to black-and-white? I notice line 5 for photo #8: If 'man' is recognized in the genital formation of the B/W, the colour version which this originates from shows a bowing line. Ancient greek 'λιάζομαι' = 'bowing out' etc is phonetically similar to modern greek 'ληστής' = 'criminal', for which one can notice the 'riminal k' in the lower righthand corner of my photo, phonetically similar to 'κρεμάται'.

਀ Is there a poem of Yeats for this thresholding phenomenon - as contained in Ablikhos' poem? Without having pondered so many of Yeats' poems, I stopped by 'The stolen child' - see the introductory lines comparable to the relevant photo of the chinese film - and noticed how the refrain seems to tell of photo #2 and #23, the first and last in the listing for Valery. The last line of the refrain goes "For the world's more full of weeping than you can understand". For the role of #23, it has its rationale in φως στο[ν] τάφο which here can be recognized as "φως τά φο-rld's more full of weeping than you can under-στον", while the rest of the refrain could apply to the Beachy Head mystery of photo #2 - the coastline cliff of England going out to sea at the border of the window frame. For the rest of Yeats' poem. it seems that stanzas 1 and 2 apply to photo #2, particularly the area around the mafioso with red cherry eyes and the hip-bone down towards Rome. His stanza 2 has, though, much relevance for my photo 21 - which is hard to see in Ablikhos' poem. Stanza 3 could apply to photo #17 and partly also #8. In the chinese film it looks like the mountain landscape with the 'mangerous' mountain lines - although the 'slumbering trout' would be rather frozen there. Then stanza 4 should be about photo #13 - is it? Could be. Or is it photo 8 from the chinese film? Could be this stanza 4 of Yeats brings something which is not in my photos or Ablikhos' poem. See also Yngvar Larsen's "Troyan horse" (element 40) in the exhibition 'Brudd' discussed in my PhD dissertation in volume 3 on page 411. Is the L-shaped floor brush in Larsen's work for 'a world full of sweeping'? See also the following example with potential mention of 'toy-horse' - rather than 'Troy-horse' - but the greek word (γιωμένο) is hard for me to make sense of - could be a word like γυρομενος or something like that could make more sense - via this artwork of Larsen.

਀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 ㈀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀     㰀戀爀㸀㰀戀爀㸀 ਀㰀戀㸀鼀 밀뼃윃렃뜃섃찃숃 저딃씃됃뼃옃뤃묃찃쀃넃쐃섃뤃숃㰃⼀戀㸀           㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀ꐀ뼃 쀀섃찃쌃줃쀃찃 쐀뼃씃 딀먃딃꼃봃뼃 쐀뼃 대뤃줃밃괃봃뼃           㰀戀爀㸀 που της καρδιάς του δείχνει τη σκουριά
਀쐀뼃 대괃묃뤃뼃 쐀뼃 먀섃씃옃찃Ⰳ 쐀뼃 묀씃쌃뤃넃쌃밃괃봃뼃Ⰳ           㰀戀爀㸀 που η δυστυχία των άλλων του γεννά,
਀           㰀戀爀㸀 το φθονερό του μάτι το σβημένο,
਀쀀뼃씃 됀딃꼃윃봃딃뤃 눀뼃씃묃뤃밃꼃넃 대뤃넃 쌀씃밃옃뼃섃갃Ⰳ           㰀戀爀㸀 μας εξηγούν γιατ? είναι διψασμένο
਀쐀뼃 넀윃딃꼃묃뤃 쐀뼃씃 먀넃뤃 쀀찃묃딃밃뼃 똀뜃쐃갃⸃           㰀戀爀㸀
਀鐀뤃젃갃딃뤃 봀넃 뤀됃긃 쌀쐃넃 밀넃촃섃넃 였뼃섃딃밃괃봃뼃씃숃           㰀戀爀㸀 πατέρες και μανάδες που μισεί
਀봀넃 쐀뼃씃숃 뤀됃긃 쌀쐃넃 됀갃먃섃씃갃 쐀뼃씃숃 쀀봃뤃댃밃괃봃뼃씃숃Ⰳ           㰀戀爀㸀 
਀렀갃봃넃뤃 됀섃뼃쌃뤃갃 쌀쐃뜃봃 관섃밃뜃 쐀뼃씃 저씃윃긃⸃           㰀戀爀㸀 Για τούτο υπέρ Πατρίδος σκούζει ?κράζει
਀찀섃봃뤃뼃Ⰳ 쀀뼃씃 대뤃넃 먀뼃씃옃갃섃뤃넃 넀봃넃쌃쐃딃봃갃똃딃뤃℃           㰀戀爀㸀
਀             㰀戀爀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 The evil pseudopatriot

਀ A person demonstrates a toy-horse (?)
਀眀栀漀猀攀 栀攀愀爀琀 椀猀 猀栀漀眀椀渀最 猀椀最渀愀氀猀 漀昀 爀甀猀琀Ⰰ             㰀戀爀㸀 a hidden laugh, a tinge of real madness
਀昀漀爀 琀栀攀 洀椀猀昀漀爀琀甀渀攀 椀渀 愀渀漀琀栀攀爀 漀昀昀猀瀀爀椀渀最Ⰰ              㰀戀爀㸀
਀琀栀攀 攀渀瘀礀 漀昀 愀 瘀椀猀椀漀渀愀爀礀 琀椀爀攀搀渀攀猀猀             㰀戀爀㸀 shows bulimia for calamities,
਀攀砀瀀氀愀椀渀椀渀最 眀栀礀 琀栀攀 琀栀椀爀猀琀 椀猀 漀甀爀 攀渀椀最洀愀             㰀戀爀㸀 in silence of a war's conspiracies.
਀             㰀戀爀㸀 The thirst was just to see the dark attire:
਀吀栀攀 昀愀琀栀攀爀猀 愀渀搀 琀栀攀 洀漀琀栀攀爀猀 漀昀 栀愀琀爀攀搀             㰀戀爀㸀 to see them suffocating in their tears.
਀             㰀戀爀㸀 The cooling death is principles of psyche.
਀䘀漀爀 琀栀椀猀 琀漀 猀挀爀攀愀洀 愀渀搀 礀攀氀氀 愀琀 昀愀琀栀攀爀氀愀渀搀             㰀戀爀㸀 is where the bird of prey is a sighing carcass!

਀㰀戀爀㸀 ਀䌀氀攀愀爀氀礀 琀栀椀猀 愀瀀瀀氀椀攀猀 眀椀琀栀 洀甀挀栀 瀀爀攀挀椀猀椀漀渀 琀漀 瀀栀漀琀漀 ⌀㄀㜀⸀ 䤀 挀漀甀氀搀 渀漀琀 昀椀渀搀 漀甀琀 眀栀愀琀 ✀쐀뼃 대뤃줃밃괃봃뼃✃  猀栀漀甀氀搀 洀攀愀渀 ⴀ 猀漀 䤀 氀攀渀琀 琀漀 椀琀 琀栀攀 洀攀愀渀椀渀最 漀昀 琀栀攀 琀漀礀ⴀ栀漀爀猀攀 猀攀攀渀 椀渀 ⌀㄀㜀⸀ 䤀猀 琀栀愀琀 眀栀愀琀 㰀愀 栀爀攀昀㴀∀昀椀氀洀ⴀ　㄀ⴀ㄀㘀ⴀ　㤀⸀樀瀀最∀㸀琀栀攀 挀栀椀渀攀猀攀 猀漀氀搀椀攀爀㰀⼀愀㸀 椀猀 琀栀椀渀欀椀渀最 漀昀㼀 吀栀攀 攀渀椀最洀愀 漀昀 琀栀椀爀猀琀 椀猀 椀渀 琀栀攀 漀瀀攀渀椀渀最 漀昀 琀栀攀 戀漀琀琀氀攀 ⠀琀栀攀 洀愀渀 猀攀愀琀攀搀 椀渀 琀栀攀 猀漀昀愀 椀渀 琀栀攀 洀椀搀 瀀愀爀琀 漀昀 洀礀 ✀琀爀椀瀀琀礀欀✀⤀ 椀渀 昀爀漀渀琀 漀昀 琀栀攀 搀愀爀欀ⴀ愀琀琀椀爀攀搀 吀嘀 猀挀爀攀攀渀⸀ 吀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀 栀愀猀 愀 洀愀最渀椀昀椀攀搀 戀漀琀琀氀攀 漀瀀攀渀椀渀最 愀爀漀甀渀搀 琀栀攀 洀椀搀 漀昀 琀栀攀 瀀栀漀琀漀 眀椀琀栀 愀 戀漀琀琀氀攀渀攀挀欀 攀砀琀攀渀搀椀渀最 搀漀眀渀 昀爀漀洀 椀琀 ⴀ 椀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀 挀漀渀瘀攀爀猀椀漀渀 漀昀 琀栀椀猀 椀渀琀漀 琀栀攀 䈀⼀圀 瘀攀爀猀椀漀渀 椀猀 挀漀渀琀愀椀渀攀搀 椀渀 夀攀愀琀猀✀ ∀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀瀀漀攀琀爀礀昀漀甀渀搀愀琀椀漀渀⸀漀爀最⼀瀀漀攀洀猀⼀㔀㜀㈀㤀㠀⼀琀漀ⴀ愀渀ⴀ椀猀氀攀ⴀ椀渀ⴀ琀栀攀ⴀ眀愀琀攀爀∀㸀吀漀 愀渀 椀猀氀攀 椀渀 琀栀攀 眀愀琀攀爀㰀⼀愀㸀∀ ⴀ 愀瀀瀀愀爀攀渀琀氀礀 洀愀椀渀氀礀 愀戀漀甀琀 琀栀攀 氀攀昀琀栀愀渀搀 琀栀椀爀搀 漀昀 洀礀 瀀栀漀琀漀⸀ 匀攀攀 愀氀猀漀 洀礀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㈀⸀瀀搀昀⌀瀀愀最攀㴀㜀㐀㔀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀吀䔀儀 ⌀㘀㔀㘀㰀⼀愀㸀 眀栀攀爀攀 琀栀攀爀攀 愀爀攀 琀爀愀挀攀猀 漀昀 琀栀攀 猀愀洀攀 ✀挀愀爀爀礀椀渀最 椀渀 琀栀攀 搀椀猀栀攀猀✀ 愀猀 椀渀 夀攀愀琀猀✀猀 瀀漀攀洀 ⴀ 愀渀搀 栀攀爀攀 漀渀攀 挀愀渀 愀氀猀漀 猀攀攀 椀渀 ✀攀渀搀椀渀最 栀椀猀 昀氀椀最栀琀✀ 琀栀攀 琀爀愀挀攀猀 漀昀 琀栀攀 戀椀最 戀椀爀搀 漀昀 㰀愀 栀爀攀昀㴀∀挀漀氀㄀㜀⸀樀瀀最∀㸀琀栀攀 挀漀氀漀甀爀 瀀栀漀琀漀㰀⼀愀㸀 ⴀ 琀栀攀 愀瀀瀀愀爀攀渀琀 ✀㰀愀 栀爀攀昀㴀∀挀漀氀㄀㜀ⴀ愀渀渀漀琀愀琀攀搀ⴀ戀椀爀搀ⴀ㄀⸀樀瀀最∀㸀焀甀愀椀氀 挀栀椀挀欀㰀⼀愀㸀✀ 漀爀 猀漀洀攀琀栀椀渀最 氀椀欀攀 琀栀愀琀⸀ 吀栀椀猀 瀀漀攀洀 椀猀 琀栀攀 氀愀猀琀 椀渀 琀栀攀 洀椀搀 琀栀椀爀搀 漀昀 吀䔀儀 戀漀漀欀 ㄀　 ⴀ 愀渀搀 琀栀攀 爀攀氀攀瘀愀渀琀 琀栀攀洀攀 昀漀氀搀猀 漀瘀攀爀 愀氀猀漀 椀渀琀漀 琀栀攀 昀漀氀氀漀眀椀渀最 昀椀爀猀琀 瀀漀攀洀 漀昀 琀栀攀 氀愀猀琀 琀栀椀爀搀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀㰀戀爀㸀㰀戀爀㸀 ਀吀栀攀 搀椀猀琀椀挀栀猀 漀昀 䄀戀氀椀欀栀漀猀 猀攀攀洀 琀漀 戀攀 挀漀渀挀攀爀渀攀搀 眀椀琀栀 琀栀攀 瀀爀椀渀挀椀瀀氀攀猀 漀昀 琀栀爀攀猀栀漀氀搀椀渀最⸀   㰀戀爀㸀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 ㌀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀    㰀戀爀㸀㰀戀爀㸀 ਀㰀戀㸀ꌀ딃 대뤃넃쐃섃찃㨃㰀⼀戀㸀            㰀戀爀㸀 Για το γιατρό που πέθανε, ολίγοι στην κηδεία του
਀ꐀ뜃봃 관쌃쐃딃뤃묃딃 대뤃넃 씀쀃뼃됃뼃윃긃 밀쀃섃뼃쌃쐃갃 쐀뜃봃 쀀딃묃넃쐃딃꼃넃 쐀뼃씃           㰀戀爀㸀
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 About the doctor:
਀䈀攀挀愀甀猀攀 琀栀攀 搀漀挀琀漀爀 栀愀搀 搀椀攀搀Ⰰ 琀栀攀爀攀 眀攀爀攀 渀漀琀 洀愀渀礀 椀渀 琀栀攀 昀甀渀攀爀愀氀      㰀戀爀㸀 of Knock: He had come to Heaven's door before the ceremony took place.

਀㰀戀爀㸀  ਀倀栀漀琀漀 ⌀㈀ 椀猀 琀栀攀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀⸀ 䤀琀 猀栀漀眀猀 䔀渀最氀愀渀搀 漀爀 䰀漀渀搀漀渀 愀猀 琀栀攀 搀漀挀琀漀爀 椀渀 琀栀攀 甀瀀瀀攀爀 氀攀昀琀Ⰰ 栀漀氀搀椀渀最 愀 氀椀最栀琀栀漀甀猀攀 漀爀最愀渀 漀甀琀 昀漀爀 椀渀猀瀀攀挀琀椀漀渀 ⴀ 椀琀 攀砀琀攀渀搀猀 椀渀琀漀 㰀愀 栀爀攀昀㴀∀挀漀氀㈀ⴀ愀渀渀漀琀愀琀攀搀ⴀ㈀⸀樀瀀最∀㸀琀栀攀 眀椀渀搀漀眀 昀爀愀洀攀眀漀爀欀㰀⼀愀㸀⸀ 吀栀攀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀甀瀀氀漀愀搀⸀眀椀欀椀洀攀搀椀愀⸀漀爀最⼀眀椀欀椀瀀攀搀椀愀⼀挀漀洀洀漀渀猀⼀㠀⼀㠀愀⼀䄀瀀瀀愀爀椀琀椀漀渀开䌀栀愀瀀攀氀开眀椀琀栀开匀琀愀椀渀攀搀开圀椀渀搀漀眀⸀樀瀀最∀㸀䴀愀搀漀渀渀愀 爀攀瘀攀氀愀琀椀漀渀 漀昀 ㄀㠀㜀㤀 椀渀 䬀渀漀挀欀 椀渀 䤀爀攀氀愀渀搀㰀⼀愀㸀 ⠀昀爀漀洀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䬀渀漀挀欀开匀栀爀椀渀攀∀㸀琀栀椀猀 猀漀甀爀挀攀㰀⼀愀㸀⤀  椀猀 琀栀攀渀 漀甀琀猀椀搀攀 琀栀攀 瀀栀漀琀漀 洀愀爀最椀渀 眀栀攀爀攀 䔀渀最氀愀渀搀 椀猀 愀琀 琀栀攀 戀爀椀洀 ⴀ 氀椀欀攀 琀栀攀 搀漀挀琀漀爀 栀攀爀攀 椀猀 漀甀琀猀椀搀攀 琀栀攀 眀椀渀搀漀眀 昀爀愀洀攀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀挀漀氀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀 

਀ A husserlian window (or bracketed framing etc) opening in the colour photo could here be Heaven's door. This window = παραθυρα could be the πελατεία of the poem. Dr.Boldog (the word is hungarian for 'happy') would be boxed up left and the funeral would be the other persons that could be spotted in the thresholded photo - the cancan dancer, the czech proletariat novelist, the widow Mrs.Boldog, the cherry-eyed mafioso (adjusting his tieknot) - see Yeats' 'The stolen child' stanza 1, Mr.Wolfe (-d!) waiting for a consultation at the dentist Dr.Hitcotch, his brother Janus Hitcotch and others.

਀ ਀吀栀攀 䰀愀洀戀 漀渀 瀀栀漀琀漀 ㈀ ⴀ 氀攀愀瀀椀渀最 昀漀爀眀愀爀搀猀 眀椀琀栀 椀琀猀 欀渀攀攀猀 愀爀漀甀渀搀 刀漀洀攀 ⴀ 挀漀甀氀搀 戀攀 琀栀攀 猀愀洀攀 愀猀 琀栀攀 氀愀洀戀 漀渀 琀栀攀 愀氀琀愀爀 椀渀 䬀渀漀挀欀⸀ 吀栀攀爀攀 猀攀攀洀猀 琀漀 戀攀 愀 洀礀琀栀漀氀漀最礀 愀爀漀甀渀搀 眀栀椀挀栀 愀猀猀椀最渀猀 琀漀 琀栀攀 最爀漀甀瀀 漀昀 瀀攀漀瀀氀攀 椀渀 琀栀攀 猀挀甀氀瀀琀甀爀愀氀 昀漀爀洀愀琀 漀昀 琀栀攀 爀攀瘀攀氀愀琀椀漀渀 愀 爀漀氀攀 漀昀 琀栀攀 攀瘀愀渀最攀氀椀猀琀 䨀漀栀渀 ⠀眀椀琀栀 琀栀攀 漀瀀攀渀 戀漀漀欀⤀ 漀昀 猀琀攀瀀瀀椀渀最 昀漀爀眀愀爀搀猀 椀渀 戀攀琀眀攀攀渀 䨀漀猀攀昀 ⠀✀栀漀眀 猀琀甀瀀椀搀 漀昀 洀攀✀⤀ 愀渀搀 䴀愀爀礀 ⠀猀栀漀眀椀渀最 琀栀攀 氀攀昀琀ⴀ爀椀最栀琀 瀀愀爀攀渀琀栀攀猀攀猀Ⰰ 琀栀攀 搀椀猀琀愀渀挀攀猀⤀ ⴀ 愀猀 椀渀 琀栀愀琀 ✀㰀愀 栀爀攀昀㴀∀搀椀猀琀愀渀挀攀㄀㠀㈀㌀⸀栀琀洀∀㸀㄀㠀㈀㌀㰀⼀愀㸀✀ 昀漀爀洀攀搀 昀爀漀洀 琀栀攀 ✀㄀㈀㌀ⴀ㠀✀⸀ 䤀琀 椀猀 漀昀 挀漀甀爀猀攀 瘀攀爀礀 洀椀猀甀渀搀攀爀猀琀漀漀搀 琀漀 琀愀欀攀 琀栀椀猀 琀漀 戀攀 愀戀漀甀琀 挀栀椀氀搀 愀戀甀猀攀 ⠀琀栀攀 ✀㄀ⴀ㈀ⴀ㌀✀⤀ ⴀ 漀昀 挀漀甀爀猀攀 椀琀 猀栀漀甀氀搀 爀愀琀栀攀爀 戀攀 甀渀搀攀爀猀琀漀漀搀 椀渀 琀攀爀洀猀 漀昀 愀 猀礀洀戀漀氀椀挀 昀甀渀挀琀椀漀渀 椀渀 琀栀攀 栀甀洀愀渀 猀攀洀椀漀琀椀挀 爀攀愀氀椀琀礀⸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀䤀琀 椀猀 琀栀攀 昀爀愀洀攀猀 漀昀 琀栀攀 眀椀渀搀漀眀 琀栀愀琀 洀愀欀攀 琀栀攀 挀漀氀漀甀爀 瀀栀漀琀漀㨀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀挀漀氀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀ऀऀऀऀ ਀㰀椀洀最 猀爀挀㴀∀挀漀氀㈀ⴀ愀渀渀漀琀愀琀攀搀ⴀ㈀愀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀ऀऀऀऀ ਀ 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀攀 昀爀愀洀攀 漀渀 琀栀攀 爀椀最栀琀栀愀渀搀 猀椀搀攀 椀猀 愀 洀椀爀爀漀爀 琀漀 琀栀攀 眀椀渀搀漀眀 琀栀愀琀 氀漀漀欀猀 氀椀欀攀 愀渀 漀瀀攀渀 戀漀漀欀⸀ 䤀琀 椀猀 猀攀攀渀 琀栀愀琀 琀栀攀 甀瀀瀀攀爀 昀爀愀洀攀 栀愀猀 琀栀攀 漀甀琀猀琀爀攀琀挀栀攀搀 ✀漀戀樀攀挀琀✀ 眀栀椀挀栀 琀栀攀 氀攀昀琀栀愀渀搀 ✀戀漀砀攀搀✀ 挀栀愀爀愀挀琀攀爀 椀猀 氀漀漀欀椀渀最 愀琀 愀渀搀 栀愀猀 椀渀 栀椀猀 栀愀渀搀⸀ 吀栀攀 洀愀椀渀 昀爀愀洀攀 椀猀 樀甀猀琀 戀攀椀渀最 欀椀猀猀攀搀 戀礀 琀栀攀 搀攀渀琀椀猀琀 䐀爀⸀ 䠀椀琀挀漀琀挀栀 眀栀漀 琀愀欀攀猀 甀瀀 洀漀猀琀 漀昀 琀栀攀 眀椀渀搀漀眀 猀甀爀昀愀挀攀Ⰰ 搀爀椀渀欀椀渀最 昀爀漀洀 䘀爀愀甀 䈀漀氀搀漀最✀猀 眀椀渀攀 漀昀 琀栀攀 洀椀爀爀漀爀 椀洀愀最攀⸀ 䤀琀 猀攀攀洀猀 琀栀愀琀 琀栀攀猀攀 愀猀瀀攀挀琀猀 愀爀攀 眀攀氀氀 挀漀渀琀愀椀渀攀搀 椀渀 夀攀愀琀猀✀ 瀀漀攀洀 ∀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀瀀漀攀琀爀礀昀漀甀渀搀愀琀椀漀渀⸀漀爀最⼀瀀漀攀洀猀⼀㔀　㌀㌀㜀⼀愀ⴀ搀爀椀渀欀椀渀最ⴀ猀漀渀最∀㸀䄀 搀爀椀渀欀椀渀最 猀漀渀最㰀⼀愀㸀∀㨀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㰀戀爀㸀 ਀圀椀渀攀 挀漀洀攀猀 椀渀 愀琀 琀栀攀 洀漀甀琀栀           㰀戀爀㸀 and love comes in at the eye;
਀琀栀愀琀✀猀 愀氀氀 眀攀 猀栀愀氀氀 欀渀漀眀 昀漀爀 琀爀甀琀栀          㰀戀爀㸀 before we grow old and die.
਀䤀 氀椀昀琀 琀栀攀 最氀愀猀猀 琀漀 洀礀 洀漀甀琀栀          㰀戀爀㸀 and look at you, and sigh.

਀ It is possible that a mutual juxtaposition of persons takes place in the last two lines - as if the window frame is transgressed somehow. The window or 'open book' is more clearly visible in the colour version than in the B/W - could be that is because the B/W version lets an inventory of mythological characters step forth and occupy the human attention.

਀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 㐀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀     㰀戀爀㸀㰀戀爀㸀 ਀㰀戀㸀蘀묃묃뼃㨃㰀⼀戀㸀㰀戀爀㸀 Κρίμα για σε, για δίστιχο, να χαλαστεί μελάνι
਀錀넃쐃찃젃넃섃뼃Ⰳ 쀀뼃뤃뼃숃 였섃찃봃뤃밃뼃숃 쐀뼃 눀갃봃딃뤃 쌀쐃뼃 쐀뜃댃갃봃뤃㬃㰀戀爀㸀
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 It is gone/done for you, this distich, and ruined for the darker
਀挀愀琀昀椀猀栀 眀栀漀猀攀 漀戀攀搀椀攀渀挀攀 眀攀渀琀 椀渀 琀栀攀 昀爀礀椀渀最 瀀愀渀⸀              㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀 㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 
਀ This seems to be photo #5 - where a catfish (source) can be spotted in the colour photo but not so clearly in the B/W.

਀ ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㔀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  ਀吀栀攀 挀愀琀昀椀猀栀 椀猀 琀栀椀猀㨀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀  ਀㰀椀洀最 猀爀挀㴀∀挀漀氀㔀ⴀ挀愀琀昀椀猀栀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  ਀䤀琀 椀猀 琀栀椀猀 挀漀挀栀氀攀愀爀 昀漀爀洀 眀栀椀挀栀 最漀攀猀 椀渀 琀栀攀 猀瀀攀挀琀爀愀氀 昀爀礀椀渀最 瀀愀渀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  ਀䤀 焀甀漀琀攀 夀攀愀琀猀 ㄀㤀㤀㘀 ⠀✀吀栀攀 眀椀渀搀 愀洀漀渀最 琀栀攀 爀攀攀搀猀✀⤀ 昀漀爀 愀 猀椀洀椀氀愀爀 瀀爀漀瀀栀攀琀椀挀 昀甀渀挀琀椀漀渀 漀昀 琀栀椀猀 昀椀猀栀㨀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀㰀戀爀㸀 ਀㰀椀㸀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀瀀漀攀琀爀礀昀漀甀渀搀愀琀椀漀渀⸀漀爀最⼀瀀漀攀洀猀⼀㔀㜀㌀　㐀⼀琀栀攀ⴀ昀椀猀栀ⴀ㔀㘀搀㈀㌀愀愀攀戀挀㄀㄀㠀∀㸀吀栀攀 昀椀猀栀㰀⼀愀㸀㰀⼀椀㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  ਀䄀氀琀栀漀甀最栀 礀漀甀 栀椀搀攀 椀渀 琀栀攀 攀戀戀 愀渀搀 昀氀漀眀              㰀戀爀㸀 of the pale tide when the moon has set,
਀琀栀攀 瀀攀漀瀀氀攀 漀昀 挀漀洀椀渀最 搀愀礀猀 眀椀氀氀 欀渀漀眀              㰀戀爀㸀 about the casting out of my net,
਀愀渀搀 栀漀眀 礀漀甀 栀愀瘀攀 氀攀愀瀀攀搀 琀椀洀攀猀 漀甀琀 漀昀 洀椀渀搀              㰀戀爀㸀 over the little silver cords,
਀愀渀搀 琀栀椀渀欀 琀栀愀琀 礀漀甀 眀攀爀攀 栀愀爀搀 愀渀搀 甀渀欀椀渀搀Ⰰ              㰀戀爀㸀 and blame you with many bitter words.

਀㰀戀爀㸀 ਀䠀漀眀攀瘀攀爀Ⰰ 琀栀椀猀 瀀漀攀洀 漀昀 夀攀愀琀猀 挀愀氀氀猀 昀漀爀 爀攀挀漀最渀椀琀椀漀渀 椀渀 漀琀栀攀爀 漀昀 洀礀 ㈀㌀ 瀀栀漀琀漀猀㨀 一漀琀愀戀氀礀 漀渀攀 挀愀渀 猀攀攀 栀椀猀 氀椀渀攀猀 ㄀ⴀ㈀ 椀渀 洀礀 瀀栀漀琀漀 ⌀㜀Ⰰ 栀椀猀 氀椀渀攀猀 ㌀ⴀ㐀 椀渀 㰀愀 栀爀攀昀㴀∀瘀愀氀㄀㌀⸀樀瀀最∀㸀洀礀 瀀栀漀琀漀 ⌀㄀㌀㰀⼀愀㸀 戀甀琀 漀渀氀礀 昀漀爀 㰀愀 栀爀攀昀㴀∀挀漀氀㄀㌀⸀樀瀀最∀㸀琀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀㰀⼀愀㸀 ⠀眀栀攀爀攀 琀栀攀 挀愀猀琀椀渀最 漀昀 愀 渀攀琀 椀猀 猀攀攀渀⤀Ⰰ 栀椀猀 氀椀渀攀 㔀ⴀ㘀 椀渀 㰀愀 栀爀攀昀㴀∀瘀愀氀㐀⸀樀瀀最∀㸀瀀栀漀琀漀 ⌀㐀㰀⼀愀㸀 愀猀 攀洀攀爀最椀渀最 昀爀漀洀 㰀愀 栀爀攀昀㴀∀挀漀氀㐀⸀樀瀀最∀㸀琀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀㰀⼀愀㸀Ⰰ 愀渀搀 昀椀渀愀氀氀礀 氀椀渀攀猀 㜀ⴀ㠀 椀渀 琀栀攀 洀椀爀爀漀爀 琀漀 琀栀椀猀 椀渀 㰀愀 栀爀攀昀㴀∀瘀愀氀㈀　⸀樀瀀最∀㸀瀀栀漀琀漀 ⌀㈀　㰀⼀愀㸀⸀ 吀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀 漀昀 瀀栀漀琀漀 㐀 挀漀甀氀搀 猀栀漀眀 愀 昀愀挀攀 漀昀 戀椀琀琀攀爀渀攀猀猀 ⴀ 愀猀 愀 樀愀渀甀猀ⴀ栀攀愀搀 琀漀 琀栀攀 樀漀挀甀氀愀爀 漀渀攀 ⠀猀攀攀 渀攀砀琀 攀砀愀洀瀀氀攀⤀⸀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀ ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 㔀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀       㰀戀爀㸀㰀戀爀㸀 ਀㰀戀㸀ꌀ딃 밀딃댃넃묃뼃밃넃봃긃 뜀묃꼃렃뤃뼃㨃㰀⼀戀㸀  㰀戀爀㸀 Τ’ αστεία του πατέρα σου θα μείνουν φημισμένα
਀넀쀃ᤃ†찀묃넃 준숃 넀섃뤃쌃쐃뼃촃섃댃뜃밃넃 밀넃숃 가옃뜃쌃딃봃 딀쌃괃봃넃℃㰀戀爀㸀
਀㰀椀㸀伀渀 琀栀攀 洀攀最愀氀漀洀愀渀椀愀挀 昀漀漀氀㨀㰀⼀椀㸀             㰀戀爀㸀 Your father's entertainments will remain celebrated
਀愀渀搀 琀栀攀渀 栀攀 眀椀氀氀 爀攀氀攀愀猀攀 礀漀甀 愀猀 愀 洀愀猀琀攀爀瀀椀攀挀攀 漀昀 漀甀爀猀⸀                 㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀   㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀戀爀㸀 ਀ Photo #4:

਀ ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㐀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀攀 䈀⼀圀 攀洀瀀栀愀猀椀稀攀猀 琀栀攀 搀漀最 眀栀椀挀栀 琀栀爀漀眀猀 愀渀 ✀漀昀昀猀瀀爀椀渀最✀ 戀愀挀欀 漀瘀攀爀 琀栀攀 猀栀漀甀氀搀攀爀Ⰰ 愀渀搀 琀栀攀 ✀昀愀琀栀攀爀✀猀 戀椀最 昀愀挀攀 琀漀 琀栀攀 爀椀最栀琀 戀爀椀洀洀椀渀最 漀瘀攀爀 眀椀琀栀 樀漀挀甀氀愀爀椀琀椀攀猀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㐀愀ⴀ愀渀渀漀琀愀琀攀搀ⴀ㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀　　㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀一漀琀椀挀攀 琀栀攀 琀眀漀 琀爀愀椀氀猀 ⴀ 氀椀欀攀 琀爀愀洀氀椀渀攀猀 ⴀ 愀昀琀攀爀 琀栀攀 ✀漀昀昀猀瀀爀椀渀最✀Ⰰ 猀栀漀眀椀渀最 椀琀猀 琀爀愀樀攀挀琀漀爀礀Ⰰ 椀渀 琀栀攀 挀漀氀漀甀爀 瀀栀漀琀漀⸀ 吀栀攀猀攀 愀爀攀 渀漀琀 爀攀愀氀氀礀 瘀椀猀椀戀氀攀 椀渀 琀栀攀 琀栀爀攀猀栀漀氀搀攀搀 漀渀攀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀ A series of three poems of Ablikhos on the principles of law or praxis of lawyers all seem to be concerned with photo #14 - in particular how the dry rod (the Snake?) which dominates the colour photo is invisible in the B/W:

਀ ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㄀㐀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀攀 氀愀眀 椀猀 栀攀爀攀 爀漀漀琀攀搀 椀渀 琀栀攀 昀漀攀琀甀猀 猀琀愀最攀 漀昀 琀栀攀 栀甀洀愀渀猀 ⴀ 愀渀搀 琀栀攀 瀀栀攀渀漀洀攀渀漀渀 漀昀 氀愀眀 愀猀 猀漀洀攀琀栀椀渀最 搀椀猀琀椀渀挀琀 愀渀搀 攀砀琀爀愀漀爀搀椀渀愀爀礀 眀椀氀氀 戀攀 攀洀瀀栀愀猀椀稀攀搀 栀攀爀攀 戀礀 琀栀攀 瀀攀挀甀氀椀愀爀 瀀栀攀渀漀洀攀洀漀渀 椀渀 ⌀㄀㐀 琀栀愀琀 琀栀攀 搀爀礀 爀漀搀 眀栀椀挀栀 椀猀 猀漀 挀氀攀愀爀氀礀 瘀椀猀椀戀氀攀 愀渀搀 瀀爀漀洀椀渀攀渀琀 椀渀 琀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀 椀猀 猀漀 琀漀琀愀氀氀礀 愀戀猀攀渀琀 椀渀 琀栀攀 琀栀爀攀猀栀漀氀搀攀搀 䈀⼀圀 瘀攀爀猀椀漀渀⸀ 吀栀攀渀 漀渀攀 猀栀漀甀氀搀 攀砀瀀攀挀琀 琀漀 昀椀渀搀 琀栀愀琀 椀琀 椀猀 琀栀攀 琀栀爀攀猀栀漀氀搀椀渀最 眀栀椀挀栀 搀攀昀椀渀攀猀 琀栀攀 昀椀攀氀搀 漀昀 氀愀眀⸀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀ Example 6

਀ Στους δικαστάς

਀ Οι δικαστάδες είναι Κομιτάτον
਀먀갃렃딃 ꀀ넃섃넃쌃먃딃씃긃 쐀줃봃 鄀눃뼃먃갃쐃줃봃         㰀戀爀㸀 και δίνουν τα βραβεία με φρονιμάδα
਀쌀㼃 딀먃딃뤃뼃촃숃 쀀뼃씃 먀갃봃뼃씃봃 쀀섃츃쐃뜃 밀넃쌃먃넃섃갃됃넃⸃         㰀戀爀㸀
਀㰀椀㸀伀渀 琀栀攀 樀甀搀最攀猀㰀⼀椀㸀         㰀戀爀㸀
਀吀栀攀 樀甀搀最攀猀 愀爀攀 琀栀攀 挀漀洀洀椀琀琀攀攀         㰀戀爀㸀 preparing the avocado
਀琀漀 最椀瘀攀 洀攀 琀栀攀 瀀爀椀稀攀⼀愀眀愀爀搀 漀昀 眀椀猀搀漀洀         㰀戀爀㸀 that makes the first mascerade.

਀ 'Αβοκάτων' really means 'avocado' but if an N be inserted it turns into 'δικαστης' = 'αβοκάντων' = an 'advocate', a 'lawyer' - on 'kant'-en.

਀ The avocado is the 'palette' form with a hole up in the righthand half on #14.

਀ The 'πρώτη μασκαράδα' = 'first mascerade' is then the foetus shape with an invisible dry rod as τα βραβεία before the face of φρονιμάδα.

਀ For a relevant poem of Yeats, see "The heart of the woman" from his 'The wind among the reeds'. It seems to emphasize just this thresholding function in forms resembling my photos.

਀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 㜀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀     㰀戀爀㸀㰀戀爀㸀 ਀㰀戀㸀ꌀ쐃뼃씃숃 됀뤃먃뜃댃찃섃뼃씃숃㰃⼀戀㸀          㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀ꀀ뼃봃찃먃넃섃됃뼃 밀뼃씃 먀갃봃딃쐃딃 먀넃쬃밃괃봃뼃뤃         㰀戀爀㸀 που εμπρός στο δικαστήριο δειλοί
਀쌀쐃괃먃딃쌃렃딃 쌀넃봃 밀넃밃뼃촃섃뤃넃 밀넃똃줃밃괃봃뼃뤃Ⰳ         㰀戀爀㸀 σώματα δίχως πνεύμα και (ψυχή) ζωή.
਀         㰀戀爀㸀 Κ? ενώ φρουροί της Θέμιδος βαλμένοι
਀딀꼃쌃렃딃 먀넃뤃 쌀딃뤃숃 밀딃 쐀뼃씃숃 먀섃뤃쐃갃숃 밀넃똃꼃Ⰳ         㰀戀爀㸀 όμως σ? εσάς για δόξα τώρα μένει
਀뜀 였긃밃뜃 쐀뼃씃 鐀딃쐃찃섃뼃씃 밀뼃봃넃윃긃⸃         㰀戀爀㸀
਀ꔀ쀃뼃쐃딃묃딃꼃숃 쌀딃 먀갃렃딃 똀줃윃넃됃뤃갃섃뜃Ⰳ         㰀戀爀㸀 δέχεσθε ρομαντζίνες και προστίματα,
਀쀀뼃씃 넀봃 글렃딃묃딃 관봃넃숃 븀괃봃뼃숃 쌀넃숃 뤀됃긃Ⰳ         㰀戀爀㸀
਀준숃 씀쀃뼃됃꼃먃뼃씃숃 글렃딃묃딃 쌀넃숃 쀀갃섃뜃         㰀戀爀㸀 κ? ήθελε την Ελλάδα λυπηθή…
਀騀넃뤃 쐀넃 묀뼃뤃쀃갃☃†騀넃뤃 쐀넃 묀뼃뤃쀃갃☃†눀묃넃쌃쐃긃밃넃쐃넃⸃         㰀戀爀㸀

਀   0.     About the judicial spinelessness
਀         㰀戀爀㸀   1.     Tenderheartedly comes before me the 'cover/membrane' (poor maidenhead?)
਀☀渀戀猀瀀㬀   ㈀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ戀攀昀漀爀攀 琀栀攀 挀漀甀爀琀 漀昀 猀瀀椀渀攀氀攀猀猀渀攀猀猀         㰀戀爀㸀   3.     You stand like marble collected (?),
਀☀渀戀猀瀀㬀   㐀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ戀漀搀椀攀猀 眀椀琀栀漀甀琀 猀瀀椀爀椀琀 漀爀 猀漀甀氀 ⠀氀椀昀攀⤀         㰀戀爀㸀
਀☀渀戀猀瀀㬀   㔀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ愀渀搀 愀氀琀栀漀甀最栀 最甀愀爀搀椀愀渀猀 漀昀 琀栀攀 昀愀椀爀氀礀 搀爀愀昀琀攀搀 ⠀㼀⤀         㰀戀爀㸀   6.     you are and will be judging with me
਀☀渀戀猀瀀㬀   㜀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ愀猀 椀昀 礀漀甀 眀攀爀攀 琀栀攀 漀瀀椀渀椀漀渀⼀猀攀渀琀攀渀挀攀 ⴀ 渀漀眀 爀攀洀愀椀渀猀         㰀戀爀㸀   8.     the saying of the Monday/2nd alone.
਀         㰀戀爀㸀   9.     Submitted all over ill-tempered
਀㄀　⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ琀愀欀攀 爀漀洀愀渀挀攀 愀渀搀 愀 昀椀渀攀         㰀戀爀㸀 11.     whenever is wanted the single alien of your idea.
਀         㰀戀爀㸀 12.     As responsible you want the company/cheek
਀㄀㌀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ愀渀搀 琀漀 洀愀欀攀 䠀攀氀氀愀猀 昀攀攀氀 琀栀攀 最爀椀攀昀⸀         㰀戀爀㸀 14.     And the rest... and the rest... is vegetation/sprouting.

਀ Some of the words I have not been able to decipher - such as the assumed 'marble' etc. This poem is about the connection between arbitrarities 1 and 2 - according to my semiotic model in this article - here the theory is that justice is about maintaining the needed link between these two forms of arbitrarity. Is it a quail chick hieroglyph (as in example 2)? It is invisible for the normal black-and-white mythological reality.

਀    ਀㰀椀洀最 猀爀挀㴀∀ 瀀栀漀琀漀ⴀ㄀㐀ⴀ猀攀洀椀漀琀椀挀猀ⴀ㄀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀匀漀洀攀 挀漀洀洀攀渀琀猀㨀      㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 ਀☀渀戀猀瀀㬀   　⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ吀栀攀 栀椀搀搀攀渀 搀爀礀 爀漀搀 椀渀 琀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀Ⰰ 琀栀攀 猀瀀椀渀攀 漀昀 樀甀猀琀椀挀攀         㰀戀爀㸀
਀☀渀戀猀瀀㬀   ㄀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ䌀漀甀氀搀 戀攀 琀栀攀 搀爀礀 爀漀搀 椀猀 ✀琀栀攀 猀愀洀攀✀ 愀猀 琀栀攀 甀洀戀椀氀椀挀愀氀 挀漀爀搀 昀漀爀 愀 昀漀攀琀甀猀         㰀戀爀㸀   2.     before the wall behind the cord, or the placenta
਀☀渀戀猀瀀㬀   ㌀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ䈀氀愀挀欀ⴀ愀渀搀ⴀ眀栀椀琀攀 琀漀最攀琀栀攀爀Ⰰ 挀漀甀氀搀 戀攀 椀琀 洀攀愀渀猀 琀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀         㰀戀爀㸀   4.     wherein only the dry rod is visible, the surroundings are nothing
਀         㰀戀爀㸀   5.     A blurred thresholding appears
਀☀渀戀猀瀀㬀   㘀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ眀栀攀爀攀 琀栀攀 樀甀搀最攀洀攀渀琀 漀昀 戀氀愀挀欀ⴀ漀爀ⴀ眀栀椀琀攀 琀攀氀氀猀 琀栀攀 渀攀眀 昀漀爀洀         㰀戀爀㸀   7.     'You' = the otherness = the umbilical court decides on
਀☀渀戀猀瀀㬀   㠀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ琀栀攀 瀀栀漀渀攀琀椀挀 昀漀爀洀 眀椀琀栀 ㈀ 洀攀琀愀瀀栀礀猀椀挀猀 爀攀搀甀挀攀搀 琀漀 ㄀ 爀攀昀攀爀攀渀琀         㰀戀爀㸀
਀☀渀戀猀瀀㬀   㤀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ吀爀甀琀栀 椀猀 愀 洀愀琀琀攀爀 漀昀 攀渀琀爀漀瀀椀攀猀 ⠀✀昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀漀最椀挀✀⤀          㰀戀爀㸀 10.     isomorphically joined and reduced with the linguistic nucleus.
਀㄀㄀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ䐀攀猀椀爀攀 昀漀爀 琀爀甀琀栀 椀搀攀渀琀椀昀椀攀猀 琀栀攀 愀氀椀攀渀 洀愀琀琀攀爀 搀攀爀椀瘀攀搀 昀爀漀洀 礀漀甀爀 椀搀攀愀猀⸀         㰀戀爀㸀
਀㄀㈀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ吀栀攀 猀椀渀最氀攀 爀漀搀 挀漀渀渀攀挀琀椀渀最 愀爀戀椀琀爀愀爀椀琀礀 ㄀ 愀渀搀 ㈀⸀          㰀戀爀㸀 13.     'Greece' = 'Grief' - Greece on the map resembles the black-and-white
਀㄀㐀⸀ ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀  ऀ吀栀攀 猀攀洀椀漀琀椀挀 洀礀猀琀攀爀礀 ⴀ 눀묃넃쌃쐃긃밃넃쐃넃 㴀 琀栀攀 猀瀀爀漀甀琀椀渀最 瘀攀最攀琀愀琀椀漀渀       㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀         㰀戀爀㸀 ਀ Example 8

਀ Στους δικηγόρους

਀ Οι δικηγόροι έχουν Καρναβάλι
਀먀씃섃꼃줃숃 찀쐃넃봃 딀꼃봃넃뤃 먀넃먃뼃씃섃댃긃밃넃쐃넃Ⰳ     㰀戀爀㸀 γιατί καθένας τότε παραβάλλει
਀봀넃 쀀뜃 쐀넃 쀀뤃뼃 쀀뼃묃묃갃 밀줃섃뼃묃뼃댃긃밃넃쐃넃⸃     㰀戀爀㸀
਀✀騀넃섃봃넃눃갃묃뤃✃ 椀猀 琀栀攀 猀愀洀攀 洀愀猀欀 猀琀漀爀礀⸀      㰀戀爀㸀
਀吀栀攀 樀甀搀最攀猀 愀爀攀 栀愀瘀椀渀最 挀愀爀渀椀瘀愀氀         㰀戀爀㸀 divine (of the masters) when they are deciding (are criminal)
਀戀攀挀愀甀猀攀 攀愀挀栀 漀昀 琀栀攀洀 琀栀攀渀 洀椀砀 甀瀀         㰀戀爀㸀 the PE with the PI / 'even more foolish talk'   =   to say the most foolish talk

਀         㰀戀爀㸀 πη vs πιο could be the other important element. I refer to Yeats' "Down by the Salley Gardens" which in these photos has a reflex on the form 'salley/sallow gardens' - it is the 'sallow' which dominates the colour photo. The foolishness and her snow-white hand are relevant.

਀ One could speculate on Yeats as being concerned with poetic mysteries of Ablikhos qua prophetic language which opens the window. Yeats is then 'the second coming'.

਀ See also the Θέμιδος βαλμένοι of the previous poem as 'Salley Gardens'.

਀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 㤀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀    㰀戀爀㸀㰀戀爀㸀 ਀嬀꜀줃섃꼃숃 쐀꼃쐃묃뼃崃         㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 Ο έρωτας, η αγάπη κ? οι φιλίες
਀넀됃씃봃넃밃꼃딃숃 딀꼃봃넃뤃 쐀뜃숃 저씃윃긃숃⸃         㰀戀爀㸀 Η δύναμί της είν? η αναισθησία.
਀騀뤃㼃 뼀 넀봃넃꼃쌃렃뜃쐃뼃숃Ⰳ 頀딃찃숃 딀꼃봃㼃 딀쀃꼃 대뜃숃⸃         㰀戀爀㸀
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 Eros, love and friendship
਀愀爀攀 琀栀攀 眀攀愀欀渀攀猀猀攀猀 漀昀 琀栀攀 猀漀甀氀         㰀戀爀㸀  whose strength is the un-/sub-conscious
਀琀栀愀琀 椀猀 琀栀攀 䜀漀搀 漀渀 攀愀爀琀栀⸀              㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀ Photo #12 interprets this - with eros, love and friendship as the characters from right to left in the B/W form, while the strength = δύναμίς is in the colour version:

਀ ਀㰀椀洀最 猀爀挀㴀∀挀漀氀㄀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀ 挀漀氀㄀㈀ⴀ愀瀀瀀ⴀ搀⸀樀瀀最∀ 栀攀椀最栀琀㴀㜀　㸀  ਀㰀椀洀最 猀爀挀㴀∀ 挀漀氀㄀㈀ⴀ愀瀀瀀ⴀ渀⸀樀瀀最∀ 栀攀椀最栀琀㴀㜀　㸀 
਀㰀椀洀最 猀爀挀㴀∀ 挀漀氀㄀㈀ⴀ愀瀀瀀ⴀ洀⸀樀瀀最∀ 栀攀椀最栀琀㴀㜀　㸀  ਀㰀椀洀最 猀爀挀㴀∀ 挀漀氀㄀㈀ⴀ愀瀀瀀ⴀ猀⸀樀瀀最∀ 栀攀椀最栀琀㴀㜀　㸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀夀攀愀琀猀 ∀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀瀀漀攀琀爀礀昀漀甀渀搀愀琀椀漀渀⸀漀爀最⼀瀀漀攀洀猀⼀㐀㌀㈀㤀　⼀琀栀攀ⴀ猀攀挀漀渀搀ⴀ挀漀洀椀渀最∀㸀吀栀攀 猀攀挀漀渀搀 挀漀洀椀渀最㰀⼀愀㸀∀ 琀攀氀氀猀 漀昀 琀栀椀猀 洀椀搀 瀀漀椀渀琀 ⴀ 椀渀挀氀甀搀椀渀最 琀栀攀 氀椀漀渀 戀攀愀猀琀 眀椀琀栀 栀甀洀愀渀 栀攀愀搀 眀栀椀挀栀 挀漀甀氀搀 戀攀 琀栀攀 氀攀昀琀洀漀猀琀 挀栀愀爀愀挀琀攀爀 椀渀 琀栀攀 挀攀渀琀爀愀氀 挀氀甀猀琀攀爀 漀昀 㐀⸀ 吀栀椀猀 瀀漀攀洀 琀攀氀氀猀 漀昀 琀栀攀 猀愀洀攀 頀딃찃숃 딀쀃꼃 대뜃숃 㴀 ✀䜀漀搀 漀渀 攀愀爀琀栀✀ 琀栀愀琀 椀渀 琀栀攀 氀愀猀琀 氀椀渀攀 ∀猀氀漀甀挀栀攀猀 琀漀眀愀爀搀猀 䈀攀琀栀氀攀栀攀洀 琀漀 戀攀 戀漀爀渀∀⸀ 吀栀攀 最爀攀攀欀 猀瀀攀氀氀椀渀最 漀昀 䈀攀琀栀氀攀栀攀洀 椀猀 鈀霃頃鬃锃锃鰃 ⴀ 眀栀椀挀栀 挀愀渀 戀攀 爀攀挀漀最渀椀稀攀搀 焀甀椀琀攀 挀氀攀愀爀氀礀 椀渀 琀栀攀 挀漀氀漀甀爀 瘀攀爀猀椀漀渀㨀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀挀漀氀㄀㈀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀 

਀ The final M seems even to be surrounded by a hebrew form.

਀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 ㄀　㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀   㰀戀爀㸀㰀戀爀㸀 ਀⠀ꐀ뼃 넀꼃봃뤃댃밃갃 밀뼃씃㨃⤀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 Είμαι στο μέσον του παραδείσου
਀먀뤃㼃 딀꼃밃넃뤃 쐀뼃 넀봃쐃꼃렃딃쐃뼃⸃ 錀뤃넃 쌀씃묃묃뼃댃꼃쌃뼃씃℃   㰀戀爀㸀
਀⠀䴀礀 攀渀椀最洀愀㨀⤀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 I am in the middle of the paradise
਀愀渀搀 䤀 愀洀 椀琀猀 愀渀琀椀琀栀攀猀椀猀⼀挀漀甀渀琀攀爀瀀漀椀渀琀⸀ 圀栀愀琀⼀䘀漀爀 愀 猀礀氀氀漀最椀猀洀℀   㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀㰀戀爀㸀 ਀吀栀攀 最爀攀攀欀 쌀씃묃묃뼃댃꼃쌃뼃씃 猀栀漀甀氀搀 瀀爀漀戀愀戀氀礀 栀愀瘀攀 戀攀攀渀 쌀씃묃묃뼃댃꼃쌃밃뼃씃⸃ 圀栀礀 椀猀 琀栀攀 ✀ⴀ洀ⴀ✀ 氀愀挀欀椀渀最㼀 䤀 搀漀渀琀 欀渀漀眀 椀昀 椀琀 挀漀甀氀搀 栀愀瘀攀 戀攀攀渀 搀甀攀 琀漀 琀爀愀渀猀挀爀椀瀀琀椀漀渀 攀爀爀漀爀猀 椀渀 琀栀攀 瀀甀戀氀椀猀栀椀渀最 ⠀䤀 栀愀瘀攀 漀戀猀攀爀瘀攀搀 猀漀洀攀琀栀椀渀最 氀椀欀攀 琀栀愀琀 椀渀 琀栀攀 昀爀攀渀挀栀 焀甀漀琀攀猀 漀昀 栀椀猀 昀爀漀洀 搀攀 䴀甀猀猀攀琀 ⴀ 猀甀挀栀 愀猀 ✀猀攀甀氀 戀攀椀渀✀ 昀漀爀 ✀猀攀甀氀 戀椀攀渀✀⤀⸀ 䤀 渀漀琀椀挀攀 琀栀愀琀 쐀뼃 넀뤃봃뤃댃밃넃 㴀 琀栀攀 攀渀椀最洀愀 挀漀甀氀搀 戀攀 挀漀洀瀀愀爀攀搀 眀椀琀栀 넀봃뼃뤃댃줃 㴀 琀漀 漀瀀攀渀⸀ 䌀漀甀氀搀 戀攀 琀栀攀 瀀漀攀琀 椀渀琀攀渀搀攀搀 猀漀洀攀琀栀椀渀最 爀攀猀攀洀戀氀椀渀最 洀礀 漀瀀攀渀椀渀最 漀昀 琀栀攀 椀渀昀漀爀洀愀琀椀漀渀愀氀 㰀愀 栀爀攀昀㴀∀欀攀礀猀⸀栀琀洀∀㸀猀甀戀猀攀琀猀 漀昀 栀甀洀愀渀椀琀礀㰀⼀愀㸀⸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀倀栀漀琀漀 ⌀㄀㈀ 椀猀 愀 氀椀欀攀氀礀 椀渀琀攀爀瀀爀攀琀愀琀椀漀渀 攀瘀攀渀 栀攀爀攀 ⴀ 愀渀搀 琀栀攀渀 椀琀 挀漀甀氀搀 戀攀 琀栀攀 瀀愀爀愀搀漀砀 漀昀 愀 昀氀愀最攀氀氀愀渀琀攀 ⴀ 琀栀攀 猀攀挀漀渀搀 挀栀愀爀愀挀琀攀爀 昀爀漀洀 爀椀最栀琀 ⴀ 椀渀 瀀愀爀愀搀椀猀攀 眀栀椀挀栀 椀猀 琀栀攀 琀栀攀洀攀⸀ 吀栀攀 ㈀ 琀眀椀最猀 挀漀洀椀渀最 椀渀 昀爀漀洀 琀栀攀 氀攀昀琀 琀爀愀渀猀昀漀爀洀猀 椀渀琀漀 琀栀攀 㔀 ⠀漀爀 猀漀⤀ 琀眀椀最猀 猀琀愀渀搀椀渀最 甀瀀爀椀最栀琀⸀ 吀栀攀 瀀栀漀琀漀 ⌀㄀㈀ 椀猀 漀琀栀攀爀眀椀猀攀 挀漀渀瘀攀渀椀攀渀琀氀礀 挀漀洀瀀愀爀攀搀 眀椀琀栀 琀栀攀 猀漀挀愀氀氀攀搀 ✀洀愀渀ⴀ漀渀ⴀ眀愀最漀渀✀ ⠀戀甀琀 猀攀攀渀 昀爀漀洀 琀栀攀 漀琀栀攀爀 猀椀搀攀⤀ 愀渀搀 栀攀渀挀攀 琀栀攀 洀漀瘀攀洀攀渀琀 漀昀 琀栀攀 眀愀最漀渀 椀猀 琀栀攀 洀漀瘀攀洀攀渀琀 漀昀 琀栀攀 氀漀最椀挀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀ Example 11

਀ [Χωρίς τίτλο]

਀销봃찃숃 쀀넃쀃갃 쀀넃섃괃밃눃넃쌃뜃 쐀넃 쀀섃갃밃넃쐃넃 쐀㼃 넀묃묃갃똃딃뤃㰃戀爀㸀 κι? αυτό που λεν αμάρτημα το χέρι του τ? αγιάζει.
਀     㰀戀爀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 The one father/priest meddles with the matters of another
਀愀渀搀 琀栀椀猀Ⰰ 琀栀攀礀 猀愀礀Ⰰ 椀猀 琀栀攀 眀爀漀渀最 栀愀渀搀 猀瀀爀椀渀欀氀椀渀最 琀栀攀 栀漀氀礀 眀愀琀攀爀         㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀眀栀椀挀栀 椀猀 瀀栀漀琀漀 ⌀㄀㜀㨀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㄀㜀⸀樀瀀最∀ 栀攀椀最栀琀㴀㈀　　㸀 

਀ The papa (priest) watches TV and has a child with toy horse playing over the back of the sofa - the father follows the TV screen in the righthand third - which seems to show a graffiti sort of program with a slanting unit therein. Or is it a program teaching children how to brush their teeth? Or even a generalized representation of the basic linguistic nucleus? He may perhaps be meddling with another person's matters - his own wife is seen in the lefthand part nursing a child which rests like a carrot-eating rabbit on her lap. The 'father' is just in the process of opening a bottle of 'holy water' - and the poem tells that this is the wrong hand doing it due to his interests in what is on the TV screen. (Notice the finger-similarities). Interestingly, there seems to be a nose monkey hiding in the darkness of the TV program, visible only in the colour version:

਀ 

਀㰀戀爀㸀 ਀㰀甀㸀㰀椀㸀㰀戀㸀䔀砀愀洀瀀氀攀 ㄀㈀㰀⼀戀㸀㰀⼀椀㸀㰀⼀甀㸀    㰀戀爀㸀㰀戀爀㸀 ਀ꐀ뜃숃 됀섃갃쌃뜃숃 밀뼃씃 쐀뼃 먀갃됃섃뼃 렀딃숃 봀넃 뤀됃긃숃㬃   㰀戀爀㸀 Πήγε σε σφυριξιές ο ατμός της μηχανής.

਀ On basis of poor knowledge of the greek, I try the following translation:

਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 The frame will make the image of my actions.
਀吀栀攀 最栀漀猀琀 椀渀 琀栀攀 洀愀挀栀椀渀攀 眀愀渀搀攀爀攀搀 礀漀甀爀 栀椀猀猀⸀     㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀攀 昀椀爀猀琀 氀椀渀攀 猀攀攀洀猀 琀漀 爀攀昀攀爀 琀漀 瀀栀漀琀漀 ⌀㈀Ⰰ 琀栀攀 氀愀猀琀 琀漀 ⌀㈀㌀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀攀 搀椀猀琀椀挀栀 漀昀 䄀戀氀椀欀栀漀猀 挀愀渀 戀攀 挀漀洀瀀愀爀攀搀 眀椀琀栀 夀攀愀琀猀✀ ✀㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀眀眀眀⸀瀀漀攀琀爀礀昀漀甀渀搀愀琀椀漀渀⸀漀爀最⼀瀀漀攀琀爀礀洀愀最愀稀椀渀攀⼀戀爀漀眀猀攀㼀挀漀渀琀攀渀琀䤀搀㴀㄀㌀㌀㌀　∀㸀吀栀攀 猀挀栀漀氀愀爀猀㰀⼀愀㸀✀ ⴀ 琀栀攀 昀椀爀猀琀 氀椀渀攀 椀猀 琀栀攀 昀椀爀猀琀 氀椀渀攀 愀渀搀 琀栀攀 氀愀猀琀 椀猀 夀攀愀琀猀✀ 氀愀猀琀⸀ 夀攀愀琀猀✀ 瀀漀攀洀 挀漀甀氀搀 琀栀攀爀攀戀礀 琀攀氀氀 琀栀攀 氀漀最椀挀 ⠀焀甀愀猀椀 ✀砀礀氀ⴀ氀漀最椀猀琀椀挀猀✀⤀ 琀栀愀琀 甀渀椀琀攀猀 琀栀攀 琀眀漀 氀椀渀攀猀⸀ 吀栀椀猀 愀最愀椀渀 挀漀甀氀搀 愀氀氀漀眀 昀漀爀 琀栀攀 椀搀攀愀 漀昀 琀栀攀 氀愀猀琀 氀椀渀攀 琀漀 戀攀 爀攀愀搀 椀渀琀漀 琀栀攀 氀愀渀搀猀挀愀瀀攀 漀昀 瀀栀漀琀漀 ⌀㈀㌀ 椀渀 猀甀挀栀 愀 眀愀礀 琀栀愀琀 椀琀 爀攀愀搀猀 琀栀攀 ㈀ⴀ戀爀愀渀挀栀椀渀最 琀眀椀最 琀栀攀 漀琀栀攀爀 眀愀礀 挀漀洀瀀愀爀攀搀 眀椀琀栀 㰀愀 栀爀攀昀㴀∀挀漀氀㄀㈀⸀樀瀀最∀㸀琀栀攀 挀漀氀漀甀爀ⴀ瘀攀爀猀椀漀渀 漀昀 瀀栀漀琀漀 ⌀㄀㈀㰀⼀愀㸀㨀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀挀攀渀琀攀爀∀㸀 ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㈀㌀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀㔀　㸀  ਀㰀椀洀最 猀爀挀㴀∀瘀愀氀㈀㌀ⴀ挀愀琀甀氀氀ⴀ㈀愀⸀樀瀀最∀ 栀攀椀最栀琀㴀㄀㔀　㸀ऀ    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀䌀漀甀氀搀 戀攀 琀栀椀猀 椀猀 琀栀攀 氀漀最椀挀 漀昀 匀䬀夀䰀䰀䄀 ☀ 䌀䄀刀夀䈀䐀䤀匀 愀渀搀 栀漀眀 琀漀 猀琀攀攀爀 椀渀戀攀琀眀攀攀渀 漀渀 琀栀攀 砀礀氀ⴀ氀漀最椀猀琀椀挀猀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀
਀ Some concluding remarks

਀ Clearly to invoke causalities for explaining these matters is rather futile. One can fancy that Ablikhos has been abused by power interests perhaps as badly as Holm or even worse. These could probably tell themselves that the reason for the reflexes of Ablikhos in Yeats would have been a 'copycat' phenomenon which perhaps could be traced to Yeats' father being of the same generation as Ablikhos, and then one has searched for a 'rule' steering the copycat and found it in e.g. Panini spelt backwards.

਀ A good number of Holm's poems are still unpublished - and one can fancy that these are used for political power purposes. I dont know how that is with Ablikhos.

਀ How did I find Ablikhos? By computing it. Here follows first a quote repeating the initial observation from this article. The story is that Grassmann had published his Ausdehnungslehre in 1844 - which today seems to be the solution to the modern computational problem of the qubit, but he was not really understood in those days - and he sent a copy to Cauchy who was into differential mathematics. It seems, by Grassmann's report, that Cauchy instead of answering could have tried to plagiarize a part of it, and my theory goes that History took an unfortunate detour by installing an aspect of Grassmann's theory for a potential solution to the qubit by lifting it further on from 'Cauchy' to his name-similar 'Saussure' who has been credited with the idea of advanced semiotics. Grassmann in the mean time had lost interest in mathematics and turned to studies of sanskrit, and he translated Rig-Veda and wrote a dictionary for it. Then the only thing which lacked was a grammar for this translation - and therefore Panini was found for filling in the empty slot - and Cantor was selected for making the diagonal theory to Grassmann - which was called the theory of the diagonal and expanded to cantorian set theory. A rather farcical development of mathematics could have been the result of all this. Clearly what Saussure called 'arbitrarity' is rather the present phenomenon of Ablikhos, Yeats, my photos and the chinese film - and the secret is contained in the phenomenon of thresholding, which invokes ideas of my fundamental theorem of logic. Now philosophers of abuse of Ablikhos' poetry could have been reasoning along the lines of a phenomenon of backwards-spelling of Panini's sutras, starting from the puzzling behaviour of the number 1966 observed in my story of the computer glitsch that was hung on this number before it leaped onto 1968. The reasoning, based on the names of the essential people, then goes:

਀ ਀䠀攀爀洀愀渀渀 䜀☀甀甀洀氀㬀渀琀栀攀爀 䜀爀愀猀猀洀愀渀渀✀猀 ✀䄀甀猀搀攀栀渀甀渀最猀氀攀栀爀攀✀ 眀愀猀 瀀甀戀氀椀猀栀攀搀 椀渀 ㄀㠀㐀㐀 愀渀搀 䜀攀漀爀最 䘀攀爀搀椀渀愀渀搀 䰀甀搀眀椀最 倀栀椀氀椀瀀 䌀愀渀琀漀爀 眀愀猀 戀漀爀渀 椀渀 ㄀㠀㐀㔀⸀ 吀栀攀 愀戀漀瘀攀 搀椀猀挀甀猀猀椀漀渀 漀昀 ✀䌀伀一吀䄀䤀一✀ 猀栀漀眀攀搀 琀栀愀琀 琀栀攀 椀渀挀爀攀洀攀渀琀愀琀椀漀渀 眀愀猀 栀愀渀最椀渀最 昀漀爀 愀 琀眀椀挀攀 爀攀挀漀爀搀椀渀最 漀昀 ⌀㄀㤀㘀㘀Ⰰ 猀欀椀瀀瀀椀渀最 ⌀㄀㤀㘀㜀 ⴀ 栀攀渀挀攀 愀 ✀洀愀最椀挀✀ 瀀漀椀渀琀 琀栀攀爀攀⸀ 吀栀攀  洀愀琀栀攀洀愀琀椀挀椀愀渀 䜀爀愀猀猀洀愀渀渀 眀愀猀 愀氀猀漀 愀 猀愀渀猀欀爀椀琀漀氀漀最椀猀琀 愀渀搀 瀀甀戀氀椀猀栀攀搀 愀 搀椀挀琀椀漀渀愀爀礀 漀昀 愀渀搀 愀 琀爀愀渀猀氀愀琀椀漀渀 漀昀 刀椀最ⴀ嘀攀搀愀⸀ 一漀眀 琀栀攀 猀愀渀猀欀爀椀琀 最爀愀洀洀愀爀 漀昀 倀愀渀椀渀椀 栀愀猀 ⴀ 戀礀 琀栀攀 攀渀甀洀攀爀愀琀椀漀渀 漀昀 琀栀攀 猀甀琀爀愀猀 椀渀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀㨀⼀⼀瀀愀渀椀渀椀⸀瀀栀椀氀⸀栀栀甀⸀搀攀⼀瀀愀渀椀渀椀⼀瀀愀渀椀渀椀∀㸀 琀栀椀猀 猀漀甀爀挀攀 漀昀 倀愀渀椀渀椀✀猀 ✀䄀猀琀栀愀搀栀礀愀礀椀✀㰀⼀愀㸀 ⴀ 琀栀攀 昀漀氀氀漀眀椀渀最 猀甀琀爀愀猀 漀渀 琀栀攀猀攀 渀甀洀戀攀爀猀㨀       㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀㰀昀漀渀琀 猀椀稀攀㴀∀㌀∀㸀 #1965   5-1-81   masad vayasi yatkhanau
਀⌀㄀㤀㘀㘀 ☀渀戀猀瀀㬀ऀ㔀ⴀ㄀ⴀ㠀㈀ऀ☀渀戀猀瀀㬀ऀ搀瘀椀最漀爀 礀愀瀀                         㰀戀爀㸀 #1967   5-1-83   sanmasan nyac ca
਀⌀㄀㤀㘀㠀 ☀渀戀猀瀀㬀ऀ㔀ⴀ㄀ⴀ㠀㐀ऀ☀渀戀猀瀀㬀 ऀ愀瘀愀礀愀猀椀 琀栀愀洀猀 挀愀                         㰀戀爀㸀
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀 Now 1966 / 0,777 = 2530
਀                         㰀戀爀㸀㰀昀漀渀琀 猀椀稀攀㴀∀㌀∀㸀 #2530   6-1-91   uatahd its dagrasapu (backwards)
਀㰀昀漀渀琀 猀椀稀攀㴀∀㐀∀㸀                         㰀戀爀㸀 Now it seems that these fragments - separated by the factor '777' - contain just the names of these two mathematicians (backwards for Grassmann):

਀ ਀㰀琀搀㸀 khanau
਀䌀愀渀琀漀爀                 㰀戀爀㸀
਀嬀愀甀崀 搀瘀椀最  漀爀 礀愀瀀                 㰀戀爀㸀     Ludwig Philip
਀                 㰀戀爀㸀 sanmasan nyac ca
਀䘀攀爀搀椀渀愀渀搀  䜀攀漀爀最 ਀㰀琀搀㸀 = #1965
਀㰀戀爀㸀
਀㴀 ⌀㄀㤀㘀㘀                 㰀戀爀㸀
਀                 㰀戀爀㸀 = #1967
਀㰀戀爀㸀 ਀㰀⼀琀搀㸀 ਀㰀戀爀㸀 ਀㰀琀愀戀氀攀㸀 ਀⌀㈀㔀㌀　 ☀渀戀猀瀀㬀 ☀渀戀猀瀀㬀 ऀ㰀戀爀㸀㰀戀爀㸀㰀戀爀㸀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 6-1-91    


਀㰀⼀琀搀㸀 ਀甀愀琀愀栀搀 椀琀爀 㰀戀爀㸀 what a diter
਀䠀攀爀 洀漀渀欀攀礀      㰀戀爀㸀 Hermann Gün   ਀㰀⼀琀搀㸀 ਀搀愀 㰀戀爀㸀 da
਀琀攀愀爀     㰀戀爀㸀 ther  ਀㰀⼀琀搀㸀 ਀最爀愀猀愀瀀甀                 㰀戀爀㸀 Grass-apu
਀䜀爀愀猀猀ⴀ愀瀀攀     㰀戀爀㸀 Grassmann਀㰀⼀琀搀㸀 ਀㰀昀漀渀琀 猀椀稀攀㴀∀㔀∀㸀        㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀一漀眀 昀爀漀洀 琀栀椀猀 愀挀挀漀甀渀琀 漀昀 䜀爀愀猀猀洀愀渀渀 愀渀搀 䌀愀渀琀漀爀 愀渀搀 㜀㜀㜀 椀渀 倀愀渀椀渀椀 䤀 爀攀愀猀漀渀攀搀 琀栀愀琀 椀昀 䠀甀猀猀攀爀氀✀猀 ⠀昀甀氀氀 渀愀洀攀 椀猀 䔀搀洀甀渀搀 䜀甀猀琀愀瘀 䄀氀戀爀攀挀栀琀 䠀甀猀猀攀爀氀⤀ 椀搀攀愀猀 漀昀 戀爀愀挀欀攀琀攀搀 挀漀渀挀攀瀀琀椀漀渀 眀栀椀挀栀 挀漀甀氀搀 戀攀 猀甀戀樀攀挀琀攀搀 琀漀 愀 猀椀洀椀氀愀爀 猀漀爀琀 漀昀 琀栀爀攀猀栀漀氀搀椀渀最 眀漀甀氀搀 栀愀瘀攀 愀 猀椀洀椀氀愀爀 挀漀甀渀琀攀爀瀀漀椀渀琀 戀礀 琀栀攀 昀愀挀琀漀爀 㘀㘀㘀 ⴀ 眀栀椀挀栀 愀氀猀漀 椀猀 琀栀攀 爀愀琀椀漀 漀昀 ✀猀焀甀攀攀稀攀✀ 愀渀搀 瀀愀爀琀椀琀椀漀渀 戀攀琀眀攀攀渀 㰀愀 栀爀攀昀㴀∀㔀愀甀最甀猀琀㈀　㈀㌀⸀栀琀洀∀㸀洀礀 吀爀攀戀氀椀渀欀愀 瀀栀漀琀漀 愀渀搀 琀栀攀 攀最礀瀀琀椀愀渀 攀礀攀 栀椀攀爀漀最氀礀瀀栀㰀⼀愀㸀 ⴀ 䤀 挀漀甀氀搀 猀攀愀爀挀栀 倀愀渀椀渀椀 猀瀀攀氀琀 戀愀挀欀眀愀爀搀猀 昀漀爀 瘀愀爀椀愀渀琀猀 漀昀 ✀栀甀猀猀攀爀氀✀ 愀渀搀 䤀 猀漀 搀椀搀 ⴀ 愀渀搀 昀漀甀渀搀 ✀栀甀猀愀渀✀ 漀渀 ㈀ⴀ㈀ⴀ㄀㄀  㴀 猀甀琀爀愀 ⌀㐀㌀㐀 㴀 愀渀攀渀愀爀愀欀椀栀搀愀渀愀洀愀猀愀礀瘀愀琀愀礀愀礀瘀愀搀愀猀愀栀琀爀愀琀椀栀甀猀愀渀甀最愀渀愀爀甀瀀㨀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀㰀琀愀戀氀攀㸀 ਀愀渀攀渀愀爀愀欀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 ihdanam
਀攀搀洀甀渀搀  ਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 asayvatay
਀最甀猀琀愀瘀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 ayvadasahtrati
਀愀氀戀爀攀挀栀琀 ਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 husan
਀栀甀猀猀攀爀氀  ਀㰀琀搀 瘀愀氀椀最渀㴀∀琀漀瀀∀㸀 uganarup
਀㰀⼀琀搀㸀 ਀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀䈀甀琀 眀栀漀 眀漀甀氀搀 戀攀 栀椀猀 挀漀甀渀琀攀爀瀀漀椀渀琀 ⴀ 昀漀爀 昀椀渀搀椀渀最 琀栀攀 ✀䜀爀愀猀猀洀愀渀渀✀ 漀昀 ✀䌀愀渀琀漀爀✀ 琀漀 ✀䠀甀猀猀攀爀氀✀㼀 匀栀漀甀氀搀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䔀搀洀甀渀搀开䠀甀猀猀攀爀氀∀㸀琀栀攀 愀甀猀琀爀漀ⴀ最攀爀洀愀渀 瀀栀椀氀漀猀漀瀀栀攀爀㰀⼀愀㸀 琀栀攀渀 栀愀瘀攀 愀渀 ✀漀琀栀攀爀猀椀搀攀✀ 挀漀甀渀琀攀爀瀀漀椀渀琀 椀渀 䤀琀愀氀礀㼀 伀爀 眀漀甀氀搀 氀愀琀椀渀 渀漀琀 戀攀 猀甀昀昀椀挀椀攀渀琀氀礀 昀愀爀愀眀愀礀 ⴀ 猀漀 爀愀琀栀攀爀 最爀攀攀欀㼀 一漀琀 愀 瀀栀椀氀漀猀漀瀀栀攀爀 攀椀琀栀攀爀 ⴀ 戀甀琀 愀 瀀栀椀氀漀猀漀瀀栀椀挀愀氀 漀爀 猀挀栀漀氀愀爀氀礀 瀀漀攀琀 挀漀甀氀搀 戀攀 琀栀攀 瀀愀爀愀氀氀攀氀Ⰰ 䤀 爀攀愀猀漀渀攀搀⸀ 䤀 氀攀愀昀攀搀 椀渀 猀漀洀攀 最爀攀攀欀 挀漀氀氀攀挀琀椀漀渀猀 愀渀搀 昀漀甀渀搀 䄀戀氀椀欀栀漀猀 愀猀 琀栀攀 昀椀爀猀琀 椀渀 愀渀 愀氀瀀栀愀戀攀琀椀挀愀氀氀礀 漀爀搀攀爀攀搀 挀漀氀氀攀挀琀椀漀渀 漀昀 最爀攀攀欀 瀀漀攀琀爀礀 挀愀氀氀攀搀 ✀䄀渀琀栀漀氀漀最椀愀 一攀漀攀氀氀攀渀椀欀攀猀 倀漀椀攀猀攀猀✀ 攀搀椀琀攀搀 戀礀 匀瀀礀爀漀猀 䬀漀欀欀椀渀攀猀Ⰰ 䄀琀栀攀渀猀 ㈀　　㐀⸀ 䤀 戀漀甀最栀琀 琀栀椀猀 戀漀漀欀 椀渀 䄀琀栀攀渀猀 椀渀 ㈀　　㠀 愀渀搀 琀漀漀欀 琀栀攀 ㈀㌀ 瀀栀漀琀漀猀 椀渀 嘀椀攀渀渀愀 椀渀 ㈀　㄀　⸀ ⠀䄀戀氀椀欀栀漀猀 椀猀 爀攀瀀爀攀猀攀渀琀攀搀 椀渀 琀栀攀 最爀攀攀欀 戀漀漀欀 戀礀 琀栀攀 琀栀爀攀攀 昀椀爀猀琀 攀砀愀洀瀀氀攀猀 愀戀漀瘀攀⤀⸀ 䄀戀氀椀欀栀漀猀 眀愀猀 戀漀爀渀 椀渀 ㄀㠀㐀㔀Ⰰ 琀栀攀 礀攀愀爀 愀昀琀攀爀 䜀爀愀猀猀洀愀渀渀✀猀 ✀䄀甀猀搀攀栀甀渀最猀氀攀栀爀攀✀ 眀愀猀 瀀甀戀氀椀猀栀攀搀 ⴀ 愀渀搀 栀攀渀挀攀 愀 瀀漀琀攀渀琀椀愀氀 挀愀渀搀椀搀愀琀攀 昀漀爀 琀栀椀猀 爀漀氀攀 漀昀 戀攀椀渀最 挀爀攀搀椀琀攀搀 戀礀 ✀椀渀琀爀椀最甀攀 瀀栀椀氀漀猀漀瀀栀攀爀猀✀ 愀猀 琀栀攀 甀渀欀渀漀眀渀 猀漀甀爀挀攀 漀昀 䠀甀猀猀攀爀氀✀猀 瀀栀椀氀漀猀漀瀀栀礀 ⴀ 愀渀搀 夀攀愀琀猀✀ 瀀漀攀琀爀礀⸀ 吀栀椀猀 琀甀爀渀攀搀 漀甀琀 琀漀 戀攀 愀渀 椀渀琀攀爀攀猀琀椀渀最 琀栀攀漀爀礀 ⴀ 愀渀搀 眀栀攀渀 㐀㌀㐀 ⼀ 　Ⰰ㘀㘀㘀 㴀 倀愀渀椀渀椀 猀甀琀爀愀 ⌀㘀㔀㈀ 戀愀挀欀眀愀爀搀猀 椀猀 ✀椀琀攀氀 洀愀氀甀栀愀戀戀椀猀✀Ⰰ 琀栀椀猀 ✀䴀椀琀攀氀 䄀氀甀栀愀戀戀椀猀✀ 椀猀 挀氀漀猀攀 攀渀漀甀最栀 琀漀 ✀䴀椀欀攀氀椀猀 䄀戀氀椀欀栀漀猀✀ 琀漀 愀氀氀漀眀 昀漀爀 爀攀挀漀最渀椀琀椀漀渀⸀ 吀栀愀琀 椀猀 栀漀眀 䤀 昀漀甀渀搀 䄀戀氀椀欀栀漀猀 昀漀爀 琀栀攀 瀀甀爀瀀漀猀攀猀 漀昀 琀栀攀 瀀爀攀猀攀渀琀 猀琀甀搀礀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀  ਀刀漀甀渀搀椀渀最 倀愀渀椀渀椀 漀昀昀 渀漀琀 甀瀀 琀漀 㘀㔀㈀ 戀甀琀 搀漀眀渀 琀漀 㘀㔀㄀ 㴀 ✀栀漀琀甀氀爀氀 椀猀愀琀愀礀猀✀ 挀漀甀氀搀 椀渀瘀漀欀攀 洀攀洀漀爀椀攀猀 漀昀 愀 昀愀洀椀氀礀 琀爀椀瀀 琀漀 䰀椀猀攀戀攀爀最 愀洀甀猀攀洀攀渀琀 瀀愀爀欀 椀渀 䜀漀琀栀攀渀戀甀爀最 椀渀 琀栀攀 攀愀爀氀礀 ㄀㤀㜀　✀猀Ⰰ 䤀 琀栀椀渀欀 椀琀 眀愀猀⸀ ✀䠀漀 琀甀氀爀✀ 椀猀 渀漀爀眀攀最椀愀渀 昀漀爀 ✀猀栀攀 椀猀 樀漀欀椀渀最 ⼀ 栀愀瘀椀渀最 昀甀渀✀ 戀甀琀 椀渀 猀眀攀搀椀猀栀 椀琀 眀漀甀氀搀 戀攀 ✀猀栀攀 眀漀爀欀猀 椀渀 琀栀攀 挀甀猀琀漀洀猀 猀攀爀瘀椀挀攀猀✀⸀ 䴀礀 礀漀甀渀最攀爀 猀椀猀琀攀爀 眀漀爀欀攀搀 昀漀爀 愀 眀栀椀氀攀 眀椀琀栀 挀栀攀挀欀椀渀最 椀洀瀀漀爀琀攀搀 琀漀礀猀 椀渀 愀 洀椀渀椀猀琀爀礀⸀ 䤀渀 洀礀 ㄀㤀㤀㐀ⴀ㤀㔀 搀椀愀爀礀 渀漀瘀攀氀 䤀 琀攀氀氀 愀琀 㰀愀 栀爀攀昀㴀∀樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀挀漀氀氀攀挀琀攀搀眀漀爀欀猀瘀漀氀甀洀攀㄀⸀瀀搀昀⌀瀀愀最攀㴀㔀㜀∀ 琀愀爀最攀琀㴀∀开渀攀眀∀㸀㄀　⸀㤀⸀㤀㐀㰀⼀愀㸀 漀昀 洀礀 漀昀昀椀挀椀愀氀 洀漀琀栀攀爀 戀攀椀渀最 漀渀 洀礀 搀漀漀爀 ⴀ 漀昀 挀漀甀爀猀攀 䤀 挀漀甀氀搀 渀漀琀 氀攀琀 栀攀爀 椀渀 戀甀琀 猀栀攀 栀愀搀 樀甀猀琀 琀栀攀 琀椀洀攀 琀漀 琀攀氀氀 猀栀攀 栀愀搀 戀爀漀甀最栀琀 昀愀琀栀攀爀✀猀 愀渀漀爀愀欀 愀渀搀 瀀氀甀洀猀 昀爀漀洀 琀栀攀 最愀爀搀攀渀 椀昀 䤀 眀愀渀琀攀搀⸀ 吀栀攀猀攀 愀爀攀 攀愀猀椀氀礀 爀攀挀漀最渀椀稀攀搀 椀渀 琀栀攀 ✀愀渀攀渀愀爀愀欀✀ 愀渀搀 琀栀攀 ✀甀最愀渀愀爀甀瀀✀ 琀栀愀琀 昀爀愀洀攀 琀栀攀 渀愀洀攀 漀昀 䠀甀猀猀攀爀氀 愀琀 倀愀渀椀渀椀 ⌀㐀㌀㐀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀圀漀甀氀搀 攀瘀攀渀 琀栀攀 伀猀氀漀 琀攀爀爀漀爀 栀愀瘀攀 昀漀甀渀搀 愀 爀愀琀椀漀渀愀氀攀 椀渀 琀栀椀猀 挀漀渀猀琀爀甀挀琀椀漀渀㼀 ⠀吀栀攀 洀愀渀 眀栀漀 猀栀漀琀 猀漀 洀愀渀礀 瀀攀漀瀀氀攀 漀渀 唀琀☀漀猀氀愀猀栀㬀愀 栀愀搀 戀攀攀渀 椀渀 琀栀攀 欀椀渀最✀猀 最甀愀爀搀 挀愀氀氀攀搀 ✀䜀愀爀搀攀渀✀Ⰰ 愀渀搀 栀椀猀 爀攀愀猀漀渀猀 挀漀甀氀搀 瀀攀爀栀愀瀀猀 栀愀瘀攀 戀攀攀渀 愀猀猀漀挀椀愀琀攀搀 眀椀琀栀 ✀愀渀攀渀愀爀愀欀✀⤀⸀ 䤀 爀攀挀愀氀氀 愀 渀漀爀眀攀最椀愀渀 瀀漀氀椀琀椀挀椀愀渀 漀渀 吀嘀 洀愀欀椀渀最 樀漀欀攀猀 愀戀漀甀琀 猀眀攀搀椀猀栀 ✀欀甀氀✀ 㴀 ✀昀甀渀✀ 眀栀椀挀栀 椀渀 渀漀爀眀攀最椀愀渀 椀猀 ✀洀漀爀漀✀ ⴀ 栀攀 眀愀猀 琀愀氀欀椀渀最 漀昀 愀 栀礀瀀漀琀栀攀琀椀挀愀氀 渀漀爀眀攀最椀愀渀ⴀ猀眀攀搀椀猀栀 甀渀椀漀渀 挀愀氀氀攀搀 ✀䴀漀爀漀欀甀氀椀攀渀✀⸀ ✀䬀甀氀攀✀ 椀猀 渀漀爀眀攀最椀愀渀 昀漀爀 ✀戀甀氀氀攀琀✀⸀ 䤀昀 琀栀椀猀 眀愀猀 戀攀昀漀爀攀 愀昀琀攀爀 琀栀攀 洀甀爀搀攀爀 漀昀 䄀氀搀漀 䴀漀爀漀 ⴀ 瀀爀漀戀愀戀氀礀 椀渀 琀栀攀 猀愀洀攀 渀椀最栀琀 愀猀 㰀愀 栀爀攀昀㴀∀愀瀀攀渀攀猀⸀栀琀洀∀㸀䄀瀀攀渀攀猀㰀⼀愀㸀 眀愀猀 洀甀爀搀攀爀攀搀 ⴀ 䤀 搀漀渀琀 爀攀洀攀洀戀攀爀⸀ 䄀爀攀 洀甀猀氀椀洀猀 挀漀渀挀攀椀瘀攀搀 椀渀 琀栀攀 眀攀猀琀 愀猀 ✀琀攀爀爀漀爀椀猀琀猀✀ 昀漀爀 爀攀愀猀漀渀猀 漀昀  琀栀椀猀 ✀䄀氀甀栀愀戀戀椀猀✀ 㴀 ✀䄀氀椀 䈀愀戀愀 愀渀搀 栀椀猀 㐀　 挀漀洀爀愀搀攀猀✀㼀 䴀椀挀栀愀攀氀 䜀漀爀戀愀琀挀栀漀瘀 椀猀 愀 栀攀愀瘀礀ⴀ眀攀椀最栀琀 渀愀洀攀⸀ 䤀琀 椀猀 瀀漀猀猀椀戀氀攀 琀漀 猀攀攀 栀椀猀 昀愀洀椀氀礀 渀愀洀攀 愀猀 戀攀椀渀最 椀渀 猀漀洀攀 爀攀昀攀爀攀渀挀攀 琀漀 ✀漀戀氀椀焀甀攀✀ⴀ渀攀猀猀⸀ 䌀漀甀氀搀 戀攀Ⰰ 琀栀攀爀攀昀漀爀攀Ⰰ 琀栀愀琀 椀琀 挀漀渀琀愀椀渀攀搀 攀渀漀甀最栀 猀攀挀爀攀挀礀 漀昀 琀栀攀 眀攀猀琀攀爀渀 眀漀爀氀搀 琀漀 栀愀瘀攀 愀氀氀漀眀攀搀 昀漀爀 愀 搀椀猀洀愀渀琀氀椀渀最 漀昀 琀栀攀 匀漀瘀椀攀琀 唀渀椀漀渀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀䤀昀 洀礀 漀昀昀椀挀椀愀氀 昀愀琀栀攀爀 眀愀猀 爀攀瀀氀愀挀攀搀 眀椀琀栀 愀 挀漀瀀礀 椀渀 ㄀㤀㘀㤀Ⰰ 栀攀 爀攀洀愀椀渀攀搀 椀渀 琀栀椀猀 爀漀氀攀 昀漀爀 ㈀㄀ 礀攀愀爀猀 ⴀ 甀渀琀椀氀氀 栀椀猀 漀昀昀椀挀椀愀氀 搀攀愀琀栀 椀渀 ㄀㤀㤀　 ⴀ 挀瀀⸀ 㰀愀 栀爀攀昀㴀∀樀最㄀㠀㈀㌀㄀㠀㐀㌀⸀栀琀洀∀㸀琀栀攀 琀眀漀 䨀漀栀渀 䜀爀漀瘀攀爀猀 漀昀 䈀爀椀琀椀猀栀 䰀椀戀爀愀爀礀 ⴀ ㄀㠀㈀㌀ 愀渀搀 ㄀㠀㐀㌀㰀⼀愀㸀⸀ 吀栀攀 伀猀氀漀 琀攀爀爀漀爀 琀漀漀欀 瀀氀愀挀攀 愀渀漀琀栀攀爀 ㈀㄀ 礀攀愀爀猀 氀愀琀攀爀⸀ 吀栀攀猀攀 ㈀㄀ 礀攀愀爀猀 愀爀攀 琀栀攀 椀渀琀攀爀瘀愀氀 戀攀琀眀攀攀渀 䄀戀氀椀欀栀漀猀 愀渀搀 夀攀愀琀猀⸀  䤀渀 ㄀㤀㜀　ⴀ㜀㄀ 䤀 栀愀搀 愀 猀挀栀漀漀氀 搀攀渀琀椀猀琀 挀愀氀氀攀搀 ✀䄀甀氀椀攀✀ 眀栀漀 搀爀椀氀氀攀搀 愀眀愀礀 洀漀猀琀 漀昀 洀礀 琀攀攀琀栀 ⴀ 攀瘀攀渀 椀昀 琀栀攀礀 氀漀漀欀攀搀 昀爀攀猀栀 愀渀搀 昀椀渀攀 椀渀 琀栀攀 洀椀爀爀漀爀⸀ ✀䬀漀猀✀ 椀猀 渀漀爀眀攀最椀愀渀 昀漀爀 ✀挀漀猀椀渀攀猀猀✀Ⰰ ✀栀愀瘀椀渀最 愀 挀漀猀礀 琀椀洀攀✀⸀    㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀䠀攀渀挀攀Ⰰ 琀攀氀氀 琀栀攀猀攀 ✀挀漀椀渀挀椀搀攀渀挀攀猀✀Ⰰ 愀渀搀 䤀 栀愀瘀攀 渀漀琀 洀甀挀栀 洀漀爀攀 搀愀琀愀 昀漀爀 猀甀挀栀 愀渀 愀猀猀甀洀瀀琀椀漀渀Ⰰ 椀琀 椀猀 眀攀氀氀 瀀漀猀猀椀戀氀攀 琀栀愀琀 䄀戀氀椀欀栀漀猀 栀愀猀 戀攀攀渀 昀爀漀稀攀渀 搀漀眀渀 椀渀琀漀 栀椀最栀 猀攀挀爀攀挀椀攀猀 爀攀猀攀爀瘀攀搀 昀漀爀 琀栀愀琀 猀漀爀琀 漀昀 瀀漀眀攀爀 愀戀甀猀攀⸀ 䄀戀氀椀欀栀漀猀 最爀攀眀 甀瀀 椀渀 䰀椀砀漀甀爀椀 眀栀攀爀攀 栀攀 愀氀猀漀 猀瀀攀渀琀 洀漀猀琀 漀昀 栀椀猀 氀椀昀攀Ⰰ 戀甀琀 椀琀 猀攀攀洀猀 琀栀愀琀 栀攀 椀猀 渀漀琀 攀瘀攀渀 洀攀渀琀椀漀渀攀搀 漀渀 㰀愀 栀爀攀昀㴀∀栀琀琀瀀猀㨀⼀⼀攀渀⸀眀椀欀椀瀀攀搀椀愀⸀漀爀最⼀眀椀欀椀⼀䰀椀砀漀甀爀椀∀㸀琀栀椀猀 椀渀琀攀爀渀攀琀 瀀愀最攀㰀⼀愀㸀 愀洀漀渀最 琀栀攀 椀渀琀攀爀攀猀琀椀渀最 栀椀猀琀漀爀椀挀 渀愀洀攀猀 漀昀 琀栀攀 猀洀愀氀氀 琀漀眀渀⸀ 䜀愀搀愀昀昀礀 椀猀 欀渀漀眀渀 琀漀 栀愀瘀攀 栀愀搀 愀 猀眀椀洀洀椀渀最 瀀漀漀氀 洀愀搀攀 漀昀 瀀甀爀攀 最漀氀搀Ⰰ 瀀爀漀戀愀戀氀礀 愀猀 瀀愀爀琀 漀昀 琀栀攀 渀愀琀椀漀渀愀氀 最漀氀搀 爀攀猀攀爀瘀攀猀 戀攀椀渀最 甀渀搀攀爀 挀漀渀猀琀愀渀琀 猀甀爀瘀攀椀氀氀愀渀挀攀 ⴀ 䤀 眀漀甀氀搀 最甀攀猀猀 琀栀愀琀 琀栀攀 ✀爀攀瘀漀氀甀琀椀漀渀✀ 琀栀攀爀攀 眀愀猀 渀漀琀 ⠀漀渀氀礀⤀ 昀漀爀 最攀琀琀椀渀最 琀栀攀 洀愀渀 昀爀漀洀 䰀椀砀漀甀爀椀 甀瀀 椀渀 搀愀礀氀椀最栀琀 ⴀ 戀甀琀 琀栀攀 椀搀攀愀 挀漀甀氀搀 瀀攀爀栀愀瀀猀 戀攀 椀渀琀攀爀攀猀琀椀渀最⸀ 䠀甀渀最愀爀椀愀渀 昀漀爀 ✀眀椀渀搀漀眀攀搀✀Ⰰ ✀眀椀琀栀 眀椀渀搀漀眀猀✀Ⰰ 椀猀 ✀愀戀氀愀欀漀猀✀⸀     㰀⼀瀀㸀㰀瀀 愀氀椀最渀㴀∀樀甀猀琀椀昀礀∀㸀 ਀吀栀椀猀 瀀栀攀渀漀洀攀渀漀渀 挀漀甀氀搀 昀甀爀琀栀攀爀洀漀爀攀 栀愀瘀攀 戀攀攀渀 攀砀琀攀渀搀攀搀 琀漀 愀 猀椀洀椀氀愀爀氀礀 猀甀瀀瀀爀攀猀猀椀渀最 攀砀瀀氀愀渀愀琀椀漀渀 琀漀 夀攀愀琀猀✀ 瀀漀攀琀爀礀 ⴀ 琀栀愀琀 栀攀 猀栀漀甀氀搀 戀攀 愀 挀漀瀀礀挀愀琀 猀甀爀昀椀渀最 漀渀 琀栀攀 眀愀瘀攀猀 昀爀漀洀 猀甀挀栀 愀 挀漀洀戀椀渀攀搀 㘀㘀㘀ⴀ㜀㜀㜀 攀昀昀攀挀琀 昀爀漀洀 䄀戀氀椀欀栀漀猀Ⰰ 倀愀渀椀渀椀 愀渀搀 瀀漀氀椀琀椀挀愀氀 椀渀琀爀椀最甀攀⸀ 圀栀椀挀栀 眀漀甀氀搀 戀攀 渀漀渀猀攀渀猀攀Ⰰ 漀昀 挀漀甀爀猀攀㨀 夀攀愀琀猀✀ 瀀漀攀琀爀礀 椀猀 愀 爀攀猀甀氀琀 漀昀 瀀漀攀琀椀挀 椀渀琀攀最爀椀琀礀Ⰰ 渀漀琀 琀栀攀 漀瀀瀀漀猀椀琀攀 猀漀爀琀 漀昀 挀漀瀀礀椀渀最⸀ 䴀礀 瀀栀漀琀漀猀 愀爀攀 渀漀琀 愀 爀攀猀甀氀琀 漀昀 䄀戀氀椀欀栀漀猀Ⰰ 倀愀渀椀渀椀 漀爀 瀀漀氀椀琀椀挀愀氀 椀渀琀爀椀最甀攀㨀 吀栀攀礀 愀爀攀 愀 爀攀猀甀氀琀 漀昀 眀栀愀琀 椀猀 挀愀氀氀攀搀 ✀愀爀戀椀琀爀愀爀椀琀礀✀ ⴀ 眀栀椀挀栀 栀愀猀 渀漀琀栀椀渀最 琀漀 搀漀 眀椀琀栀 爀甀氀攀猀 漀爀 瀀漀眀攀爀 椀渀琀爀椀最甀攀 戀甀琀 眀栀椀挀栀 瀀攀爀栀愀瀀猀 戀攀猀琀 挀愀渀 戀攀 挀漀渀挀攀椀瘀攀搀 椀渀 琀攀爀洀猀 漀昀 愀 瀀栀攀渀漀洀攀渀漀渀 漀昀 琀栀爀攀猀栀漀氀搀椀渀最 ⴀ 愀渀搀 栀攀渀挀攀 㰀愀 栀爀攀昀㴀∀愀爀琀椀挀氀攀猀愀戀漀甀琀昀漀爀洀愀氀愀猀瀀攀挀琀猀漀昀氀愀渀最甀愀最攀⸀栀琀洀∀㸀洀礀 昀甀渀搀愀洀攀渀琀愀氀 琀栀攀漀爀攀洀 漀昀 氀漀最椀挀㰀⼀愀㸀 ⴀ 愀渀搀 琀栀愀琀 瀀漀攀琀椀挀 椀渀琀攀最爀椀琀礀Ⰰ 漀昀 挀漀甀爀猀攀⸀ 䤀琀 椀猀 戀礀 琀攀氀氀椀渀最 琀栀攀 琀爀甀琀栀 琀栀愀琀 琀栀椀猀 瀀栀攀渀漀洀攀渀漀渀 挀漀洀攀猀 琀漀 搀愀礀氀椀最栀琀⸀ 㰀愀 栀爀攀昀㴀∀ 樀漀栀渀戀樀愀爀渀攀最爀漀瘀攀爀洀愀猀琀攀爀琀栀攀猀椀猀⸀栀琀洀∀㸀䴀礀 䴀䄀 琀栀攀猀椀猀㰀⼀愀㸀 愀渀搀  the concluding part of my PhD dissertation can be seen as relevant to the phenomenon of 'thresholding'.

਀ The catfish of example 5 above could be enough for showing the phenomenon in Ablikhos' poetry.

਀ Immanuel Kant is an important name in philosophy. Is it all about that thresholding of the 'kant' - for seeing that 'Ding an sich' more clearly, more thresholded? There is something strange about names which must come to some better clarity.

਀



਀ Sources:

਀ The greek texts of Ablikhos are from this library source

਀ Yeats, W.B.: 'The Poems', edited by Daniel Albright, Everyman, J.M.Dent, London 1996਀

਀



਀㰀瀀 愀氀椀最渀㴀∀爀椀最栀琀∀㸀 ਀㰀椀㸀☀挀漀瀀礀㬀 䨀漀栀渀 䈀樀愀爀渀攀 䜀爀漀瘀攀爀㰀⼀椀㸀㰀戀爀㸀 ਀㰀椀㸀伀渀 琀栀攀 眀攀戀 ㄀㌀ 愀甀最甀猀琀 ㈀　㈀㌀㰀⼀椀㸀㰀戀爀㸀 ਀㰀⼀瀀㸀 ਀㰀⼀戀漀搀礀㸀 ਀