D.卡尔顿 罗西
D. Carlton Rossi

Poetic Analytics 4

It may be best to begin with a general approach to understanding the poem through the geometry of the rectangle. A basic question needs to be answered.  Where do the rectangles start? It is possible to start the rectangles with either line 1 or 2. If the first rectangle starts at line 1 then the pair of lines within it is line 1 and 2. This possibility though emphasizes a rectangle over an isosceles triangle. The isosceles is preferred because it symbolizes the ideas of beauty and truth to the poet, but also because it is an idea of the ideal. As an isosceles, it is a special case since it is an equilateral triangle. 

The first rectangle might start at line 2. In this case, the first  might be considered within its own smaller isosceles triangle. The poet prefers, however, to perceive a set of three 山 related to each other in a larger three-sided isosceles—particularly because each  character has three pointing lines. These three 山 then foreshadow the sequence of the first three of line 12. Also, if the first rectangle begins at line 2 then it would establish a pattern of pairs of lines with equal number of .



                                 

                           Lines 4 and 5 with same number of
                                               on both lines
.




                                                                     

                         This yin-yang version distorts shapes


The pair of lines would involve the following: lines 2 and 3 of two ; lines 4 and five of three ; lines six and seven of four ; lines eight and nine of five ; and finally lines 10 and 11 of six . The sequence is logical until it reaches the final line of 12 which would not be part of a pair. Therefore, special treatment would have to be given it.

By an heuristic process, it is revealed where the rectangles start. It is at line 3 and 4. This means that there is an unequal number of 山 between the first and second line of every rectangle. The second line always has one more . It is also true that as one reads downword  that each second line is smaller in size than the first line of its rectangle.

As one reads downword, both the yin and yang  are more numerous in number and decrease in size. One reads from the numinous to the numerous. However, the journey to climb the mountain is different.  Basically, one treads upward meeting less numerous which increase in size. The upward journey is from the numerous to the numinous.






                    Classification of Rectangles 


The rectangles are now classified in terms of similar and opposite characteristics. The first rectangle of lines 3 and 4 has vertical pairs of approximate opposites (differ in size).This means two things: 山 point in opposite directions and that line two has an extra  that has characteristics of an approximate opposite. The second rectangle is comprised of lines 5 and 6 which have near similarities (differ in size). This means that the 山 of lines 3 and 4 are similar in direction.



        



The third rectangle of lines 7 and 8 has mixed, vertical pairs of approximate opposites and near similarities. It is unquestionably the most difficult to understand. They begin with approximate opposites and then alternate to similar. This pattern continues. The last   in the second line has characteristics of a vertical pair of approximate opposites. It intrinsically links with the third yang character in the first line which links directly with the up ying   below it. This makes the third rectangle in the middle of the poem a transitional one.The fourth rectangle of lines 9 and 10 expresses near similarities. Finally, the fifth rectangle shows approximate opposites. In summary, patterns of similarity and opposition in the rectangles show a logical development.

The main problem that one discovers involves the last character of every second line. It is basically an added character. In almost every case, it involves an up point . In the rectangles, it matches a diagonal counterpart in the yang character which is added to the right (based on the type of rectangle it is). It is also evident that there is a similar match in the isosceles. 

The exception is in the fourth rectangle where a left-point 山 at the end of the second line matches its right-point counterpart. This is despite the fact that the rectangle is characterized by similarity. It seems therefore that the left-point shan and the entire rectangle serve another purpose.

Let's assume that the poet wished to readjust the height of the rectangle to make the whole poem aesthetically and geometrically more precisely beautiful. Let’s begin with the isosceles. Assume that the width at the base is 4 cm. Its height is 3.5 cm. Therefore, a height for the rectangle might be 3.5 cm which matches the height of the isosceles. This may offer more pleasure-measure. 

There is a second way though to readjust the height of the rectangle. Find the mid-point of the height of the isosceles. Use this point to mark a horizontal line. This line becomes the top of a rectangle. This is the preferred method because it implies that the five rectangles are generated from a rectangle within the isosceles. This is a beautifully, balanced and geometric solution.

The numinous though on the poet’s journey does not represent perfection. Perfection is a masculine concept which cannot be achieved in an all too human lifetime. For example, if one calls to mind the bronze statue called the Discobolus of Myron, one sees perfection, but without emotion. At best, the poet might strive for the least imperfections. If the poet reached the mountain tops in his tread upward in poem Poetic Analytic Imagery then would that represent the achievement of perfection? Hardly, he may change his poem later. If he reached the top of the Himalayas then would that represent a perfect accomplishment? Not at all because the Himalayas rise approximately 6.1 cm a year so he would always have to go higher. Rather, the goal is one of completion according to Jung. Completion represents the unity of opposites. 1. 

The poet will describe shortly his tread upward in brief terms. He has provided a map of the journey below to help facilitate the matter. It is a journey from the numerous to the numinous. It is realized that if one were another trekker then one would make different choices. One may define the numerous and numinous differently or not at all. Who can say what route one might take and why one makes choices when one reaches where the road forks?  Who can say now who will be one’s guide at that time? Let one choose the best one for him or her.

The poet does not tread alone. His guide is Carl Gustave Jung who was co-founder of depth psychology and who is a New Age psychologist through The Red Book. Dr. Jung explored multiple areas such as archetype, individuation, collective unconscious, spirituality and synchronicity which have helped bridge East and West. It must be said though that Dr Frye may say here that Jung employs “deterministic fallacy”.



                        

                                        Upward Tread


                     Tread Upward or Upward Tread Journey

The poet begins with the first 山 of line 12 in the last rectangle which is characterized in terms of approximate opposites. At the beginning, he avoids climbing upward to another opposite because that would put him in the realm of the yin triangle which will lead to a fall.  He continues in the right direction to either the sixth or seventh yin . If he chooses to proceed upwards from the sixth  then he will go to the opposite “yin”  above it in line 11 of the yang triangle. From here he may go left or right.

Lines 9 and 10 in the next rectangle are characterized by similar. Therefore, there appear to be four or more ways upward from line 10. The key is that one must trek up from a similar  to a similar .   Of course, the steepness of the climb and length of it varies. Notice though that the last down yin of line 9 is a dead end at least in terms of a perilous steep climb. One might retrace one’s steps or perhaps wander into the yin triangle where one falls. 

The journey upward continues in the middle, transitional rectangle which is a mix of approximate opposites and similarities. It begins with a vertical pair of approximate opposite  . When one arrives at the second symbol of line 8 (the left-point yin ) one cannot  go obliquely upward to the right-point yin  because it is an opposite.  However, one can to the right until one arrives at a right-point yin 山 which can be paired with a similar right-point yin above it. However, if one continues to go on to the last symbol in line 8 (which is an approximate opposite)  then one has to backtrack as there is no opposite above it.

The second rectangle from the top which contains lines 5 and 6 is characterized as similar. One can go up from either the third and fourth yinat the end of line 6. If one chooses the third yin then one can actually zig-zag one’s way to the isosceles. However, if one goes to the up yin 山 at the end of line six then one must climb steeply up to the similar third at the end of line 4 which is another up yin . A steep climb may involve a fall if one is not careful.

The first rectangle is composed of lines 3 and 4. It is characterized as approximate opposite. Examine one symbol at a time in line 4. The first symbol of line 4 is an up yin . One could proceed to the down yang  above it, but this would entail a fall since it is in a yin triangle. What the fall would be is uncertain. It could be a steep fall to a yin triangle below. However, this kind of fall might cascade to the bottom. The last rectangle seems to set the example as it suggests that any fall would be from a yang character to a yin character.

The fall might be either directly downward to its opposite yin counterpart or diagonally to the third character of line 4 which is an up yin . It may depend on the cause of the fall in terms of its severity.

Of course, one can avoid a fall altogether by proceeding upward from the second character on line 4 to the second character on line 3. These characters are yin opposites. The same method is used to go higher       to line 2.

With respect to the third symbol on line 4 there is a problem to continue upward. The reason is that there is no down yin 山 within the isosceles. Therefore, one must backtrack to the second symbol in the line. Of course, there is another kind of possibility that has not yet been discussed. One could try to climb down to an opposite yin  character on line 10, but that is a big reversal.

The end of the journey is at hand from line 3 which has approximate opposites. One proceeds upwards from a right-point yin to its opposite counterpart or right-point yin in line 2. Then one goes right to the          up yin . Finally, one reaches the highest up yin .  

The poet purposely omits a description of a full read downword. He has undertaken it successfully. If a reader wishes to finish his or her own read then it must be discovered by that individual.  

What if the ratio of yin to yang   in line 1 of each rectangle is considered? It begins with a 1:1 ration of same size . The complete set of ratios is 1:1, 2:1, 3:1, 4:1 and 5:1. This indicates quantitatively that the yang  山 in this restrictive sense are more numerous that the yin . It must be remembered though that there is always a yin 山 at the end of every first line (which seems to keep the yang in check balance). Also, there is always a second yin line below it which increases, too, and provides a kind of counterbalance. 

Earlier, it was mentioned that a 3:1 pattern was established regarding three characters in the isosceles and one in the yin triangle. It can be said that this pattern is mirrored. Line four consists of smaller but similar three characters which can be related to the same down yang . In other words, three large characters in the isosceles relate in the same order and way to the down yang as do the three smaller characters of line 4. This complementarity is quite exquisite in its beauty and balance. Similar mirroring follows in other rectangles.

In addition, the presence of other reverse patterns is observable through active imagination. For example, it could be as easily construed to be a pattern of one to three or one large false to three smaller true.  Furthermore, one cannot rule out a relationship of one large down yang to two smaller up yin . Both patterns continue throughout the poem. Obviously, these two patterns potentially may imply other meanings and have different implications in terms of both poetry and analysis.

It seems appropriate to touch on the original examination of the wall eye chart. The poet was overseeing an examination of Chinese students at the time. He had found that the eyesight of some Chinese students was particularly acute with respect to the paper of the student next to them at the same desk—especially if they were also roommates. He therefore designed the test so that the questions were all jumbled up. This ensured that there was no unfairness in the exam, all students were treated equally and the exam measured what it was intended to test.

The poet then was free to keep one eye on the students and the other eye on the eye chart. From the one eye, he saw things logically to ensure that his exam was random in terms of the number order of questions. From the other eye, he saw things as if they were in a daydream through creative imagination. Logically speaking, he did not expect to find a pattern in an eye chart. It is practically a definition of an eye chart that the pattern must be random. Therefore, it was illogical for him to seek a pattern in the chart. It is like a teacher giving a multiple choice test of questions from A to D.  It would not be long before students discovered a tendency of the teacher to give preference to the answer C if the test were not random. In the case of an eye test, a non-random pattern would defeat its purpose, be unfair and lead to potentially serious consequences.

In the past, he excelled at digital logic and electronics. Currently, he has little interest in carefully examining the chart with respect to digital logic. The first character would represent the input. He is vaguely aware that the forty-eight characters used in the eye test suggest a 4 bit or 8 bit pattern. The program seems to be intended as an addition generator. In the fourth rectangle there seems to be a “mark” bit which signals that the countdown will soon end. 

It was argued previously that the set of five rectangles began at line 3. Further reasons for this conclusion can be anticipated with the completion of the third poem called Poetic Analytic Imagery. However, the obvious result is that there is an apparent inconsistency with an extra at the end of every second line of each rectangle. For example, in the first rectangle of “approximate opposites” there is an up yin at the end of the second line. It appears to have no opposite counterpart. Logically, it would be desirable to create a down yin above it. This would also create two lines with equal number of . However, this solution is unsatisfactory. 

First, it distorts the triangular relationship that might be imagined of the four yin characters in the yang triangle. Second, it would change the ratio of true to false from 4:2 to 5:2. Third, it is unclear whether the added character would be a down yin or a hybrid like a down yang . In either case, it would counter a string of vertical up yin on the right side which point to the isosceles.

The resolution of these problems does not reside in logic except to exclude. The resolution relies on the creative imagination of the poet which includes. The poet imagines that there is an intrinsic relationship between that last of line 4 and the first of line 3. They are “special” opposites in a rectangle of “approximate opposites”. The last character is an up yin within a yang triangle while the first character is a down yang within a yin triangle. The second reason which seems illogical is that the down yang is already paired with its opposite below it on the left-hand side. This double pairing means that there are two smaller opposing up yin to it. This has potential moral implications in terms of a truth table. 

A careful downword reading of characters and treading upward on mountain tracks over a long period of time should be made. This effort decreases the number of falls and repetitions. It also leads to greater success in reaching one’s objective. Hence, the title 山上山 in Chinese applies to two directions--downword on the fall and upward on the rise.

The title of the poem is pronounced in pinyin as Shānshàngshān.  It is translated as Mountain Over (Up) Mountain. However, the actual title of the poem runs vertically.  It can be “read” downword as one would read ancient Chinese and can be “tread” upward as might be undertaken by a modern poet as he treks up the mountain. The actual title of the poem is as follows.


                                               
                                               过
                                               山


                            


The 2015 poem called 山过山 provides the direction of Read and Tread for the 2016  flowchart poem called Poetic Analytics of Imagery. 




                                   
Read Downword   




















                                        Tread Upward
                           The poet begins at the bottom and goes upwards!


















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