the tetragrammaton for me is like the lament configuration, a puzzle box; it's a configuration, that, when used correctly, allows you to spew out words in great number.*

what mozart did to the operatic german tongue
for the flutter of the tongue into
the incomprehensible - indeed opera does
that, to what could be understood
in the ****** accentuation from region
to region - of how the tongue is
incomprehensible when by opera strained -
indeed mozart did that to german
as did handel to the english tongue,
most notably with the opera messiah -
and as i look at europe now, and the expulsion
of jews from the continent,
i can't see an elevation of culture,
after all the muslims already sing beautifully
the praises, so an opera using the koran
would be impossible - but the name of god
in islam can be easily sung... but the name
of god in judaism can't be sung, it's supposed
to move around the language censored,
a bit like swear words in christianity,
and yet the tetragrammaton always prompts
me to think, the tetragrammaton in greek
in this particular instance: ΔΞΜΞ / ΔΞΣΞ,
it's the only way to translate from hebrew
into latin into greek - a game of matchsticks.
but also with the expulsion of the jews from
europe, in england, currently, there's this
growing policy to create ***** spaces
where once debate could become fervent,
impassioned (the attack on universities),
which now incites a hope for an apathetic
discourse without causing offence... this has
happened in europe with the expulsion
of the jews, and the mass invitation of muslims
(indeed ***** changing rooms like
the ones in shopping malls)...
european culture can't really recover like this.