IV. Appareillâme

IV. Appareillâme

We interpret at last the tetragram, and sum of at most four square numbers—

Forwarded to the Captain of the Fourth Squadron, Sixth Regiment (1828), Kaspar Hauser—

One so mortifying in its closeness, in crumpled trousers, with an envelope containing

Gold dust—Drafting the jazzed rotary of two-four or four-four time with provocative
Stabs between—Of hair put to six analyses (2002) to descendants of Grand Duchess of Baden

Stéphanie de Beauharnais, Bonaparte adoptée—History’s tracking gyroscope is a beryllium

Cored, oblate sphere floating in static crashed in its housing—Mésalliance of beryllium’s
Four protons, six electrons—Heat-sinking, machinable, highly polarizing, tetrahedral; here, the numbering’s

Involuntary fourth finger nod, lining fusion reactors— An applied logic lesson as the elevation of Baden,

Contingent extremes on a creased square table linen—Herzog’s The Enigma of Kaspar Hauser (1974)
With the serviette’s origami, composed in mirror writing (1833)—Hauser can tell you exactly how I look and who I am—Contained

In a small violet purse—A fatal stiletto entranced, with the self-inflicted wound, and the letter’s provocative

Contrast-enhanced original missing since 1945—Everywhere, a trap door fastens to the provocative—

The predicted graupel from a heather-winged Boreas—A figured modulus of rigidity in beryllium’s

Beryls and emeralds Vauquelin first tasted (1798)—Nitot & Fils modular emerald parure (1806) containing

Iron red absorbing impurities established in aquamarine’s four different criteria—The Betti numbering
Not mistakenly degenerating into spheres by oneiric forces of Louis Bertrand’s Ondine—Baden’s
Rhinemaiden raking one water molecule to the next—Ravel’s Pavane pour une infante défunte (1899), or Kaspar Hauser’s

Advent on Unschlittplatz (1828) bearing a relinquished Colophon of gentility—Kaspar Hauser,
In our own dealings with the faculties—Verlaine, wayfaring four days in advance of the provocative
Shooting (1873) dispatches “At Sea” given in Rimbaud’s deposition; better to lead him to Baden’s
Detained successor, Gaspard Hauser chante (1873/81), Was I born too early or too late—Beryllium's
Two bridging chlorides reduced in a platinum crucible; the potassium’s radical lilac emissions containing
The metal’s struck note of desolation—Exposed by Wöhler and Bussy (1828), the former numbering

Three additional elements; and here, Ravel and Ondine’s recapitulation (1908) in numbering

Four organic constituents reversing their returns—The devil writing Gaspard de la nuit (1842)—
Kaspar Hauser,

Fourth Riddle of the Spheres—Perec’s aforementioned Gaspard Hauser; the width of the streets containing
Four entries inside the gold-capped iron railings of Parc Monceau (1958) as research for the provocative
Double-vie, W or The Memory of Childhood (1975; Bellos tr. 1988)—Karlsruche, Baden-Württemberg’s

Patent filing (1904) separating mineral oxides for optics, to age harden copper—Beryllium’s

Nonsparking tools; at first entirely somber, as Wöhler’s synthesis of urea by addition or anti-addition—Beryllium’s provocative chemistry containing resonant diamonds of your window
After Ondine, I am the virtual vagrant—Kaspar Hauser’s passing (1833) Baden’s step-cut emeralds—Somewhere, the Ravelian sonata’s four lines are first quoted—

…Je croyais entendre
Une vague harmonie enchanter mon sommeil
Et près de moi s’épandre un murmure pareil
Aux chants entrecoupés d’une voix triste et tendre.

–Charles Brugnot's Les deux génies (1833)

…I thought I heard
A vague harmony, casting a spell on my sleep
And near me came a murmur
As of songs interrupted by a sad, tender voice.