「八」のココろは
「時間」の示す「一」つの愛によって
「九」となり、「穴」*1（どうくつ）の中で
「１」の「０（心）」＝１０を
探「究」するする事だ。
「１」が「０（心」を得て
「Io（歓喜の私」」*2になる様に

「葉月（八月）」へ
「１・I・私」*3から
お前は「IO・１０・（歓喜の私）」の「OI・0 ・(ココろ）」*4*5になった
「一つの愛」によって
いま、貴方が
「九月」になったではないか？*6
私のいる、「時間」の軸の反対にいる
この「創造」の水平(線？）へ*7
来て来い！「私」の永遠の「恋人」よ！

*1洞窟の比喩、又はウィリアム・ブレイクの「Orcの洞窟」

*2 Io, ラテイン語で歓喜を示す感嘆詞
io - Wiktionary, the free dictionary

*3 I=I am 英語の
*4 Oi, ギリシャ語で悲哀を示す感嘆詞
Oi (interjection) - Wikipedia
("According to Friedrich Nietzsche, in Greek, oi was an expression of pain, and someone who was in pain or miserable was said to be oizuros"
Nietzsche, Friedrich Wilhelm (2006). "Later writings (1886–7)". In Ansell-Pearson, Keith; Large, Duncan (eds.). The Nietzsche Reader. Vol. 10. Wiley-Blackwell. p. 400. ISBN 0-631-22654-0.)

Ioとの字源的に関連性のないだと思います。
でもこの可能性も有りゆるかもしれない、
未来へ右逝きの「時間」の「Oi・悲哀」と
過去へ左行きの「幻想」の「Io・歓喜」は
「私」が見る、宇宙の、
肉体と魂の「双面鏡」
二つの向きで映し出された
同じことかもしれないーー
「私(I)自身のココろ(O)」のこと。
:(
in Italian; 
io - Wiktionary, the free dictionary

Pronoun
io (also jo, obesolete)
(personal, first person, possessive mio)

1. I (the first-person singular nominative pronoun)
   Etymology

From Old Italian eo, from Vulgar Latin eō, from Latin ego (“I”), from Proto-Italic *egō, from Proto-Indo-European *éǵh₂. Akin to Catalan jo, Sicilian iu and Spanish yo.

;
in Latin
Interjection

iō

1. An exclamation of joy: Ho!, Hurray!, Hurrah!

2. An exclamation of pain: Oh!, Ah!, Alas! quotations ▲

   • 43 BCE – c. 17 CE, Ovid, Fasti 4.447-448:

     1. illa quidem clāmābat ‘iō, cārissima māter, auferor!’

     2. Indeed, she was crying out, “Oh! mother dearest – I am being taken away!”
        (See Persephone. The full context implies a cry of anguish as well as a plea for help from Persephone's mother, Ceres. The alternative ‘‘Help!’’ calls for an imperative such as ‘‘ferte auxilium!’’.)

3. An exclamation for getting one’s attention, used in a sudden or vehement call: Look!, Quick!, Yo!
   io - Wiktionary, the free dictionary

(wiktionary Io, retrieved Sep. 2023)

*5 十進法。9は終わり、10は終わり
の再びの始まり
永劫回帰(Ewig Wiederkehren)のことだ。
この中で永遠の戻る、繰り返す愛が存在したいる。

*6 この詩を書き終わった「時空点」は
九月一日 ２０２３年 Anno Domini 2:12 PM
中国(キャセイ)・Cathayの川辺
「南」*(ニーチェに対しての）の「東」*（私に対しての）

*7
「時間」の右向きの未来へ逝き軸を逆さまにすれば、
「想像」の左向きの過去へ旅立つ軸になれるなのか？
もし「魂の永遠の旅」はいつでも「元の場所へ戻る」
「永遠に繰り返す円」或いは「車輪」なばら（永劫回帰）
「想像」へ飛び出すものは、無限の過去に向かって
自分の「創造・（genesis）」さえ超えて、円を沿って
未来から「創造力・(creativity)」になって戻って
我々の「果」そのものの形を宇宙の表面で
切り刻めれば、
「時間」へ飛び出すものは、無限の未来に向かって
自分のの「黄昏 (Judgement-Day)」さえ超えて、円を沿って
過去に居る「創造・（genesis）」の流れに加えて、
我々自身の「因」になれるかな？

未来への憧れが我々自身の源、その永遠、無限の愛を幻想で作り上げて
過去への憧れが我々自身の運命、その永遠、無限の愛を現実になせて
八が九となり、十を欲す
IO・10が彼女に０・ココろを
捧げれば
---> 9+1=10
 <---10-1=9
これは完璧の愛の形ではないかーー
刮目せ、これは自分自身に戻る愛だ！
永遠に愛そのものに戻って、繰り返す
永劫回帰の中で！
9+1-1=9
--->
9+1=10
---->
10-1+1=10
---->
10-1=9

thus,
10---->9
9<-----10
if,
(-1+1)-1 = D, Dionysian (denouement-resistance->denouement)
and
(+1-1)+1 = A, Apollonian (resistance-denouement->resistance)
A+D= 0 (Cor ・「ココ」ろ)
AD= Anno Domini
Anno Domini= Birth of Tragedy
( this is me using maths symbols and letters to describe my perception of thought-patterns and emotion-patterns in aesthetical cognition.
Dionysian describes the perpetual cycle of tragic, sad thoughts in my experience.
Apollonian describes the perpetual cycle of self-deception, and courageous thoughts, Apollonian comedy, in my experience.
A+D=0=Anno Domini is just some weird coincidence, I am not sure how it worked. Could just be a made up interpretation, but why would coincidences align this way? that is the real question.
I am not sure how Apollonian interpretations of universal struggle (down, up, down) and Dionysian interpretations (up, down, up) *a connect to the numerical and poetic symbols I used in my poem---8, 9, 10. Also "down" "up" make me think of meter scheme in poetry which I absolutely have no skill at. Could this pattern of consciousness be related to even our perception of music or our rational thoughts? dunno
this must be related how languages and consciousness work instead of being related to some transcendental truths. it could be explained with philosophy of language and an effective mathematical model that can process the calculus of mind…Leibniz again.
the patterns here feel like mathematical oscillations…do mathematics. thinking and feeling themselves have a wave-like pattern? but i must stop here. I never learnt collegiate mathematics.)

神無月 １０ (私の砕けた月---broken moon）へ
August Nineth から (はち・ここの） 

*a
(about down being +1 and up being-1…my guts tell me that "down" drives people to think of +1, "up" drives people to think of -1…Will to Power? or the need to reach equilibrium like in a social system? a biological impulse to stay balanced and self-sufficient? or just the oscillatory nature of pre-established harmony? the need to create musical harmony? do we think of what implications of ideas by its negation and absence and thus explore its limits or boundaries? is it related to prosody in poetry and aesthetical rules in art? is this also the basis of our perception fo space-time and mathematical ideas? I have noticed for example, when you read a poem's first words or last words that line up in the right or reverse order or diagonally or just in any directions etc.., you can get some meaningful sentences if you choose the right words that would create a sort of semantical harmony…like if you read Blake's "Ah Sunflower" and pick some words that start from the beginnings and the ends of lines you can form a poem:

"Youth desire(s) Virgin Snow,
Grave---Aspire!
Sunflower---(after counting the Suns)
Go!"

「少年は少女の雪ココロを欲す
墓よーー熱望せ！
向日葵、太陽を数えたの後ーー
歩けていこう！」

Could we interpret hidden linguistic implications or the consciousness suggested by the words if we do some mathematical manipulations of semantics through a geometrical or functional analysis, based on the hypothesis that thinking and feeling are an oscillatory movement of in Monads-as-perception-in-themselves?
Also I find poetic thinkings tend to be dominated with phonetical associations and opposite or implicated meanings from my own experience. And some of the interesting examples I encountered in my own writing:
"
bloom ---- rhymes with gloom
blossom----rhymes with bosom, and folsom
"

therefore to me it feels the nuances of the word "bloom" and "blossom" are influenced by words they rhyme with, even though etymologically not so connected…is this the natural way we memorise semantical values in utterances?
also this:
"
In his cave.
In his grave.
(cave---grave)
"

and not necessarily rhymes but utterances that are reverse or rearranged syllables of a word can be associated with the original one…
"
ORC, still chained to a rock.

"
writing system, in this case letters in Latin script can also cause linguistic implications.. I think this is called embedded consciousness? imagine if we could compute consciousness with values in written letters, sounds and semantics etc.. 
could this be how prosody and revelations in poetry works?…incomplete meanings are expanded to contain more realities---therefore the rational consciousness evolves…and resemble pre-established harmony of the primary monad more and more---the joy of wisdom and of knowing / being wise.
also note this, the last words in this stanza, they rhyme and can be associated, and is it possible these associations of semantics give rise to the poetising effort to create meanings through exploring relations between ideas----rationalising or knowing…therefore poetry is like an effort to connect realities or monads-as-perceptions-in-themselves.

"is it not the proof his deepest ink crave
flowing deep deep in his fountain grave
in illuminant lie and falsehood's honest cave
in the absence of anything candid?
full of moldering painful life's tricks dreadful sordid?
in the milieu of senseless animal history so utterly stupid?"

to contain more realities or experiences so to get closer to primary monad's perfection.

アケラスの宴 ルーベンス作 約1615年頃
ルーベンスとブリューゲルは、神話や宗教画を共同制作し、それぞれの技量を発揮した。このパネルでは、ルーベンスが人物のデザインと絵を描き、ブリューゲルがそれ以外のすべてを描いた。ここでは、川の神アケロイスがギリシアの英雄テセウスに、かつての恋人ペリメイルがネプチューンによって遠くの島に姿を変えられたことを説明し、彼女が川の抱擁の中に永遠に留まれるようにしている......。

https://www.metmuseum.org/art/collection/search/437525 (2023年9月1日検索)"

./
オウィッドは『メタモルフォーゼ』の中で、アケラス川河口付近の島々の創造にまつわる2つの変身物語に川の神を登場させている。オウィッドによれば、エキナデス諸島はかつて5人の地元のニンフだった。ある日、ニンフたちはアケラス川のほとりで神々にいけにえを捧げていたが、アケラス川そのものを捧げるのを忘れてしまった。川の神は怒り狂い、荒れ狂う洪水で川岸をあふれさせ、ニンフたちを海に押し流した。アケラスはこう語る：

「私は森から森を、野原から野原を引き裂き、彼女たちが立っている場所とともに、ニンフたちを一掃した、
私はニンフを振り払って、海に押し流した。
ニンフたちはついに私を思い出した。
そこで私の洪水と海は一体となり、分割されていなかった大地を、今あなたが波間に向こうのエキナデスを見るように、多くの部分に裂いた。(オウィッド『メタモルフォーゼ』8.583-589)"」

(オウィッド『メタモルフォーゼ』8.583-589)"

アケラスはさらに、もうひとつの島ができたことを説明する： 「遥か彼方に、私が愛する島がある。船乗りたちはそれをペリメイルと呼ぶ。」(オヴィッド『メタモルフォーゼ』8.590-591）。

彼女はヒッポダマスの娘で、アケラスに処女を奪われた。怒った父親は彼女を高い崖から海に投げ捨てた。しかし、アケラスは彼女を救うためにポセイドンに祈り、ポセイドンはそれに答えて少女を島に変えた」(Ovid, Metamorphoses 8.592-610)

( ウィキペディアより、Achelous、9月1日取得)

………………………..

The Banquet of Achelous, by Rubens, c. 1615
"Rubens and Brueghel collaborated on several mythological and religious pictures that showcased their respective skills. In this panel, Rubens designed and painted the figures and Brueghel painted everything else, revealing his gifts as a landscape and still-life painter. Here, the river god Acheloüs explains to the Greek hero Theseus that his former lover Perimele has been transformed into a distant island by Neptune so that she could remain forever within the river’s embrace....

https://www.metmuseum.org/art/collection/search/437525 (retrieved Sep. 1 2023)"

./
Ovid, in his Metamorphoses, has the river-god involved in two transformation stories concerning the creation of islands near the mouth of the Achelous River. According to Ovid, the Echinades Islands were once five local nymphs. One day, the nymphs were offering sacrifices to the gods on the banks of the Achelous, but they forgot to include Achelous himself. The river-god became so angry, he overflowed his banks with a raging flood, sweeping the nymphs away into the sea. As Achelous tells the story:

"As Achelous tells the story:

I tore forests from forests, fields from fields; and with the place they stood on, I swept the nymphs away, who at last remembered me then, into the sea. There my flood and the sea, united, cleft the undivided ground into as many parts as now you see the Echinades yonder amid the waves.(Ovid, Metamorphoses 8.583–589)"

Achelous goes on to describe the creation of another island: "far away beyond the others is one island that I love: the sailors call it Perimele."(Ovid, Metamorphoses 8.590–591) She was the daughter of Hippodamas, whose virginity Achelous took from her. Her enraged father threw her off a high cliff into the sea. But Achelous prayed to Poseidon to save her, and in answer Poseidon transformed the girl into an island."
(Ovid, Metamorphoses 8.592–610)

( from wikipedia, Achelous, retrieved Sep 1)