(Harsdorffer's Poetischer Trichter (1648) providing Kuhlmann with the model for these sonnets)[7] The language in the poem aspires to dramatize, in purely mathematical terms, its deepest theurgic vocation in Logos; to bring Cosmos into Being[8] to perfect a poetic form that precipitates an experience of endless Parataxis.

[10] This "ideal" Kuhlmann poetic form, a parataxis, permutating, combinato mechanically combined to produce a clear expression of concepts and thus "Mathesis universalis" whereby all variations keep their sense, no "new" sense with a new message is produced[11] and thereby to ascribe the powers of invention to a transcendent, combinatory God who alone has world and time enough to read all the sonnet's redundant permutations.

[12] This fascination with combinatorics (a mechanical means of determining the possible permutations and range of a series of concepts by arrangement in tables, columns, triangular and circular charts[13]) was fueled by Kuhlmann's discovery of Ars magna sciendi, sive Combinatoria (1669) by Athanasius Kircher.

[15] As Gerhart Hoffmeister writes, "the acclaim he received made him feel like a 'second Opitz' – perhaps an early sign that he was becoming overly self-confident or even delusional before a grave illness (typhoid fever?)

[23] Kuhlmann later enrolled at the University of Jena, staying from September 1670 through August 1673[24] with the purpose of studying law, but spent his time reading and writing mystical texts and did not produce a single poem (apart from those in his prose composed before he left Breslau).

[25] Kuhlmann seems to have suffered from depression, and he was reported to have covered his walls with reflecting "turkish papers" to brighten his room in order to be transformed into a mystic mood.

[26] At his native Breslau, he further neglected his studies and read some nine hundred books, inspiring him to write his own comprehensive history of the world, called Lehrreicher Geschicht-Herold (Instructive History-Messenger, 1672).

[citation needed] Kuhlmann's poetry was written with the messianic goal of having Protestant powers and Ottomans join forces to destroy Catholic Europe, the House of Habsburg, and the Pope and establish the "Kingdom of Jesus".