Beowulf

Beowulf

John Bjarne Grover

A possible explanation to Beowulf as the work of the socalled Scriblerus Club in England around 1713-1731: Was the famous poem written as a 'web-work' by Pope and Swift and the rest of the group?

The ancient piece of oral poetry existed in only one single copy when it was rescued from the flames of the library of Robert Cotton in 1731. It is written in an ancient english which is estimated to the 8th century or thereabout and belongs to the group of 'anglo-saxon' poetry which shares some characteristics.

My view is that it is likely to be false and written in the years rather immediately before 1731 - in a constructed language. There is a group of poets in those days which could have constructed it: The group was called the Scriblerus Club and consisted of Parnell, Oxford, Gay, Pope, Swift and Arbuthnot. Pope is the heavy-weight who translated the Iliad and the Odyssey, and Parnell had written Homer's 'War between the mice and the frogs', a sort of epic in three short songs of related character compared with Beowulf. Swift and Gay are also wellknown names. The group used to meet from about 1713 onwards in the home of John Arbuthnot and was said to be informally under the patronage of the prime minister (the earl of Oxford). They seemed to have been involved in the construction of the fictive historic person Martinus Scriblerus and comparable projects and the construction of 'Beowulf' would likely have been within their scope. Alexander Pope was somewhat of a dwarf and Alexander the G[r]eat could have been about his role. Hence Alexander Propp - the royal cork. Gay/Gray.

John Arbuthnot was born in 1667 in Inverbervie, Kincardine, Scotland (just south of Aberdeen) and died in London in 1735. The 'Kinsarv[i]k' ceramic plate on the wall in Labråten 58 which seems to be referred to in the US film "American Beauty" (including 'printing error' onto the wall during the dinner scene) can perhaps be traced to this 'Kincardine'. Arbuthnot was the queen's doctor and the founder of the group. I notice that 'snot arbujohn' [cp. 'royal oak'] reminds me of a name I have met earlier. 'Inverbervie' reminds me of the name of Bernt Weberg, my main teacher 1971-73, as far as 'internet' is concerned. The only existing copy of Beowulf was apparently rescued from the flames in the last minutes and was scorched in the edges - a 'burnt' web-work it could have been.

One could guess, therefore, that Beowulf (and other anglo-saxon poems) was constructed by the Scriblerus Club with sanction from the prime minister and the king/queen, in order to create an administrative control with the etymological rooting of the english language. Anglo-Saxon was later interpreted in the form of 'Ancel-Sachs' and the 'Rawlinson-Klipra' connection (including the death of Celan in the Seine as a 'I var o[g] Seine' for 'Ivar Aasen' as 'Rawlinson'). This again led onto my person as a representation of the soffitto in San Pantalon which seems to be the key to the nazi government of Hitler and possibly even the postwar identities of the main characters (or postwar representatives of them). For example, the 'tollepinne' seems to be held by a person who imitates the posture of a small homonculus figure in the blood of a heart or contents of an egg on the wall over the door, which thereby could mean 'Hermann Göring'. Does the 'tollepinne' scroll mean 'ihlebæk' = 'hurry back' with the answer? The priest seems to be somewhat in a hurry. Adolf Hitler clearly is the drinker and when the hoof of the horse touches his lip instead of the cup he holds in his hand, then it is about [h]Aron Eidsvig. On the wall on the other side, there is the figure with his arm raised vertically upwards - that could be Heinrich Himmler.

This story of british 'culture' would be a giant scandal indeed.

To take it on to a next step - with my poetry as the new 'soffitto' for a new century of nazi politics and undermat persecution and culture in darkness - would be a very great tragedy for the world. If there are any intellectuals left on the earth, they should start getting the details of all this tragic UK history up in the public light. All talk about 'transforming the world into the theme of the artwork of the soffitto' is a misunderstanding, and to use my poetic work as a new 'soffitto' in order to 'recreate the world into a world of poetry' is even worse: Such politics would be nothing but a war against poetry and the association with my work would likely be about attaching it to Dr.Verboten from 1968. One can even find reasons for recognizig that 'war against poetry' as having been institutionlized with Pope and the Scribleruses themselves. Pope's 'The rape of the lock' seems to be 'the rape of the look', the rape of the reader's own look at the poem he is the reading - a sort of fist in the face. There is a lot of circumscriptional talk about the lady's fragrants in her boudoir and ethereals like that, all of it apparently circling around the hard-fact idea that "there has been a penis inside a vagina!" and somebody is to be blamed or at least credited for that fact. 'Prope' seems to have been the model for prop-aganda minister Goebbels. ('Alexander' could then read 'arl-lick-X-and-dear' - 'X vibrato' on the arl-licker etc). One can guess that Hitler's government represented the Scriblerus club and thereby a link between Beowulf and San Pantalon - as a british responsibility claim on Hitler's nazi Germany. 'John Keats' is reduced to 'hypocrites!' as a herald for Pope - by Wilhelm Keitel whose name I could have understood after I had got a home insurance contract at the greek company 'Interamerican' in Athens - which I came to understand could be associated with an inherent R-insertion on the form 'inter-am-rear-i-gan' with main office in 'Syngrou Avenue' (cp. 'inngro i [skolte]samene'), as if it were about Ronk Röver in the wrong end. I once saw most of a british film by Peter Greenaway (about a thief and and a cook and something) and when I left under one of the last scenes, I regretted that I had not got the chance to leave earlier - it was then all too late. It apparently exemplified the Ronk Röver wrong way. Is that the secret of Alexander Pope? This idea of a cruel thumb in the mouth of an infant ('f-ingerbetankort') relating the Keitel with the Wilhelm has even a sad interpretation in the poem preceding 'Nah, im Aortenbogen' in Celan's 'Fadensonnen': "...auch keinerlei / Friede" seems to be about my finding of the chestnuts on the ground and the necklace I made out of them - only 'Grau' is 'Braun', and 'Graunächte' = 'Braun-echte'. The 'Halbschmerz' is then the divided cover of the nut with the braun nut inside. In short, if the amoeba is Obama, then the necklace of chestnuts is Gordon Brown - and the Aortenbogen poem is inbetween. My guess is that I could have found the chestnuts after the poem was written (on 7 May 1967) and that is why they occurred to me to have that sort of beauty in the 'camaieu'. I think it was in Björnstjerne Björnsons vei and not in Moldeliveien (but I am not entirely certain about it). It is fully possible that the poems were analyzed by political biz in this way already then - I recall a comment which could have been a reference to the gravel.

Keats' circumscriptions are not the same as Pope's, but the orientation of Pope is perhaps not inclined to understand the difference and could take the yell about hypocrites to be in their favour. The war against poetry may have a basis in some english literary history - but it is high time to sort things out and see the enormous difference between e.g. Keats and Pope. The attempt on the pope in 1981 - after a 3,2,1 x 56 countdown via Gandhi, Lennon, Reagan and the Holy Hijacker ('A.Pope'?) - was likely to be a way of installing Pope in the nazi program. The 'Oklahoma bomb' could have meant 'Alexander Pope'. In short, if you read a few poems of Pope without knowing what it is, you probably can no longer understand why you cannot understand me.

This means that the war against poetry is something which many people would support if they understand it as a war against Pope - but that could be only as long as the story of Beowulf is not known. Pope is perhaps himself a war against poetry! While Keats is out for beauty or rather the mystery of music in poetic language in his circumscriptions, Pope is rather out for the trick that in order to understand what he says you first have to go in the trap and there he got you. It is not the same sort of trap! While Keats invokes beauty of 'muse-ic' poetry, Pope seems to invoke the trap of Ronk Röver - that which one does not do and therefore one has to admit that one's knowledge on the matter is limited and hence one cannot guarantee that Mr.Pope is wrong. 'Wrong Poper'? I don't know really, is the reader's response.

For my part, I am not qualified to make assessment on Pope, since reading his stuff is like getting a fist in the face. (The film 'Moulin Rouge' could perhaps contain the figure in the form of the drarf?) One doesn't discover it right away - first one gets some bad conscience about something and has to put the book aside and hurries to repair the mistake and then later at night there is that terrible feel rising - but one has to know a little about the story to understand that it could be due to reading of Pope's poetry! But of course that effect could be due to much terror-based politics, with much intrigues on Beowulf etc. But it could also be that this is the case for everybody, not only me.

The 'war against the Pope' could perhaps even be seen as a part of the formation of the anglican church. Anglo-saxon god services.

But the status of Beowulf seems to be an administrative secret, relegating the story to a war against Pope in rumour. There is nothing good coming out of secrecy in administration. If the world's leaders have appointed to follow a time scheme which nobody can alter, then it must be published. Otherwise the whole story is all and only about a coup of the global power for the creation of a new upper class for total global control - which is the story of the reaction since the mid 19th century against the new poetic logic.

When occurs the article with the story in plain words, telling that Alexander Pope and Jonathan Swift and the rest of the group constructed the language of Beowulf and wrote the poem and it was made with support and sanction from the british throne and government? A culture which cannot take these things up in clear wording in spite of knowledge of the facts is of course totally under the control of the government - and complaints on 'Stalin culture' and things like that must be considered hypocricy as long as this lasts. That loyalty of the intellectuals to the Power is only supporting the formation of the new global upper class by way of a war against poetry which goes the wrong way as long as this old intrigue is still accepted.

One can guess that the success of Pope and his comrades with Beowulf (on the assumption that these wrote it in the period 1713-1731) was followed up in USA with the foundation of the US democrat party apparently based on or at least closely affiliated with the themes in the fragments after Xenophanes - could be for the concept of Ronk Röver. I don't know how authentic sources there are for Xenophanes - one would suppose that those pre-Socratics likely would have been well described before Beowulf was written.

Some weeks ago I inquired about the electricity bill and was told that there were bills issued on 7 September and 7 November. The electric metre is directly connected for reading centrally. For 7 September the bill was zero, believe it or not, even if I had used electricity, and for 7 November it was then 64 euros. However, on 7 July, which could have been around the day when I was into the estate agency and agreed on the flat (for which I signed the contract and moved in on 21 July), there had been a payment to the el company for this account of 299 euros.

On 7 November, I had lived in the flat for 3,5 months and not yet received any electricity bill. On 8 November, my computer hard drive broke down and could not be started again. I lost some work and money due to the collapse. A day or two later, there was an ad leaf from 'Auchan' (www.auchan.it) offering computers for 299 euros. This could have been a standard offer, of course, and nothing new for the recent weeks. 'Auchan' is a word which feature-converts to 'Duino'. According to the housing contract, the bills must be paid in time for being valid, which could mean that when the bills do not arrive, for whatever reason, I may be in the category of 'Verboten'.

I don't know if that is Duino.

Would the reference to Duino be about the poetic inspiration of Rilke walking there about 1914 or would it be about the alleged 'college' on the brink there? If so, what is inside that college (which seems to have been established in the first half of the 80's)? The phenomenon of 'castano marrone' inherent in the Brown-Obama structure relative to Fadensonnen could perhaps even be recognized in the name of Gianni Morandi, whom I happened to meet briefly in the passing in 1981 (my then girlfriend played and song on a tour with him) - I think even Pippo Baudo was present, or maybe that was on some other occasion, if I have not only watched TV on some occasion. Isn't that 'Domenica Inn'? It is perhaps not possible to speculate on the function of names, but if it be about a 'Pippi Duino' - the world's strongest girl - then it could also be about a 'domen i cab'. If so, it could be about Brown-Rice-Obama in the three poems with the 'Aortenbogen' poem in the mid point ('John, farin kom midt i'?) as an instantiation of the concept of Pippi Langströmpe for Tone Gröver, me and Vibeke Gröver in Labråten 58 - represented in the circles and hooves and hornblower of San Pantalon, with the 'heinrich himmler' on the other side of the church. Even with turning of the gender relative to the Brown-Rice-Obama structure. I don't know who was first of these three.

Duino has a co-reference in the 'Rechlin' of Oslo Report #6 (via 'Mueritzsee' interpreted in handwriting as 'Adriatic Sea'), which again could have a background in Xenophanes (US democrats?) on 'reclining' on soft cusions. 'Redr-lin' could be the background of the hijacking of the supertanker recently. Does that mean that the italians are invited to join the project as if it were about Duino in the sense of poetic inspiration a la Rilke - or was it Pope? - or does it mean that people are invited to accept the conditions of dr.Verboten?

Hilde Domin lived for many years in the Domenican Republic before she moved to Heidelberg. She is famed for her poetry and not, as far as I know, for eccentric ideas.

There seems to be an enormous lot of stone-turning needed before the global community can get on with the third millenium.

I don't know if these speculations on Domenica Inn etc are justified in this context, but it could be that the breakdown of my computer is not a coincidence. I must add, though, that I wondered if even Stonehenge could be a case of british fraud, built for example in the early 18h century, and looked it up on Microsoft Encarta on my computer which soon went into 'hanging' and did not respond to any input and I had to press the reset button - for the first booting that day, which is when the hard drive did not function any longer. I suppose it is possible to make a virus which waits like a crocodile or pike among the sedges ('Siv, jene Slicht') untill a certain day arrives. One would have needed 'teknikern' for getting that hard drive up and going again.

It was in 1981 that I was guided by Fjellheim to a restaurant in Trastevere in Rome which was run by a friend of his (or maybe he knew the restaurant owner's wife who was norwegian) where the US Hiliry Harvey was singing and we made friends. It was in the days when I was still moving around according to the guidance from the mythmakers - apparently on conditions of 'free choice'. She rented a room in the flat of Anne Abercrombie in Via Fidene (close to the Laterano church). I later moved into the flat. Harvey was involved in some entertainment business and toured with Gianni Morandi that summer of 1981 and I think there was record making. She talked of semi-promises from EMI on a record of her own but it seemed to strand on promises. I think she sang in a film called "Aiutami a sognare" (or something like that) which was released in those days. I also met Keith Abercrombie that summer. Did I meet Pippo Baudo? Could be I briefly did. Anyhow, if one recognizes the name 'Pippi Langströmpe' as relevant to my person via the 'along dream P' in the hornblower's long tube in the frontal part of San Pantalon, between San Pantalon himself and the frutta and 'pi-pi' double circles of the drinker, which means that Pippi Longstocking of Astrid Lindgren could represent my two official sisters with me born inbetween (as I think I have analyzed elsewhere), then one finds that the name of Keith Abercrombie could apply to the wall on the other side - over the door - in the figure with the arm up in the air, for Heinrich Himmler. Which again means that the painting in the ceiling of San Pantalon is a shared reference by way of me. This does not have to mean that Abercrombie was Himmler - any more than Baudo was Hitler. One notices the 'bauta'-stein in his name - which in theory could be the same form as the Buddhas which were demolished by the Talibans.

Now there are reasons to recognize 'Hillary Clinton' in this 'Hiliry Harvey': 'Harve' means (norwegian) 'to harrow', to prepare the soil for sowing wheat (and other things) to grow up to be cut and eventually taken to the miller for having the chaff removed from the inner seed, the wheat proper. But if there is weed among the wheat, such as the 'zizania' in Matthew 13.25, the miller must also separate the weed from the wheat: That is called (in norwegian) to separate 'klinten' (corn cockle) from the wheat ('skille klinten fra hveten'). Which means that 'Clinton' represents that two-level relation to the wheat relative to the chaff which can be recognized in the relation of jewish genetics inside the body vs. genetics inside the house. Hence the White House (wheat) and the Wide House (weed).

The 'whole wheat' is called 'hel hvete' in norwegian, pronounced like 'helvete' = 'hell'. Quite simply. Norwegian is such a strange language. To marry = to poison etc.

The 'husky' voice of William Jefferson Clinton is perhaps an additional element in the story. 'Vil hjem, bjeffer som Clinton' = 'wants to go home and barks like Clinton'.

But this norwegian is no coincidence. The word 'klinten' is also a very danish word which is used exclusively about white cliffs like the ones at Dover: And when the whole story is centered crucially on the year 1814 when the danes granted equal rights to jews as to other citizens and Norway broke out of the union for making an antisemitic state, then the slogan was 'united and loyal until Dovre falls' - which seems to have been a statement on a tacit union with England, with whom Norway would be 'united and loyal until Dover falls'. But that is just the white cliffs called 'Klinten'. In Danish language. In addition, there is the Klipra connection - which means just that 'Klinten connection'. Klipra means 'off the cliffs' = 'the falling cliffs' = the tacit 1814 union with England. (And a 'saks' is a tool or agent for 'klipra'). And via England to the US democrat party as their extension to USA via this antisemitic 'state'-ment. In which case there could be some alarm as to what sort of house-genetics is meant.

The danish word is typically used in the form 'Möens Klint': Could be 'Möen' is a particular district with white cliffs at the sea but the word also means 'the young woman' (I don't know if it really indicates a virgin). In norwegian, the word 'mö' means the sound which a cow is making when it moos - and that is also the standard joke about the Sunnmörian dialect that is sounds like the mooing of cows, which in norwegian is called 'raute'. The news agency 'Reuter' could perhaps have been formed on basis of that word, in which case it would mean that it 'moos' out the news. 'Röyter' is a word used about furry animals losing hair, getting 'bald' on the bodies or at least thin-furred when they 'shed' = 'barrack'. 'Röys' means a 'heap of stones' - not exactly like Stonehenge but the phenomenon is related. Perhaps like 'raute' and 'röyte'. 'Staurhenge' - 'ana-stauroo' or 'ana-staurein' is koine greek for 'crucify' used in the bible. One 'staur' put up across another.

This weed and wheat could furthermore be recognized in the phenomenon of Duino vs. Twin-O - as if a verboten program associated with it should be about replacing a person with a dead body which is similar enough to be taken for the original - while the original is transported to verboten 'hel hvete'. (I do not know what is going on at Duino so it may be that these associations do not apply to the place). Montefalchone is close to Duino - and the word means roughly 'Falchåsen' where Leif Stene Johansen lived on the one side of 'Marmorveien' (= 'Marmor/marble Street', cp. the 'Marmara Strait') and Alf Tveterås on the other. There are reasons to see an indexing of John F.Kennedy in Stene Johansen and the 'gnome tweeter-ås' in the homunculus over the door on the other side. This means that 'Falchåsen' could represent the soffitto in San Pantalon.

One could add the observation on another plant which could attract some interest - the one called 'chervil' which in hebrew seems to be 'kangad' ('KNGA'). Is that the 'Kanada' of Auschwitz (which in hebrew seems to mean 'gown', 'pitcher', 'pot')? In handwriting, this 'chervil' comes close to the form 'Mamle' ('MMLA', Jastrow - the word means 'ore', as for oar-driven boats) which is an apparent variant of 'Mamre' where Sara lived (I don't know if that is the same as 'Sara in Hebron'). Mamle seems to have been a place where people were short-lived. Which means that if 'hochabscheulig' is a relevant term and it is supposed to be read 'ho drap skyldig' = 'the female murder-guilty', one could think of a 'Sala', the wife of 'Fantomet'.

The story goes back to 1971 or even 1970 when the Grövers should look for a site for a house and was offered one in 'Oredalsåsen' but chose Labraaten instead allegedly due to some high-voltage electric cables over the site. Henning Lönn (means something close to 'salary in the hand', whatever kind that 'salary' could be) was a schoolmate from Frydenberg high school - I don't think he was in the class with the Pantoffeltierchens - he was rather in the class of Vibeke Gröver ('real-linje', cp. the 'Linex' = 'ruler' = 'linjal'). I think he was son of some fundamentalists, I think pentecostalites, close to Falchåsen. He would likely have started his high school in 1971. After school he started his private printwork which he called 'V-trykk' - first on Lykkeberg close to the municipal council = 'byrådet', where Gröver/'Mengele' was a representative of Labour for a few years, not to be confused with 'byrået' = 'the bureau'. He later moved his printwork over to the eastern side of the river, where 'Vera' came to be an employee of his. I remember her from the first (or was it second?) half of the seventies - she played african percussion in various music groups in town. There was a booming life of rock and other forms of music in Fredrikstad in those days with Aunt Mary [Poppins?] as one of more successful, for example, and I recall Erik Ryr with his group called 'Slaget ved Svolder' - 'The battle of Svolder', not to be confused with 'The battle of Maldon' - and even less with the axe-battle of Liland - which I think a rumour or maybe facts told had been in the house next to the Ryrs. An association with a russian Raskolnikov myth is perhaps not so relevant. I met Vera on Karl Johan in the eighties - or could it even have been the nineties - close to the parliament (Stortinget), at the outdoor restaurant there in folk tongue called 'Dasslokket' ('The Toilet Lid'), possibly due to a sculpture of Krogh in seated posture (it was winter) next to it. It would have been on the other side of 'Spikersuppa' (formerly 'Studenterlunden') relative to where I had met Henning Lönn with redhair in hand in the early eighties - on the same spot at the National theatre where I also met Kaas waiting for the tram with her long light hair and Stig Johanson three times in precisely the same manner each time. 'Da slokket vi lyset' = 'then we quenched the light'. A strange series of coincidences. (I would not believe that the whole story could be about a 'Gig Stohanson'). I never believed that Vera was involved in organized intrigue of any sort and therefore the location of the brief passing on Karl Johan is not likely to be assigned much significance as a piece in a puzzle of intrigue. However, she worked at Lönn's 'V-trykk' and one could in principle carry the associations on to Claire Goll's address in the later years of her life which I have associated with 'Tryvannstårnet' - the TV tower of Oslo at 'Tryvann'. Cp. the video with royal marines from the british defense ministry.

'Liland' could then sound like 'Ryr-hand', as if it should have been the neighbour who carried out the 'Raskolnikov' sort of murders. I have no reason to believe that any Ryr was involved - they were the neighbours, if the rumour or story of the location is right - cp. the suicide of Jörgen Harlem Brundtland when his father was at NATO (on 'Kolsås') and his mother in Brussels = NATO-Brussel = nabo-trussel = threat from the neighbour. The house of the murders was in the other side of the valley of Knipleveien relative to the house of Fröen (means 'the seed', like the wheat) on the other top - which means that the Ryr and 'Liland-case' houses were close to Trara school where I had the first appointment (the seed, so to speak) with Trygve Madsen - who did not show up and who asked me the next time we met (in a music lesson in school where he was the teacher) why I had not come to the appointed lesson. This school is also close to the cinema 'Den Röde Mölle' = 'Moulin Rouge' which used to show westerns and things like that. The Krötöes lived close by and there was the Glemmen church where Egil Hovland was organist/cantor. The church the churchyard there are mirror-symmetric around the two valleys of Knipleveien relative to Andersen and Nordensten. Jon Pedersen - another able guitarist - lived in the bottom of the valley, in the intersection Uraniaveien/Knipleveien. Does 'Pedersen' mean a 'mamle'? If so, the 'saucy' part of the story could perhaps be about the valley. But this would clearly be to take the story off the rails of the poetic revolution.

This means nevertheless that there are reasons to recognize a possible political link to Hillary Clinton in the story from 1981. I think one should tidy up in this potential mess in order to avoid scandalous politics. If there really is a substantial link between Hiliry Harvey and Hillary Clinton, then it could even be that Harvey meant the harrowing of the soil and now the plants have grown up in the mean time and so forth.

This only to state that I do not support any sort of antisemitism or verboten politics which could be contained in the background history for the current situation.

Some names which I have no reason to believe are involved in the story: Christian-Emil Ore, Cecilie Ore, Olga Sedakova. Tone Gröver had around 1970 a teddy bear whom she called 'Mumle'. The word means 'to mumble'. It could have been a sort of counterpoint to my 'Gori'.